#Self-Aware Bram Stoker
Text
The Purple Sign. Part XI
Self-Aware! Bram Stoker x GN! Reader
Description: There is a Purple Sign on your door. Part XI
Fluff. Bram pampering.
Warning: OOC. English is my second language.
You almost entered your bedroom, when Aya run in your room right before you. She was holding The Purple Sign in her hands. Girl turned her head and hold the sign towards you. You smiled.
"Got it, Aya. So, what do you want to do first?"
But girl shook her head.
"It's not for me. It's for Bra-chan."
You raise an eyebrow. Bram has never used The Purple Sign before.
“Did Bram asked you to do it? To bring The Purple Sign on his behalf?” you felt a need to clarify.
Aya’s smile disappeared. Now she looked like she was caught stealing candy.
“Kind of…”
“Kind of.” Your voice sounded flat. Aya looked away, embarrassed.
“He looked sad. I thought that he needs it.” Girl became quiet.
You leaned towards Aya and softly asked.
“Are you sure? You sure? That Bram needs and wants it?”
She knew that there was one rule about The Purple Sign, which you could never break.
Consent.
Purple Sign was not just a chance to spend time together.
It was a permission for you to “get into” BSD Cast’s personal space, mind and thoughts.
It was their chance to be vulnerable.
You did not accuse Aya of anything right now. You were letting her explain/
Aya stepped from one leg to another and nervously looked at you.
“Last week he was silent. Too silent.” Girl looked at The Purple Sigh. “It wasn’t his normal silence. It was silence from that world… Back in our previous world… He was quiet. Like he didn’t care that he is… was…” you nodded, showing, that you knew, what she wanted to say. Aya looked at you with gratitude. She continue.
“All of us felt broken at least once back there. However, Bra-chan... I just thought… He needs to talk about it. He will not tell me anything. He didn’t want to burden me.”
You closed your eyes. Aya’s sadness looked genuine. She was worried.
Bram became her guardian. Her father.
Oda did his best to look after kids (and teens). But you can’t just treat him as the babysitter.
You took the Purple Sigh from her hands.
“I will go and talk to him”
_______
Basement was dry. It was not cold, but chilly.
You were standing before Bram’s door. On your back, you had your backpack with Purple Sig, your laptop, phone and few pairs of headphones.
You raise your hand and knock.
Silence.
You knocked again. And called.
“Bram, it’s me, [Y/N]!”
Silence. Few soft steps.
And Bram Stocker opened the door.
“Little Bat? Nice to see you.”
Bram’s voice was calm and emotionless (slightly). If you did not knew him, you would assume that he was sarcastic. However, you have knew him for many month. He was happy to see you. His eyes soften for a bit. He slightly lean forward and corners of his lips twitched up.
You wave at him.
“Hey, Bram, got a minute?”
Vampire Lord/Ability User nodded.
“Yes. Do you need something?”
Without second thought, you took off your backpack and take away The Purple Sign. Wooden “accessory” on a neat chain dangled in your hold. Bram raise an eyebrow.
“Aya came to me with this earlier. She said that you need it.”
Bram’s posture changed. He looked more nervous. Not angry. More like someone, who didn’t want to have their secrets revealed.
“Where did she get this idea?” Bram asked. You mentally cheered. It seems that you can make Bram open up a little.
“She told me, that you were silent. As silent as back there… And Neither Aya or I could let our friend feel blue or lost.”
Bram looked away. He looked troubled.
“I am sorry for worrying you two. It was not my intention.”
You sigh quietly. No one wanted to worry anyone. By doing that, they boiled in their sadness. Nevertheless, you loved everyone from BSD Cast.
“I know. Bram, if you want to talk, I am here.”
Bram shift his gaze to the Purple Sigh.
“Or we can simply hang out. You don’t need to open up, if you don’t want to. Just remember, that I am here.”
Vampire took the Sign from your hand and put it on his door.
“Come in, Little Bat.”
_________
Bram was a heating pad. Kind off. He did not breathe, was surprisingly warm for a vampire and his body was softer, than you would expect from a vampire.
You sighed and closed your eyes. You were laying on his chest, while Bram himself was laying in his coffin. Coffin,of course, was open.
Bram was talking.
“I didn’t care about being fictional.” Bram’s chest moved up and down. “I promise, I am not mad about it. But, I am mad, because I remembered about my family.”
You silently nuzzle Bram’s shoulder. You choose to remain silent.
Bram’s long fingers ran through your hair.
“I was alone. A talking head. Do you want to know, why I did not ask Fukuchi to remove the sword?” Bram answered his own question, without letting you speak. “I did not want to go on a rampage.”
Bram chucked. The laugh was bitter.
“And you knew what? I am still dangerous. I still can kill everyone. I am not human!”
Bram looked at you. He whispered.
“Why you are not afraid of me. Little Bat?”
You tilt your head. After few minutes of silence, you spoke.
“I trust you. Our looks or dietary habits didn’t make us human. Our minds, hearts, souls, personality… That is what we called humanity. We change ourselves. We can became better or worse. And you… You are a good person. You are a good father, Bram. And a great friend.”
For a few moments, everything was silent.
Then Bram hug you tighter. He took your hand and lightly kissed your knuckles.
“I needed it, Little Bat. Thank you”
You smile softly.
“You are welcome, Bram”
_________
It was the middle of the night.
You were laying on Bram’s chest.
Your eyes were closed.
.Both of you had headphones on. With help of duel headphone jack, you were listening to music. Together.
Two real persons enjoying mu
sic together. As it should be.
You almost entered your bedroom, when Aya run in your room right before you. She was holding The Purple Sign in her hands. Girl turned her head and hold the sign towards you. You smiled.
"Got it, Aya. So, what do you want to do first?"
But girl shook her head.
"It's not for me. It's for Bra-chan."
You raise an eyebrow. Bram has never used The Purple Sign before.
“Did Bram asked you to do it? To bring The Purple Sign on his behalf?” you felt a need to clarify.
Aya’s smile disappeared. Now she looked like she was caught stealing candy.
“Kind of…”
“Kind of.” Your voice sounded flat. Aya looked away, embarrassed.
“He looked sad. I thought that he needs it.” Girl became quiet.
You leaned towards Aya and softly asked.
“Are you sure? You sure? That Bram needs and wants it?”
She knew that there was one rule about The Purple Sign, which you could never break.
Consent.
Purple Sign was not just a chance to spend time together.
It was a permission for you to “get into” BSD Cast’s personal space, mind and thoughts.
It was their chance to be vulnerable.
You did not accuse Aya of anything right now. You were letting her explain/
Aya stepped from one leg to another and nervously looked at you.
“Last week he was silent. Too silent.” Girl looked at The Purple Sign. “It wasn’t his normal silence. It was silence from that world… Back in our previous world… He was quiet. Like he didn’t care that he is… was…” you nodded, showing, that you knew, what she wanted to say. Aya looked at you with gratitude. She continue.
“All of us felt broken at least once back there. However, Bra-chan... I just thought… He needs to talk about it. He will not tell me anything. He didn’t want to burden me.”
You closed your eyes. Aya’s sadness looked genuine. She was worried.
Bram became her guardian. Her father.
Oda did his best to look after kids (and teens). But you can’t just treat him as the babysitter.
You took the Purple Sign from her hands.
“I will go and talk to him”
_______
Basement was dry. It was not cold, but chilly.
You were standing before Bram’s door. On your back, you had your backpack with Purple Sign, your laptop, phone and few pairs of headphones.
You raise your hand and knock.
Silence.
You knocked again. And called.
“Bram, it’s me, [Y/N]!”
Silence. Few soft steps.
And Bram Stocker opened the door.
“Little Bat? Nice to see you.”
Bram’s voice was calm and emotionless (slightly). If you did not knew him, you would assume that he was sarcastic. However, you have knew him for many month. He was happy to see you. His eyes soften for a bit. He slightly lean forward and corners of his lips twitched up.
