storytellers garden

anonymous asked:


Yes, like he did with many things in the series. I think the story Martin initially conceived was much simpler, less trope-challenging, with characters in more neatly identifiable roles and more linear storytelling; but his gardener approach allowed these characters to grow organically out of the boxes they were originally confined, and come to life in ways that I’m sure surprised the author himself in the first place. I think as soon as Martin figured out what he wanted to do with this story in terms of trope deconstruction, he realized he had an enormous potential in Sansa, who represents the classic princess in the tower fantasy trope, with a bit of the queen bee type from nerd culture and young adult narratives: there was a lot to deconstruct about her. And I bet he realized it soon enough: the first book still has lingering traces of first draft!Sansa, but she’s already much more than that (her pov for example is one of the finest attempts to delve into the psychology of a preteen girl I’ve seen from a male author). 

Sansa is also one of the characters that benefit from the story being longer and richer than the original 3 books plan. A longer story that doesn’t have to be squeezed in a trilogy and can afford to shift gears into a slower, more analytical pace when required made it possible for Sansa’s mostly inward journey and subtle development to happen on page, allowing the reader to know and appreciate her even if she’s not an action-oriented character.

(Over the Garden Wall spoilers):

I think one of the things that makes this show so haunting is that we never get to see how Wirt reacts to his time in the Unknown after the fact. Even the ongoing comic series that takes place after the show somehow manages to avoid this one. So because the question isn’t answered in an easy way, we’re stuck with it. We’re the ones who have to try to grapple with what we’ve been through here, not Wirt.

GAINING PERSPECTIVE ON GRAPHIC NARRATIVE: essential/ worthwhile/ personal favorite books regarding comics as an art, technique, style, or serve other significance

in short, i work at a book store and take great advantage of the ability to order whatever i want for the store without bearing the responsibility of paying for anything. i read a lot of books and texts about comics because i’m driven to make a graphic novel i’m proud of, these are just some of many i find noteworthy- b/c no one actually needs a bunch of courses or an art degree to obtain a broader upstanding of the illustrated narrative and subsequently grow as a comic artist.

  1. binky brown meets the holy virgin mary - justin green (duh. essential for contextualizing early crumb/ spiegelman/ a lot of work in the comix scene & era as well as serving as the ultimate ideal model for the autobiographical comic narrative.)
  2. graphic women: life narrative and contemporary comics - hilary l. chute (adore this one- its subjects and contents are the bible for women producing autobiographic comic content)
  3. panel discussions: design in sequential art storytelling - durwin s. talon (an essential and personal favorite and all around perfect book)
  4. comics versus art: comics in the art world - bart beaty
  5. the power of comics: history, form and culture - randy duncan
  6. cartooning: philosophy and practice - ivan brunetti
  7. german expressionist woodcuts - shane weller
  8. the art of the woodcut: masterworks from the 1920s - malcolm c. salaman
  9. wordless books: the original graphic novels - david a. berona
  10. graphic witness: four wordless graphic novels - masereel, ward, patri, and hyde (this and the former three are the best introduction to textless graphic novels/ expressionist woodcuts that i’ve come across. woodcut narratives have been so huge for me.)
  11. critical approaches to comics: theories and methods - randy duncan 
  12. underground classics: the transformation of comics into comix - james philip danky
  13. from staple guns to thumb tacks: flyer art from the 1982-1995 new orleans hardcore scene / punk is dead punk is everything (not a universal necessity but punk flyer art has always been a big inspiration and love of mine. it had visual command that lends well to comic structure)
  14. the visual language of comics: introduction to the structure and cognition of sequential images - neil cohn
  15. the art of possible! comics mainly without pictures - kenneth koch
  16. a hummet: a treated victorian novel - tom phillips 
  17. une semaine de bonte: a surrealistic novel in collage - max ernst (this and the former are some personal favorites and incredibly useful/ inspiring for incorporating collage elements into comic narrative)
  18. comics and sequential art: principles and practices - will eisner (any of eisner’s books are applicable here)
  19. the system of comics / comics and narration - thierry groensteen (all groensteen’s pieces on comics are so great.)
  20. how to draw noir comics: the art and technique of visual storytelling - shawn martinbrough
  21. comics and language: reimagining critical discourse on the form - hannah miodrag (a touch bloated and precociously academic but an insightful read nonetheless)
  22. best of comix book: when marvel comics went underground - stan lee
  23. panel one: comic book scripts by top writers - dwayne mcduffie
  24. AX volume 1: a collection of alternative manga - various authors (another personal favorite. but i think any comic artist can benefit from AX- it’s an amazing and diverse collection of highly stylized shorts that take really interesting and surreal narrative directions)
  25. vanishing point: perspective for comics from the ground up - jason cheeseman
  26. rebel visions: underground comix - patrick rosenkranz
  27. drawing words and writing pictures/ mastering comics - jessica abel & matt madden (yeah anything jessica abel touches is perfect)
  28. the graphic canon vol 1-3 - russ kick
  29. graphic subjects: critical essays on autobiography and graphic novels - michael a. chaney
  30. projections: comics and the history of twenty-first century storytelling - jared gardener
  31. lynd ward: six novels in woodcuts - lynd ward (..,,there’s nothing i can say about ward that would do him justice really. he was the master of the craft and i just consider his work so intrinsically important.)
  32. the language of comics: word and image - n.c. christopher couch
  33. the daniel clowes reader: a critical edition of ghost world and other stories, with essays, interviews, and annotations - daniel clowes 
  34. comics, comix, & graphic novels: a history of comic art -roger sabin (one of my favorites)
  35. a comics studies reader - jeet heer (an on point essay collective, way really impressed with the diversity of topics addressed)
  36. making comics: storytelling secrets of comics, manga, and graphic novels - scott mccloud
  37. love and rockets: the covers - los bros hernandez (the entire series is more ideal of course but l&r’s covers are engaging even in a secular context from their narrative)
  38. writing and illustrating the graphic novel: everything you need to know to create great work and get it published - daniel cooney
  39. 99 ways to tell a story: exercises in style - matt madden
  40. framed ink: drawing and composition for visual storytellers - marco mateu-mestre
  41. perspective! for comic book artists - david chelsea
  42. TO END ON A FUN NOTE ::: wampus, vol. 1 - franco frescura & luciano bernasconi ((the stupidly fun dated as hell french comic book that’s supposedly a cult classic but i’ve never encountered anyone else who’s actually read it so like, help me out here)


