visual approach

‘Star Trek: Discovery’ Trailer Analysis: Burnham Is a Badass, and 8 Other Things We Learned

With the debut of over two minutes of footage from “Star Trek: Discovery,” fans of the “Trek” universe and/or anyone curious about what a new “Star Trek” airing on CBS might look like now have plenty to analyze.

READ MORE: ‘Star Trek Discovery’: Female Lead, Gay Character, Prequel Timeframe Confirmed

The new trailer doesn’t answer all of our questions, but it does establish some key facts that only have us more excited to know more about the new series. Below are just a few of the things we learned by watching.

1. This Cast is DIVERSE (On Both a Gender and An Alien Level)

If a white human male spoke once in this trailer, it barely made an impression. (James Frain appears as Sarek, but in case you couldn’t tell from the ears, he’s playing a Vulcan.)

Otherwise, the spotlight is firmly on Sonequa Martin-Green as First Officer Michael Burnham, as well as Captain Philippa Georgiou (Michelle Yeoh), passing the Bechdel test in the very first scene. In addition, the trailer features a diverse range of alien species, some of which appear to be brand new to the “Trek” universe. Just check out the screenshots below:

This is one of the clear vestiges of original showrunner Bryan Fuller’s influence. As he said last summer, “Usually you’ve got one person with a bumpy forehead and then seven other people who look relatively human. We wanted to paint the picture of a Starfleet that is indicative of a universe where we’re encountering people who are much different than we are.”

2. Also, Yes, the Klingons Look Different

And we get a lot of them in this trailer, including what appears to be a scene set at a Klingon funeral.

Here’s what’s important to remember: “Star Trek” has a historically shaky record when it comes to a consistent look for the Klingon race, which is best summarized/not summarized by the below clip from the “Deep Space Nine” episode “Trials and Tribble-ations.”

Technically, the difference between old school versus new school Klingons (which began with “Star Trek: The Motion Picture,” which means yes, this is Roddenberry’s fault) was “explained” by an episode of “Enterprise.” But J.J. Abrams also reset the Klingon look in “Star Trek Into Darkness,” so at some point you just kind of have to embrace the fact that Klingons are going to look however Klingons are going to look.

Oh, speaking of Abrams…

3. Whoever Shot This Show Has Clearly Seen the Abrams Movies

It’s hard not to notice the distinct use of lens flare and kinetic camera moves at play in this trailer — whether that’s consistent across the series as a whole is unknown, but if you were already a fan of Abrams’ visual approach (in partnership with cinematographer Dan Mindel), you’re in luck. If you find the style irritating, well, sorry about that.

4. Some of “Discovery’s” Technology Feels Modern

Such as these warp speed swirls:

And a new look for the transporter effect:

5. Some of It Does Not

Just check out Georgiou’s appropriately flippy communicator:

6. Burnham Has a Backstory With Sarek

While we’re not sure why Burnham has something resembling a mentor-mentee relationship with a high-ranking Vulcan official, thanks to a flash of young Burnham speaking with him in person we get a sense that it’s a relationship that goes back years. (Does that mean she also knows Spock? That’s something to look forward to discovering.)

7. Martin-Green Is Definitely the Star Here

She might not be the captain, but between whizzing around in a space suit and confronting Klingons, Burnham is definitely the center of the action. And we already kind of love her badass attitude (and cute haircut).

8. Burnham May Not Escape Just a Little Bit of Objectification

In a shot of Martin-Green on some sort of med bay cot, Burnham can be seen wearing a very teeny top, triggering some unfortunate “Enterprise” decontamination flashbacks. Please, “Discovery.” Be better than that.

9. Burnham Is Here to Save Us

In the battle between cynicism versus optimism — a metric that has always been under close scrutiny by “Star Trek” fans — “Discovery” might lean darker than its title might have originally implied. In the trailer, Burnham directly battles her captain over whether or not they need to attack first: “Cut off its neck or target its head.” Again, we see what looks like a Klingon funeral. And the trailer ends with Lieutenant Saru (Doug Jones) literally saying that he senses “the coming of death.”

Is Burnham the hero we need in this pre-Kirk era of “Star Trek”? We’ll find out this fall on CBS All Access. Fifteen episodes have been ordered.

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I hate Gotham sm sometimes like Edward Nygma does not have dissociative identity disorder. He has never shown any kind of symptom of having that mental illness in the comics or throughout the first season of Gotham. If anything he probably has borderline personality disorder (overwhelming feelings of distress, anxiety, worthlessness, anger; loss of contact with reality; difficulty maintaining stable and close relationships; harming others, ect.) But they’ve just decided to give him DID because they think it’s “cool” and “edgy” and that audiences won’t want to deal with the real, crushingly negative effects of mental illness that can make living feel like being dead.

Honestly it’s so insulting that Gotham and the Bat-verse as a whole treats mental illness so interchangeably and with no compassion or truthfulness whatsoever. It’s wheeled out to instantly identify the bad guys from the good guys and it makes me sick. 

“Really, I visualize the dead as well as the living. I visualize you whom I will never know. We are constant strangers. I imagine you, I stare at you when I write. And to think, you will never know, will never hear of those people I can no longer call anonymous. People close to me have said: I don’t understand what you are talking about, but I know what you mean …”

Frank Stanford, from “With the Approach of the Oak the Axeman Quakes,” What About This: Collected Poems of Frank Stanford (Copper Canyon Press, 2015)

okijirou  asked:

hello! I've just stumbled upon all your wonderful and amazing work/art/animation you've guys have created so far. BUT! I need to know when skeletonblood is coming out or an update on how far you guys are now! p.s. draw and post more kookaburra

( I don’t like tldr, I think its fucking lame. So do read or don’t read that shits up to you guys. But it would be very kind if you did. )

This is a really big question actually, and we have had it posed like several times in forms of asks, and just like things we stumble upon on the net. Yeah “Skeletonblood” is still happening. SB ( as it’s abbreviated ) is an iteration of a film concept of the same name, and was what Douzlia was built on. Back then when it was just me ( Alex ) I reworked the scripts and designs of the for film ver. into a game to make showcasing Doulzia’s visual approach and narrative sensibility to an audience in an actualized form conveyable and, relatively more manageable for myself to handle.

Transitioning into working with Doulzia’s first core staff member Suzuka, I reworked the Idea a second time to make drawing imagery and also working with themes and concepts synergetic between us ( actually ending up with something much closer to SB film ver ).

