Week 11: Cyberpunk

"Snow crash" by Neal Stephenson
and
"The Girl with the Dragon Tattoo" 

I actually really enjoyed the novel, "Snow crash". It takes place in what is called the "Metaverse", a virtual universe made up of virtual worlds, augmented and enhanced reality, and the internet. The main character and protagonist, Hiro, a pizza delivery boy (aka "Last of the freelance hackers, and greatest sword fighter in the world"), faces a virus called "snow crash", which is essentially a computer virus that causes the screen to be filled with white noise, much like a snow storm. He meets YT, a young girl who is a skateboard messenger, and together they work in the business of intelligence. What I liked most about reading this novel, is that I was, in some way, able to relate to the characters and how realistically they were described. With a novel like SnowCrash, I had to  allow myself to enjoy something for what it was without being too critical or  of the absurd, and almost satirical, details and technicalities within the novel. Much like Scott Pilgrim or Kick Ass, the characters are intended to be young, adventurous and exaggerated to a humorous degree. Along with sharing the ironic undertones of Scott Pilgrim or Kick Ass, SnowCrash also maintains a level of heroism in the protagonist, and bad-assery (if you will), in the female sidekicks/love interests.

 I think my favorite part about reading Stephenson's , SnowCrash, was realizing how much it resembled a comic I created a few years ago called, "Pigeon Girl". It did not take place in a 'Metaverse', and I'm not certain it could even be categorized as "cyber punk", but it definitely possessed qualities of the cyberpunk genre. The protagonist/"antihero", Pigeon Girl (a version of myself), is a human who was genetically modified to possess the navigational acuteness of a pigeon (There is a reason she obtains this characteristic and there is a reason it's a pigeon, but it's a long story and I won't even get into it).  Her primary weapon is a slingshot (Low tech, much like the samurai swords and guns in SnowCrash). Along with her partner, Diabla, who also happens to be a messenger (on a motorcycle rather than a skateboard), PG fights crime indifferently and has one mission and one mission only: To find her father. It takes place in "Septi-City", within a universe ruled by Vultress, a 'big brother' type villain who watches over the city, controlling everyone with propaganda and fear.  Her slogan is "Do Away with all the Prey", and commands annual purges. Her minions are Rats with mechanical head pieces that allow her to control their minds, (much like the "Rat Things" in SnowCrash), in their mission to hunt down Pigeon Girl. My comic was heavily influenced by Kick Ass, Watchmen, Bladerunner, Punk Rock Jesus (By Sean Murphy), Tank Girl, and most importantly, The Girl with the Dragon Tattoo (modeling Diabla directly off Lisbeth, the hacker/Freelance surveillance agent and researcher). It takes place in somewhat of a realistic universe, much like ours, inhabited by an "avian race" (all characters are bird related, with the exception of Diabla and the minions), set in the near future, with failed social structure, advanced technology, environmental neglect, and an autocratic form of government.

(A page from my 'Pigeon Girl' comic - by Danielle Otrakji)

 (An unfinished piece based on my character, Diabla - by Danielle Otrakji)

Anyway, my comic may seem totally irrelevant, but it's actually a very personal story illustrated and depicted in a cyberpunk universe, making this specific topic, extremely interesting and useful for me. Reading SnowCrash, and in a way being unknowingly influenced by it, gave me a lot of ideas for Pigeon Girl and many more of my comics.  For example, the Sumarian language used in SnowCrash is an excellent means of gaining credibility in forming a fictional universe. Though the characters in SnowCrash are young and relatively ironic, and the adventures in which they embark are radical and over the top, every cyber-fictional component within the story is backed up and accounted for, down to a language, making this Metaverse all the more convincing. I could benefit from using specificity like Stephenson's. I could tear this book apart and address every inconsistent, uninspiring literary flaw that it had, or address all of the interpretive and cultural qualities it lacked, but it isn't meant to be torn apart or taken too literally. It is a challenge for the reader to push reality aside, and to enter a cyber universe. 

Week 10: Narratives from the Multi-verse

"Dune" 

Frank Herbert

Dune is a literary work that was written in 1965, depicting a future where many planets are habitable, where there is controlled breeding, and where humans are trained to be equipped with advanced intelligence due to their lack of technology. The book touches on some very interesting themes like power (or control of the Fremen), religion (Specifically with the Bene Gesserit), ecology (the desert), technology, and human emotion, all subjects our society at this time, and in this reality, deals with. Ultimately, it emphasizes the control humans have over their environment and their lifestyles, often times resulting in a negative outcome. Political themes in Dune include human beings being so susceptible to mass manipulation by political propaganda, religious principles, and the importance of self-awareness and self-mastery in resisting these types of control. Much like our society and many others today, religion and politics have very little separation. Both have served an equal amount of destruction as they have helped, especially when both are combined with greed and desperation. If human beings fight the natural order of life, whether through the environment or genetics, Herbert suggests, the results can be catastrophic, perhaps not in the present day, but further into the future.

