Convincing recreations and recontextualisations

Like I said, recreating the Divine Comedy using Flash characters leads to a more convincing reconstruction than with any other DC franchise. Maybe modified to make the two more seamlessly compatible but even then that’s saying given how coincidentally similar a fictional character like Barry Allen has become (and is) to a real life character like Dante Alighieri.

Even moreso if you make Barry more like Dante and given recent developments in the Flash comics where Barry Allen no longer dates his true love Iris West. To be fair, there are periods where Barry doesn’t date her and she herself died ahead of him (in fact marginally so) but similar enough to draw similarities between them and the women Dante loved.

Having Iris West be a stand-in for Beatrice-personaggia is telling especially if you bring up additional contexts to what else the latter could be. Iris West has been Barry’s wife, nagging paramour and quasi-sister of sorts especially on telly. Beatrice-personaggia has been interpreted by some to be most commonly Dante’s first crush but also beatitude, his daughter and rarely his wife.

Considering that Dante’s daughter became Sister Beatrice and Iris West has been depicted as a step-sister of sorts to Barry, these would be enough to seem incestuous to some. If these two are equated, then one wonders whether if the Beatrice character went from being a stand-in for his crush to more awkwardly his daughter and arguably his wife.

(The person who said that Beatrice could be a stand-in for his wife must’ve known that the former’s behaviour’s in line with what Boccaccio accuses the latter of.)

Possibly even more disturbing if Bart Allen (their grandson) gets associated with the lonza, symbol of lust, especially if he’s depicted as a Khnopff style sphinx. Fernand Khnopff was obsessed with his sister, so this adds more credence to the idea that both Westallen and Dante’s love for Beatrice might be more incestuous than believed.

As for Caitlin Snow, the most comparable character especially if she herself becomes a werewolf is Dante’s she-wolf. The she-wolf’s generally considered to symbolise greed and avarice. Caitlin Snow, being Killer Frost, has a constant craving for body and ambient heat.

Asssuming if Caitlin not becomes a werewolf but also practises sorcery and wolves are also associated with that (so much so that lycanthropy’s a form of witchcraft), then the she-wolf could also symbolise it. Once you recreate the Divine Comedy using the Flash, whilst you have characters that flat out replicate the former’s scenes there are others that bring new context.

Especially if it’s something that’s hardly ever intended or goes deeper than most Divine Comedy commentators understand.

Consider this

Consider this: it’d be relatively easy to recreate The Divine Comedy using Flash characters. Maybe not exactly but close enough to be a convincing reconstruction and reverse engineering. Albeit with some modifications to make these two fit together real well. Even then that shows just how easy it is to recreate the Comedy using Flash characters.

Barry Allen could make a great Dante Alighieri that is you consider Jay Garrick to be his Virgil and Iris West to be his Beatrice. (Logically, either Meena Dhawan or Patty Spivot would be his Gemma Donati or Matilda.) In the Flash programme, there’s a character named Dante so this would make it even easier to recreate the Comedy using the Flash cast.

Other characters not so much either because they’re too thematically disparate or just not prominent enough or both. Recreating the Divine Comedy using ‘Robin’ characters won’t be easy and good the way you do with the Flash. I hardly read comics but then again Barry Allen has far more memorable supporting and villainous characters than Tim Drake ever does.

(I might know the Flash better but even then I could still remember those characters well.)

I’m not really fond of Barry Allen but even then that’s saying because several of his storylines have been adapted elsewhere for the media, meaning they’re not only memorable but that Barry Allen could be a far more interesting character than what he’s given credit for.

Interesting and close enough to be equated with Dante Alighieri (who I like better). If Barry Allen reminds me a lot of Dante Alighieri, then I can’t crap on him any further and since his own storylines are far more memorable than Tim Drake’s then Barry’s might be the objectively better written of the two even if he’s not without his own flaws.

That both the Comedy and Barry’s storylines have aged well enough to be relevant again, hence why not only have the latter’s been adapted for other media repeatedly but also can be easily equated with the former.

ACG in the 2050s–American Anime

America might still be a world power but lower than it is today. Nonetheless given the loosening of censorship in America (as opposed to what’s going on in China due to the ban on certain media and stuff, could be wrong about it) and that America already has a substantial adult animation industry, it’s poised to be Japan’s successor in niche animation.

A good number of American animators grew up on anime and do reference it. There’s a growing body of American adult animations especially online where these can get away with graphic content more. Most notably Castlevania but Assassin’s Creed’s on its way. Samurai Jack was already adult animation when it returned to telly.

If Disneybounders are any indication, there’s already a substantial enough market for adult fans of animation as it has been before just not on the same scale as it is today especially with the Internet. In a sense, the 2050s global animation industry is going to be where Japanese animation’s at various periods. I expect the African animation industry to go the way of 1960s Japanese animation.