Along the way many people entered the fold ( whether they are in the staff page or not ) we have made so many friends. Douzlia became a huge global network of really intelligent yungs. I could never thank those people enough for all the love and support they give us through this. I’m enormously thankful always.  

Since then a lot of unpredictable things have happened that changed my projection for our future. It looks likely we will be able to follow our goal with a much more straight path to animation then what I initially could see, which we are all very fortunate for and also excited about. Of course still following it in our quasi amorphous Doulzia way.

Still the skeleton of 2 games both SB and another sibling game “Tadaima” are in our back pocket, and both will likely manifest in the future ( in some form ).

uhm haha this is weird to explain here, please keep reading I’m almost done…

For now what those game projects boil down to is a place for us to pull from as development material that will spill into all Skeletonblood related animation ( Like Open Mike and Paul White’s “Dang is Invincible” ) and eventually into its own animated film. Beyond that the characters and ideas inside SB are important to us, and so for a while they will be majorly involved in representing 90% of our presence as a studio.

- Alex 

oh and Kookaburra bit is mega noted, here is a potential redesign draw Suzuka did during “Dang is Invincible” production that I told myself I would only release in our first book, but will put out here cause you were damn sweet. 

Humans are weird: The frozen retreat

*Quick note before I start: This is the 6th installment in a series I’ve called the Lost Colonies which is largely about human society adapting to the strange environments of other worlds. You can read the other installments here: 1, 2, 3, 4, 5, 7. I’ve thoroughly enjoyed writing this series, but with my new work schedule I had to bring it to a close. If you’ve enjoyed this story follow me on here for my other writings. Thanks again to everyone who has reblogged, liked, replied, DMed, or otherwise shown their appreciation for this series. It means a lot to me that people enjoyed it and the love you’ve all shown me has really helped keep me going for these last few months.*

Kiara stood with her arms wide embracing the cold winds that scoured the surface of the planet. It was far colder than the winds that she usually faced in her childhood back on the Thaw and she knew that she wouldn’t be able to withstand these temperatures for long but it felt good. The wind bit right through several thermal layers and chilled her to the bone but the memories that wind brought with it were worth the pain. It had been 20 sols since she had left her homeworld behind and her work had kept her so busy that she had only been back a handful of times to bury her mother and father. 

Turning away from the wind Kiara hurried across the ice to the warmth of the drilling camp as the memories faded to the bitter knowledge that even if she took the time to head back to the Thaw that she had no friends or family left on that planet. Kiara made a note to herself to talk with her station’s councilor when she had the time. The airlock groaned open as she approached and Kiara caught sight of a Turic holding the hatch open for her. The Turic slammed and bolted the hatch shut as soon as she was in the safety of the camp. Bok’han ran his hands through the exposed fur on his head to shake off some ice. “Amazing! I didn’t know a human could survive temperatures that low for that long.”

Kiara smiled through the chattering of her teeth. “I’m surprised your brother didn’t tell you more about me Bok’han. My homeworld was largely frozen too. That was nothing compared to some of the nights I grew up in.” It was a lie, a small one, but she still liked to see the looks on the faces of people who didn’t spend much time around humans when they learned just how adaptable humans can be. “Besides, there’s supposed to be a human colony under the ice here so you’re probably going to see a lot of people used to the cold here.” Bok’han didn’t say anything but scratched behind one of his ears, a gesture Kiara had come to understand meant that he was thinking.

Kiara unsealed the inner hatch and stomped her way inside, shaking the feeling back into her legs. “Is the submersible ready yet?” A tehnician handed her a datapad. “Just finishing final checks now. The ice freezes over too fast for us to keep the hole open for long but we can at least open it up to lower you in and can keep it thin enough that you can radio through when you need to get back out.“ Kiara nodded running the logistics through her head. “Any contact with the city below?” The technician shook his head. “Ice is too thick for radio contact. We tried at the bottom of the ice shaft but didn’t get a response. Sonar shows the shaft is about 5 kilometers magnetic south of the edge of the city.”

The technician brought up the sonar readouts on a nearby screen. “We’ve seen some activity but nothing that appears threatening. It could just be local fauna.” Kiara arched an eyebrow at the technician. “local fauna” could mean anything from schools of fish to the sorts of things that Old Earth authors would have called Elder Gods. The technician seemed to take her meaning and she laughed “Nothing too ominous, at least, nothing over 3 meters long.” Kiara could think of a lot of dangerous things that were smaller than 3 meters long but she agreed that given the size of the submersible it would most likely be fine. “Alright. Let’s load up and head out.”

Though the submersible was easily over 5 meters long and 3 meters tall, it was still a tight fit for just Kiara and Bok’han due the massive ammounts of reinforcements it needed to be able to survive the pressure of the waters below. The fact that an underwater dome city was apparently built on this world boggled the mind, but if you wanted to hide something the way EarthGov had liked to then this would be the place to do it. Underneath two solid kilometers of ice there was a relatively thin layer of water that was kept from freezing by geothermal vents. 

The submersible reached the bottom of the shaft and the laser drill fired vaporizing the few centimeters of ice that had reformed. Water came rushing up the shaft to cover the submersible and the guide line detached. Sure enough almost as soon as they were underwater Kiara saw the ice already starting to reform above them. Kicking the motor on they emerged from the ice shaft and pointed their way towards the domed city. Kiara started to reach towards the floodlights and decided that she didn’t want to startle any of the “local fauna” and instead turned on the infrared cameras. 

The viewport remained dark but the video screens were a riot of color and life. Some things looked similar to species she had seen on other worlds: crustaceans, fish and clouds of microscopic trilobites. Others were decidedly alien: long snakelike tubes with mouths at either end, massive flat sheets that drifted gracefully by, some flashed on the thermals as they lit up to attract prey and still others she had no words to describe. At this depth and without visible light able to reach this far, she knew that all of these creatures would be eerily translucent to visible light. Kiara used to wonder if the stories of the oceans of old Earth were even half true. Seeing all of this with her own eyes she realized that not only might it all be true, she probably didn’t know even a fraction of it.

Bok’han broke the silence first breathing only the word “Astonishing” which brought Kiara back into her own head. Kiara cleared her throat. “Come on, we’ll take recordings for the biologists to study later. Don’t forget we’re here on a job.” Bok’han straightened up in his seat as best as he could and checked the readings. “Sonar is showing that the city should be approaching visual range now.” Kiara frowned and looked over at his screen. He was accurate of course, but if sonar was picking up the shapes of the dome then why wasn’t she getting anything on thermal? “Oh crap.” she muttered as it dawned on her and she flicked on the floodlights. There was a flurry of activity as fish swam away from the viewport revealing the ruined dome.