Okay sorry, here goes.

Over the Garden Wall is about purgatory (or I guess limbo?)

The boys are dying of hypothermia inna river that’s why it gets colder towards the end. (It also makes sense why Greg “died” first cause like he’s tiny)

All the people were from different timelines because they all “died” during different points in history.

The Pumpkin guy represents an easy death. Having lived a full life. He’s the only one who the boys don’t help in some way. Except also the tavern but that’s where they got Fred.

(Side note, the tavern lady was totes right about the woodsman being the evil guy, woah, right?)

Everyone else had problems that had to be solved which, if it is a purgatory situation, kept it from being their perfect heaven.

The mansion, the school, and Auntie Whispers all showcased good people with a curse, something keeping them from a peaceful afterlife.

The only situations we didn’t see that were Adelaide’s (probably because she gave in to evil in order to achieve what she wanted like the woodsman, although, she was more aware it wasn’t on the up and up.), the Ferry, and Greg’s dream.

If the frog had stayed with the Ferry he would have died and been in his heaven. Greg’s dream was his heaven. These two were the only ones we saw who could be happy with no regrets. (An animal and a child). They were the only ones truly safe from the beast.

If we look at the individual problems we see guilt, loneliness, and despair. The Beast feeds on this, which I will come back to later.

1. Quincy has all this wealth and now one to share it with. He is wracked by guilt over his greed in life.

2. The school is probably the home of broken dreams (both creative and romantic)

3. And this is maybe a parallel maybe not? I think Beatrice killed her family on accident in life and Auntie Whisper did the same. I think Lorna died of illness and Auntie Whisper couldn’t save her and is indebted to her soul in the afterlife. Beatrice may have caused an accident in life which killed her family and/or tried to bargain her way out of the afterlife and feels indebted to them because of their state.

Greg, who represents innocence and joy, gives them hope but it’s Wirt who is the one who can actually turn their (after)life around. I think because he is the drive, the logical processes to compliment that blind joy. If you chase after joy without a plan, you’ll lose your way. It’s why it was significant that when when Wirt admitted he didn’t have a plan her fell into despair. When he had a goal again (save Greg) he could logically see through the Beast’s lies and ultimately overcome it.

The Beast feeds on the souls of the hopeless and the lost. So Wirt and Greg, who are there by accident, don’t have an established purgatory and are easier targets, but I believe that every soul in the woods would eventually succumb to the hopelessness of their situations. But Greg’s joy and Wirt’s clear sight allows them to really effect positive change everywhere they went. This is a direct threat to the Beast.

Which brings me to the lantern. The lantern is important to the beast, so very important, because the lantern is hope. If the lantern goes out and there is no hope, then there is no way for the Beast to feast on hopeless souls because you can’t prey on an absence if there is nothing to compare it to. It’s why the Beast’s eyes are as bright as the lantern, it’s why he set Greg on all those tasks. The hope must be there for you to see the dark.

The woodsman was clinging to hope of his daughter. Grinding down hopelessness to make way for more light which would be corrupted by the beast again. It was in itself a struggle that seems hopeless.

Greg and Wirt, who brought too much good to the woods, were able to not only escape their own untimely deaths but were also able to save the souls who were with them (probably due to the proximity to the graveyard). This includes freeing all the souls that the beast was made up of, i.e. Returning the woodsman’s daughter. Basically being awesome heroes.

Yeah please watch this show it is so incredible as a work of animated storytelling.