You wave at him.
“Hey, Bram, got a minute?”
Vampire Lord/Ability User nodded.
“Yes. Do you need something?”
Without second thought, you took off your backpack and take away The Purple Sign. Wooden “accessory” on a neat chain dangled in your hold. Bram raise an eyebrow.
“Aya came to me with this earlier. She said that you need it.”
Bram’s posture changed. He looked more nervous. Not angry. More like someone, who didn’t want to have their secrets revealed.
“Where did she get this idea?” Bram asked. You mentally cheered. It seems that you can make Bram open up a little.
“She told me, that you were silent. As silent as back there… And Neither Aya or I could let our friend feel blue or lost.”
Bram looked away. He looked troubled.
“I am sorry for worrying you two. It was not my intention.”
You sigh quietly. No one wanted to worry anyone. By doing that, they boiled in their sadness. Nevertheless, you loved everyone from BSD Cast.
“I know. Bram, if you want to talk, I am here.”
Bram shift his gaze to the Purple Sign.
“Or we can simply hang out. You don’t need to open up, if you don’t want to. Just remember, that I am here.”
Vampire took the Sign from your hand and put it on his door.
“Come in, Little Bat.”
_________
Bram was a heating pad. Kind off. He did not breathe, was surprisingly warm for a vampire and his body was softer, than you would expect from a vampire.
You sighed and closed your eyes. You were laying on his chest, while Bram himself was laying in his coffin. Coffin,of course, was open.
Bram was talking.
“I didn’t care about being fictional.” Bram’s chest moved up and down. “I promise, I am not mad about it. But, I am mad, because I remembered about my family.”
You silently nuzzle Bram’s shoulder. You choose to remain silent.
Bram’s long fingers ran through your hair.
“I was alone. A talking head. Do you want to know, why I did not ask Fukuchi to remove the sword?” Bram answered his own question, without letting you speak. “I did not want to go on a rampage.”
Bram chucked. The laugh was bitter.
“And you knew what? I am still dangerous. I still can kill everyone. I am not human!”
Bram looked at you. He whispered.
“Why you are not afraid of me. Little Bat?”
You tilt your head. After few minutes of silence, you spoke.
“I trust you. Our looks or dietary habits didn’t make us human. Our minds, hearts, souls, personality… That is what we called humanity. We change ourselves. We can became better or worse. And you… You are a good person. You are a good father, Bram. And a great friend.”
For a few moments, everything was silent.
Then Bram hug you tighter. He took your hand and lightly kissed your knuckles.
“I needed it, Little Bat. Thank you.”
You smile softly.
“You are welcome, Bram”
_________
It was the middle of the night.
You were laying on Bram’s chest.
Your eyes were closed.
Both of you had headphones on. With help of duel headphone jack, you were listening to music. Together.
Two real persons enjoying music together. As it should be.
#self-awarebsd#self-awareau#bungou stray dogs au#bsd#bungou stray dogs#bsd anime#bsd x gender neutral reader#gender neutral reader#bram x reader#bsd bram#bram stoker bsd#bsd bram stoker#bram stoker x reader#Self-Aware Bram Stoker
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I have to admit I do SEE why director's focus in on Dracula in the lens of vampires being a metaphor for indulging in societies hidden desires. Like Lucy's description of her experience is I think supposed to read as sexual (in a horrible way!), only she doesn't know enough about her own sexuality to even understand that herself. That's there. My issue is in directors (Francis Ford Coppola) trying to give it the vibes of liberation. We don't have to share in Bram Stoker's horror at a seductive foreigner being intimate with a good English woman under the nose of her good English aristocratic fiance. We don't have to and I understand the desire to subvert that into something more interesting. However, even if Lucy is not aware enough of her own situation to be horrified by it, she is clearly being groomed and taken advantage of by a sexual predator who is a vampire. It's not liberation she is essentially in a drugged state for all these encounters. And I don't want to get too into it yet but she receives very earnest help, but very very flawed help. And the reason it's flawed is because Lucy is never allowed to be fully aware of her situation. The commentary I want to see in a Dracula story is not about how she actually wanta Dracula's advances. I want to see the commentary being about how being systematically denied knowledge of her own body, her own self, and the means to take care of herself by her society and by people who genuinely love her has primed her to be the perfect victim. That's the death of the author interpretation I want personally.
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What characters/references do you hope to see in a possible Order of the clock tower arc of what do you think Agatha will be like? Based on the few appearances she has I think she’ll be a MoriDazaiFyodirSasaki type but you know.
Kafka Asagiri, by his own admission, draws inspiration for his characters from their namesakes' works and lives:
I draw inspiration not only from the author themselves, but also from their works. I like to look at particular scenes from those works of literature to then come up with the character [for my story]. For example, if we take Fyodor and look at this character, he is completely different [than the real-life author]. He has absolutely no similarities to Dostoevsky. I took inspiration from Dostoevsky's book, The Brothers Karamazov, in which there is a scene where Ivan has a conversation with the devil. I based Fyodor off of this.
I've noticed that his Western characters tend to resemble more closely their namesakes' works than their namesakes' lives. Which isn't to say the Japanese characters do not also borrow from the namesakes' works (they do, prolifically; I can cite the source material for much of Dazai's more iconic dialogue).
But in addition to Fyodor, who Asagiri acknowledged above more closely resembles a character than the author himself, Francis resembles Jay Gatsby; Louisa resembles Jo March; Steinbeck resembles Tom Joad; HP Lovecraft resembles Cthulu; Bram Stoker resembles Dracula— etc.
To some degree, the distinction isn't especially meaningful. Scott Fitzgerald, for example, clearly drew from himself and Zelda for Jay and Daisy, even using quotes from Zelda for some of Daisy's dialogue. Further, I'm sure my impression that the Japanese characters more closely resemble their authors might be related to the popularity of autobiographical fiction in modern Japan. And there are, of course, exceptions (such as Ranpo).
All of the above to say: I'm almost certain that most of Agatha Christie's personality is drawn from Judge Wargrave from And Then There Were None rather than the author herself, who preferred to project a more understated, self effacing presence. (Although, bsd!Agatha's title is a reference to Dame Agatha Christie's, and her reclusiveness could be modeled after irl!Agatha too.)
I'm not sure how familiar the fandom is with Wargrave; I studied And Then There Were None in middle school, but I don't know if it's still commonly taught or not. He's decisive, commanding, cold, calculating, and deeply sadistic. He acts as the narrative's detective, judge, jury, and executioner but only as a pretense for satisfying his own self-admitted lust to kill. He claims he only desires to murder the guilty, but he also appoints himself the moral arbiter of guilt and meters out suffering relative to the degree to which he's decided the others are guilty.
It's nakedly apparent that he is not interested in justice but in pageantry. He curates the setting and plays with the others like they're dolls, or more aptly, like he's a well-fed outdoor cat and they're the local bird population. In that sense, he isn't like any of the characters you mention above. He's a mastermind like them, sure, but he lacks Mori and Dazai's self awareness and insight, and Fyodor and Sasaki's ideological passion. There is nothing he seeks to protect, like Mori and Dazai, nor any institutions he seeks to destroy, like Fyodor. While he wants you to think he's avenging unpunished crimes like Sasaki, the justice he delivers is more arbitrary.
He just wants blood and artistry, but he also wants moral authority over those he deems beneath him even though he knows he isn't innocent. I think we've already seen that in bsd!Agatha. In Dead Apple, she sits in her ornate throne and, with serenity and pleasure, informs Ango that she will destroy Yokohama at dawn. She has her perfunctory justification (to stop the spread of Shibusawa's fog), but her eagerness, projected authority (over a foreign government, no less), imprecision (bombing the entire city rather than seeking to subdue or execute the perpetrating skill user), and method of execution (launching a convicted skill user to suicide bomb the city) speak to her bloodlust and sadism. When Shibusawa is killed and her attack is recalled, she openly pouts because she was looking forward to the destruction.
