Anna Sibilia

David Steiling

Science and Faith

Unraveling the Mystics

The sense of a greater destiny has always been a prevalent theme throughout the literary spectrum, but it is mostly exploited in fantasy and science fiction. Be it from a poor farm boy finding out he will rectify the balance of the universe or from a man journeying to another planet and becoming a part of its people, science fiction loves remodeling the biblical calling that audiences are drawn to. While some authors prefer to explain and debunk the spiritual calling based upon researched or scientific principles, others love to blend the two into a singularity; what defines God, and can you really quantify a spiritual calling or reduce it to deluded thinking or actions of one who rejects the hard reality of life and nature?

Yet there must be a balance between the fact and faith, as too much of either side begins to make a story sound either humorless or preachy; the prophecies used by many a story are often vague and compelling for it gives the authors freedom without being too specific or aligned with one side over the other. The shorts stories The Nine Billion Names of God and The Star explore a different twist on this matter, presenting an unusual connection between the scientific discoveries of man and the sublime nature of a higher existence: what happens when man finds God through science, but He is not what we were led to believe He was? The characters in these stories are skeptical, always questioning the greater presence until they are confronted by it with overwhelming proof. 

The stories implement the high-minded attitude of man only to render it feeble and riddled with doubt, thereby deconstructing the worldview of the characters involved -something more popular in fiction- and leaving their now insignificant conscious to the mercy of the higher powers. Using this format has led to many a new creation story throughout the fantasy genre, spawning how humans turn into heroes at the compelling of a deity in need of a champion, but here it is left to speculation. These gods do not ask anything of or even acknowledge the mortals who’ve witnessed their power; they simply are in the same space -or evidence of them exists in that space- which leads the confused humans to make their own judgement. Yet how do we dream God? Evidently we cannot, or at least, we should not, for the gods shown in the stories do not appear to take kindly to the likes of man’s musings. 

This is not the archetype of a deity interested in redemption or salvation so much as it a force that acts as it pleases and does not want interference. It is an enigma that wishes to remain hidden away, or at the very least, not a subject of science. If you were to find out the mysteries of a godly being, what would stop you from usurping their power? No wonder the destruction of life happened in both stories (though we are left to speculate on why the events of The Star unfolded as they did), for the creations were learning too much about their creators. In these examples, prophecies are not always interpreted to redeem the world of man, but destroy it; sometimes the learned knowledge was better left unknown. 

Anna Sibilia

David Steiling

Reinventing Genesis

Remaking The Gods That Made All

Within the realm of the fantastic, where mortals manipulate fate and can conquer death, there exists a strange fascination with the beginning. Every world must have a start (and thus many also have an end, either from thinning resources, war, a primordial evil doctrine rising from the depths of hell, or another great apocalypse that must be averted by the hero’s influence) which is either wrought by the will of the gods, an ancient mystery that has long since been forgotten in the recesses of time, or a pseudo-scientific account of how the elements of the universe coincided to create a new planet which would eventually yield life. Yet it is when authors reinvent the gods of our own world that piques my interest the most; there are so many pre-existing legends that many do not dare to learn, so sharing them with a more broad audience and introducing them to those uneducated in the stories of cultures outside of their native sphere is usually as fantastic and immersive (if not even more so) than weaving a new tale.

Neil Gaiman does this expertly in his novels American Gods and Anansi Boys, which fuze a representation of our own modern and evolving world with the laws and traditions of the ancient minds. This setting exploits the ways that past and future constantly collide and often quarrel with each other, and in the case of the latter, it is revealed in the way of a dysfunctional family -something many in a modern audience relate to, especially when it comes to the practice of archaic traditions or a more current outlook on life. As readers delve deeper into the mess that once was Charles Nancy’s (‘Fat Charlie Nancy’) mundane life, we experience a tale of misunderstanding, chaos, and convoluted perspectives: how do the two sons of the trickster god Anansi interact in a world that rejects magic but tramples those without the ability to see and feel wonder? Charles was too unassuming and bland, yet his twin half ‘Spider’ was too far invested in the mystical to properly understand the ways of men. Their plight is caused by their lack of mutual comprehension and they must learn to understand the ways of the other to save themselves in the end. 