Painting by Sparth

For example, the "Spice", a naturally produced awareness spectrum narcotic, improve mental capacity and abilities, but it improves health and extends life. It not only formed a fundamental block of commerce and technological development in the universe, but also  played an important role in travel and cultural development. It rules everything around them, and they have become so dependent on the power it provides for them, their lives are completely revolved around it. Like money, or a god, or drugs, they provide power and give one the feeling of superiority and purpose, but when they are in that state of power, they forget the potential consequences of such a lifestyle. In the end, Paul's attempt to save the planet by ending all mining and production of the "spice", and reintroducing the Water of Life, in turn takes us back to the them of control. In Paul's salvation of this planet with the Water of life, he is forced to control it. 

"I am showing you the superhero syndrome and your own participation in it".

—Frank Herbert

 I read most of the book in high school, and had never seen the film until it played in our class, but I understand how and why this was such a highly acclaimed and respected novel. Though the film adaptation was not what I had expected, I was thoroughly impressed and entertained with the visual approach. Revisiting it as an adult, I see that it raises the question of whether humans should exercise their power to manipulate the environment, and just because we can, with or without technology or advanced intelligence, is it right? And once it has gone too far, is there any way of escaping or salvaging it?  

Illustration by Danielle Otrakji - 

(I did this piece for a comic revolved around the subject of mutation and genetic modification. This specific image depicts a german scientist observing genetically modified/manipulated subjects, in hopes of creating a new race of superior beings with extraordinary abilities). 

Week 9 : Space Opera

Space Opera

"Firefly" 

The Space Opera genre is one that truly peaks my interest. I will be honest, I did not read the suggested reading material but am very familiar with Joss Whedon's series Firefly (the t.v. series as well as the comic), and the film Serenity, and they are, from my understanding, perfect embodiments of the Space Opera genre. It is a space western drama, involving 9 characters, embarking on a journey with many obstacles and adventures along the way. What I like most about the show is that it is humanity's future rendered in a manner different from most contemporary science fiction comics, films and television series. I find that the language, portrayals of women, and the suspense leading up to the encounter with the Reavers were all elements in Firefly that made it such an innovative series. I love that in Joss Whedon's adaptation of the future, he not only empowers women with his postfeminist character, Inara, but creates a multicultural, multilingual future in this society, and among all the characters. 

Week 8 : Mythic Fiction & Contemporary Urban Fantasy

Neil Gaiman

"Stardust"

Neil Gaiman's book, "Stardust", also adapted into a film, is a fantasy novel involving faeries, magic, witches, spirits, and unicorns. I am a huge Neil Gaiman fan and have always loved his literary works. The main character, Tristran, a half faerie creature promises his lover, Victoria, a fallen star, but along the journey falls in love with the fallen star, Yvaine. When the film came out in 2007, I was about 15 or 16, and was so in love with the story and the imagery. It was such a beautiful and romantic film, and at the same time adventurous and exciting. 

When I was younger, I played a 'role-play' game with a friend, where we would wear cloaks on our bicycles, with swords in our belt loops, (super lame, i know), and ride around the neighborhood seeking 'magical flowers' from the neighbors' yards, and would collect pebbles but imagine they were powerful rubies and stars, all to bring back to our princess who awaited us at home (but really there was no princess, it was just a stuffed animal), and this game was called 'Quest'. It was probably the silliest thing i've ever engaged in, but in some way the film reminded me of this game, and almost created a world i had always wished to be a part of. 

Anyway, reading the book was sort of a different experience for me than watching the movie. I think the stories and characters were relatively consistent in both the film and novel, however, i found that having watched the movie prior to reading the book, I was a little bit let down. Of course it was a fantastic book, I found that the characters lacked a little bit of the realness and three dimensionality in the book, whereas in the film, they have weight and purpose.

Overall, both the film and the novel had excellent qualities, and with the exception of minor changes, remained consistent with one another. I enjoyed the film more than the book, because it was so visually appealing, and because each character was handled and developed so sensitively and the interactions between characters felt natural and fluid. Neil Gaiman is an excellent writer, and regardless, I would recommend the book to anyone who has or hasn't seen the film. 

