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Poll!!

Claireblush
- 39 (37.9%)
Fayepocalypse
- 10 (9.7%)
Martenmooning
- 1 (1%)
The Eve of Doradestruction
- 9 (8.7%)
Angusvanish
- 10 (9.7%)
Veronica and Jim Hijinks
- 9 (8.7%)
Cereal!!
- 2 (1.9%)
Svengali
- 6 (5.8%)
Pintsize
- 2 (1.9%)
Spathe Ham, Bacon, Waffles and Flat Whites
- 7 (6.8%)
Whatever
- 6 (5.8%)
ClaireMomJob
- 2 (1.9%)

Total Members Voted: 96


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Author Topic: WCDT: 2826-2830 (03 - 07 November 2014) Weekly Comic Discussion Thread  (Read 60459 times)

jwhouk

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It's not upsetting. It's just... wow, I didn't think you could REACH that level of over-analysis. ;)
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That image of the two of them hand in hand and smiling just makes me feel really good about this relationship. Like this is something positive for both of them, and it's going to last, and that makes me happy.

If people want some relationship anguish, there's still Faye and Angus to wallow in.
Nooooo, don't tempt fate!
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Him too.  Its an elder god party in my brain.  And the whole world is invited!
But the poor schoolgirls.
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theMarc

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:D This is the best thing.
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Rghfrgl

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Or a sleeping montage (which I can't seem to find at the moment, but there are at least two of them) showing various characters and couples in bed, although this fan-art is probably what we'll see from M&C.

I love that fanart.

Quote
Marigold and Dale (happy), Veronica and Jim (happy), Marten and Claire (happy happy happy), Faye and Pintsize (punches).

(Why yes, we are outlining future comics, what of it?)

Last panel is back to Marten and Claire with pintsize flying overhead after being punched through the wall.
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Half Empty Coffee Cup

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That image of the two of them hand in hand and smiling just makes me feel really good about this relationship. Like this is something positive for both of them, and it's going to last, and that makes me happy.

If people want some relationship anguish, there's still Faye and Angus to wallow in.
Nooooo, don't tempt fate!
Fate isn't likely to be tempted by that. Nobody in QC is anywhere near the level of buttmonkey that Davan McIntyre exists at. Also, nobody's died in this strip yet.
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Re: This Comic

davedig

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Oh oh fan art! I found an adorable re-draw of Martin telling Claire his feelings then kissing. Another of Martin and Claire looking at clouds, both are on DA though not sure if I'd get trouble for linking though.
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BenRG

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This is probably just me, but I think that this is the poster that Jeph has been waiting a long time to draw. Whilst personally supporting Marten with Hannelore, I can see that Japh has been working towards a Marten and Claire relationship from as far back as the wedding.

So... Enjoy the convention, Jeph (although going to Canada in November strikes me as a calculated risk) and we'll see you when you get back!

Marigold and Dale (happy), Veronica and Jim (happy), Marten and Claire (happy happy happy), Faye and Pintsize (punches).

Having someone to regularly punch strikes me as a happy outcome for Faye! :wink:
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Him too.  Its an elder god party in my brain.  And the whole world is invited!
But the poor schoolgirls.

Pintsize would have a field day with that.

Very good dear. And now what do you see in this inkblot?

Is it me or does anyone else just see some random ink on a piece of paper?

It's random ink on a piece of paper with a surprising resemblance to a moth.

And about today's comic: Cute indeed.
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BenRG

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Marigold and Dale (happy), Veronica and Jim (happy), Marten and Claire (happy happy happy), Faye and Pintsize (punches).

I'm an old softie but I'd like the last panel to be divided in two: Faye on her own in a bar of some kind and the last panel her looking up with a surprised expression at a new male character who has stepped up and is trying to start a conversation with her.

The message? Life goes on.

Or a sleeping montage (which I can't seem to find at the moment, but there are at least two of them) showing various characters and couples in bed, although this fan-art is probably what we'll see from M&C.

I love that fanart.

Anybody want to place bets on the likelihood that Marten is going to develop a weird 'thing' about snuggling in Claire's hair? I mean, after the 'skritch-skritch', I think he's developing a definite liking for it!
« Last Edit: 07 Nov 2014, 01:40 by BenRG »
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My squee meter just overloaded.
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NemoX

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But that's neither here nor there. I pointed out "The Little Mermaid"'s trans subtext to illuminate an interesting visual parallel to people who might not have picked up on it otherwise, not to shame trans people for existing or Disney for telling our stories. The comparison really hurts my feelings.

The times I have seen you analyze something you always seem to just state facts and observations and use them to formulate and share ideas and possible interpretations of something, but not as opinions and merely as "hey guys this could also be seen as this" or "have you ever considered this interpretation?", you don't force people to see things your way or claim everybody else is wrong if they don't see it your way or decry other points of view.

That article is a whole lot more biased opinions than actual observations and that is what I had a problem with. It's aim is not to spark a healthy discussion but to put down a whole community because of opposing beliefs. Yes, the movie could be interpreted and seen to have undertones of different things, but end of the day, unless it's a conscious effort of the writer (and in the case of movies maybe writers in plural, hence more difficult to coordinate that kind of thing) its more likely that somebody wrote a story without even realizing or thinking about possible interpretations and just wanted to share a story. People will see what they want to see.