Quite frankly, I'm not convinced Agatha would make a compelling primary antagonist. She doesn't have any interest in Yokohama absent the opportunity to enact mass murder from a distance, and only if there's some national security justification, however superficial. She's modeled after a mastermind, but her position is too high, and her sights too macro to make use of Judge Wargrave's detailed pageantry.
The One Order may be enough to coax her attention, but again, her attention is too impersonal, and her sadism is too broad for the relationship-based conflicts on which bsd is built. She will not engage directly if she does engage, but by proxy. It's interesting to watch Fyodor and Dazai play their hybrid 4D chess-Go game because of their chemistry and understanding of themselves through the other. Agatha will not descend from her literal and figurative tower to meet them on any meaningful interpersonal level; Judge Wargrave certainly doesn't. Instead, she works best as a specter over Yokohama; an existential threat from a more powerful foreign power.
There are more than a few reasons to involve her more in the plot, but not on her own; there would need to be another, more intimate antagonist for bsd's structure to work. That said, I would love a secondary conflict based on foreign policy and statecraft; I thrive there, and I've been so hungry for more information about the bsd universe's distribution of powers and interests. Maybe a foreign conflict will erupt and new characters who can match Agatha's level of state power will be introduced because of the One Order; or Ango's treason; or the sudden global spread of vampirism that crippled several national governments; or the leggy calamity that was just extrajudicially released from imprisonment by a 10 y/o to whom he's now loyal; or the internationally notorious political assassin Mori is hiding in his basement; or the prior collapse of Standard Island; or Chuuya's mass murder of MANY foreign military guards in Meursault ft. his feral poses for the camera; or the destruction of what seems to be the most prominent if not only prison equipped to contain skill users given they transported Russian and Japanese nationals to its location off the coast of France; or the assassination of the general of the one world army the United Nations just formed and now can't dissolve; or that said general was assassinated within, like, a day of his appointment by someone who should not be under public scrutiny given he previously assassinated multiple Japanese leaders; or any number of recent canon events.
So, there's certainly fertile ground for a higher level conflict, and Agatha might work if set against other, similarly positioned state actors, but I'm not sure how interested in or equipped Asagiri is to write political intrigue. Or where the international community and Mushitaro should even begin re: addressing what just happened.
Notwithstanding any of the above, I do hope bsd!Agatha has a much younger trophy husband just like her namesake.
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The more I think about the Dracula novel the closer I get to wanting to dismantle the story and put it back together again in a way that would kill Bram Stoker if he wasn't already dead
He's not getting any less dead though so my antagonistic approach to the text can't kill him
When I say antagonistic I mean:
A story inspired by thoughts of how the Queen should get snacked on by Dracula along with the British aristocracy, actually, because for all the xenophobic imperialist mental backdrop of a book where the enemy is a spooky foreign dude, the British empire was bloodier than one single vampire in a silly little castle (even if we focus just on the imperial core, there's plenty to zoom in on with the British industrial revolution, e.g. "the machinery of capitalism being oiled with the blood of the workers", the poverty and deprivation of the working class, everyday exploitation with the added bonus of young men being asked to go off and die in wars because people in silly hats are having a pissing contest). Once Dracula is finished using them as a juicebox he should get beheaded in a worker's revolt because he would underestimate the courage and resiliency of the lower classes and expect to just rule over them. And he doesn't have an iota of awareness of how to manipulate the levers of power in a complicated post-feudal social system he ate most of the rulers of. (For context, I am Irish and a socialist and I will go toe to toe with the fear-laden mental landscape of one of the most famous Dubliners to ever write a novel where British aristocrats are some of the good guys.)
Dracula creeping on Jonathan Harker is spooky in the novel but I also don't respect Stoker's intent there. The overtones of unsavoury interest as supposed to imply some sort of homosexual proclivities was then part of the horror especially for audiences of the time, and I don't want to unquestioningly reproduce this dynamic because sincerely fuck that. The fact that Dracula is queer-coded as a villain as part of what makes him villainous is not something I care to take at face value and reproduce. Potentially writing Dracula/Jonathan Harker where Dracula isn't a manipulative creep engaging in subtle psychological abuse and torture of Jonathan is completely contrary to canon characterisation but there's been a long line of Dracula adaptations with a tenuous relationship to canon and I want to break free of the confines of the text and upend its assumptions. I want an aggressive reading/transformative work that disregards the author's intent to create something different from it, and maybe if I have time I will do it myself. Move over fear of the other we have fear of the self (as being attracted to the same gender) to tangle with and then overcome.
The least antagonistic to the text would be fun little bad ends where the failure of the heroes' mission is part of the enjoyment. I'm gonna write a bit of spooky sexy turning characters into evil vampires who are gleeful about being horrors of the night, as a treat.
I enjoy(ed) reading Dracula but I also want to explode it into its constituent atoms and reassemble them in a configuration that suits me more
#Dracula#Bram Stoker#Harkula#Sometimes fandom is a conversation between you and a long-dead author where you are insulting him#Dracula daily#1897 novels that make my brain rattle against the confines of my skull
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Congrats to Bram stoker for the funniest fucking sentence I've read all week. Did not think he'd have this level of self awareness
Seeing from his violent demeanour that he was English, they gave him a ticket for the furthest station on the way thither that the train reached.
AUGUST 12, DAILY DRACULA
#dracula daily#dracula posting#is it as funny when not written by an iconic 1800s english author? no#but with that context it was hilarious#(i am very tired. shh)#my friend jonathan harker
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I saw a trailer for a Renfield movie coming out in 2023 following, obvs, renfield, but in the service for his dark master Dracula. As the resident Dracula poster on my dash, i wanted to know your thoughts.
haha i've actually avoided talking about it bc the tag seems quite polarised and i do not want to attract debate lmao
a lot of people have had concerns about renfield as presented in the book vs this film, which is understandable, and i'm not gonna list them all here bc other people more articulate than me have already been posting in the tag. on the other hand, i genuinely really do like nicholas hoult as an actor and nic cage as (finally a non-romance novel) dracula is so fucking weird. chef's kiss. i think the overall vibes are a campy romp, with a self awareness that doesn't take itself too seriously. This is something i feel has been missing from the dracula ouvre for a while, yet at the same time this comes at the expense of, well, renfield's whole character. i think a comedy with canon renfield would be a very black comedy indeed and they've clearly gone for mass appeal and so it comes across that they've essentially invented a character for the film.
i think, overall, i probably will go to see it! on one hand it looks like a fun film that isn't supposed to be taken too deeply and on the other i wish this was a film about rm renfield from bram stoker's hit 1897 novel dracula, who has clearly been sacrificed in order to foster a lighter tone. there are other points i could be more articulate about, but at this point, jury's still out, and i'll try and withold judgment until i've seen it
#i am........hoping..... that mental illness won't be played off for cheap laughs although i think this film does away with it altogether#which is a whole other kettle of fish#also resident dracula poster......CRY!!!! an honour.....#but yeah this campy take is something i really want to see from more dracula media in the future tbh#i'm not articulate on renfield's character and i didn't really analyse the trailer particularly hard so forgive me lol#sorry to people with the dracula tag blacklisted i would tag but i don't want this in the tag#wow i said tag 3 times. but yeah overall? i'm in 2 minds
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well the author also quotes mina asking the men to kill her if she turns and his commentary is “In her acceptance of patriarchal ideology Mina asks that, if she transgresses patriarchal norms by becoming sexually assertive, the men should return her to normality–rendering her sexually passive, submissive, receptive”. but he also interprets jonathan not remembering what happened to him as lying for having been "effeminate" and that his disability came from not being able to cope with seeing that women can be masculine, including mina, and that he gets better only when she starts acting more womanly (after getting bit). well i don't wanna flood your inbox with more of the choice takes so if you're interested it's called "Vampiric Affinities". oh also careful because it victim blames a lot.
