Some Musings on Genre and Adherence.

Yes, I know this post is long overdue, but once you slide off, it’s really easy to keep not posting. I am posting this now and not procrastinating (even longer) because once I get this up, I will return to posting. Expect some editorials on what I’ve been doing (miniatures mainly), and the promised “Geekhood in Israel” which will be interwoven with my own personal story of ascending to Geekhood Godhood, because it’s my story.

"Those Bloody Ruins!"

Speaking of stories (which is one of my favourite topics), you might remember my Micro-Fiction of the “Nameless man”. That was a homage, and as such, it really was a “genre” snippet.

Writing or telling in genre can be easy or hard. When your goal is to mimic and recreate a genre, it’s sometimes hard to not overdo it, to make it clear that you are drawing and referencing ye olde favourite genre while not being too hackneyed. It also keeps you very self-conscious, because genres are often less about what you tell and more about how you tell it; both the shape and form of the story, and the construction of the sentences. You really pay attention to every word.

Of course, some people just write, and since they think in this genre, whatever comes out will be of the genre, without them giving this much thought. But then, it’s not really homage, it’s just how they write.

Anime is a medium, but it also is a genre to a degree. It has tropes to itself, and certainly to its subgenres, such as “Determinator Shounen”, “Moe”, “High school”, “Dating sim romance”, etc. And part of what I’ve spoken about before regarding comedies, and how we’re all about the “insider jokes” to show and prove (even if only to ourselves) that we are “in the know”? That’s not just tidbits, it’s also the genre-trappings, the things that happen which show us we are actually watching something “of the genre”.

Anyway, here’s a small genre-entry. You guys shouldn’t have a hard time recognizing the genre; provided you like reading ;)

The God-Machines of Atria Crumbled.

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Jonathan Strange and Mr Norrell; Reading for Something Other than Story?

Supposedly, we read novels for the stories they contain. We read for the fiction, we read for the characters, we read for what happens, and we hope it will not only move us, but will interest us.

Words like “Atmosphere” are usually reserved more for our other senses: Movies, theatre, music. Yet, look at Jonathan Strange & Mr Norrell, by Susanna Clarke, where if you come reading the book solely for the story, you may very well leave satisfied, but you will also have to come equipped with considerable patience, whereas those who come for the atmosphere will be sated throughout the whole lengthy book (1,024 pages).

Whether the book gives the atmosphere prevalent in the period it occurs (early 19th century) I do not know, but it is saturated with atmosphere. The language and spelling used also calls back to that used in England a couple hundred years ago, as reading Hume‘s “A Treatise of Human Nature” would shew you.

Furthermore, the book makes extensive use of footnotes, by the author of the text (whoever that is), in which we both learn (fictional)┬áhistorical details, mainly of magic, and old fables from the world Clarke had crafted. These footnotes sometimes go on for several pages, but the content they add is both charming and gives off the sense that this is a semi-academic write-up on the topic, which considering Mr Norrell’s nature, is not entirely misplaced.

I’ve recently re-read the book, which indeed was somewhat of an undertaking, and surprisingly, it wasn’t as slow as I have remembered, but it was still somewhat slow. Considering the length of the book, if you look at a certain percentage of a book as exposition, then this book’s may be longer than most people would accept. You see, while what is happening in the beginning of the book is definitely interesting, it is also quite slow.

The first section begins with a quote from later in the book, regarding Mr Norrell, who is the main character in the first section, which goes, “He hardly ever spoke of magic, and when he did it was like a history lesson and no one could bear to listen to him.” Now, to be frank, Mr Norrell is an unsympathetic little git whom none of you would like. He is tedious and petty, but at least in that section much of the emphasis is placed upon the social circles of London at the time.

Once we reach Jonathan Strange, the story picks up considerably, being more interesting, being more action-packed, with conflicts between people and nations, and magical mischief taking place. Though the book does sag again slightly for a while towards the end, but it contains depths upon which to feast yourself, and the pace may be intentionally slow.

Now, if you read for the story, which you look at as what “happens” in the book, then it may take a while for it to get going, but if you are willing to sit back and enjoy the atmosphere, the panorama laid out before you, then you’re in for a treat, at least, if you like that sort of atmosphere. It’s a seven-course meal, and stamina is necessary. The story is not bad, but it’s not the book’s strongest suit, which is the feel it invokes.

Now, for a slight comparison, look at movies, which we often go to not for the message they carry, or the story they tell (which is what I accused Watchmen of lacking), but for the emotional response they raise within us. Sometimes they do it with cheap tricks we can see, and sometimes we are affected nevertheless. Eastwood’s Gran Torino is an example for a movie that I liked, regardless of any message it may tried to pass. It hit you, and that was enough. That it was well crafted was a bonus.

Scores? Jonathan Strange & Mr Norrell wins 5 barometers, and 3-3.5 on the story front, and Gran Torino lays out 4 punches to the gut.

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