I too find the comparison of what you do to that particular article rather...out of place and unnecessary. Like I said, the approach and tone are completely different. Just keep doing what you do, the rest of us here enjoy it immensely. :)
« Last Edit: 07 Nov 2014, 05:27 by NemoX »
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pwhodges

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Oh oh fan art! I found an adorable re-draw of Martin telling Claire his feelings then kissing. Another of Martin and Claire looking at clouds, both are on DA though not sure if I'd get trouble for linking though.

I couldn't find the first; the second is OK-ish, I suppose, given Jeph's predeliction for butts!  Link it in the fanart thread.
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valkygrrl

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although this fan-art is probably what we'll see from M&C.

This, a thousand times this.

Protip: If you have long hair, braid it before being the small spoon. It saves the hair being eaten and/or ending up under the other person's body/limbs/head.

The times I have seen you analyze something you always seem to just state facts and observations and use them to formulate and share ideas and possible interpretations of something, but not as opinions and merely as "hey guys this could also be seen as this" or "have you ever considered this interpretation?", you don't force people to see things your way or claim everybody else is wrong if they don't see it your way or decry other points of view.

That is one way to read things. What with all the weasel wordy maybe filled passive voice... Oh wait. Short declarative active voice. Hmmm.

but end of the day, unless it's a conscious effort of the writer (and in the case of movies maybe writers in plural, hence more difficult to coordinate that kind of thing) its more likely that somebody wrote a story without even realizing or thinking about possible interpretations and just wanted to share a story. People will see what they want to see.

And that, not the the vile views in the linked article is the point.

People fixated on certain topics can always find them anywhere they want to and move any conversation to be about them. Even when it means twisting the general Disney theme these days of be yourself because you're really wonderful and accept people because they're wonderful too, to be about something _very_ specific. The little kids in the audience don't need subtext, that guideline alone covers all the bases.
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GarandMarine

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Sort of reminds you of this http://wellbehavedmormonwoman.blogspot.com/2014/02/movie-frozen-gay-homosexual-agenda.html#.VFxU9zSH-NA doesn't it?
And QC's blonde-haired Scandinavian bisexual character predates Elsa, so if anything it's "Frozen" that's referencing "QC".


Elsa is older than Jeph's grandparents by a significant amount of time, much less the comic itself. Did you miss The Snow Queen when doing your research on HCA?


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Sort of reminds you of this http://wellbehavedmormonwoman.blogspot.com/2014/02/movie-frozen-gay-homosexual-agenda.html#.VFxU9zSH-NA doesn't it?

I could say "people see what they want to see".

It seems in this forum people like to overanalyze and just contemplate alternative interpretations of things. Which is fine, it's their right. Same as its this woman's right to express what she believes to be true. But while here its done in good fun, I don't think she realizes how closed minded her perception of the world and that movie is, and how hurtful it can be.

"Reality, is that which , when you stop believing in it, doesn't go away" - Philip K. Dick

People have different ways of approaching art, and differing opinions based on what they see based on that approach. Some people are passive -- "Nice thing you've got there. I think I'll enjoy it for a bit before moving on to the next thing." -- and "consume" art; I get the feeling, based on your reactions to people taking a more analytical approach, that you tend to fall more into this camp. Others see something and say, "Okay, what's this thing trying to say? And might it, in fact, be saying something else that might not be as readily apparent?" I think there are several of us who fall into this camp (I include myself, and based on what I've seen written here, I would probably also include Ben, April, and Mooski among others -- I'm sure they'll correct me if I've misinterpreted where they're coming from).

The thing is, if you're going to approach a text that way -- interpretation and exegesis versus plain 'ol consumption -- each person's going to bring different things to the table. There are different critical methodologies that come into play even when you're not entirely conscious you're using them; there's the body of work you've engaged prior to that, whether it's web comics, music, SF, fairy tales or political theory; and there's the personal experience that changes not only your perception of the world, but also on things that either portray or comment on that world. That's not a matter of belief (or not) in reality... instead, it speaks to the ways in which each of us perceive and experience it. That's neither closed-minded nor hurtful; on the contrary, it involves being open-minded enough to consider that there are other ways of looking at something, and to consider what those things mean in the bigger picture.

While I respect her right to belief things and have a different opinion, I still find it appalling that such way of thinking is still a thing and they won't face reality.

Except you don't seem to respect it; "find[ing] it appaling that such a way of thinking is still a thing" -- dismissing critical thinking as an aberration -- isn't an expression of respect by any rational measure.


But that's neither here nor there. I pointed out "The Little Mermaid"'s trans subtext to illuminate an interesting visual parallel to people who might not have picked up on it otherwise, not to shame trans people for existing or Disney for telling our stories. The comparison really hurts my feelings.

The times I have seen you analyze something you always seem to just state facts and observations and use them to formulate and share ideas and possible interpretations of something, but not as opinions and merely as "hey guys this could also be seen as this" or "have you ever considered this interpretation?", you don't force people to see things your way or claim everybody else is wrong if they don't see it your way or decry other points of view.

That article is a whole lot more biased opinions than actual observations and that is what I had a problem with. It's aim is not to spark a healthy discussion but to put down a whole community because of opposing beliefs. Yes, the movie could be interpreted and seen to have undertones of different things, but end of the day, unless it's a conscious effort of the writer (and in the case of movies maybe writers in plural, hence more difficult to coordinate that kind of thing) its more likely that somebody wrote a story without even realizing or thinking about possible interpretations and just wanted to share a story. People will see what they want to see.

