Neil Gaiman's American Gods is not a light read, and for good reason. An entire history of cultures and mythologies are reinvented in the image of contemporary western culture. If anyone suspected this was a light read there in for a rude awakening.
Within the novel, Gaiman points out that humanity must worship and that they will always worship. Its practically in our genetics. But it's what we worship that remains in a constant state of change. No longer do we worship gods of harvest but we worship cell phones. It is how all those gods that we brought with us over ships and colonies must now keep up with humanity's shifting priorities. The premise alone brings promise.
How often do we get to see the world through the eyes of a god, let alone an old god living with the harsh realities of their obsolescence in a world that followed them without question. Just by this slight diversion, a dynamic collection of stories and characters seemingly writes itself.
This is how myth has transformed in contemporary society. No longer is it satisfactory for an all powerful being to to just...well, do stuff. What is on this being's mind? What are it's faults, it's desires, it's needs? It is by asking WHY that myth has been able to grow with the contemporary world even if it's gods and goddesses of hold haven't.
Thursday, November 19, 2015
We Dont Need No Education
I haven't had a good excuse to read Harry Potter in god knows how long. I had started the Night Circus, but perhaps it wasn't the right time for me for the novel's resonance was more or less existent. But there was my old copy of sorcerer's stone in my closet and I thought, what the hell. I'm glad I thought that.
Teaching children right and wrong is not nearly as easy as it sounds. We spend a great deal of our adulthood trying to convince children that the world is black and white, and that there is a yes and no to every question. We ought to give ourselves a time out for spreading such BS. Children are smarter than that. Thankfully a series like Harry Potter knew that.
Under the guise of a cute children's book to pass the time, the series took on a life of its own throwing it's readers into the middle of some pretty heavy shit. One book we're all cute and sneaking through corridors, then the next few books in, we're thrust into the middle of a life and death war. People we love are gone, the world shatters, and tragedy strikes without any warning. The world is no longer black and white. The films themselves practically become grayer sequel by sequel.
But as dark and depressing as the world of Harry Potter becomes, it is not without it's optimism. Dumbledore's Army is nothing but a few students breaking the rules yet look at what they accomplish. A being whose very name is feared is publicly destroyed by a child. Sticking with the darkness does prompt it's rewards.
Above all the series not only enforces the fact that the world is an unsafe place, but it two-fold enforces the fact that it doesn't mean we cannot overcome it's darkness. Hang in there kitty!
Teaching children right and wrong is not nearly as easy as it sounds. We spend a great deal of our adulthood trying to convince children that the world is black and white, and that there is a yes and no to every question. We ought to give ourselves a time out for spreading such BS. Children are smarter than that. Thankfully a series like Harry Potter knew that.
Under the guise of a cute children's book to pass the time, the series took on a life of its own throwing it's readers into the middle of some pretty heavy shit. One book we're all cute and sneaking through corridors, then the next few books in, we're thrust into the middle of a life and death war. People we love are gone, the world shatters, and tragedy strikes without any warning. The world is no longer black and white. The films themselves practically become grayer sequel by sequel.
But as dark and depressing as the world of Harry Potter becomes, it is not without it's optimism. Dumbledore's Army is nothing but a few students breaking the rules yet look at what they accomplish. A being whose very name is feared is publicly destroyed by a child. Sticking with the darkness does prompt it's rewards.
Above all the series not only enforces the fact that the world is an unsafe place, but it two-fold enforces the fact that it doesn't mean we cannot overcome it's darkness. Hang in there kitty!
We Do Need Another Hero
For this foray into fantasy, I went back once more to my good friend Mr. Barker. We've already discussed his influence on bizarre horror. But lately there has been a novel of late that has struck me less of a Horror novel and more akin to a high epic fantasy with all the trappings of Joseph Campbell's wisdom. This is a novel called The Scarlet Gospels.
Much of the fame for Gospels will come from the fact that this is the much awaited return to the famous horror icon Pinhead of Hellraiser fame. To see the old master back at work with one of his most cherished creations is an adventure not to be taken for granted. Returning too is Harry D'amour of Lord of Illusions fame. Though not nearly as famous as Pinhead, this classic neo-noir creation of Barker's has enough of a following to make this showdown of literary giants worth reading.
