Awaken, you

In order to live freely – free from yourself and the shackles of society and the world you invest yourself in which looks only to take – you shouldn’t label yourself as a specific type of person.

Be the you who believes in yourself. That person is free of all the the aspects of the world that look to take from you, that ask you to give yourself to them freely in the same way an Orwellian organisation would. They take yet are of a world that will continue turning without you, no matter what happens. This real you is abundantly rich in potential, wealthy in happiness, living in freedom.

The inner you pining to come out from within this soiled onion skin is the true master of your world because this person is awake – and with no need to dream of tomorrow because this true master of your world creates it. It matters not who you are now, a chef, a writer, a rioter, a victim, a pessimist, a wanderer, a musician, a poet, a soldier, a police officer, a brother, a sister or whoever you are, the real you needs to break free from the masochistic sleep of society that is plagued by spiritual diseases and fears. The real you is immune to it all. The true master of your world, the real you is immortal and thus you are too when you awake. Now!

One night at the disko

Pulsating square waves cascade into the mindful cacophony of a sweetly chilled autumn’s night, as the drum machine works its circuits into submission. Slaved to its rhythm is the bass guitar modelling machine, a squelching tiny battler with a penchant for the sounds of little green men, typing its tones from one to sixteen, resonating loudly, effecting the air with timeless punk chic. The singer takes the stand, the microphone covered in dust from the shaking floor boards above, and she looks to the metal walls dripping with sweat and lets her song do the talking.

the morning’s New Sun

The interesting thing about a proper first person narrative is the reading difficulties and plot pleasures it can cause. Most first person narratives act as substitutes for third person narration – as in the protagonist narrating the story acts more like a third-person narrator than someone living through a part of their life that they shouldn’t be able to see the entirety of when retelling it.

Whereas a first person narrative that pivots on the POV of the protagonist, that is unreliable, that jumps from one moment to the next, starting every moment in medias res, leaving it up to the reader to decipher the continuity unfolding, is overall much more enjoyable and rewarding to decipher and remember.

The science fantasy novel The Book of the New Sun by Gene Wolfe has been a revelation in that regard. It’s mature for its genre in the same way Joyce’s Ulysses is a mature read for literature. At its surface level and some twenty fathoms beneath, the story feels clever without any perception of the cogs the author has put in place to keep the story turning. And that’s because of how the first person narration constructs the story.

Whereas for the savvy reader, one can look deep below the surface to where the cogs and levers constructing the story are found and can realise that the organic feeling of the story is carefully constructed, the plot and dialogue skilfully selected, and the clues to the overarching mystery placed with subtlety. It’s quite good and a most enjoyable read. Perhaps even an all-time fav with the promise it’s showing.

The relationship between sounds

I put some text into a cut up generator and this spat out:

This explanatory mood relationship has more cells not beginnings. It was people not Sound to evolve and appreciate music definitely and basically knew to being technology vibrations. It shows relations to cells in a more surprise way but forums can’t do vibrations, word people thought. Art and maturity also became sound and affect the state the society universe is feeling looking reflecting, but at your technological time, The music sounds music and what techno music is is vibrations looking to cultivate creation to form mental art that affects.

Themes in films

When deciding on a theme for your screenplay, make sure it indicates the type of character journey your protagonist will have as they move towards story conclusion. For instance, the theme for a film about a shy teenager chasing their dream to become a glam-rock god could be “You must be willing to be loud to overcome your shyness.”

Theme is expressed through the protagonist’s character arc as they move from being a flawed individual to realising their shortcomings to becoming a better person. How this plays out across five acts:

Act 1: The protagonist is unaware of the theme and unknowingly resists it. 
Act 2: They have experiences that helps them to understand the theme, and their resistance lessens. 
Act 3: Through conflict, vital knowledge is revealed to them that enters them into the theme. 
Act 4: They must finally come to grips with what’s inside to accept their new self.
Act 5: They finally realise the truth behind the theme’s message and fully embrace it. 

So, on this theme, “You must be willing to be loud to overcome your shyness,” the protagonist might start with the point of view that being loud is just another way to make a fool of yourself. Such a view indicates a past trauma and what the protagonist must overcome mentally and physically as the story progresses forward.

Do Androids Dream of Electric Sheep in 2049?

After reading the Blade Runner book and watching the Blade Runner 2049 movie, I realised how much better the movie would have been if they took all the parts that weren’t used in the original movie and used them for the sequel movie. Things like the faux-police headquarters where all the cops are androids who think they’re human. The human blade runner working for the android police who starts to think he’s an android. The meaning of owning a synthetic pet in a dying world. And more, but those three points are a good start to improve the plot of the BR sequel. What may have been.