Though it was structurally intact the dome was flooded, presumably from damage that Kiara couldn’t see from her vantage point. Coral covered all of the lower parts of the geodesic structure, gradually claiming the supports. In a century it would look like any other part of the sea bed. It was remarkable how intact the dome was though. Sonar was showing the structure as intact and Kiara couldn’t see so much as a single panel out of place. Bok’han made a grunting noise “I am sorry for your loss Kiara. It must be hard to lose a colony this way.” Kiara sighed “It’s fine Bok’han. We knew going in that it was always a possibility. Come on, let’s see if we can find a way in.”

It took hours of scanning before they finally found a panel that had fallen off the structure and though it was wide enough to allow the submersible in the coral had grown in enough to make it a tight fit. Inside the dome though the buildings were practically untouched by the coral and none of the local fauna could be seen anywhere. Kiara had been expecting a city overrun by decades of growth. This looked as though it could have happened yesterday. “Something’s not right here Bok’han. Scan for any power sources or heat signatures, I don’t care how faint.”

Bok’han clicked his tongue as he tapped away at his console running through various instruments before they finally let out a ping. “There! 500 meters ahead 40 degrees west, 20 meters down.” Kiara guided the craft down until she found the source: a faintly beeping distress beacon that was loosely anchored to the ground in the middle of town square. It was surrounded by corpses. Bok’han fell entirely silent and his eyes went wide. “Those bodies are either really well preserved or are very recent. We should go Bok’han.” Bok’han, still silent, simply nodded. Kiara extended the submersible’s claw and carefully yanked the distress beacon free from its anchor then sped towards the way they had come in. 

Back on the surface at the drilling camp Bok’han got shakily off the submersible and went off to his quarters. He had barely talked the entire way back. The technician met Kiara as she stepped out of the submersible. “Is he alright? What happened down there?” Kiara shook her head. “The city was dead. He’s taking it kinda hard. He’ll probably be ok after he’s had a chance to talk with his brother. Could you see what you can get off this beacon?” The technician nodded and happily got to work as Kiara went to her own quarters to get a nap. She felt the need to talk to Kit’cha too, but figured that Bok’han probably needed him more.

Kiara was awoken several hours later by her comms beeping. Angrily she slammed the button and glared at the screen. “What do you need?” The technician, looking visibly shaken was on the other end. “I have that beacon decoded for you maam. There’s a video.” Her tone suggested that whatever was on the beacon was something Kiara should see right away. “Put it through, I’ll watch it in here.” The screen flickered as the video loaded and the screen focused on a young man standing with his back to of a crowd in the town’s square.

“You don’t know who I am, but we sure as hell know who you are. I’m the leader of the deep space retreat and though we evaded your authoritarian rule for a few hundred years, you managed to find us. We stand as one when we say that our ancestors wouldn’t be ruled by EarthGov and we sure as hell won’t be ruled either!” The crowd in the background cheered. “It was a hard decision but we know we can’t fight you. That doesn’t mean we’re going to be your slaves or even give you the satisfaction of killing us yourselves. We’ve already turned off the electric fields keeping the coral from eating this place and soon we’re going to open the floodgates to let the sea wash us away too.” The young man turned to face the crowd. “LET THIS BE THE FINAL ACT OF RESISTANCE!” The man swallowed a pill, again the crowd cheered. Some took drinks or swallowed their own pills. Turning back, the young man looked directly into the camera and grinned. “FUCK YOU FASCISTS!”

The video cut out and Kiara saw her horrified reflection in the darkened screen. Kiara sat heavily back on her bed and wondered, not for the first time, if it was time to retire.

KADO: The Wrong Solution

Who else is majorly upset by KADO’s finale this week, show of hands.

I’m actually so upset I had to write about it. There’s not a lot of series that prompts me to do this. I felt so compelled to write about it because never before have I been handed so much BS all in one 25-something minute sitting; albeit Kado had been handing it to me bit by bit since Saraka’s existence.

I’m not even angry I’m just so solemnly sad that something with such great potential was so thoroughly wasted and watered down by harem anime cliches and humanitarian preaches. I’m not even sure this blog entry will be able to express all my sheer and utter disappointment things ended up this way… The queerbaiting was also just extra salt.

First of all, I’m watching KADO because I love sci-fi theory, and this is the first anime ever to take this kind of visually informative approach to alien-culture immersion and technology proliferation. It had potential as a premise to go somewhere great (which is ironic considering the ending’s grand message).

Honestly, with every passing week I was hoping ZaShunina or something else would maybe just conveniently erase Saraka’s existence because I genuinely believe if they had written in someone more competent and not a living-walking generic tsundere, we’d be led in a totally different direction. If not the continuation of some grand scientific advancement towards space, then at least a better counter argument than “hey, look at how pretty my hometown is, don’t agree with ZaShunina. Also, I have boobs.” Because who can argue with boobs? I’m sorry (not sorry), but she’s about as intellectually competent as a 10-year old, and I feel that’s almost insulting to the 10-year old. Saraka’s manner of speech and narrow-minded train of thoughts seriously made me question how she ever received such an important high-government job in the first place. Even during scenes where she is present for the discourses, she’s literally a wallflower on the sidelines for decoration. I never heard a single logical expression out of her mouth for the entire 12 episodes. — Also, I could have maybe even supported the “romance” (not that you can really call it that) if they had eased us into it with more substance. I get it, sometimes a suspension bridge effect happens but this was just all levels of forced attraction and bad writing. And for viewers, even just through visual presentation, there had been far more romance going on with ZaShunina and Hanamori through simple exchanges alone. The level of meaningful interaction and mutual understanding of each other’s personalities between Shindou and literally everyone else had far more substance than his…somehow almost magically manifested, instantaneous affections for Saraka….which was…okaaaay. Well there. — But anyway, back to the matter at hand. While on some levels I’d be okay with the emotional approach KADO ended up going with, I was not convinced that any of this was the best solution. Yes, transient life and human progress is beautiful and should be honoured. It’s a very Japanese approach, but it was done with such clumsiness, and was so thoroughly mixed in with all the other trite themes, that the overall effect was well…ineffectual. The fact that Shindou didn’t give us any resistance or discourse on the matter was rather questionable. He simply just nodded with the token chick in agreement and left it at that, even though his relationship with ZaShunina was building quite well and he seemed invested and interested in what ZaShunina had to give. Through time, it also seemed like ZaShunina would have become more human. All Shindou would have to do was ease him into the concepts….by, amazingly—discussion; because wasn’t that the damn core of the show? (and not this fist fight that they totally undermined the series with—)

Now despite all this, I did enjoy many parts of it, I would probably go back and rewatch it (while skimming) for the parts I did enjoy; because it’s strange, it’s different. It’s not as profound as I’d have liked but it had its moments of beauty; even for partial 3D. It also shocked me on many occasions, which, maybe is the only other major thing I could give it credit for. That ending really came out of left field for me. Anyway, when even the native fans are angry over a show you know you messed up. I’d like an alternate ending…a 2.0…an actual intellectual discussion instead of Deus Ex left-field Machina. (Which made noooooooooooooo sense).  Don’t even get me started on the plot holes. I don’t know where to begin with the plot holes. There were more holes in KADO than a block of Swiss cheese.