What makes the story so compelling is that there are two journeys being taken, one by Pinhead, the other by D'amour and both contain variations on Campbell's formula. Harry is the traditional alcoholic detective who refuses the call but ends up following through with it, that sort of thing. Pinhead however is the (Anti) hero who is constantly at odds with the world he inhabits and rises to a level never before imagined when falling to his lowest point.
Both characters encounter pitfalls and victories within the fantastical vision of Hell that Barker has constructed. Many of the creatures and obstacles could easily go against the most spectacular of Tolkein, had Tolkein not been such a clean christian. The Hero's Journey is universal, and moments when the journey goes beyond an epic quest in a world derived of old european mythology is when it can be most rewarding.
Much of the fame for Gospels will come from the fact that this is the much awaited return to the famous horror icon Pinhead of Hellraiser fame. To see the old master back at work with one of his most cherished creations is an adventure not to be taken for granted. Returning too is Harry D'amour of Lord of Illusions fame. Though not nearly as famous as Pinhead, this classic neo-noir creation of Barker's has enough of a following to make this showdown of literary giants worth reading.
What makes the story so compelling is that there are two journeys being taken, one by Pinhead, the other by D'amour and both contain variations on Campbell's formula. Harry is the traditional alcoholic detective who refuses the call but ends up following through with it, that sort of thing. Pinhead however is the (Anti) hero who is constantly at odds with the world he inhabits and rises to a level never before imagined when falling to his lowest point.
Both characters encounter pitfalls and victories within the fantastical vision of Hell that Barker has constructed. Many of the creatures and obstacles could easily go against the most spectacular of Tolkein, had Tolkein not been such a clean christian. The Hero's Journey is universal, and moments when the journey goes beyond an epic quest in a world derived of old european mythology is when it can be most rewarding.
Beware the Woman in Power
Dress any broad in black, give her a pointed hat, and you've got a witch. Put an old lady on a broom with a black cat at the handle and you've got a witch. Take a woman whose kindly exterior harbors a fantastical ability for magic and you've got the modern witch.
Witches with two-faced lives is not an uncommon subject. That happens to be one of the bases for Harry Potter's entire mythology. Add that to the very idea of sweet and charming masking the dreadful and you've got more than the lion's share of similarities with other media. This is not a negative aspect of Aunt Maria, just another proud example of the contemporary wicked old witch. Interestingly enough, if you were to strip her of her powers and reset the story with her as say...an office executive, you could very well wind up with quite a similar story.
This brings us to the contemporary depiction of women with power, wether it be magical or otherwise. Storytelling adores this character archetype of the corrupt woman with power; a stone-cold bitch who takes no prisoners. We've seen it in The Devil Wears Prada, Harry Potter, and even 101 Dalmatians. You don't tend to find many Business MEN wanting to skin a bunch of puppies to make a coat. They have principles apparently.
Hell, while we're at it, strip her of her powers, make her attractive, give her a crown and a magic mirror. Maybe this isn't as restricted to contemporary literature as I thought...
Witches with two-faced lives is not an uncommon subject. That happens to be one of the bases for Harry Potter's entire mythology. Add that to the very idea of sweet and charming masking the dreadful and you've got more than the lion's share of similarities with other media. This is not a negative aspect of Aunt Maria, just another proud example of the contemporary wicked old witch. Interestingly enough, if you were to strip her of her powers and reset the story with her as say...an office executive, you could very well wind up with quite a similar story.
This brings us to the contemporary depiction of women with power, wether it be magical or otherwise. Storytelling adores this character archetype of the corrupt woman with power; a stone-cold bitch who takes no prisoners. We've seen it in The Devil Wears Prada, Harry Potter, and even 101 Dalmatians. You don't tend to find many Business MEN wanting to skin a bunch of puppies to make a coat. They have principles apparently.
Hell, while we're at it, strip her of her powers, make her attractive, give her a crown and a magic mirror. Maybe this isn't as restricted to contemporary literature as I thought...