I too find the comparison of what you do to that particular article rather...out of place and unnecessary. Like I said, the approach and tone are completely different. Just keep doing what you do, the rest of us here enjoy it immensely. :)

I'm not sure of April's precise background, but speaking as someone who majored in Lit and got in the habit very early on of citing sources that backed my opinions, I don't see these as statements of fact necessarily as the habit of someone who's used to sourcing her work to back her opinions. That's not "forc[ing] people to see things [her] way," that's just what you do when you're trying to make a point. It ought not to be necessary to place a disclaimer or special "opinion" tag on things just to avoid hurting the feelings of those who prefer not to hear someone else's opinions.

In terms of not knowing the writer's motives... well, that's exactly the point of interpretation. We don't always know. Some writers tell their stories in one dimension -- everything they intended to say is right there on the page. That kind of writer, and that kind of writing, is exceedingly rare (and exceedingly boring). From our classical literature all the way up to "Rambo" (yes, even "Rambo"), the story on the page or the screen is only part of the story; there's nuance, subtext, and sometimes entire other plots, some hidden in plain sight and others revealing themselves only after time and careful thought. Some of us enjoying the rest of the story certainly doesn't preclude you from ignoring it, thereby "seeing what you want to see." See how that works?

You don't force people to see things your way or claim everybody else is wrong if they don't see it your way or decry other points of view.

But at least we can agree on this much. She didn't. ;)
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Ustrello

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or...


(click to show/hide)
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FunkyTuba

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She is, specifically, Ariel, whose trans status is barely subtext:
[...]

Brilliant! Especially this:

V. Interlude. A chef tries to eat Sebastian. This scene has nothing to do with gender anything, but do note that this character is voiced by René Auberjonois, who played the shape-shifting, putatively genderless yet inexplicably consistently male-identified Constable Odo on Star Trek: Deep Space Nine. Also it is a fun musical number.

A++ Would Read Again
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AprilArcus

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but end of the day, unless it's a conscious effort of the writer (and in the case of movies maybe writers in plural, hence more difficult to coordinate that kind of thing) its more likely that somebody wrote a story without even realizing or thinking about possible interpretations and just wanted to share a story. People will see what they want to see.

And that, not the the vile views in the linked article is the point.

So let's talk about the history of this reading of Frozen. It was first pointed out by R. Kurt Osenlund on November 13th in Slant Magazine. Rosie of "Fandoms and Feminism" took it an ran with it a few weeks later, on December 1st. By January 17th, the Daily Dot wrote a roundup of the full-swing debate about the reading raging on Tumblr. Valerie Anne rehashed the argument for AfterEllen on February 17th. Only after all of that did "A Well Behaved Mormon Woman" write her vicious take on February 19th.

So why did you post a link to the nastiest, cruelest possible version of this story when so many other positive readings were out there in the blogosphere, if you didn't want to communicate a feeling of cruelty and nastiness yourself?

The times I have seen you analyze something you always seem to just state facts and observations and use them to formulate and share ideas and possible interpretations of something, but not as opinions and merely as "hey guys this could also be seen as this" or "have you ever considered this interpretation?", you don't force people to see things your way or claim everybody else is wrong if they don't see it your way or decry other points of view.

That is one way to read things. What with all the weasel wordy maybe filled passive voice... Oh wait. Short declarative active voice. Hmmm.

I think there was a missed opportunity here. I imagine a more positive version of this conversation could have played out like this:

valkygrrl: April, your forceful, declarative rhetoric is giving me the impression that you believe that your reading is the only valid one. I would prefer to just watch a movie and not try to look for politics everywhere.

April: I'm sorry my style hurt your feelings! Analyzing fiction is fun for me, and speaking forcefully is how I speak when I'm trying to make a point. I don't mean to take anything away from the way you like to enjoy your media. I'm curious, did you think my interpretation was off-base for any particular reason, or just a reach too far?

and then we'd have been talking to each other like adults, instead of lobbing snark bombs.

Elsa is older than Jeph's grandparents by a significant amount of time, much less the comic itself. Did you miss The Snow Queen when doing your research on HCA?

Elsa isn't in HCA's "The Snow Queen", and although "Frozen" originated as an adaptation of that story early in its production history, the version up on the screen has little to do with it other than its setting and an ice theme. For a great account of the many rewrites that "Frozen"'s script went through, check out Jim Hill's terrific article, Countdown to Disney "Frozen": How one simple suggestion broke the ice on the "Snow Queen" 's decades-long story problems.

NemoX

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The thing is, if you're going to approach a text that way -- interpretation and exegesis versus plain 'ol consumption -- each person's going to bring different things to the table. There are different critical methodologies that come into play even when you're not entirely conscious you're using them; there's the body of work you've engaged prior to that, whether it's web comics, music, SF, fairy tales or political theory; and there's the personal experience that changes not only your perception of the world, but also on things that either portray or comment on that world. That's not a matter of belief (or not) in reality... instead, it speaks to the ways in which each of us perceive and experience it. That's neither closed-minded nor hurtful; on the contrary, it involves being open-minded enough to consider that there are other ways of looking at something, and to consider what those things mean in the bigger picture.

like you said, if that is the case, it's not a conscious thought. It paints how we see the world and our opinions, we are after all a collection of our experiences (which as an aside I've always felt has stronger sway in the whole nature vs nurture argument, but I digress), and it's fine if people want to interpret a work or piece of art and expression around what they perceive as individuals. My issue is when the artists are accused of knowingly, and with malicious intent, to say something different with their work, specially like I said when said work is not a single source thing, multiple people come together to make it what it is.