Oh god, okay, I see what's happening now.
This is why I kept hoping he would define any terms, or make any meaningful connections between his quoted evidence and his stated conclusions.
Dare I ask how old this essay is-
2005?
CAMBRIDGE 2005???
Fucking hell.
Sorry, sometimes I forget how... abhorrently pervasive rape culture was in our society at that time, without people so much as aware of it.
...god.
I see how this happened now, but it's so agonizingly difficult to remember that the entire idea that you can get PTSD from anything short of being in a war zone is still broadly debated in culture today, and thus things which seem self evidently to be symptoms of trauma in Mina's behaviour must be explained as subconscious desire in a framework that does not allow for the existence of unwanted compulsion.
It's... ideologically consistent. I'll give it that. More than most victim blaming has going for it, I suppose.
What a terrifically low bar.
Anyway, at least today's literary critique isn't as deranged.
.......also a low bar.
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Holidays 5.26
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Thargelia (Birthday Festival of Apollo & Artemis; Ancient Greece)
Totally Random Day (Pastafarian)
World Hunger Day (Pastafarian)
Zachary, Bishop of Vienne (Christian; Saint)
Lucky & Unlucky Days
Butsumetsu (仏滅 Japan) [Unlucky all day.]
Premieres
Absolutely Free, by Frank Zappa and the Mothers of Invention (Album; 1968)
American Pie, by Don McLean (Song; 1971)
Avengers Assemble (Animated TV Series; 2013)
Beatlemania! (Broadway Musical Tribute; 1977)
Big Jake (Film; 1971)
Buddy of the Apes (WB LT Cartoon; 1934)
Caspar (Animated Film; 1995)
Dracula, by Bram Stoker (Novel; 1897)
Flying Home, recorded by Lionel Hampton (Song; 1937)
Games People Play, by Eric Berne (Self-Help Book; 1966)
God’s Men, by Pearl S. Buck (Novel; 1951)
Johnny Mnemonic (Film; 1995)
Kung Fu Panda 2 (Animated Film; 2011)
Mad Love (Film; 1995)
Pirates of the Caribbean: Dead Men Tell No Tales (Film; 2017)
Sgt. Pepper’s Lonely Hearts Club Band, by The Beatles (Album; 1967)
Sourcery, by Terry Pratchet (Novel; 1988) [Discworld #5]
The Whole Truth and Nothing But, by Hedda Hopper (Memoir; 1963)
X-Men: The Last Stand (Film; 2006)
Yellow Submarine, recorded by The Beatles (Song; 1966)
Today’s Name Days
Alwin, Philipp (Austria)
Anamarija, Filip, Zdenko (Croatia)
Filip (Czech Republic)
Beda (Denmark)
Miina, Minna, Valme, Valmi, Vella, Velli, Vilma, Vilme (Estonia)
Miina, Mimmi, Minna, Minni, Vilhelmiina, Vilma (Finland)
Bérenger (France)
Marianne, Philipp (Germany)
Alfaios, Karpos, Sinesios (Greece)
Evelin, Fülöp (Hungary)
Filippo, Pellegrino (Italy)
Eduards, Edvards, Varis (Latvia)
Algimantas, Eduardas, Milvydė, Vilhelmina (Lithuania)
Annbjørg, Annlaug (Norway)
Beda, Filip, Marianna, Paulina, Więcemił, Wilhelmina (Poland)
Carp (România)
Dušan (Slovakia)
Felipe, Mariana (Spain)
Vilhelmina, Vilma (Sweden)
Felipe, Flip, Phil, Philip, Philippa, Phillip (USA)
Today is Also…
Day of Year: Day 146 of 2024; 219 days remaining in the year
ISO: Day 5 of week 21 of 2023
Celtic Tree Calendar: Huath (Hawthorn) [Day 13 of 28]
Chinese: Month 4 (Ding-Si), Day 8 (Jia-Shen)
Chinese Year of the: Rabbit 4721 (until February 10, 2024)
Hebrew: 6 Sivan 5783
Islamic: 6 Dhu al-Qada 1444
J Cal: 25 Bīja; Foursday [25 of 30]
Julian: 13 May 2023
Moon: 42%: Waxing Crescent
Positivist: 6 St. Paul (6th Month) [St. Monica]
Runic Half Month: Odal (Home, Possession) [Day 2 of 15]
Season: Spring (Day 68 of 90)
Zodiac: Gemini (Day 6 of 32)
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We're in a weird place with art now where so much of it is meta parody, or reactions to 20th century things that we didn't realize were racist and stupid until just now.
Critics complain about how this is the downfall of Western Civilization, because they're all 56 and can't conceive of a world where acclaimed auteur filmmaker Steven Spielberg is lazily producing Michael Bay movies about toys.
But here is the thing.
This has happened before.
A lot.
Beethoven's era was full of instrumental Mozart commentaries. The first big novel boom from like 1830 to 1880 produced another 100 years of people riffing on their fancy repressed tropes. All of those lost short films from the first two decades of cinema were poking fun at what they considered lame and goofy hack writing in popular plays from the Romantic and Victorian eras. People published entire tomes of sarcastic referential poetry in the 1890s. Mark Twain's whole thing was making fun of and one-upping the typical American literary genres of his day. "Dracula" exists because Bram Stoker thought all the previous horror fiction was trashy loser garbage.
Shakespeare himself was often making fun of poetry and stage play tropes he thought were played out, across art in multiple languages. And that was in 1600.
There are Ancient Greek playwrights and philosophers whose entire extant body of work is just them calling previous artists sad losers who wrote stupid crap.
This is not a new thing. It comes and goes in waves.
The post-WWII period in the West farted out more art than probably the rest of human history combined. It makes sense that we'd eventually reach a point where we'd slow down and point at all of it and say, "Would you look at this pretentious idiot shit? Lol."
That's not society collapsing. That's society redefining itself, against what has previously been established. Which is what societies do. Over and over again. Like the sort of thing Steven Spielberg used to do with his movies, poking fun at and doing better than the science fiction and horror and war movies he grew up with.
I'm sorry that you're mad that there will never be another movie like Beetlejuice ever again. But it was a product of its time, and maybe the woman writing parody fan-fiction about it on AO3 has some valid points to make.
Commentary and parody and remixes are also completely valid art forms. Like good-old-fashioned media criticism itself.
Gain some self-awareness and settle down, Gen X.
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Penny Dreadfuls
The Accidental Murderess by Missus E. Mooney
"Accidental Murderess" is a short story by Missus E. Mooney that revolves around a woman who finds herself in a precarious situation after unintentionally causing someone's death. The narrative likely explores themes of guilt, responsibility, and the moral dilemmas faced by the protagonist in dealing with the aftermath of such an even
The Gift Of The Sailor, aka The String of Pearls, aka Sweeney Todd the Demon Barber of Fleet Street.
"The String of Pearls," also known as "The Gift of the Sailor," is the serialized story that introduced the infamous character Sweeney Todd, the Demon Barber of Fleet Street, to the public. It was initially published in 1846-1847 as a penny dreadful, a type of sensational fiction popular in Victorian England.
The story revolves around Sweeney Todd, a barber in London who murders his customers by pulling a lever that sends them tumbling down a chute to their deaths. With the assistance of Mrs. Lovett, who runs a pie shop below his barber shop, Todd disposes of the bodies by turning them into meat pies.
The tale is known for its macabre and dark themes, depicting the horrors of urban life and the criminal underworld in Victorian London. Over time, it has been adapted into various stage productions, movies, and other forms of media, becoming a classic part of horror literature.