Weird: Old and New
For the New Weird, I took a plunge back into the world of one of my favorite authors, Clive Barker. His collection of short stories, The Books of Blood, is all time favorite. Upon reading through some of the stories, I was more aware of the strengths of Weird Fiction. The best kind of Weird Fiction tends to go out of it's way to subvert the horror genre rather than celebrate tropes and stereotypes, OR it will take tropes and stereotypes into new out of the box thinking. Weird Fiction is out of the box!
The Future for this genre tends to be on a constant gradual yet subtle rise. It is as if Lovecraft's manifestations of otherworldly and cosmic terrors opened the door to unfathomable horrors that we could neither identify or identify with. The future of the genre will no doubt get Weirder. There is no shortage of sexual taboos or scientific discoveries that provide the best fodder for these tales. As it has dominated storytelling, Weird Fiction will certainly increase it's presence in Cinema. Movies are getting bolder, and with good reason to combat streaming and television. In turn, streaming and television are also taking more risks with their programming to combat film. Who will outweird the other? It's hard to say, but it will be rewarding for us audiences who get to find out!
The Future for this genre tends to be on a constant gradual yet subtle rise. It is as if Lovecraft's manifestations of otherworldly and cosmic terrors opened the door to unfathomable horrors that we could neither identify or identify with. The future of the genre will no doubt get Weirder. There is no shortage of sexual taboos or scientific discoveries that provide the best fodder for these tales. As it has dominated storytelling, Weird Fiction will certainly increase it's presence in Cinema. Movies are getting bolder, and with good reason to combat streaming and television. In turn, streaming and television are also taking more risks with their programming to combat film. Who will outweird the other? It's hard to say, but it will be rewarding for us audiences who get to find out!
Sunday, September 27, 2015
Kiss and Don't Tell
The Kwaidan is a collection of many strange and beautiful stories, proving itself to be one of the definitive compendiums of Japanese mythology, plus some cool stuff about bugs because...bugs are cool. Amongst this collection is the story of the Yuki-onna. Yuki-onna is an ice spirit who posesses an inhuman beauty. She comes upon two woodcutters stranded in the forest, one whom she resigns to death, and another whom she spares if he promises to keep silence regarding the secret of her existence. When spared, he meets a beautiful young woman who becomes his wife and mother of his children. Lo, and behold, he spills the beans to her about the spirit only for her to be revealed as the spirit herself. Despite the threat from before, she does spare his life so that he may take care of the children they have borne.
This, being one of the more famous fables from the collection, was eventually re-adapted for american audiences in Tales From The Darkside: The Movie, an anthology horror film based on the cult TV series. The setting is modern-day america wherein the woodcutter has become an artist, and the ghostly creature now a demonic gargoyle. The story plays out nearly the same until the very end in which the Gargoyle murders her husband while she and the children are resigned to a perpetual state of stone.
Studying the two presents some interesting contrasts and comparisons. This is most apparent in the ending of the two. The Japanese version suggests that the spirit is not without compassion. Having already borne life into the world, she returns to her spiritual state and mournfully leaves her husband. Here the tragedy seems to be heightened since the father must raise the children on his own while loosing the woman whom he has loved. The spirit too, for reasons never fully explained, is forced to return to her spiritual form having lost the life she had become accustomed to, never again to revel in the pleasures of humanity. It is a saddening tale that unconsciously pulls the curtain back upon what is traditionally played upon in american stories and culture as something of pure malice.
The American version treats its tragedy far more differently. Rather than the father and mother experiencing tragedy, the entire family unit is punished. What lessens the blow of this finale is that the shock of his death and the creature effects seem to outdo the characters. It feels more like a "Gotcha" twist rather than a study of a tragic monster.
Im starting to notice a pattern here.
This, being one of the more famous fables from the collection, was eventually re-adapted for american audiences in Tales From The Darkside: The Movie, an anthology horror film based on the cult TV series. The setting is modern-day america wherein the woodcutter has become an artist, and the ghostly creature now a demonic gargoyle. The story plays out nearly the same until the very end in which the Gargoyle murders her husband while she and the children are resigned to a perpetual state of stone.