Except you don't seem to respect it; "find[ing] it appaling that such a way of thinking is still a thing" -- dismissing critical thinking as an aberration -- isn't an expression of respect by any rational measure.

I don't have a problem with her as a person thinking or believing what she does. But that attitude of hers, claiming she respects people enough to allow them to have different sexual preferences, and says they should be allowed to have them, but that its "morally wrong" and they should essentially hide who they are and abandon so, and that they are hence condemned to not have happiness in the afterlife or whatever is NOT critical thinking. I respect that she has a different opinion, but I do not respect the essence of people acting against what to them is their nature because other people are not the same. That is not acceptance, no matter how much she claims it is. That is what I find appalling. If she would have said she doesn't like it or approve of it, but didn't make that particular claim that it's morally wrong to acknowledge in public their differences and that they have to keep it to themselves, it would have had a completely different tone and I would not have so many issues with it.

I'm not sure of April's precise background, but speaking as someone who majored in Lit and got in the habit very early on of citing sources that backed my opinions, I don't see these as statements of fact necessarily as the habit of someone who's used to sourcing her work to back her opinions. That's not "forc[ing] people to see things [her] way," that's just what you do when you're trying to make a point. It ought not to be necessary to place a disclaimer or special "opinion" tag on things just to avoid hurting the feelings of those who prefer not to hear someone else's opinions.

Maybe I worded it wrong, but that is what I was getting at. Citing sources is a good thing, yes she is using them to back her opinion, but if she didn't have an opinion then the whole "have you considered this point of view" wouldn't happen. What I mean is that she presents an argument based on some things that are concrete examples and they make sense. The article however, seemed (to me at least) the other way around. She wrote the "therefore" line before anything else and THEN felt like she had to stretch what she decided to use as examples to validate her argument, rather than using examples to lead to a conclusion...I don't think I'm making sense, I apologize for that, but I'll leave it at saying that in both cases the examples are being used in a very different manner to justify vs rationalize an already decided bottom line. One sparks a conversation, the other a controversy.

In terms of not knowing the writer's motives... well, that's exactly the point of interpretation. We don't always know. Some writers tell their stories in one dimension -- everything they intended to say is right there on the page. That kind of writer, and that kind of writing, is exceedingly rare (and exceedingly boring). From our classical literature all the way up to "Rambo" (yes, even "Rambo"), the story on the page or the screen is only part of the story; there's nuance, subtext, and sometimes entire other plots, some hidden in plain sight and others revealing themselves only after time and careful thought. Some of us enjoying the rest of the story certainly doesn't preclude you from ignoring it, thereby "seeing what you want to see." See how that works?

yeah, I think I already addressed this point in the first part of these reply :)

But at least we can agree on this much. She didn't. ;)

Hey, so long as the conversations derived from any of this are civil, I'm happy. I always enjoy a good conversation, specially one where I can most likely learn something new or at the very least makes me consider new points of view. Whether it changes my own or not is not even a concern, if it happens it happens, but just being exposed to different opinions and ideas is never a bad thing, helps us grow as people :)

edit: fixed some quotes bb code
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ReindeerFlotilla

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Faye on her own in a bar of some kind and the last panel her looking up with a surprised expression at a new male character who has stepped up and is trying to start a conversation with her.

The message? Life goes on.

Riker's beard! I hope not. If Claire exists to be Marten's girl, Jeph did a good job of establishing her as her own person first. I would hope he would do the same with anyone meant for Faye. Otherwise, it just seems like another pit stop on the road back to Sven.

I have had issue with Angus as a character, but I liked him as Faye's other half. I wanted to see them try, if only because I see breaking up as the easiest form of story conflict. Since all signs point to this being the end, I'd rather get directly to the conflict between Sven, Faye, and Dora.

I can see all kinds of different ways Sven could redeem his selfish behavior by just being there for Faye. That sets up a nice internal conflict for Sven (doing what needs doing vs getting what he wants for Christmas) and sets up the core conflict of Dora's Svenectomy, with a number of different reaction options for Faye (can a supportive Sven be taken at face value? Why is Dora being weird? What hasn't she told me? Wait? Marten knows and I don't?)

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On the topic of analysis, I have to ask: how many of you saw Pacific Rim?

Wait? What?

Okay, Pacific Rim is not the deepest screen play ever written. But that is what makes it so useful for this point. Of those who saw the movie, how many of you noticed that the Russian pilot saw the main character as a sexual/romantic rival?

Some might argue that that isn't in the movie. Nothing is said about it and there's no obvious consequences from it. I would argue it is. It's especially apparent in the mess a hall scene, when the Russian takes a protective/possessive position around the other Russian pilot as the MC passes by, shooting the MC a look that screams "stay away from my man."

You thought I was talking about the husband of the husband and wife team?

Here's my point. That happened. Unlike a lot of things under discussion here, it probably happened as part of a plan. But whose plan? Del Toro? Heather Doerksen, the actor who played Lt. Kaidanovsky? The cinematographer? Does it mean what I think it means? It's all body language and significant looks.