Varney The Vampyre or The Feast of Blood by Thomas Preskett Prest
"Varney the Vampyre; or, The Feast of Blood" is a serialized gothic horror story published in the mid-19th century. It was written by James Malcolm Rymer and Thomas Peckett Prest, though Rymer is often considered the primary author.
The story follows the adventures of Sir Francis Varney, a vampire who preys on the living for sustenance. Varney is portrayed as a tragic figure, struggling with his vampiric nature while trying to find a cure for his condition. The narrative includes elements of romance, mystery, and the supernatural, with Varney encountering various challenges and adversaries throughout the tale.
"Varney the Vampyre" is considered one of the early works that contributed to popularizing vampire fiction in English literature. It was initially published as a series of pamphlets known as "penny dreadfuls," catering to the Victorian-era audience's taste for sensational and thrilling stories. The character of Varney has since become a notable figure in vampire lore and influenced later vampire fiction, including Bram Stoker's "Dracula."
I Am – John Clare
"I Am" is a famous poem by John Clare, an English poet from the 19th century. In this poem, Clare expresses his connection to nature and his sense of identity within it. He explores themes of self-awareness, existence, and the interconnectedness between himself and the natural world.
The poem reflects Clare's deep appreciation for the countryside and his understanding of his place within it. It speaks to his personal experiences and his profound connection to nature, emphasizing how his very being is intertwined with the landscape, animals, and elements surrounding him.
The opening lines of the poem "I Am" are:
"I am—yet what I am none cares or knows; My friends forsake me like a memory lost: I am the self-consumer of my woes— They rise and vanish in oblivious host,"
These lines set the tone for the introspective nature of the poem, delving into the poet's inner thoughts and feelings about his existence. Throughout the verses, Clare contemplates his identity, his place in society, and his relationship with the natural world.
Overall, "I Am" is a reflective piece that captures John Clare's deep introspection and his profound connection to nature as an integral part of his being.
Getting Away With Murder by Mary-Ann Verkuyl
"Getting Away With Murder" is a book by Mary-Ann Verkuyl that explores the psychology and behavior of killers who have successfully evaded capture or conviction for their crimes. It delves into various case studies and examines the tactics and strategies these individuals employed to avoid being caught.
The book likely delves into the intricacies of criminal investigations, the mistakes made by law enforcement, and the psychological aspects of criminal behavior that contributed to these killers escaping justice. It might also discuss the impact on the victims' families and the challenges faced by authorities in solving such cases.
A Better Life by Mary-Ann Verkuyl
"A Better Life" by Mary-Ann Verkuyl is a self-help book that delves into personal development and growth. It explores various strategies and techniques aimed at helping individuals improve their lives, achieve their goals, and find fulfillment. Verkuyl likely discusses topics such as setting meaningful goals, overcoming obstacles, cultivating positive habits, managing time effectively, and enhancing overall well-being. The book might offer practical advice, actionable steps, and insights to empower readers to make positive changes in their lives and create a better future for themselves.
How Sweet The Spirit of Those Departed by Connie Spears.
"Sweet the Spirit of Those Departed" by Connie Spears is a novel set in the Victorian era, centered around Penny Dreadfuls, which were cheap sensationalist fiction publications. The story likely delves into the world of Penny Dreadfuls, exploring themes of mystery, suspense, and possibly the supernatural, typical of the genre. The title itself suggests a focus on departed spirits or the afterlife, implying a potential exploration of spiritual or ghostly elements within the narrative.
Stage Door Secrets by Connie-Spears
"Stage Door Secrets" by Connie Spears is a romance novel that follows the story of a theater actress named Jenna Matthews. Jenna is determined to make a name for herself in the competitive world of Broadway. However, her plans take an unexpected turn when she crosses paths with the charming and enigmatic actor, Alex Fisher.
As Jenna navigates the challenges of her career and tries to balance her personal life, she finds herself drawn to Alex despite his mysterious past. The book delves into their budding relationship, the intricacies of the theater world, and the secrets that both Jenna and Alex are hiding. It's a tale of love, ambition, and the complexities of following one's dreams in the spotlight of Broadway.
The Curse of Persephone Templar by Patricia-Miskimins
"Curse of Persephone Templar" by Patricia Miskimins is a historical mystery novel that intertwines elements of the supernatural and suspense. The story revolves around Persephone Templar, a young woman whose life becomes entangled with an ancient curse that has haunted her family for generations.
As Persephone delves deeper into her family's history, she uncovers dark secrets and hidden truths that date back centuries. The curse seems to hold a mysterious power that affects the women in her lineage, and Persephone is determined to break free from its grasp.
Throughout the book, readers are taken on a journey through different time periods, exploring the lives of Persephone's ancestors and the origins of the curse. The novel combines elements of mystery, history, and the supernatural as Persephone races against time to unravel the curse's mysteries and save herself and her family from its ominous influence.
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Television
Self-Aware! Bram Stoker x GN! Reader x Self-Aware! Platonic! Aya Koda
Description: Life is full of small moments. You share this moments with your new friends and family. Today, you have a tea with Aya and Bram.
Fluff.
Sequel to Nightmares and Cuddles
Warning: OOC. English is my second language.
Based on this moment from Soviet cartoon about Karlson. English version here. (11:31 - 12:38).
________________
You are in your kitchen, cooking something. From time to time you are looking in the living room.
Aya Koda, ten-year-old girl and one of your new friends, is sitting on the couch, waiting for you.
You don't see him, but you know, that Bram (with your permission) are looking at the books that were laying on the table in your bedroom.
You still can't believe, that Bram and Aya (and the rest of BSD Characters) were real.
Just four days ago, you were a normal person with simple interests.
Now you are a person who are living with Bungou Stray Dogs Characters. And said characters want to be your friends.
Or, and last night you spent cuddling with Dazai and Oda.
It was a lot to take in, but, you have a feeling, that all of you will face any challenge together.
Today you decide to make a first step in building your friendship with others. By having tea with Aya and Bram.
Right now, you are making sandwiches.
The bread was fresh, large and flavorful. You easily cut it with a knife. There were not any crumbs left on the cutting board.
You carefully take slices of bread and spread butter on them with the greatest care.
The stick of butter looked like a small gold bar. The slightly melted butter was tender and smelled pleasantly of cream.
After butter, you add ivory cheese on few slices. On other slices, you add flavorful strawberry jam.
Soon you had two plates with sandwiches. You carefully take them in both hands and bring them to the living room. You put both plates on the coffee table.
On the coffee table there already were three cups and a pot with fresh tea. Tea was made by Goncharov, so it will be good, you were sure of it.
Aya perks up, looking at sandwiches.
"Looks great! Bra-chan! Sandwiches are ready!"
You heard Beam's voice coming from your room.
"I will be in a minute"
You start pouring tea in cups. The aroma of herbs was nice and strong.
After all three cups were full, you sit on the couch, next to Aya. Bram still wasn't there.
The silence starting to became awkward. At least, you thought so.
You always have troubles with making friends. You were afraid, that people will find you boring or annoying. That people secretly think that you aren't worth spending time with. That people secretly hates you.
You won't call yourself a 'social butterfly', you were fine with having one or two friends only... But, the problem was that you don't have anyone you can call best friend. Or good friend. There was one of your old classmates, who was calling you from time to time, but, she was friendly towards everyone. So, her friendship doesn't make your worries disappear. Your fear of been a burden or laughingstock made you even more closed off.
And now, with having BSD Cast in your life you felt, that you hit gold and fall into the abyss at the same time.
BSD Cast were nothing but kind towards you. Yet, still, you were afraid that you will accidentally mess this up and as soon, as they realized that you aren't that interesting, as soon as they learn more about you, they will leave you.
You looked at Aya with the corner of your eye. Girl doesn't seem to be bothered by your silence. She was simply sitting on the couch, and waiting for Bram to finally join you two, so you can start your little 'tea party'. You licked your lips. Maybe, you should say something.