Mostly family friendly and tending towards merchandising. 2050s American animation is 2010s Japanese animation, still merchandisable but mostly aimed at niche fanatics. That may not always be the case especially if more adult African animations show up at film festivals but considering that an African country may one day give us the new Naruto as well as America happily indulging in more explicit animations, that’s when it’s appropriate to compare them to where Japan was at.

ACG in the 2050s–Post-anime updates

I already talked about a post-anime movement before but I think this is the movement that’ll go hand in hand with subsequent generations of ACG fandom especially when Japanese animation and comics industries have shrunk significantly to the point of being mostly historical pieces by then. Certain things can easily survive outside of Japanese anime, not just animal ears but also Stands where they can be rebranded as more generic witchcraft familiars.

Others would have to be reinterpreted more dramatically than what we’re getting today. If Devilman Crybaby’s a little unsettling to some already familiar with the source material (Ryo’s hair and all), a 2050s or 2060s version would be much worse. Given Japan’s growing irrelevance by the time China and India are already top economies, it shouldn’t be a problem to to retain the characters’ names in kanji.

But the setting would be more unrecognisable. Devilman Crybaby updates the source material with social media and rappers, 2050s Devilman would be set in China instead. Updating Devilman for 2050s sensibilities means that the 2050s could be very different from the 2010s, which in turn’s different from the 1970s (where Devilman’s set in). 2050s Devilman might not even be in anime style by then.

Again 2050s ACG sensibilities would differ a lot from 2010s even if some things like Stands and animal ears remain similar enough to their older counterparts in a way, others would be drastically different from now.

ACG in the 2050s–Away from Japan

That’s the thing to be expected should the Japanese animation and comics industries ever decline substantially. Worsened by that Japan’s own population’s declining real fast. There are attempts to curb or reverse this through accepting immigration and encouraging more lenient working hours for parents to interact with their children among other things.

But then again even a number of contemporary creators today could change their minds and careers at any point considering such working conditions and the like. Evangelion’s Hideaki Anno’s already working on live action productions and there’s this one Japanese cartoonist who now resides in France. Be prepared if another luminary shifts to another industry for good.

Younger generations would come to regard 2010s anime series in the same manner the 2010s generation regards 1970s anime. They know these existed and have some enthusiasm but the generation gap’s significant enough to allow divergent tastes at times. To generalise, 1970s otaku for all their perversions never expected their 1990s counterparts to care more about characters than stories.

The same generation in turn never expected their 2010s counterparts to care about being mainstream. I could be wrong in here but it’s hard to tell what 2050s anime fans could be into other than regarding Japan as a distant memory by then. It’s even likelier than they’ll accept Chinese animation more easily than we do, so.

ACG in the 2050s–Public Domain

Increasingly a lot of copyrighted stuff dating back from the 1920s up to the 1950s are in the public domain. This means writers are free to rework and appropriate stories and characters. This is practically Hiroki Azuma’s database theory taken to a logical conclusion as many of the original authors by then are long dead and both their estates and publishing houses have no rights and restrictions on them anymore.

To be fair, referencing and imitating stuff especially if it’s very inspiring or popular is inevitable. Given the nature of copyrights and that some cartoonists and authors refuse to have their works infringed in any way, such imitations are only acceptable to a certain point. That they’re tolerable when modified. It’s like coming up with a character whose familiar looks like Killer Queen. However instead of causing explosions, it’s coloured black and causes shadows.

Similar enough to invoke JJBA but dissimilar enough to not get sued. JJBA itself has had several characters’ names changed especially elsewhere to avoid infringing on their copyrights and trademarks. Maybe a Stand based on public domain folklore’s more sensible and that already happened before.

Even if increasingly a lot of franchises are public domain by the time I turn 60, considering that some of their estates still have a tight grip on them writers can ripoff characters and storylines they want to but only to a certain point. Many more would have to wait a little longer to get away with their plagiarism and stuff.

Just weird

Ever since reading the Teenage Mutant Ninja Turtles comics before, it’s shocking to see an April O’Neil who’s not only has dark curly hair (dark hair in general) but also be black on some occasions, many of these predating and existing almost independently of the better known 1987 cartoon. At least according to one of her creators, she was inspired by his girlfriend at the time who’s black.

To make matters worse, her own creators lived separately and were different enough to have conflicting ideas about her at all. For most of the part she became an effective blank slate for people who project their ideas and desires onto her beyond her being a reader/writer surrogate of sorts. Not that she’s a bad character but if we go by Scott McCloud’s opinions, she doesn’t have as much consistent details as other characters do.

Plus I have a weird feeling that if she remained black-haired in the 1987 cartoon as in the comics, she would’ve been mistaken for Lois Lane. After all both women are reporter, the former at least in the 1987 production. (Logically, Baxter Stockman would be Jimmy Olsen which is saying.)

