Vampire Comedy EAT LOCAL
2 hours ago
This essay is a very belated response to a " part 1 " published in February 2015. The gist of that essay was a response to a corre...
it's a lot easier for any medium dealing with "drawn" characters-- and that includes comic strips and animated cartoons-- to invoke the marvelous, that level of phenomenality that allows for absolute freedom. Media that communicate via living actors will of necessity always be more limited, though the process of CGI-- which could be said to "draw" images real enough to mingle with live actors-- has leveled that playing field somewhat.
I swear, some of you guys are as addicted to the ego-boosting effects of your righteousness as the AA guys who lecture other people for drinking. In the case of this post, you're not even like the obnoxious AA guy who barges into a bar. You're more like a guy who invades a teetotalers' party, gets frustrated that he can't get his usual righteous "high," and so starts complaining about the people drinking "near beer."
It is typical of reflective philosophy... that it relies on arguments, proofs, and the whole apparatus of logic... that it tries to solve intellectual puzzles rather than give the true conceptual vision of the whole; that it sticks to the natural sciences as the source of the only reliable knowledge of nature, thus committing itself... to a concept of experience reduced to sense perception, and to a concept of sense perception reduced to some causal chain...
I myself would rate the familiarity of commonplace experiences as no more than a "mild enjoyment," while the familiarity of shared myths would line up better with "intense pleasure"-- and this is the reason that I've chosen to write thousands of words on the topics of myths and myth-radicals. While as a pluralist I affirm the equal importance of all four radicals, I've clearly chosen to devote myself to the radical of the *agon,* even to the extent of analyzing its presence in narratives not aligned to the adventure-mythos best known for it.
There is no single belief about the efficacy of prayer in the varied world of Judeo-Christian sects-- to say nothing of other religions that resort to praying--so you've oversimplified the question. Some worshipers do believe that in predestination, that everything that's ever happened or going to happen is fixed. For those believers, prayer, like deeds, can make no difference to God's verdict. Other believers favor a more open-ended view of destiny, in which it's possible for a god to intervene if he so chooses. For such believers, there's no guarantee that prayer will work but as the saying goes, "it can't hurt."
I think it worth pointing out that the widespread icon of the Asian with Clawlike Fingers may have come about as a Western response to the Chinese custom of incredibly long fingernails. For the Chinese long fingernails signified an aristocrat's freedom from the necessities of manual labor, but many Westerners, whether actively racist or not, plainly found the image off-putting and so evolved their own reading of this icon.
In contrast to the hero, the monster often appears as the sole megadynamic entity in his universe, and his opponents, usually demiheroes, are not usually able to stand against him.
Wes Craven, billed as one of four scripters on ELM 3, is probably responsible for elaborating the idea of "dream-fighting" suggested in ELM 1, but with greater attention to empowering the film's heroes in the dreams.