"Um... Aya... Is it okay if I turn TV on? I... want to check last news... Or, maybe... Something interesting is on?"
'Great, [Y/N], it wasn't awkward at all. Not even for a bit' you mentally scolded yourself.
You didn't notice Aya's soft gaze. Girl smiled brightly.
"Of course, [Y/N]! Do, as you want. Having TV on will be a good ambulance. Besides," Aya giggles. "As a newcomer to this world and future Defender of Justice of this world, I need to learn as much as I can about the new world!"
You smile nervously. It seems, right now, everything is doing great. You turned the TV on. After switching a couple of channels, you stopped at the news broadcast.
The volume wasn't high. To tell the truth, worlds were recognizable, but quiet. Bram still wasn't there.
Aya turned her head towards you and asked
"Hey, [Y/N], can I ask you something?"
You nodded, taking a quick glance at Aya.
"What do you want to know?"
Aya looked at you with an adoring look.
"Was it scary to demand that Fukuchi take away Holy Sword from Bram?"
You shook your head.
"Not really. He looked calm and not scary. Besides, It's not like my demand wasn't unnecessary."
_______
Two days after BSD Cast arrival.
______
You were having a chat with... Almost everyone at that point.
Everyone from BSD Cast want to talk to you.
'Yes, Naomi, I remember, that I promised to have a tea and snacks with you and Haruno'
'Yes, Kyouka, we will have Boiled Tofu later'
'No, Fitzgerald, I don't know if someone are selling a house big enough for all of us to live in.'
On the background, Fukuchi was giving last instructions to Teruko and Tachihara about protecting you today. You didn't pay too to him. You feel, like you forgot something.
You take a quick glance around.
Right, Bram!
You immediately stand up from the couch and hurry to Fukuchi.
"Um... Sorry for interrupting, but, Fukuchi, can I ask you something?"
Fukuchi grinned and looked at you.
"Of course, Little Guiding Light. What is it?"
You point at Bram. He and Aya were sitting on one chair.
"Can you, please, take away Holy Sword from Bram. I could explain, why I have a BSD Characters in my house. But in no way I could explain a talking head. No offense, Bram."
Fukuchi nodded and, after picking up Bram, left the room.
You heard Karma's voice.
"Um... How would you explain us being in your apartment?"
You cast a quick glance at him.
"I would say that I finally became sick of society norms. But, because I like Internet, books and snacks, instead of running away and becoming a forest goblin, I decided to live among cosplayers. Not very common by society standards."
The silence raised above all of you. Then Adam raised his hand.
"You... Made up that explanation on the spot, right?"
You nodded.
"Yes. But talking head, still, is unexplainable."
____________
Aya laughed.
"Well, your explanation were funny."
"Well, it was the first explanation I could think about."
Finally, you two heard sounds of steps.
Bram finally joined you two.
"[Y/N], I found books from your world truly magnificent. I..."
Bram froze in one place and stared at your TV.
"[Y/N]. You have a talking head at your house. Here. It is looking at us."
You and Aya glance at each other. Then at TV. A news reporter was talking about something. Only his head and shoulders were on the screen.
You asked.
"Bram... Has anyone told you about television?"
Bram nodded, still looking at the news reporter.
"Aya mentioned something. I did not understand her explanations fully. We only had the Screen to look at things from your world. Television... It is some kind of new technology, right?"
Without waiting for your answer, Bram came closer to the TV and start checking it.
Aya took one sandwich and take a bite.
"I don't think that Bra-chan will leave your TV alone for the next few minutes. And here we are, planning to have a tea party, only three of us. And the third person isn't even interested."
Bram ignored her.
You and Aya start drinking tea and eating sandwiches.
Meanwhile, Bram tried to look under your TV.
"Where are his legs? I will get to the bottom of this."
It was... Is some sense funny to look at. Bram, vampire lord, was trying to understand, how TV worked.
You decide to let Bram do his thing. You moved slightly, trying to sit more comfortably. And you accidentally push the button on the remote.
Channel changed.
Now, there was a model on the screen. She was advertising something.
Bram finally looked at the screen again.
Immediately, Bram stand still and slightly bow his head.
"Please, forgive me for not noticing you earlier, Madam."
Aya tried not to laugh. You try to hide a smile behind the teacup.
Bram was still talking.
"I would be honored, if you joined us for our tea party, but, I am afraid, we should ask the Host, if you can join."
Suddenly, Bram moved slightly. His leg drag TV's cable. TV got turned off. Bram's eyes were closed, so he didn't notice, that his 'Madam' wasn't here anymore.
"Let me introduce myself, Count Bram Stoker. And that is my young friend Aya and our wonderful host [Y/N]... Where did she go?"
Bram turned the TV on the side, trying to find the missing girl.
Aya and you were howling with laughter.
Bram grumbled.
"Well, it was very rude. And you two are not doing a better job, than her. Stop laughing so loud."
You two try to calm down. With no avail.
Bram mumbles something and walked closer to you two. He put his hands on your and Aya's heads and roughly ruffled your hair.
"I said stop. Both of you."
It worked. You and Aya stopped, laughing like two hyenas.
Aya coughs.
"Sorry, Bra-chan. Just... You will also find it funny, we explain, what TV is. Right, [Y/N]?"
You nodded. It should be interesting.
Bram sat near you and took one of the sandwiches.
"I am listening."
_________
Nothing too wild happened today.
You had a tea party. You explained what TV is to Bram.
No conflict, no problems.
Just a little silly moment and a begging of new friendship.
#self-awareau#self-awarebsd#bungou stray dogs au#bsd#bungou stray dogs#bsd anime#bsd x gender neutral reader#gender neutral reader#platonic#bsd bram#bram x reader#aya koda#bsd aya#Self Aware Aya Koda#Self Aware Bram Stoker
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Holidays 5.26
Holidays
Battle of Pinhincha Day (Ecuador)
Bob Day
Boulder Day (Republic of Molossia)
Carb Day
Crown Prince’s Day (Denmark)
Drool Day
Dzien Matki (a.k.a. Mother's Day; Poland)
Feast of VooDoo Economics
Go Barefoot Around the House Day
Grey Day
Independent Artist Day
Mother’s Day (Poland)
National Death Busters Day
National EMS Recognition Day
National Grey Day
National Paper Airplane Day
National Poppy Day
National Ranboo Day
National Sorry Day (a.k.a. National Day of Healing; Australia)
National Wig Out Day
National Work From Home Day
Oat Grass Day (French Republic)
Prince Jonah Kuhio Kalanianaole Day (Hawaii)
Sally Ride Day
Starfleet Remembrance Day (Star Trek: Strange New Worlds)
Windmill Day (Netherlands)
World Dracula Day
World Lindy Hop Day
World Orienteering Day
World Product Day
World Redhead Day
Food & Drink Celebrations
National Blueberry Cheesecake Day
National Cherry Dessert Day
World Sherry Day
4th & Last Friday in May
Ascension Friday (Belgium)
Bermuda Day [Last Friday]
Don't Fry Day [Friday before Memorial Day]
European Neighbours’ Day [Last Friday]
Great Wisconsin Cheese Festival begins [Last Friday, thru Sunday]
Heat Safety Awareness Day [4th Friday]
National Cooler Day [Friday before Memorial Day]
National Death Busters Day [Friday before Memorial Day]
National Heat Awareness Day [Last Friday]
National Polka Festival begins (Ennis, Texas) [Friday before Memorial Day]
National Road Trip Day [Friday before Memorial Day]
National Wig Out Day [Friday before Memorial Day]
Portland Rose Festival begins (Oregon) Friday in late May; thru June 26]
Post Traumatic Stress Disorder Awareness Day (Western Australia) [Last Friday]
Trader-Willi Syndrome Awareness Day [Last Friday]
Title Track Day [4th Friday]
Independence Days
Erenian Republic (Declared; 2019) [unrecognized]
Georgia (from Russia, 1918)
Guyana (from UK, 1966)
Molossia (f.k.a. the Grand Republic of Vuldstein; Declared; 1977) [unrecognized]
Feast Days
Augustine of Canterbury (Anglican Communion and Eastern Orthodox)
August Kopisch (Artology)
Buddha Day (Buddhism)
Doc Owl (Muppetism)
Dorothea Lange (Artology)
Eleuterus, Pope (Christian; Saint)
Festival of the Valley (Ancient Egypt)
Lambert of Vence (Christian; Saint)
Lemminkainen’s Day (Pagan)
Lenny Bruce Day (Church of the SubGenius; Saint)
St. Monica (Positivist; Saint)
Oduvald (Christian; Saint)
Peter Sanz (Christian; One of Martyr Saints of China)
Philip Neri (Christian; Saint)
Philippe de Champaigne (Artology)
Quadratus of Athens (Christian; Saint)
Shavuot (Judaism) [6 Sivan] (a.k.a. …
Feast of the Harvest
Feast of Weeks
Festival of Weeks
First-Fruit festival
Wheat Harvest
Thargelia (Birthday Festival of Apollo & Artemis; Ancient Greece)
Totally Random Day (Pastafarian)
World Hunger Day (Pastafarian)
Zachary, Bishop of Vienne (Christian; Saint)
Lucky & Unlucky Days
Butsumetsu (仏滅 Japan) [Unlucky all day.]