At the very end of Kado though, my last thoughts are, “man, I feel so bad for Hanamori…”.

The Sublime in BotW.

Here’s a long rambling thing I wrote.

Link Above a Sea of Fog

Standing on the Great Plateau looking down at the swirling mess of fog and malice surrounding Hyrule Castle, our hero (and the player) is presented with a world of such scale, such magnitude, that it may very well, overwhelm us. How fitting, for an open-world Zelda game that feels massive to immediately draw parallels to the sublimity of Caspar Friedrich’s famous painting “Wanderer Above a Sea of Fog”.

Painted in 1818, Caspar Friedrich’s “Wanderer Above a Sea of Fog” is often used as a perfect example of the concept of the sublime, an utterly confounding idea that being awe-struck can have an effect on one’s ability to rationalize and cause one to be consumed entirely by the immense beauty/power of something. The box art for Legend of Zelda: Breath of the Wild pays homage to Friedrich’s painting almost perfectly. While this is nothing new, the ‘Wanderer’ is a common image used in all forms of media, it’s usage here for BotW feels deliberate, and meant to evoke direct comparisons to the original work.

First brought about by Longinus in the form of what he called hypsos, the sublime has had a long history of putting man up against the grandeur, splendor, and immensity of nature and thought, overwhelming the senses and often leading to an introspective battle with the subjective self. Longinus’ work on the sublime saw it as an effect of impeccable rhetoric, but even in the early days of the term ‘sublime’ there was always an element of a spiritual closeness to God.  There is this idea that something is so powerful it’s as if you are staring into the face of God, an immanence that envelops the subject, leading potentially to feelings of ekstasis (feeling outside of oneself). In Longinus, scholar Robert Doran says “ekstasis is explicitly related to an experience of the divine as a momentary transcendence of the human condition. Indeed, the notion of sublimity as being identified with an exceptional or extraordinary state of mind – with intensity, as contrasted with its normal, everyday state from which it is displaced.” He then talks about how terror is considered the strongest emotion that would likely cause displacement from the mundane condition, which is why an element of terror and fear is associated with the sublime.

There is much more to be said about Longinus’ ideas on the sublime, but let’s fast forward to the 18th century, and Emmanuel Kant’s look at the sublime in his Critique of the Power of Judgment. It is from here that we can better see what Caspar Friedrich’s painting is all about, and as such, how the cover art of BotW is itself sublime.

In a well composed paper on the sublime, Laure Cahen-Maurel summarizes part of Kant’s thoughts in this way: “the sublime brings to light a limit that is both ‘mathematical’ and ‘dynamic,’ that is, theoretical and practical, concerning the capacity of the human being to directly access whatever surpasses the sensible world.” What is being teased here is the sublime is beyond what is rational, beyond judgment. Kant’s thoughts on the sublime are focused on the inner turmoil we feel when trying to make a judgment of something. The limits of our own subjectivity.  We reach Kant’s ‘mathematical sublime’ when we encounter something that causes us to either suffer a failure of comparison or allow us to make an absolute comparison. Which makes some sense when he follows that up by saying that the ‘absolutely great’  can be expressed as either “that which is great beyond all comparison” or “in comparison with everything else which is small.”

Kant also explores a second form of the sublime, which he calls the “dynamically sublime,” which has much more to do with relations of power and dominion. Kant starts with an encounter with natural power  “nature considered in aesthetic judgment as a power that has no dominion over us is dynamically sublime” which is somewhat paradoxical, in that he’s saying that this power is greater than our own, yet does not have dominion over us. Robert Doran says this about Kant’s somewhat awkward phrasing: “we fear nature only to the extent that we find that we are “no match for it,” and yet we resist it all the same. Thus if the power of nature must be perceived as threatening (“an object of fear”) to produce a feeling of aesthetic elevation, the elevation itself derives from the resistance to the all-powerfulness of nature, that is, a resistance to that which cannot be resisted, a resistance to a superior power that, despite its superior power, has no dominion over us. In this manner we are, paradoxically, exalted by a power that overwhelms us – the dual transcendence-structure of sublimity.”

It’s a situation where something is seen as so great, and having such overwhelming power, but at the same time can be judged as being impossible in its ability to actually act on us with this immense power. Nature exudes power, but the idea that nature will then crush us with this power seems unlikely or impossible. We’re not talking about a hurricane, or an earthquake, but more simply looking at a mountain and recognizing it as having a power over us, even though that mountain isn’t going to do anything to us. We are awe-struck, and fear the mountain, but it won’t actually do anything to us.

So… That’s the sublime… Now, back to the BotW cover art and Friedrich’s Wanderer.

The Wanderer stands on a rocky peak overlooking a sea of mountains and fog, just as Link looks over the Kingdom of Hyrule shrouded (at least somewhat) in fog as well, with mountains off in the distance, blending into a horizon that seems to have no clear beginning or end. Creating a sense of a vast, infinite nature.

The use of The Wanderer/Link is important as “we look to this human presence as a means of determining the general scale of the scene, and more specifically, of relating our physical bodies to the spatial parameters of the painted (game) world. It functions as a placeholder we can imaginatively occupy, allowing us a virtual existence in the landscape, and shaping our lines of sight within a spatial frame.” The figure acts as an avatar for us to import ourselves into the scene, fitting in Friedrich’s painting, and even more so when it comes to Breath of the Wild.

“Although the traveling figures provide a potential location within, and relationship to, these visions of the world, their presence at once encourages and denies our ability to (even imaginatively) embody such a position. The Rückenfigur stands as an embodiment of humanity’s abstraction from the world that paradoxically is encountered as if at a distance from behind this wandering subject: the figure functions as an intervening medium that separates us from a direct experience of the sublimity of the mountainous scene.”