Studying the two presents some interesting contrasts and comparisons. This is most apparent in the ending of the two. The Japanese version suggests that the spirit is not without compassion. Having already borne life into the world, she returns to her spiritual state and mournfully leaves her husband. Here the tragedy seems to be heightened since the father must raise the children on his own while loosing the woman whom he has loved. The spirit too, for reasons never fully explained, is forced to return to her spiritual form having lost the life she had become accustomed to, never again to revel in the pleasures of humanity. It is a saddening tale that unconsciously pulls the curtain back upon what is traditionally played upon in american stories and culture as something of pure malice.
The American version treats its tragedy far more differently. Rather than the father and mother experiencing tragedy, the entire family unit is punished. What lessens the blow of this finale is that the shock of his death and the creature effects seem to outdo the characters. It feels more like a "Gotcha" twist rather than a study of a tragic monster.
Im starting to notice a pattern here.
Why can't we be Friends?
Immortality sounds all well and good until you realize...oh yeah, I'm gonna live forever. Shame nobody else will. This is the sad truth that Anne Rice has tackled in her famous Vampire Chronicles. Traditionally symbols of repressed eroticism, the Vampires of Anne Rice's imagination are rather lost souls coping with loneliness in their own separate ways.
Lets take her star Bloodsucker, Lestat DeLioncourt. Lestat was forcefully transformed into an vampire, only to be abandoned by the one who had turned him. Having his mortality violated, he had been thrust into the world, frightened and abused. What is one of the first tasks he accomplishes? Finding a companion. He finds one in his mother, whom he transforms. The two engage in a new kind of relationship, not simply mother and son, but equal companions. Once their relationship is compromised he is back where he started. Alone. He had found acquaintances in other vampires, but found a close partner once more in Louis, whose story is recorded in Interview with the Vampire.
Homoetrotic overtones galore, the two try to get by as New Orleans ages before them. Despite the coupling, loneliness is still hovering amongst the two. The two come from different worlds. Lestat has learned to embrace his animalistic qualities and find splendor in being the beast. Louis still suffers from the aches and pains of his former life, primarily the death of his brother. One would think he would've found a brother in Lestat, but due to Lestat's nature, the relationship steadily grows toxic. Even when their "adopted" daughter, Claudia, is thrust into the mix.
Loneliness is what created many of these monsters, and has even destroyed them. The incomprehensible need for companionship is something that fiction has explored many times over, but none more explicitly than Rice. An author primarily known for erotic fiction, and 1st person Jesus novels, tears apart these ideas of loneliness in a great many of her Vampiric stories. Loneliness happens to be just like a vampire; soul-sucking and seemingly invincible.
Lets take her star Bloodsucker, Lestat DeLioncourt. Lestat was forcefully transformed into an vampire, only to be abandoned by the one who had turned him. Having his mortality violated, he had been thrust into the world, frightened and abused. What is one of the first tasks he accomplishes? Finding a companion. He finds one in his mother, whom he transforms. The two engage in a new kind of relationship, not simply mother and son, but equal companions. Once their relationship is compromised he is back where he started. Alone. He had found acquaintances in other vampires, but found a close partner once more in Louis, whose story is recorded in Interview with the Vampire.
Homoetrotic overtones galore, the two try to get by as New Orleans ages before them. Despite the coupling, loneliness is still hovering amongst the two. The two come from different worlds. Lestat has learned to embrace his animalistic qualities and find splendor in being the beast. Louis still suffers from the aches and pains of his former life, primarily the death of his brother. One would think he would've found a brother in Lestat, but due to Lestat's nature, the relationship steadily grows toxic. Even when their "adopted" daughter, Claudia, is thrust into the mix.
Loneliness is what created many of these monsters, and has even destroyed them. The incomprehensible need for companionship is something that fiction has explored many times over, but none more explicitly than Rice. An author primarily known for erotic fiction, and 1st person Jesus novels, tears apart these ideas of loneliness in a great many of her Vampiric stories. Loneliness happens to be just like a vampire; soul-sucking and seemingly invincible.
Subscribe to:
Posts (Atom)