Premieres
Absolutely Free, by Frank Zappa and the Mothers of Invention (Album; 1968)
American Pie, by Don McLean (Song; 1971)
Avengers Assemble (Animated TV Series; 2013)
Beatlemania! (Broadway Musical Tribute; 1977)
Big Jake (Film; 1971)
Buddy of the Apes (WB LT Cartoon; 1934)
Caspar (Animated Film; 1995)
Dracula, by Bram Stoker (Novel; 1897)
Flying Home, recorded by Lionel Hampton (Song; 1937)
Games People Play, by Eric Berne (Self-Help Book; 1966)
God’s Men, by Pearl S. Buck (Novel; 1951)
Johnny Mnemonic (Film; 1995)
Kung Fu Panda 2 (Animated Film; 2011)
Mad Love (Film; 1995)
Pirates of the Caribbean: Dead Men Tell No Tales (Film; 2017)
Sgt. Pepper’s Lonely Hearts Club Band, by The Beatles (Album; 1967)
Sourcery, by Terry Pratchet (Novel; 1988) [Discworld #5]
The Whole Truth and Nothing But, by Hedda Hopper (Memoir; 1963)
X-Men: The Last Stand (Film; 2006)
Yellow Submarine, recorded by The Beatles (Song; 1966)
Today’s Name Days
Alwin, Philipp (Austria)
Anamarija, Filip, Zdenko (Croatia)
Filip (Czech Republic)
Beda (Denmark)
Miina, Minna, Valme, Valmi, Vella, Velli, Vilma, Vilme (Estonia)
Miina, Mimmi, Minna, Minni, Vilhelmiina, Vilma (Finland)
Bérenger (France)
Marianne, Philipp (Germany)
Alfaios, Karpos, Sinesios (Greece)
Evelin, Fülöp (Hungary)
Filippo, Pellegrino (Italy)
Eduards, Edvards, Varis (Latvia)
Algimantas, Eduardas, Milvydė, Vilhelmina (Lithuania)
Annbjørg, Annlaug (Norway)
Beda, Filip, Marianna, Paulina, Więcemił, Wilhelmina (Poland)
Carp (România)
Dušan (Slovakia)
Felipe, Mariana (Spain)
Vilhelmina, Vilma (Sweden)
Felipe, Flip, Phil, Philip, Philippa, Phillip (USA)
Today is Also…
Day of Year: Day 146 of 2024; 219 days remaining in the year
ISO: Day 5 of week 21 of 2023
Celtic Tree Calendar: Huath (Hawthorn) [Day 13 of 28]
Chinese: Month 4 (Ding-Si), Day 8 (Jia-Shen)
Chinese Year of the: Rabbit 4721 (until February 10, 2024)
Hebrew: 6 Sivan 5783
Islamic: 6 Dhu al-Qada 1444
J Cal: 25 Bīja; Foursday [25 of 30]
Julian: 13 May 2023
Moon: 42%: Waxing Crescent
Positivist: 6 St. Paul (6th Month) [St. Monica]
Runic Half Month: Odal (Home, Possession) [Day 2 of 15]
Season: Spring (Day 68 of 90)
Zodiac: Gemini (Day 6 of 32)
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Analyze how the scene’s effect is constructed through filmic elements.
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SHORT ESSAY ASSIGNMENT
Create an argument about one or two films by analyzing the film style used in two different scenes. Choose two scenes that we have not analyzed in detail in class from all the films listed on the syllabus. Using the concepts, techniques, and patterns studied in class, demonstrate how each scene’s style functions within the context of the film.
Your analysis must have a thesis statement that concisely states why each scene’s style is especially important to the overall film. For example, you may interpret the scene’s conveyance of meaning, or its role in a formal pattern, or the way that it cues perceptual or emotional responses and/or expectations. In any case, you will be arguing that the scene is doing something beyond merely providing narrative information or provoking an effect in isolation from the rest of the film.
You are free to incorporate scholarly sources outside of the textbook, but it is not necessary for this assignment (If you choose to use them, use scholarly sources or newspaper reviews only: i.e. do not cite Wikipedia, IMDB, film blogs, etc.).
Your paper must be around 800-1000 words, in MLA format (or Chicago) (12 pt. Times New Roman font, 1” margins) and include an original title. You must have a Works Cited page (not part of the word count) for any sources cited, including the films themselves.
Guidelines and Examples:
Thesis Statement Example #1:
“The expressionistic mise-en-scène in Bram Stoker’s Dracula’s (Francis Coppola, 1992) dinner scene contributes to the film’s self-reflexive style, and starkly contrasts the naturalistic mise-en-scène in The Godfather’s (Francis Coppola, 1972) cooking scene, which evokes the smells and tastes of everyday life. In Dracula, the audience is meant to be consciously aware they are watching something like an art film, with ironic commentary on the history of the horror
genre. On the other hand, The Godfather’s realism habituates the viewer to familiar surroundings, which makes the impact of sudden violence much more startling.”
Thesis Statement Example #2:
“The opening two scenes of Citizen Kane juxtapose expressionism (through use of dissolves, canted angles, and low-key lighting) with documentary realism (through use of grainy images, stock footage, and voice-of-god narration). The stark contrast signifies different perspectives on reality, and comments upon the difficulty of capturing a single coherent view of the protagonist Charles Foster Kane.”
Don’t just describe what’s happening (the plot, dialogue, or what the characters are doing). Analyze how the scene’s effect is constructed through filmic elements, and then argue how this effect supports your thesis. Keep your analysis as objective as possible and refrain from subjective, evaluative, or ‘reviewer-like’ statements, such as “Coppola is a master of lighting” or “The boring performances and sappy music made this scene unbearable.”
Grading Rubric:
(This assignment comprises 20% of your final grade)
Thesis Statement (clear & concise, original, w. original title)
/20 points
Analysis (logical, specificity of detail, use of film terminology)
/50 points
Style (fluid prose, coherent sentences, persuasive rhetoric)
/20 points
Mechanics (spelling, punctuation, MLA formatting, Works Cited)
/10 points
= /100 points
films to chose from:
Bram Stoker’s Dracula(1992)
Arrival(2016)
The Grand Budapest Hotel (2014)
Blade Runner: The Final Cut(2007)
Scott Pilgrim vs. The World (2010)
Gravity(2013)
The Shining(1980)
The Hurt Locker (2008)
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More (possible) references to Dracula in the Phantom of the Opera
May 7
Jonathan Harker reports that, yet again, Dracula does not eat with him:
Christine Daaé too, must eat alone.