What is interesting about Zelda then, is that because of the very nature of the medium of video games, that human abstraction and intervention only exists in the box art, but in fact, the player is encouraged to directly confront sublimity once they take up the mantle as the player. We can dive right into the mountainous scene and in fact revel in the dynamic sublime of it. However, this may not be a fair way to compare the two pieces, as we should look at them as only pieces of art. I suppose what I can say is that Friedrich’s painting shows us a scene we can never hope to be a part of, whereas BotW shows us a scene we can enter, by way of the digital, and the figure (Link) instead acts as a medium that connects us to a direct experience of sublimity with a mountainous scene (that is, assuming there is some kind of digital sublime…).  

From here, an exploration of the notion of a digital sublime is possible, as ideas of the digital self and digital subjectivity enter the dialogue in media studies, certainly we must reach a point where the notion of the sublime can be experienced in a digital environment. The confrontation with something either beyond compare or with immense power. In the case of BotW, I would certainly say there have been countless moments where I have been awe-struck in a way that other games do not do. Final Fantasy XV has an amazing world to explore, but rarely were there points in the game where I felt myself in the presence of something that was sublime. That’s not to say that feeling didn’t exist, as I think it did, but BotW has an ineffable quality to it that continually creates that feeling for me. From the view at the top of the Dueling Peaks, looking out at the ocean from Hateno, the vastness of the Gerudo Desert… All of these have created in me a feeling that overwhelmed me.

There is also an effort in these kinds of works to depict, through abstraction, a supreme being, or God, that which defies representation. Friedrich would use voids of color without any apparent or logical end. Often, the edge of the canvas would not act as a narrating frame, but more like an arbitrary demarcation of our limited view of the limitless. This is definitely the case with the top part of the image for BotW. Beyond Hyrule Castle and Death Mountain is a horizon that bleeds upwards into the clouds, and from there runs off the edge of the frame. The color palette chosen for this section of the painting is indicative of sunshine, but as there is no discernible source, one might assume this is meant to be a representation of the divine, of The Goddess. The endless horizon, the rays of light, all signs seem to point to this.

“The possibility of religious encounters permeates his [Friedrich’s] entire conception and treatment of nature as a visual abyss, an approach that serves to remind us of the infinite difference separating human consciousness from a divine or sublime presence.”

So any time we encounter nature in this way in BotW, seeing it as a visual abyss of such depth we are overwhelmed by it, we are experiencing the limit of human consciousness and being made aware that there is more beyond that we will never be able to reach, the land where the Goddess resides.

“The meaning we are able to derive from Friedrich’s depictions of nature is in this way not disguised or hidden beneath the surface of the image, simply waiting for us to find it. Instead, it is in large part a reflection of our own interpretations of what we see. Emptiness is not a façade covering hidden meanings but a surface that reflects a hidden God whose invisibility we experience as a representation of the unknowable world.”

When thinking about BotW, what we are talking about is the world presented to us reflects the Goddess, whose presence is everywhere and always, her very invisibility is experienced as a representation of the unknown world, which could very well be the Spirit Realm. As this might be the case, Link is one who can break through this mirror-like sublime encounter and breach the Spirit Realm, taking his place as a hero beyond compare, a sublime subject himself.

There is some interesting speculation on who the Wanderer is in Friedrich’s painting, with some of the mind he was a certain colonel in the Saxon infantry, as he wears the traditional green uniform of the volunteer rangers of the time. As a counter argument, others believe the man is supposed to be unidentifiable, stating that if Friedrich wanted the man to be identified, he could have done so, but he chose to have his Wanderer turn his back to us.  This has been done to universalize the Wanderer, “enabling us to imaginatively occupy his presence… …the Wanderer can be seen as standing in for and describing an absent or hidden subject in whose reflection we experience the modern relation of human to world.”

This plays well into the very essence of video games, in that our protagonist is supposed to be universalized. Although this is the first Zelda game where Link’s name cannot be changed (a knock against his value as fully universal), he still remains silent (HE BETTER AT LEAST), so he continues to act as an avatar by which we can experience the relation of human to world, even if the world is a digital one. We don’t merely get to imaginatively occupy his presence, we physically occupy his presence in the digital space.

Lastly, there is much scholarship with regard to the subject position of the person viewing Friedrich’s painting, and the Wanderer himself. It is thought that the Wanderer is considered a spectator (an inactive viewer), removed even from the mountain vista he is very much a part of. The fact that he can be ‘separate’ from the world is a “celebrated position of the Human” giving him a privileged position to make a judgment on nature.

Now, we the viewer of the painting are then situated even further outside of that, which in turn leads to more intensified internalization. We experience the subjectivity we project onto the subject of the painting who is already a spectator removed from the nature he seems to inhabit.

What might be interesting to posit from this is when it comes to the medium of video games, the modern subject position of being removed from experiencing the real because that real is being mediated by illusory subjectivity which we may be responsible for producing, can be destroyed as we are encouraged to play the game and experience that “real” world for ourselves. So long as one can accept a digital world as a real world, our navigation through it might allow us to experience in a way that is truly sublime, and not mediated to all hell. Does that mean video games represent a postmodern subjectivity? Maybe. But I think that’s enough for now. This has gone on long enough.

Sources:

Robert Doran’s book The Theory of the Sublime published in 2015.

Julian Jason Haladyn’s article Friedrich’s Wanderer: Paradox of a Modern Subject  published in the Canadian Art Review in 2016.

Laure Cahen-Maurel’s paper The Simplicity of the Sublime found online at Academia.edu.

me: ok here’s like ten thousand fucking alphabetically organized notes of analysis of canonical content about my otp from various sources that i’ve gathered over the course of the past year and a half because i’m fucking obsessed will you listen to me now and maybe acknowledge my ship deserves maybe a tiny scrap of street cred

fandom: no you’re problematic and gross and forcing in things that aren’t there

fandom: but hey look at this! a ship based off of wishful thinking and like 2-3 visuals and surface level approaches and a lot of false promises! a+. let’s get everyone on that

me:

Destroy All Monsters (AIP version) - Red Menace reconstruction v2.0

This fan reconstruction uses footage from the Media Blasters Blu-ray and audio from the Siren PAL DVD and a bootleg VHS to recreate the original US version of Destroy All Monsters, dubbed by Titan Productions and released by American International Pictures, in HD as accurately as possible. The US version’s editing was matched as closely as possible and the AIP logo and credits were carefully digitally recreated.