Week 7: "The Magicians"

        In the fictional (but realistic), young adult novel, The Magicians, Lev Grossman depicts the common disposition of most human beings in our world, specifically teens and "young adults". The constant need to upgrade, or relocate, and the displeasure with any challenging or uninteresting situation we encounter. Quentin Coldwater, the story's main character, is the perfect example of the typical, adolescent, "young adult", experiencing the feeling of dissatisfaction with life and the desire to escape reality. His boredom and distaste at home, in school, and most importantly, by himself, make him a very relatable and reachable character. 

        Quentin, a logical, intellectual genius, grew up reading a series of children's fantasy novels set in a magical place called Fillory (A place Grossman compares to the land of Narnia in The Chronicles of Narnia). Quentin has always imagined Fillory, as his ideal world, his very own "Shangri-La", his "Middle-Earth", or even his "Oz". Unfortunately, this idealized sense of bliss makes his current, real life and situation quite boring and dull. He, like most unhappy or depressed people, realizes what he has, "'I should be happy, Quentin thought, I'm young and alive and healthy. I have good friends, I have two reasonable intact parents… I am a solid member of the middle-middle class. My GPA is a number higher than most people realize it is possible for a GPA to be.' But walking along Fifth Avenue in Brooklyn, in his black overcoat and his grey interview suit, Quentin knew he wasn't happy" (p.5). As frustrating and depressing as his attitude may be to the reader, it is what separates him from our common misconception of previously depicted, magical characters (Harry Potter) and/or worlds of fantasy and sorcery (Hogwarts, Narnia, etc). To his surprise, Quentin is admitted to a very mysterious, exclusive college of magic in upstate New York, called Brakebills College of Magic, where we see that learning the art of magic is not just activated with the flick of a wand or repeating latin text from spell book. The same way that art school is not a hippie-ridden, finger painting, "fun-fest" of unintelligent, hyper-emotional, drug addict students who rebelled against their doctor/lawyer parents (excuse my lack of formality). Along with hard work and strategy at art school, there are still young, irresponsible, and unwise decisions to be made. Brakebills College also has students who irresponsibly engage in partying, drinking alcohol, pursuing and wrecking relationships and having sex. All of these realistic elements of the book, emphasize the theme of growing up as a real person, seeking real happiness in life. With other "young adult" fantasy novels and movies, we are led to believe that magic resolves all problems (and mostly unrealistic problems, like slaying a 100 ft., three headed, guard dog or battling evil ghostly spirits), leaving us under the impression that a school of sorcery or a world of magic, in all cases, is the ideal, perfect world where most problems disappear. This particular book gives young adult readers, sort of a reality check. Quentin had dreamt for so long of the day he could find himself in Fillory, "Looking back, in a philosophical frame of mind, it occurred to Quentin that he'd always thought this would be a happy day, the happiest day of his life. Funny how life has its little ways of surprising you. Little quirks of fate" (p.281), even then, Quentin was not totally happy, he only had a temporary feeling of liberation. 

(Artwork by Cecilia Bohlin)

Reading this book, on a more personal note, was easy for me to relate to. I've only read one of the many Harry Potter books and seen a handful of the movies, and I have only seen the first of the two Narnia movies, and besides the sense of imagination in the books and quality of animation in the movies, some of the main characters lacked a real human quality. I loved the Harry potter movies and thought the characters were well developed, but I personally found it hard to relate to any of them in a personal way, unlike Grossman's character, Quentin. As annoying as he may be, I can honestly say I have been almost a mirror image of Quentin growing up. I have experienced dissatisfaction, superiority to my parents and my peers, and depression for almost no reason at all. I have a good life, a supportive family, good grades, and a list of talents, but for whatever reason, I find myself unhappy most of the time. I have moved around, left one life to pursue another, changed myself and my image, upgraded most things in my life, changed jobs, hobbies, schools, and after all those "escapes" and alterations, after experiencing what I thought was the "ideal world" or the "perfect lifestyle", still, I have dealt with, and deal with the same challenges and struggles to this day. I believe Lev Grossman took a subject most young adults idealize, magic, and painted a realistic image for us to take on. Most people have a hard time relating to this feeling that Grossman uses to describe Quentin's character. Some might even express aggravation and dislike towards his personality. I think most people have experienced the desire to escape the mundane lifestyles they live, and perhaps reading a book where the character is so annoyingly realistic might be frustrating because it's so close to reality, it almost shatters the sense of 'escapism' and merges a real world with a fantasy world.  