It should be noted that Christine realizes immediately that she is Erik’s prisoner while, as of May 7, Jonathan still thinks he is on a perfectly respectable work trip.
Erik himself suggests that he goes through periods of time in which he does not eat (living on music alone). In this passage he is peak drama, referencing both his coffin-bed and his ability to live without food or sleep for “years at a time”:
Jonathan reports that there are no mirrors anywhere - what an inconvenience!
Christine also notices the lack of mirrors at Erik’s house on the lake. She does not yet know that Erik actually has an entire room full of mirrors, but she will. One day.
I do not know if these details from Phantom of the Opera are actually references to Dracula. I don’t even know if Gaston Leroux read Bram Stoker’s Dracula or when it was first translated into French. But there are so many small details that Erik shares with Dracula that it seems to be intentional.
Erik is not a vampire. But he likes to play up his macabre appearance when he’s in a mood. He doesn’t need to sleep in a coffin or to refrain from food the way Count Dracula does; we all assume he has no mirrors in his home because he doesn’t want to look at himself, not because he would have no reflection. Erik does these things for affect. He wants to disturb people - even Christine. And Leroux wants him to disturb us, the reader.
As Dracula was published in 1897, past the time when the events of the Phantom of the Opera should have occurred, in the mid-1880′s, it might not make sense for Erik to be self-aware of the Dracula references himself. As a character, Erik seems to intentionally reference Edgar Allan Poe’s 1842 story with his Red Death costume but we can’t make the same assumption that Erik has read Dracula, as the dates don’t line up. Although, Leroux’s 1909 novel has lots of other anachronisms, so maybe I’m overthinking this and Erik really is meant to be a fan of Dracula. Leroux certainly seems to be one.
#phantom of the opera#le fantôme de l'opéra#gaston leroux#bram stoker#dracula daily#jonathan harker#christine daaé#gothic literature#poto-dracula
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The list of dates at the end of this latest Dracula update is fun because, in the context of Dracula Daily, it feels like our pal Jonathan is looking into the camera and saying “HEY. These dates will have content. Look out for them.” And maybe they literally won’t but it feels very self-aware despite the fact that Bram Stoker is, in fact, not aware of any of us or this circumstance
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A Complete Guide To Different Points of Views
happy Friday everyone! Is doing well, I know I’m trying to do better a bit every day.
it’s hard but I think I am doing better...
What Is Narrative Point of View?
Point of view is the “eye” or narrative voice through which you tell a story
you must decide who is telling the story, and to whom they are telling it
Three Types of Point of View
There are three primary types of point of view:
First person point of view. In first person point of view, one of the characters is narrating the story. This is generally revealed by the “I” sentence construction and relies on first person pronouns. (“I went to work.”) The reader assumes that this character is closely related to the story’s action—either a main character or someone close to the protagonist. First person narrative can provide intimacy and a deeper look into a character’s mind, but it is also limited by the perceptive abilities of the character. They are confined to report only what they would realistically know about the story, and they are further confined by their own perspective. Nick Carraway of The Great Gatsby (1925) by F. Scott Fitzgerald and Ishmael of Herman Melville’s Moby Dick (1851) are two of the most well-known first person narrators in literature and great examples of this point of view
Second person point of view. Second person point of view is structured around the “you” pronoun, and is less common in novel-length work. (“You thought you could do it.”) Second person can allow you to draw your reader into the story and make them feel like they’re part of the action because the narrator is speaking directly to them. Writing in second person for any great length is a challenge, and will stretch your writing skills. Lorrie Moore is well-known for her innovative use of second person narration in her short story collection Self-Help (1985). Second person point of view is sometimes referred to as second person POV.
Third person point of view. The author is narrating a story about the characters and refers to them with the third person pronouns “he/she.” (“He was hungry.”) This point of view is subdivided into third person omniscient and third person limited. Third person point of view is sometimes referred to as third person POV.
What Is the Difference Between Third Person Omniscient and Third Person Limited?
omniscient narrator knows everything about the story and its characters
This third person narrator can enter anyone’s mind, move freely through time, and give the reader their own opinions and observations as well as those of the characters
think of the omniscient narrator as having a god’s-eye-view of the characters. (“He had been infected with the virus, but he didn’t know it yet.”)
third person limited point of view (often called a “close third”) is when an author sticks closely to one character but remains in third person
This style gives you the ability to be inside a character’s thoughts, feelings, and sensations, which can give readers a deeper experience of character and scene. (“As she watched him leave, she was afraid he’d never come back.”)
How to Choose the Right Point of View in 4 Easy Steps
Try different points of view. The only way to decide the best point of view strategy for your novel is to try different ones. Likely, you’ll know the right one for your story because the writing will begin to move more quickly, and you’ll feel momentum. First person allows you to create intimacy by granting the reader access to your character’s internal monologue. Second person is often made as a stylistic choice; it is a powerful yet potentially overwhelming narrative device that can evoke feelings of confusion or claustrophobia. Third person narrative is a more flexible choice than first or second person. It allows you to switch between characters’ points of view. You can even zoom in and out from complete omniscience to limited or “close” third point of view.
Once you pick a point of view, establish it right away. Whichever narration style you use, it’s important to establish your point of view quickly. Always let the reader know which character’s perspective you’re following in any given scene. If you’re using third person, you should use the character’s name early in the section. Even a simple statement like “Robert felt tired” is enough to convey this information. While you’re in a point of view, stick to it. For example, if you’re narrating from your hero character’s perspective and, in the middle of a scene, you suddenly switch to the point of view of a different character, the disruption will jar your reader out of the story.
Be aware of limitations. Point of view is an essential tool in character development. You’re describing the world through their eyes and letting the reader know what they think and feel. You’ll need to be aware at all times what your characters’ limitations are. Review your writing frequently to scan for mistakes you might have made in giving a character information or opinions they wouldn’t normally have.
Change it up. You don’t have to be tied to one point of view throughout your novel; some novels move from first to third or first to second. But it’s important to note that when you establish point of view, you are creating another type of contract with the reader: that you will adhere to that point of view for the course of the scene. It’s all right to have different subplots told from different points of view throughout your novel, but you should treat each point of view as an individual section or chapter.
Four Ways to Use Point of View
Create suspense. When a reader knows more than the character, as in Bram Stoker's Dracula (1897), and your reader waits for the character to learn what they already know. This tension will keep your reader on the edge of their seat.
Create an unreliable narrator. When a first person narrator knows more than the reader but withholds information from the reader on purpose, in order to manipulate them. Gone Girl (2012) by Gillian Flynn and Rebecca (1938) by Daphne du Maurier are brilliant examples of unreliable narrators.
Create comedic irony. When a first person narrator knows so much less than both the reader and the other characters that it creates comedy. In this strategy, the reader is laughing at the narrator, rather than with him or her. Examples include Gulliver in Gulliver’s Travels (1726) by Jonathan Swift, in which a plain-spoken narrator tells whoppers with a straight face, and A Confederacy of Dunces (1980) by John Kennedy Toole, in which the narrator complains about the ineptitude of other characters, when he is clearly the most inept character of all. An omniscient narrator can also satirize all a story’s characters, as Voltaire does in Candide (1759).
Create tragic irony. The characters know less than the reader. Narrative irony also involves foreshadowing, when the omniscient narrator leaves hints for the reader about something that will happen in the future. When a tragic event has been foreshadowed, but the characters don’t see it coming, a sense of irony is created. You can also create tragic irony in first person point of view, but you have to walk the fine line of having your narrator foreshadow while remaining truly ignorant of what’s going to happen.
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