Analysis relies on interpretation. Interpretation is prone to following paths dictated by the tools one tends to favor. When you prefer hammers, everything looks like nails. On the flipside, it's a poorly kept secret that the Animation house at Disney loves tossing in "subversive" subtexts. Possibly for the same reason that the old Looney Tunes guys liked putting in jokes that would fly over a child's head. They want their work to capture the attention of adults, too.

Are all of these films political statements? Is Lt. Kaidanovsky really concerned that Beckett has designs on her husband? I don't know. But it doesn't hurt anyone to listen to the hypothesis and consider the implications. I wouldn't say anything if the discussion was merely disagreement about the analysis, itself. But the discussion is edging closely to,  if not trampling totally on, criticism of the analyst's motives.

Edit: sorry for double post. I didn't think I would finish that before someone else chimed in.

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I love Pacific Rim! It's a personal favorite of mine.
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Well said, RF.

"I disagree with this bit and that bit and this other thing because...." is perfectly fine. "This puts me in mind of a hateful diatribe I read once," not as much.

("RF?"  Maybe I shoulda said ReindeerFlotilla instead, 'cause now I've got Randall Flagg on the brain)
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Well said, RF.

"I disagree with this bit and that bit and this other thing because...." is perfectly fine. "This puts me in mind of a hateful diatribe I read once," not as much.

("RF?"  Maybe I shoulda said ReindeerFlotilla instead, 'cause now I've got Randall Flagg on the brain)

Pleased to meet you.





Hope you guess my name  :evil:

Edit: my avatar is an Angel and I was just compared to the devil. I am a confuse. Well, at least both are bad guys.

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I wouldn't say anything if the discussion was merely disagreement about the analysis, itself. But the discussion is edging closely to,  if not trampling totally on, criticism of the analyst's motives.

I think the issue was more about approach than motives. Or at least that's how I perceived it. Then again somebody else might perceive it some other way. And a third would interpret the whole thing in yet another perspective. So I may be wrong. But that's part of the argument itself, people's interpretation of something and how they express it.

Never saw Pacific Rim, so I can't objectively comment on your point, might watch it sometime and see for myself :)
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That should totally be the cover of a collected volume of QC in dead tree format.
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I sit in absolute awe of AprilArcus.

Sort of reminds you of this http://wellbehavedmormonwoman.blogspot.com/2014/02/movie-frozen-gay-homosexual-agenda.html#.VFxU9zSH-NA doesn't it?

No, no, no, it does not remind me of that article.  I like AprilArcus's posts, very much -- they are well-written and extremely well-documented.  And I absolutely LOVE her self-description as an "adoxographical exegete."  Remember what Dick Cavett once said:   exegesis saves.
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It's not upsetting. It's just... wow, I didn't think you could REACH that level of over-analysis. ;)

Precisely what about any of the analysis thus far has been excessive?
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    That should totally be the cover of a collected volume of QC in dead tree format.

    I did get the impression that we're now at the end of Questionable Content vol.3 and that's the cover image. We're now moving onto a new phase including (warning - wild guesses):
    • The Chronicles of Marten and Claire;
    • The Post-Angus life of Faye Whitaker;
    • The Wedding That Shook Northampton (Jim and Veronica put on a party);
    • The Sundering and Reconciliation of the Bianchi Children;
    • What Kind of a Name for a Band is 'Deathmole'?
    All this and more in Questionable Content - Volume 4! [/list]
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    That should totally be the cover of a collected volume of QC in dead tree format.

    1: Agreed
    2: Unrelated: I misread your sig line as "The Quakers were masters of siege welfare," which cracked me up.
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    Hey BenRG did you get my reply okay?
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    I wouldn't say anything if the discussion was merely disagreement about the analysis, itself. But the discussion is edging closely to,  if not trampling totally on, criticism of the analyst's motives.

    I think the issue was more about approach than motives. Or at least that's how I perceived it. Then again somebody else might perceive it some other way. And a third would interpret the whole thing in yet another perspective. So I may be wrong. But that's part of the argument itself, people's interpretation of something and how they express it.

    Never saw Pacific Rim, so I can't objectively comment on your point, might watch it sometime and see for myself :)

    Whenever you discuss approach you discuss motivation. They are inextricably linked. More to the point, the specific language of saying that X is more about Y than it is about elements of the story is language that takes to task the analyst rather than the analysis.

    I make no claim about anyone's motives here. But the focus on critiquing the approach as opposed to the facts, evidence, and conclusions, has the effect of conveying an extremely civil attack on the author.

    Someone once criticized my pointing out a broad ad hominem as "you think that was ad hominem?" But the thing is, ad hominem means "at the man" literally and "at the person" in general .

    No matter how civil one is, when one structured their argument based on the approach/motivation of the author, it's not cool. Unless one can show that the author will derive profit and thus has motive to act unethically.

    The fact that our national debates tend to revolve around that tactic muddied the waters an makes it seem reasonable. But the fact is that extremely civil ad hominem is just a manipulation tactic. Don't listen to this person, listen to how I make you feel, it says. That it is, inarguably, civil doesn't make right. But everyone involved profits from the audience not seeing the manipulation involved. As a result, the audience starts to view the method as appropriate discourse.

    I make no comment on what you mean. I am telling you what I read, from many, comes across as aimed at April, not her logic. I expect I will disagree with April in the future. I don't really agree now. But her analysis is sound. If I think of a counter argument I will be comfortable stating it. Unless that happens I am going to consider the possibility that April has a point.