I believe most people live only to find a different or better life. I have an appreciation for imaginative books like Harry Potter, or Narnia, which portray magic and wizards as unrealistic and so far from our own world, we can idealize their gifts and lives, but the theme of The Magicians is that, one can jump from one place to another seeking happiness, running from "boredom", but , there is no escape from yourself. Lev Grossman so accurately states, "If there's a single lesson that life teaches us, it's that wishing doesn't make it so". 

Week 6: Fantasy - "The Hobbit"

      The most enjoyable quality in the genre of fantasy, is the sense of escapism for the viewer. What I enjoy most about J.R.R Tolkien's 'The Hobbit', is the element of imagination and disconnect from reality he illustrates for the audience. The journeys and adventures, the whimsical characters they come across, the villains, the universe as a whole, is such a disconnect from our own lives, and the most fantastical part of this genre and this particular book, is how easily the viewer can relate to the characters.

 

The message within many fantasy books and films, like "The Hobbit", is that one doesn't have to be superior, muscular, perfect, magical, or powerful in any way, by nature, nor do they have to possess experience or strength in the obstacles they encounter along the way. The one characteristic the protagonist must possess, is the determination, ambition, courage, and confidence (whether they already possess confidence or find it along the way), to achieve the desired objective.

    

Week 5: "Witches"

(Illustration by Danielle Otrakji)

The classic witch is traditionally depicted as a hideous, broom riding, child eating, pimply, pointy hat wearing woman, who casts spells and is chased by angry mobs with pitch forks. Over the years, witches have taken on several different roles and images in horror literature and films. Of all the supernatural creatures in horror, witches are some of my favorites. I am so intrigued by the power and strength they possess, and how malevolent and manipulative they can be. Much like sirens, witches tend to have a haunting power over men and use their magic to cast spells on those they want to control or take from. Witches are often times associated with the devil in Christianity and were therefore hung for performing magic, spells, wicca and any form of sorcery deemed unholy. Some of my favorite modern witches in film include the witches from, "Hocus Pocus" , "The Craft", and Maleficent from "Sleeping Beauty". 

Though the witches in "Aunt Maria" aren't depicted like the classic witch or the stereotypical witches, they do possess similar qualities. The women in Cranbury aren't particularly hideous or frightening in appearance, but do have a similar control over the men of their town. They are strong and powerful and control the town for their own benefit. So even though they aren't traditional witches, they are perceived as "witchy" or malicious because they posses this power and control that most women are not expected to have over men. This was a huge factor in the stigma of 'witches'. It was a way to oppress women who felt strength and power over someone or something, to a degree. This is the characteristic in witches that I respect and admire so much. Despite all of the attributes and embellishments on women being 'witches', they are simply strong, forceful, indomitable women who obtain what they desire. 

Week 4: "The New Weird"

           The New Weird is actually a category within the genre of horror that i had not been introduced to UNTIL this class. I had seen movies and read many comic books that could be considered "new weird", but was unaware that it had its own classification. The comics I was raised on had a very ironic, over the top, 'pulpy' quality to them, so I went into this genre with an open mind, realizing it isn't quite as literal or serious as J-horror or the more macabre genres of horror. I knew it was a compilation of many different qualities, characteristics and themes within horror that I enjoyed, and sometimes carried story lines that made little to no sense at all, but didn't necessarily have to be explained or have reason to make them entertaining. A perfect example of "the New Weird" classification would be, "Cabin in the Woods", a film I hadn't seen until this class as well. My initial response was "what the hell are we watching? Is this for real?" , and progressively lightened up and allowed myself to enjoy the kitschy, ironic quality of the film and actually found it to be pretty genius in some ways. The film is intended to target a very specific audience, and the story within the film is about how to target specific audiences in this game style horror production. The film "Cabin in the Woods" really embodies the fictional, modern, strange and cutting-edge theme of "The New Weird" genre and though many ideas have been recycled, and it is hard to create original ideas in horror, I foresee the 'weirdness' to progress and evolve over time. 