Google Books on Bamileke colours

Colors in the arts of Africa. From prehistory to the present:

https://books.google.com.ph/books?isbn=2813002399 – Translate this page
Manuel Gutierrez , Michele Ballinger , Manuel Valentin – 2016 – Preview
The colors vary according to the cultures. Thus, the color of mourning for the Bamileke is dark blue, while among the Moundang of North Cameroon, widowhood is reported by. 9. The terms Kirdi and Habé designate for the Fulbe a set of populations whose common characteristic is not to believe in a religion of the Book. The etymology of these words meaning miscreant or pagan. “Kirdi” was taken over by Europeans in the nineteenth century to encompass …
Newsletter: Sociology, Ethnology

https://books.google.com.ph/books?id=u1zgAAAAMAAJ – Translate this page
1981 – Snippet view – More editions
Study of the use of English pidgin in a Bamileke village of western Cameroon whose vernacular language is Bangwa and the official language French. It is mainly used for • laughing or secreting. 2079. THE QUERREC UJ. Bilingualism and cultural specificity the denomination of colors among the Breton Trégor. In: TOR NAY (SJ ed.) See and name the colors … Etymology of the word Azelik, ancient village of the Air, of which only ruins remain.
Knowledge of the Arts – Issues 371-376 – Page 29

https://books.google.com.ph/books?id=gV1RAAAAYAAJ – Translate this page
1983 – Snippet view – More editions
However, it is worth highlighting the exceptional Bamiléké pearl throne that can be considered as the oldest and most beautiful of this type. Completely covered cylindrical bead embroidery of colored red, blue and dark black who disappeared before the end of the 19th century, the record consists of a human figure while the board this ceremonial seat rests on a leopard, animal emblem of this region. The god Gu (picture 1) or god of war of King Gheso

Les couleurs dans les arts d’Afrique. De la Préhistoire à nos jours:

https://books.google.com.ph/books?isbn=2813002399 – Translate this page
Manuel Gutierrez, ‎Michèle Ballinger, ‎Manuel Valentin – 2016 – ‎Preview
Les couleurs varient en fonction des cultures. Ainsi, la couleur du deuil pour les Bamiléké est le bleu foncé tandis que chez les Moundang du Nord Cameroun, le veuvage est signalé par du. 9. Les termes Kirdi et Habé désignent pour les Foulbé un ensemble de populations qui ont pour caractéristique commune de ne pas croire en une religion du Livre. L’étymologie de ces mots signifiant mécréant ou païen. « Kirdi » a été repris par les Européens dès le XIXe siècle pour englober …
Bulletin signalétique: Sociologie, ethnologie

https://books.google.com.ph/books?id=u1zgAAAAMAAJ – Translate this page
1981 – ‎Snippet view – ‎More editions
Etude de l’utilisation du pidgin anglais dans un village Bamiléké de l’Ouest du Cameroun dont la langue vernaculaire est le Bangwa et la langue officielle le français. Il est principalement utilisé • pour rire • ou > pour faire secret >. 2079. LE QUERREC UJ. Bilinguisme et spécificité culturellet la dénomination des couleurs chez les bretons du Trégor. In : TOR NAY (SJ éd. Voir et nommer les couleurs. … Etymologie du mot Azelik. ancien village de l’Air, dont il ne reste que des ruines.
Connaissance des arts – Issues 371-376 – Page 29

https://books.google.com.ph/books?id=gV1RAAAAYAAJ – Translate this page
1983 – ‎Snippet view – ‎More editions
Cependant, il convient de souligner l’exceptionnel trône perlé Bamiléké que l’on peut considérer comme le plus ancien et le plus beau de ce type. Entièrement recouvert de broderies de perles cylindriques de couleur rouge, bleu foncé et noir qui ont disparu avant la fin du 19e siècle, le dossier est constitué d’une figure humaine tandis que le plateau de ce siège d’apparat repose sur un léopard, animal emblème de cette région. Le dieu Gu (ill. 1) ou dieu de la guerre du roi Ghéso …

 

Mean Girls

I remember telling stories about this girl because she kept teasing me and disliked what I liked. I still don’t like getting teased by her but since she admitted being teased before and I that I do tease out of anger, especially whenever I remember such things at all I get the feeling that when people do tease and gossip it’s not always out of fun. In fact, they start teasing and gossiping whenever they’ve got a hot temper.

Strange as it sounds but if they’ve ever been chastised for being too emotional before and aren’t allowed to complain sometimes they have nothing else to do but spread rumours and tease others. According to one study, teasing’s sometimes used to communicate or admit negative sentiments in a way. Sometimes it needn’t to be anger. It could also be sadness or fear.

Whatever that negative emotion is, but like obsessing over violence such people who do gossiping and teasing might sometimes have difficulty finding socially acceptable outlets for expressing bad feelings of sorts, especially if these are stigmatised.