    Sometimes subtext exists in a work even though the author had no intention of putting it there. That applies to Disney and your argument.

    AprilArcus

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      I did get the impression that we're now at the end of Questionable Content vol.3 and that's the cover image. We're now moving onto a new phase including (warning - wild guesses):
      • The Chronicles of Marten and Claire;
      • The Post-Angus life of Faye Whitaker;
      • The Wedding That Shook Northampton (Jim and Veronica put on a party);
      • The Sundering and Reconciliation of the Bianchi Children;
      • What Kind of a Name for a Band is 'Deathmole'?
      All this and more in Questionable Content - Volume 4! [/list]

      I definitely agree with this. How would you chop QC up into volumes? I would probably cut it up like so:

      • 1-605 (Fall 2004 into Winter 2005): Introductions through the Talk and to the resolution of the Marten/Faye/Dora triangle, ending with Faye's goodbye to her father.
      • 606-1970 (Spring 2005 into Spring 2006): From Marten and Dora's first night together through the breakup and to their making nice on Tai's porch, ending with Marten's zen-content stare into the night.
      • 1978-2830 (Summer 2006): From Marten's talk with Dora about figuring what he wants from life, through his flaming out with Padma, to his breezy stroll down the street hand in hand with Claire.

      I would be tempted to split Season 2 in half along the 1310/1311 four-month time skip, which cuts Marten/Dora neatly into "the good part" and "the bad part", and ends with the Wil/Penelope cliffhanger.

      There isn't really an equivalent midway point in Season 3, but if you needed to make one up it would be the two-week time skip between 2375/2376, which puts Marten/Padma and the early Dora/Tai stuff into Season 3.0, and Marten/Claire and Dale/Marigold into Season 3.5.

      NemoX

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      I make no comment on what you mean. I am telling you what I read, from many, comes across as aimed at April, not her logic. I expect I will disagree with April in the future. I don't really agree now. But her analysis is sound. If I think of a counter argument I will be comfortable stating it. Unless that happens I am going to consider the possibility that April has a point.

      That is partly what I was referring to before when I said I'd rather something spark a discussion than an argument. If you do think of a counter argument to something, and present it also in a sound manner, then you have yourself a good thing. Agreeing or not, the point is to hear different points of view and discuss their merits, hopefully in a civil manner with no feelings of being personally attacked. But this is the internet and this is human nature, so I know it just happens in a perfect world. On my part, all I can do is try.

      Quote
      Sometimes subtext exists in a work even though the author had no intention of putting it there. That applies to Disney and your argument.

      yeah, that was mentioned before too and I acknowledged that yes, that is the case, even subconsciously we all do it. But if we are talking about intent, whether the subtext is there or not does not warrant assuming its on purpose, but it does warrant discussion.

      For the record, I would like to state that I do mean it when I say I just like an actual conversation and to hear other points of view and try to learn new things, if I ever say something that may be perceived as an attack to anybody here, my apologies, I assure you that unless I specifically say so, it is not my intent
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      And Mulan has an overtly trans masculine text.
      Pretty much every modern adaption the Hua Mulan legend has transgender text and homoerotic subtext. The Disney version has strong female self-expression and broadly feminist themes. None of this is present in the original poem, where the main themes are patriotism and filial piety. So, referring back to that idiotic Venn-diagram quoted above, who is the "author" of the story, and what did they "mean" when they wrote it? Does the original story change in meaning because it is being read with 21st century eyes, rather than those of the 6th century when it was probably written? If it does, how decisive can the author's intent be?

      As Disney's adaption shows, we tend to see a feminist theme in the story, which the original writer certainly did not "mean" when he placed Hua's service firmly in a Confucian context of filial respect for her father and the king, ultimately crowned by her submission to her proper role as a wife and mother. Does that mean that a feminist reading is invalid? Does it mean that a "Western" non-Confucian reading, or even adaption, of the story is invalid because it does not conform to what the original author "meant"? If the answer to those questions is no, as I believe it is, what the author meant cannot be regarded as the last word. I believe one test for the worth of a work of literature, or art generally, is whether it continues to speak to people who live in a very different world from that in which it was created, but this inevitably means that its meaning will be created, at least in part, by the audience, rather than the author.

      Friday's comic/poster is awwwsome.
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      Dalillama

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      While I respect her right to belief things and have a different opinion, I still find it appalling that such way of thinking is still a thing and they won't face reality.

      Except you don't seem to respect it; "find[ing] it appaling that such a way of thinking is still a thing" -- dismissing critical thinking as an aberration -- isn't an expression of respect by any rational measure.
      I realize NemoX has already replied to this, but I'd also like to point out that it is quite possible to respect someone's right to hold a belief without in any way respecting the belief itself.  'I respect your right to believe that' means 'I don't think you should suffer legal consequences for that belief', but does not, in any way, imply ' I consider that belief to be valid, true, or accurate'.
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      hedgie

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      There is the matter of whether or not someone wants to create a "faithful" adaptation of a particular work, or make a re-interpretation based on their own culture and time.  I'd consider Disney's "Mulan", with *their* cultural influences and message to be more along with the lines of Kurosawa's "Throne of Blood" and "Ran" (MacBeth and King Lear, respectively), than something that was supposed to be faithful to the original. 
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      'I respect your right to believe that' means 'I don't think you should suffer legal consequences for that belief'
      So "respect" means no more than "I don't think you should be flung in jail", but any insult, expression of contempt, or social ostracism short of that is just fine?