DOWNLOAD LINKS HERE

Notes on this release:

  • The bulk of film was sourced from the Media Blasters Blu-ray. The aspect ratio was corrected to the original 2.35:1 from something like 2.41:1 and the contrast and saturation were increased to alleviate the flat appearance of the Toho transfer.
  • This version uses the audio from the Siren DVD, slowed down from PAL speed, for most of the audio; since that version was seemingly made from a TV print that cuts some of the more violent scenes, the audio sometimes reverts to the bootleg VHS audio, which has had its bass levels increased to better match the Siren DVD.
  • The various splices/missing frames in the bootleg VHS used as a sync/visual reference were approached differently for this version. Instead of trimming the HD video to match the sync reference, the sync reference was adjusted at these points to leave the HD video intact, instead leaving a gap in the audio. Most of these were filled in using the Siren audio, but there are a couple of points where both sources were missing material, meaning the finished reconstruction still has a gap in it.
  • The color of the AIP logo at the beginning of the film was corrected to white, instead of v1.0’s beige. 

Screenshots:

Share, upload, distribute and bootleg freely.

2

Verena Smit’s signature high-contrast images are coupled with a poetic voice and a languid approach to visual storytelling that is firmly Minimalist. Brazilian artist’s commitment to a monochromatic palette, stands out in the colorful Sao Paulo visual arts scene in which she works. Smith’s work for #TWFGucci echoes art history by John Baldessari’s riff on Goya’s “Disasters of War” series. The dark meets the darkly compelling. - Text by Tatiana Berg.

If the other Sailor Soldiers were the leads in their own stories:
  • (Excluding Mina, obviously, because she already has her own story, and Chibi Moon, because it would ultimately be the same kind of story as Moon's)
  • Mercury: A slice of life/underdog story about a painfully shy and lonely genius as she follows her dream to becoming Japan's youngest doctor. Dodging bullying from her peers and attempted sabotage by her superiors, it's a story about a loner overcoming isolation and winning in her own quiet way, supported by an ecclectic but excitable background cast. A similar moral to modern interpretations of Cinderella with a sleek 90s shoujo art style like Wedding Peach.
  • Mars: A distant, motivated, powerful and beautiful young shinto priestess is trying to live her own life and achieve her goals of becoming rich, famous and successful, but she has to waste time warding off evil demons, lost spirits and smitten boys. Kind of a cross between Ghost Sweeper Mikami and Mushishi, with a heavy, retro art style similar to Devilman.
  • Jupiter: A tall, strong schoolgirl is consistently mistaken for a delinquent and accidentally becomes the leader of a bike gang, when all she really wants to do is open a combination florist/bakery. Love confessions are mistaken as challenges for this poor Rambo romantic! A bombastic art style with shounen leanings like Binbougami Ga and Slayers.
  • Pluto: A more relaxed and mature approach to time travel combining & contrasting it with the mystery and thriller genres. A shadowy figure cuts through time and space, piecing together mysteries and transplating people into the right places at the right time. Reuniting lovers, averting catastrophes and bridging generations without ever committing her sacred Taboos, the story slowly unravels the central character's past and her own unfixable mistakes. A solid, minimalist art style as per Naoki Urasawa's Monster combined with abstract textures and colouring like Sayonara Zetsubou Sensei.
  • Neptune: An unfathomably graceful, rich and beautiful young lady encounters a series of problems she solves by sheer magnitude of her perfection. An affectionate parody of extravagant 70s shoujo manga serving as an elegant counterpart to One-Punch Man, with a style heavily referencing The Rose of Versailles.
  • Uranus: Unfettered shoujo romance featuring an androgynous lead whose womanizing tendencies lands her frequently in hot water. Gathering rivals from around the world in racing, classical music and vintage automobile collecting, she must avoid their constant attempts to best her while chasing her elusive and elegant "first love" from so many years ago. Dramedy/romance with a ornamented but dynamic style like Magic Knight Rayearth or Revolutionary Girl Utena.
  • Saturn: A slow-paced, Gothic horror/thriller manga centered around a frail and amnesiac girl, who finds herself one day incapable of leaving her family's enormous mansion after one of her father's sinister science experiments goes awry. The house has transformed into a dark maze defying any logic, and she must travel through its endless rooms to try and save him while uncovering their painful past. A visual and directorial approach like a Junji Ito version of Alice in Wonderland.
Creating Your Character

If you’ve been following us for a while, you know that we here at SOC believe there are no rules when creating an original character. Everyone has to follow their own process and their own path to create characters that make sense for themselves and their stories! However, today I’d like to take a moment to talk to you about a couple ways you can get started on that new character you know you’re supposed to be working on. Remember, these aren’t hard-and-fast rules - these are suggestions!

One way to get those creative juices flowing is to brainstorm. What does this character need to do in your story? What’s their purpose for existing? Warning: if you can’t answer these two questions, you might not really need this character, so think carefully! Consider what kinds of personality traits would be beneficial for filling their role, or what traits could cause conflict and complicate the story. Think about where they must have come from to end up where they are today: if you need a character to be the evil CEO of a company trying to steal your protagonist’s designs, you’re going to have to explain how the evil CEO got to be where they are somehow, and why they’re doing what they’re doing. Brainstorming can be kind of a chaotic approach - I like to call it throwing ideas at the wall and seeing what sticks - but if you’ve been stuck for a while it might help! Just make sure to write down everything you come up with without judging it right now. You can always refine your ideas later, but you have to be able to remember what they were!

A more visual approach to character creation is starting with a mental image of the character. Imagine their face, their clothes, how they walk, how they stand…and then dig into the details and try to use those things to figure out who they are. A character who walks aggressively could be confident, or they could be scared. A character who slouches might spend all day in front of a computer or might be trying to disappear. What is the character wearing? Yoga pants could mean an athlete or a couch potato or someone running errands, while a tuxedo has totally different connotations. This is similar to brainstorming, but you’re using the character’s appearance to extrapolate their personality and/or history instead of their role.

If you need a more methodical approach, try making a list of all the things you think you really need to know about your character - this is where a lot of profile worksheets start, so if grabbing a blank profile worksheet works better for you, do that instead. Next, fill in the things you already know about the character, whatever those things may be; you might only have a name, but it’s a start! Once you have the information you already know down, you can start filling in what you don’t know. Some of these things might be hard to figure out until you actually start writing about the character, and that’s okay! Just do what you can for now. The downside to this approach is that sometimes we get so caught up in filling in the blank fields that we forget to make sure that everything connects back to the character to form a cohesive whole, so make sure you read it over a few times and look for places where you can tighten it up!