Week 3: "J-Horror"

          

(Illustration by Danielle Otrakji)

         Along with the moster, vampire, frankenstein class of characters and themes, I am most fascinated with J-Horror at this specific time in my life. It is partly because I find it to be the most frightening category within horror literature and film. My artwork is heavily influenced by Japanese horror and the visual elements in it. My nightmares are also heavily influenced by J-horror and it's a wonderful but unsettling thing. Japanese writers approach the idea of 'monsters' in their stories so differently than American writers. There is often times more revenge or reason behind the stories in Japanese horror and the characters are typically evil as a result of something torturous or traumatizing in their past. I think what I find most frightening in Japanese Horror films and literature is the ghostly elements intertwined with modern technology (Like white-noise on a television, inexplicable phone calls from ghosts, computer screen glitches, and spirits emerging from the TV), paired with the overall foreign quality they have (to an American or non-Japanese viewer of course). In Japanese horror films, the stories are not overpowered with heavy soundtracks or special effects. They move rather slowly, creating a lot of suspense and anticipation, and that slow pacing emphasizes the creepy, eerie mood most of the Japanese horror films possess. They have a very raw quality to them, making it easy to put yourself in the film, therefore making them as sinister and eerie as they are. 

        Kwaidan, the collection of traditional ghost stories, is a good example of the revenge most spirits in J-horror experience. It is easy for the reader to perceive the spirits as evil, because they kill on instinct, when really they are often times tortured souls, or enraged with a personal struggle, and kill out of that rage. Many American films are beginning to embrace the themes and qualities of J-horror, and often times readapting specific films like "The Grudge", "The Eye", and many more. 

Week 2: "Vampires"

(Illustration by Danielle Otrakji)

Vampires are some of my favorite 'monsters' in the horror genre. They are constantly changing over time, stylistically, aesthetically, in their abilities and their weaknesses, etc. It seems as though Vampires transform over time according to a specific audience or demographic. There have been vampires like Nosferatu, Queen Akasha, Louis de Pointe du Lac, to the more modern vampires like Buffy, Eduard from Twilight, or Barnabas Collins from Tim Burton's 'Dark Shadows'.

The traditional vampire is typically afraid of garlic, crosses, holy water and wooden steaks, but as time passes, vampires and their storylines become much more complex and are not as simple as they once were. The religious elements like holy water and crosses were used to instill the idea that religion works against the devil's servants. The initial depictions of vampires were very sickly, terrifying creatures who slaughtered mercilessly and had an uncontrollable thirst for human blood. Over time, they became somewhat romanticized and sexualized. In Anne Rice's, Interview with a Vampire, the vampires were portrayed as attractive, beautiful creatures, to appeal to a greater female audience, much like the series of films, Twilight. 

Week 1: "Frankenstein"

(Illustration by Wrightson)

When I moved to the United States, I was introduced to the genre of 'horror', and one of the most intriguing themes in all of these classic films and literature, were the monsters, especially the concept of the 'tragic monster'. They fascinated me. In a strange way I could relate to them. Reading Frankenstein, by Mary Shelly, in high-school, was really eye opening for me. I gained an understanding of why authors in horror create the characters and depictions they do. 

The story of Frankenstein really pushes the reader to think about, and identify, who is actually the monster in these stories. This theme has been heavily influential adapted and recreated in movies today. A director/producer who I have noticed turns to this theme quite often is Tim Burton. "Edward Scissorhands" and "Frankenweenie" are almost the exact story of Frankenstein readapted into modern films with dark and stylized imagery. Edward is created by his 'Father' played by Vincent Price, and is not finished, so he is left with scissor-hands and is left to live alone in his father's creepy mansion overlooking a colorful and perfect town. When he is discovered, he is accepted at first, but then rejected by society because he can't help the position he's in and is banished back to the place he came from, left to be forgotten. As the viewer, I have always been able to relate and sympathize with the 'monster'. Because of the way they are created, they are misjudged and rejected, humiliated, banished, and one must question who is actually the antagonist: the 'monsters', or the people?

                                      

 In "Frankenstein", a creature that is brought to life by Dr. Victor Von Frankenstein, a young man studying natural science. He believes he has the skill-set to bring the dead or the inanimate, to life.  He succeeds in creating life where there wasn't, but his creation frightens him, forcing him to flee. Throughout the story, we find that the monster he has created, is in fact quite kind and intelligent. He is interested in learning and is very articulate. He studies and has the desire to learn as most humans would. Despite his good intentions and his intelligence, society rejects him because he appears monstrous and terrifying. The combination of Victor's neglect and the rejection from society drive the monster to kill Victor's wife and friends, and of course, this makes him appear more monstrous and ferocious to the public eye. In reality, Victor was responsible for the creation, and is to blame for these acts of rage and sadness.

(Illustration by Wrightson)