      There is the matter of whether or not someone wants to create a "faithful" adaptation of a particular work, or make a re-interpretation based on their own culture and time.
      And where does authorial intent fit into that? Who is the author of "Throne Of Blood"; Kurosawa or Shakespeare or both?
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      FunkyTuba

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      ...ultimately crowned by her submission to her proper role as a wife and mother.

      I see a similarity in the ending state of this and Taming of the Shrew (though not many other similarities)... I am not well-studied in such things, but I seem to remember that notwithstanding the speech's content, the fact that Katherine even gets a speech at the end to speak of such things was sufficiently scandalous as to give a feminist-in-its-time quality to the play.

      The significance being that what starts as a farce leads up to a backdoor discussion of Weighty Matters and the audacity of it coming from a female character.

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      GarandMarine

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      And Mulan has an overtly trans masculine text.
      Pretty much every modern adaption the Hua Mulan legend has transgender text and homoerotic subtext. The Disney version has strong female self-expression and broadly feminist themes. None of this is present in the original poem, where the main themes are patriotism and filial piety. So, referring back to that idiotic Venn-diagram quoted above, who is the "author" of the story, and what did they "mean" when they wrote it? Does the original story change in meaning because it is being read with 21st century eyes, rather than those of the 6th century when it was probably written? If it does, how decisive can the author's intent be?

      As Disney's adaption shows, we tend to see a feminist theme in the story, which the original writer certainly did not "mean" when he placed Hua's service firmly in a Confucian context of filial respect for her father and the king, ultimately crowned by her submission to her proper role as a wife and mother. Does that mean that a feminist reading is invalid? Does it mean that a "Western" non-Confucian reading, or even adaption, of the story is invalid because it does not conform to what the original author "meant"? If the answer to those questions is no, as I believe it is, what the author meant cannot be regarded as the last word. I believe one test for the worth of a work of literature, or art generally, is whether it continues to speak to people who live in a very different world from that in which it was created, but this inevitably means that its meaning will be created, at least in part, by the audience, rather than the author.

      Friday's comic/poster is awwwsome.

      I think it's a sign I'm getting old when I see chain of conversation I want to engage on (especially the original story of Hua Mulan) and just say to myself "Nah. Akima will get it."
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      There is the matter of whether or not someone wants to create a "faithful" adaptation of a particular work, or make a re-interpretation based on their own culture and time.
      And where does authorial intent fit into that? Who is the author of "Throne Of Blood"; Kurosawa or Shakespeare or both?
      Doesn't matter to me. The author is dead either way.
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      'I respect your right to believe that' means 'I don't think you should suffer legal consequences for that belief'
      So "respect" means no more than "I don't think you should be flung in jail", but any insult, expression of contempt, or social ostracism short of that is just fine?
      Good question.  And I'm not sure how to answer.  Shunning/isolation is a useful extra-legal tool for dealing with totally horrible people without resorting to violence.  Then again, it can also be used against innocent people, for say just being to "x" for their gender/race/class/culture/religion, etc.  Which raises the question of if || when it's okay to do so.  I know personally, I have no problem shunning and insulting racists/homophobes/sexists, and the like.

      Quote
      There is the matter of whether or not someone wants to create a "faithful" adaptation of a particular work, or make a re-interpretation based on their own culture and time.
      And where does authorial intent fit into that? Who is the author of "Throne Of Blood"; Kurosawa or Shakespeare or both?
      I'd say Kurosawa, but inspired by Shakespeare.  It's not like Joss' "Much Ado About Nothing", or the '90s "Romeo and Juliet" where they just changed the setting, but kept the same dialogue, or various opera or theatre productions that just re-arrange what was already there.  It's more about taking certain ideas and themes and then reimagining them into a different context.  I don't think that I'm in a position to say whether or not "Mulan" was cultural appropriation, especially since I'm not familiar enough with the original source, or its cultural/historical context.
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      Estron

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      Um . . . there are some pretty deep and weighty discussions here.  I'm just here because I like a webcomic about romance, technology, and weird references to obscure bands.
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      ReindeerFlotilla

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      Good question.  And I'm not sure how to answer.  Shunning/isolation is a useful extra-legal tool for dealing with totally horrible people without resorting to violence.  Then again, it can also be used against innocent people, for say just being to "x" for their gender/race/class/culture/religion, etc.  Which raises the question of if || when it's okay to do so.  I know personally, I have no problem shunning and insulting racists/homophobes/sexists, and the like.

      The tools of culture are just that. Tools. They can be used  constructively or destructively.

      To insult, express contempt, or ostracize is to show a lack of respect. I think it is important to recognize that distinction. It's possible to disagree with a position without taking action to harm those who hold it. Say Billy thinks his god demands no homosexuality. Respect is Billy saying to LGB's, "I'm not getting involved in your faith." There's nothing wrong with that. But telling them "I'm not getting involved with you, at all and I will encourage others to do the same" we've moved from a personal choice to the use of social tools to do harm. That is not respect.

      The only counter is the use of similar tools against Billy and his followers. This is also not respect. If respect is always the right thing to do, then sometimes you have to be wrong to defend what you believe.