Finally, for some people, all this planning in advance just doesn’t work. If you’re one of these people, you might feel kind of frustrated when you sit down to make a new character by any of the previous methods. That’s okay! Look, some of us can only figure out what we’re thinking when we start getting it down on the page. If you need to write character sketches or go off-track with your story to figure out who your character is, that’s totally fine, and it’s a completely valid way to create a character! This approach is a little more organic and a lot more hands-on, because the character grows directly from your imagination and your story without any kind of framework to latch on to. You might want to take notes as you figure things out, but don’t be afraid to experiment!

However you choose to create a character, whatever you do, just make sure that it works for you. Don’t forget: you can write as many drafts as you need to, so it’s okay if the character you create now isn’t exactly the character they will be in your final draft! Characters, like stories, can evolve over time. They can be polished up, broken down, put back together, polished some more. You can add things or remove them, or even just alter whole aspects of the character as necessary. Make some mistakes and learn from them, and whatever you choose to do, don’t stop writing! Good luck!

-Kyo

Constructing Reality Pt.3 - Fibonacci and the Golden Spiral


If we want to understand the mystery behind reality, we have to take a look at its patterns. The language of nature gives us a rash of information on how the whole universe moves and grows. The same pattern can be noticed in blooming plants, evolving populations, crowd behavior, artistic and architectural expressions, and even in the movement of whole galaxies. Referring to the pattern that is all around us, Leonardo da Vinci spoke: “Learn how to see. Realize that everything connects to everything else.”

The human mind has a natural sense for artistic harmony, always feeling drawn to a very special kind of proportion. If we have to choose the most harmonic of the rectangles below, we intuitively choose the one based on the golden ratio Phi Φ, a mathematic term for two quantities, of which the ratio of the small part (a) to the large part (b) is the same ratio as the large part (b) to the whole (a+b). However, Phi is an infinite number, beginning with 1,618033…, which means that all visual images can only approach the golden ratio, but never fully reach it.


The golden ratio rectangle is the visual version of a specific numeric pattern. This pattern has been known for thousands of years, first mentioned as mātrāmeru in the Sanskrit treatise Chandahshastra by the indian mathematician Pingala around 400 b.c. Even though it has also been known in ancient Greece, the pattern is named after the italien mathematician Leonardo da Pisa, better known as Fibonacci. The Fibonacci sequence describes an infinite series of numbers, in which the sum of two consecutive numbers results in the proximately next number. Demonstrated and easier understood: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144… The connection between the golden ratio and the Fibonacci sequence becomes clear when we continue to construct the golden ratio rectangle, or the Fibonacci squares, into a possible infinity. But again, since Phi is an infinite number, the Fibonacci numbers can only approach but never reach it.


While the Fibonacci sequence and the Fibonacci squares seem to be abstract geometry, the next step will make us comprehend the link to nature and mother earth. The so called Golden Spiral, also known as the Fibonacci Spiral, is the consequent result of the previously created basic pattern. The Golden Spiral is the model for a huge amount of natural designs and developments that exist in our dimension. While the typical Fibonacci Spiral expands its widths in 90 degree sections, another spiral we often find in nature expands its widths in 180 degree sections. Both spirals are golden.


We can see Fibonacci in many plants on our Earth. By following the Golden Spiral, leaves are provided an optimal light saturation and blossoms a promising seed dispersal, as imposingly seen in the Sun Flower. The same double spiral can be seen in the petals of the lotus flower, which is the best example of the nearly perfect Fibonacci creation. We also see the golden 180°spiral in animals, for example in snail and nautilus shells or in the curling of animal tails. Fibonacci does not only appear as the spiral in animals, but also in connection to reproductive dynamics, for example in bees and rabbits, where every generation increases its population by 1,6.
When it comes to humans, our whole body shows golden proportions, from our face, to our limbs and hands and even where we probably don’t expect it – our DNA molecules. DNA molecules spin according to the rules of the Golden Spiral, for a cycle of the double helix measures exactly 34 angstroms in length and 21 angstroms in width. Fibonacci is not only around us, but also inside of us.

Truth is that no visual construct that can be perceived with our senses could fully reach the exact golden ratio proportion, because we create our reality based on boundaries and not on infinite ideas. Yet, the approach to rediscover our own perfect harmony is a part of all of us, when we strive for enlightenment and peace.

ew.com
'Game of Thrones' Showrunners Reveal Their Next HBO Series
HBO orders alternate universe Civil War drama from David Benioff and Dan Weiss

The Game of Thrones showrunners have revealed their next series, leaving Westeros to create another fantastical and ambitious world-building war drama.

HBO has given a straight-to-series order to Confederate from Emmy-winning GoT creators, writers, and producers David Benioff and Dan Weiss.

The show “chronicles the events leading to the Third American Civil War.  The series takes place in an alternate timeline, where the southern states have successfully seceded from the Union, giving rise to a nation in which slavery remains legal and has evolved into a modern institution.  The story follows a broad swath of characters on both sides of the Mason-Dixon Demilitarized Zone – freedom fighters, slave hunters, politicians, abolitionists, journalists, the executives of a slave-holding conglomerate and the families of people in their thrall.”

“We have discussed Confederate for years, originally as a concept for a feature film,” said Benioff and Weiss in a joint statement.  “But our experience on Thrones has convinced us that no one provides a bigger, better storytelling canvas than HBO.”

Benioff and Weiss will serve as showrunners on Confederate.  The series will also have executive producers Nichelle Tramble Spellman (Justified) and Malcolm Spellman (Empire).  “There won’t be dragons or White Walkers in this series, but we are creating a world, and we couldn’t imagine better partners in world-building than Nichelle and Malcolm, who have impressed us for a long time with their wit, their imagination and their Scrabble-playing skills,” Benioff and Weiss added.

Also joining as executive producers will be Carolyn Strauss and Bernadette Caulfield from the GoT team.

Stated HBO Programming President Casey Bloys: “As the brilliant Game of Thrones winds down to its final season, we are thrilled to be able to continue our relationship with Dan and David, knowing that any subject they take on will result in a unique and ambitious series.  Their intelligent, wry and visually stunning approach to storytelling has a way of engaging an audience and taking them on an unforgettable journey.”

The order comes as Benioff and Weiss ready to step back from the mammoth franchise of GoT, which is currently airing its penultimate season.  HBO is developing four potential prequel series to replace the fantasy drama, which ranks as the network’s biggest hit of all time.

Production on Confederate will begin following the final season of Game of Thrones, which currently doesn’t have an air date (late 2018 and 2019 are both possible).

WHAT THE ABSOLUTE FUCK?!

animalcollectivism  asked:

what would materially supporting natlib in the third world actually look like in imperialist countries? what can we actually do for proletarian internationalism? and do you have any recommended readings on the subject?

“What do do” questions are difficult to answer with much precision on a platform like this because the answer will depend on what is going on where you are and also upon what your resources are and which areas you’re most likely to have an influence in. In other words, this is kind of a strategic question and it’s not really possible to lay out a strategy at such a broad level.

I can offer some general principles, but you may find them unsatisfying.

In general, i think the struggles which have greatest priority right now in imperialist countries are the struggles surrounding immigration, around right-wing nationalism and populism, and around military intervention (which is of course particularly pertinent in the u.s. right now). 

Essentially anything that hurts the imperialists in their efforts to control the populations of the global South gives communists in the South more room to operate and objectively helps the global struggle. These are also opportunities to gather support at home, which obviously increases our ability to do more later on.

I can only speak for the u.s. since that’s where i am, but hopefully this example will help you sort of visualize how to approach these kinds of problems:

First i think we need to ask: what would hurt the imperialists the most? In the u.s., right now i think that would be undermining war efforts in Syria and elsewhere. So with that in mind, we should ask:

Are there any anti-war activities going on in our area?

and then

a) If so, what can we do to get involved and struggle for leadership in these spaces?

b) If not, do we have the resources to build some anti-war activities ourselves?

You may also find that there are some actions going on in your area that are not directly related to war efforts but are progressive in some way. In this case, i think our objective is to ask:

How can we contribute to this positively in a way that also builds solidarity with anti-imperialist movements and raises consciousness against u.s. intervention abroad?

Also, in general it is very important to have not only a “minimum program,” which sort of constitutes the bare minimum of stuff you’re looking for and is the basis on which you can unite with other groups, but also a communist platform which you try to garner support for within all of the struggles you participate in (”struggle on two fronts” and all that).

Basically the answer is to join a communist org and work to undermine the imperialists’ efforts, all while trying to build public opinion in support of communist revolution. It’s not an easy task obviously and frankly it’s not going to be clear what to do until you try things and have failures. That’s just how it works, i’m afraid. But i do think the general considerations above are a good starting point to think about the problem.

COME HELL

1 | 2 | 3 | 4 | 5 | 6

Rating: M

Series: This is Why We Fight

Summary: 5 moments in Galra chains, and 1 after they’ve been broken.

Excerpt: 

The communication system in the pod crackles to life as Matt stumbles through a sentence he thinks is a about docking maneuvers. He waits for a voice to come through, but after a few moments of silence he asks, “Is somebody there? Talk, dammit.”

There’s a scuffle and then a voice he can’t quite place from memory, bridging on anxious, “There’s—there’s a ship we’ve visually tagged as Empire approaching base.”

anonymous asked:

Hello! You look gorgeous with that veil :3 i dont know much about pagan veiling though, do you think you could explain it to me?

Thank you <3

Keep in mind, I’m veiling as a Hellenist, so I can’t talk about veiling in other forms of paganism. Veiling has historical context in Hellenism. Hellenic women would bind and cover their hair. This typically involved buns, braids, or elaborate updo’s (depending on social status) and anything from thick cloths wrapped around your hair to himations worn over the hair. The himation is a large cloth that is wrapped around the body and can be worn over the head as well, like so:

[credit]

The below image shows several different ways of wearing and covering your hair that were used by ancient Greek women:

[credit] check out this source for sure as @lykeiaofapollon talks about veiling and himations

Now, beyond the fact that hellenic art is saturated with images of women and goddesses alike with bound and covered hair, we don’t have much historical context. And there are also plenty of images of women without covered hair as well. This is one of those things that establishes that head covering was apparent and available, but not necessarily compulsory. 

From there everyone is welcome to draw their own conclusions and come to their own decisions about personal veiling. For me, it’s about closeness to the theoi. I’ve covered my hair during ritual for a while now, with the only exception being celebrations to Dionysus, where if I do anything to cover my hair it’s typically flowers braided into my hair or affixed with clips and bobby pins. 

It’s something that feels right to me during ritual. A kind of symbol of devotion. I’m taking the time to do something to visually alter myself before approaching the theoi. It helps clear my mind, helps keep me focused on the theoi, and makes me feel pretty. I had wrestled with the idea of veiling on a regular basis outside of ritual for some time. 

On the one hand, as an oath-bound devotee to Dionysus, I want to be ‘wild’ and free, and leave my hair unbound; and I feel so close to him when I don’t even worry about my hair and just let it do whatever. I also had to (and still do sometimes) wrestle with the fact that I was raised in a household that didn’t understand and wasn’t very tolerant to religious head covering. I grew up hearing all the cliche bs about how a woman covering her hair for religious reasons is just being kept down by sexism and doesn’t have any autonomy. As wrong as I logically know that is, sometimes I catch myself thinking that others will perceive my own decision to veil as someone else ‘making’ me do it. This is especially true when I have other women telling me I’m a “bad feminist” for deciding to cover my hair, which thankfully doesn’t happen often, but I’ve had more women comment negatively on my veiling than men.

On the other hand though, veiling is something that’s personally fulfilling to me on a spiritual level. It’s something that makes me feel closer to the theoi as a whole. It’s also something that makes me feel closer to Persephone specifically. It’s an outward symbol of my devotion, and that’s a comfort to me, even if I do veil in a way that’s discreet and ‘fashionable’ most days. I also feel, personally, that it helps keep me from gaining so much miasma. Days when I veil, I just don’t seem to give as many proverbial fucks about the humdrum and the little things that distract me from the theoi, as days when I don’t veil. Even when it’s just a headband, I personally find that I don’t let myself get as caught up in silly little things that are emotionally and spiritually draining for me. 

Mind you, that’s not true for everyone, and it’s not going to be the case for everyone. Also a few things on note. While men in ancient Greece didn’t cover their hair, gender perceptions have changed, and I personally feel that anyone, regardless of gender has the option of covering their hair if they want. I also feel that covering your hair is not necessary, and doesn’t make you any ‘better’ of a Hellenist than if you don’t cover your hair.