      I, for one, don't believe respect is always right. Sometimes you gotta roll the hard six.

      Um . . . there are some pretty deep and weighty discussions here.  I'm just here because I like a webcomic about romance, technology, and weird references to obscure bands.

      As are a bunch of intellectually curious others. We have to do something with the nearly 168 hours we spend each week NOT reading the comic.

      AprilArcus

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      And where does authorial intent fit into that? Who is the author of "Throne Of Blood"; Kurosawa or Shakespeare or both?
      I'd say Kurosawa, but inspired by Shakespeare.  It's not like Joss' "Much Ado About Nothing", or the '90s "Romeo and Juliet" where they just changed the setting, but kept the same dialogue, or various opera or theatre productions that just re-arrange what was already there.  It's more about taking certain ideas and themes and then reimagining them into a different context.

      This is an unanswerable question that literary critics have gone boringly back and forth on for as long as there have been literary critics. The answer is somewhere on a continuum between "The Unique Timeless Embodied Authorial Soul Akira Kurosawa: Auteur, Fountainhead & Demiurge" and "the entire light cone stretching backward from the moment the film was sealed up and shipped to its premiere screening to the quantum fluctuations of the Big Bang itself, all of which have butterfly-effected the formation of the solar system, the evolution of intelligent life, and the politics of 16th century England and 20th century Japan in a stochastic, entangled, un-analyzable way and aren't movies intensely collaborative endeavors produced by hundreds of people each performing a job to the best of their ability but themselves deeply enmeshed in a web of interpersonal influences and interactions totally inaccessible to us, the viewers, and when you get right down to it aren't the very notions of 'consciousness' and 'intent' just illusions and social constructions anyway?"

      There is no single correct answer to these kinds of questions, just methodological frameworks for teasing apart the influences and counter-influences that lead to the creation of a work of art. In the case of the Little Mermaid, we can talk productively about Hans Christian Andersen's life circumstances at the time of the original writing, preserved in his and Edvard Collins' letters; the economic pressures and sexual politics of middle-class life in 19th century Denmark; the production history of the film version; lyricist Howard Ashman's own history of gay life in the 70s and 80s and his struggle with AIDS during the writing of the film; the dueling ethos of moral conservatism and artistic freedom at work in the Walt Disney Company; Walt Disney's own politics and legacy in his company... a piece of art has an endless list of authors; but some are more interesting and relevant than others.

      My go-to framework for talking about this kind of stuff is Harold Bloom's theory of The Anxiety of Influence. We are all inescapably in the grasp of those who have come before us, and challenged to overcome that influence to produce something original. But by the same token, a completely original work would have no grounding in any existing cultural context, and would have no audience to receive it. The measure of "authorship" is the artist's ingenuity in accommodating both these irreconcilable forces.

      Are Momo and Emily just Chiyo and Ayumu from "Azumanga Daioh", or are they original characters? Is Jeph an author or an imitator? Does R.K. Milholland deserve a sort of shared authorship in "Q.C." by writing its emotional antithesis in parallel for over ten years? Is Jeph acting or reacting?

      My answer is that these kinds of questions are framed in the wrong way. It is not an "either/or?" — it is a "how much of each?"
      « Last Edit: 07 Nov 2014, 17:18 by AprilArcus »
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      valkygrrl

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      I think there was a missed opportunity here. I imagine a more positive version of this conversation could have played out like this:

      valkygrrl: April, your forceful, declarative rhetoric is giving me the impression that you believe that your reading is the only valid one. I would prefer to just watch a movie and not try to look for politics everywhere.

      April: I'm sorry my style hurt your feelings! Analyzing fiction is fun for me, and speaking forcefully is how I speak when I'm trying to make a point. I don't mean to take anything away from the way you like to enjoy your media. I'm curious, did you think my interpretation was off-base for any particular reason, or just a reach too far?

      and then we'd have been talking to each other like adults, instead of lobbing snark bombs.

      April: I see you joking and basking in a happy moment. What I don't see you doing is talking about my politics and we can't have that. Lucky for me you referenced an old joke and I've thought of a way to link it to the only thing I want to talk about, even if there's already a thread in discuss for days when the comic isn't related to that subject. Thanks for the opening!

      valkygrrl: Huh? What? The squee.... where did the squee go? Oh, OH MY. Sometimes a cigar is just a cigar you know.

      April: Cigars are phallic and obviously relate to the trans....

      valkygrrl: *headdesk* There are other people out there who see only what they want to see.

      April: Meanie.

      I know that valkygrrl doesn't care for my flavor of feminism or my gender politics. We've talked about it in private to the extent that that was useful, and I would like to think that these are things that reasonable people can disagree about. Why take potshots? If something I said upset you, just say so plainly and let's see if we can't come to an understanding.

      If we're going to speak about private discussions, 'as long as it was useful' ended with flinging some words that you consider Bad Things at me and then ignoring my answer. I was given to understand _that_ was to be the pattern for interactions.
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      AprilArcus

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      If we're going to speak about private discussions, 'as long as it was useful' ended with flinging some words that you consider Bad Things at me and then ignoring my answer. I was given to understand _that_ was to be the pattern for interactions.

      I recall us going back and forth for six rounds (and 3600 words between the two of us) before I decided I had nothing to say that would move you, and didn't want to hear more from you that would hurt me.
      « Last Edit: 07 Nov 2014, 17:29 by AprilArcus »
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