This message is Charlie’s entire quest, and because of it we (as an audience that is most likely not too well versed in the beliefs of African gods) are exposed to a tale that is far from familiar; we see a pantheon of spirits unlike the Olympian champions and their mighty heroes, more foreign than the Nordic Aesir and their viking kin, but something that simply exists at the Beginning of the World. These gods are all treacherous, as they have been witness to more millennia than most others and know how to influence the minds of men, so it is not challenging for them to throw Charlie into a tailspin. Once they can influence the modern children of their old adversary, these gods wreak havoc on the pair and it is only when Charlie comprehends his birthright and Spider his brother’s world that the pair can finally coexist and set things right. The balance that the two end up reaching at the end is one that speaks volumes: though we may move forward, we should not forget the past; traditions survive throughout the ages and there is much to be learned from generations before, yet it is how we embody those traditions today in a modern realm that properly defines our nature. Beliefs are constructs of their times, but there will always be a bit of truth inside the story -often hidden in the beginning. 

Anna Sibilia

David Steiling

November 9, 2015

Bloodchild responses

Are there any prominent symbols the story? If so, what are they and how are they used?

Within the story, there is a cyclical symbolism concerning eggs. We are first shown the Humans consuming the eggs of the Tlic for nutrients and strength. They are a meant to be a life-giving and fortifying food to help with the aging and growth of the Humans that consume them, yet towards the end of the story, we are shown why this food is the main nourishment for Humans underneath the care of the Tlic. Humans are host organisms for implanted eggs as the Tlic cannot carry their incubating young. Once hatched, the grubs then eat their way out of their shell and will start attacking its host for its own nourishment. It is a slightly ironic element to the story that Humans are brought up eating something that will eventually be implanted inside them and consume them.

2) What connections (if any) did you make with the story? Discuss the elements with which you were able to connect? 

Personally, my helminthophobia and parasitophobia kicked in while reading this story. I have a longstanding fear of of some of the more graphic content that was within the story due to some unfortunate observations in my early childhood (namely finding roadkill absolutely riddled with maggots on the side of the street and accidentally coming across this kind of stuff on televised documentaries). It’s a subject I tend to avoid for it makes me anything from lightheaded to nauseated and sick, so while I didn’t enjoy reading it, I will admit that the underlying tones were interesting.

3) What changes would you make to adapt this story into another medium? What medium would you choose? What changes would you make?

If I was to adapt this short story into another medium, I would most likely choose to make this into an RPG with a huge emphasis on story and a system to takes the player’s actions into account to change elements of the narrative. I feel like this would make a unique experience as an interactive story, one where the main character cannot actually fight back if they are threatened and must weigh the consequences of each action carefully; sometimes playing along with the Tlic would be beneficial, other times it could be more of a trap or burden. I’d hesitate to give this adventure a combat system outside of a health gauge, for I fear it’d become a horror-FPS whereas its narrative lends itself far more to a psychological and survivalist tone. Besides, the imagery used in the story would create a visual interest from how the Humans under care of the Tlic look, how the Tlic themselves would move and weave within their environment, as well as the differences between the variations of the aliens themselves. 

Anna Sibilia

David Steiling

October 4, 2015

Magic and Morality

Betwixt Balance and Chaos

Magic has always been a gray area of fantasy, both alluring and terrifying. Mysticism and spell craft often blur the edges of reality and imagination for the characters within the stories, so it is only appropriate that they contort the fabric of morality as well. Depending on the author’s intention, magic itself can either be a corrupting force in it’s own right, slowly consuming and sinking into the human flaws of a character’s nature or a slightly sentient force tied to its host that responds and reacts with a minds of its own -be it for better or worse. 

A recurring tool in fantasy has often been whether or not magic should be used by its characters to tempt the fates, be it by undoing the laws of nature or acting out a plan that gambles with the lives of others caught between the words of their spells. Yet even the most genuine and true magical masters can have their spells go awry and distort beyond what their original intentions were. It’s no wonder that the arcane crafts are considered heinous  when the potential for disaster is so high, especially when those whom make the deals with the powers that be are not always the pinnacle of charity or honor.

Night Circus exploits this in an unusual way, pitting a pair of young magicians and illusionists up against each other for the pride of their teachers. Celia Bowen, a girl burdened unto her father Hector Bowen -known primarily under the guise of Prospero the Enchanter, competes against Marco Alisdair, a student brought up under the tutelage of Mr. Alexander H. The intent of this duel was to prove the superiority of the two masters’ teaching methods, proving either the Enchanter or Alexander the winner through the success of their students. The practices of the old learning, being able to create beauty in the eyes of those who want to see it, and the new teachings of tangible illusions clash when the student start their shows within the black and white curtains of the circus tents.

Yet as the plot moves on and the grand spectacles of the magician’s showcases within the enigmatic circus start having more effects and impacts than just creating new attractions for the show. The workers of the circus begin to become bound to the show ring, unable to age much or leave their station among the performers. The dueling students slowly fall in love, complicating the plans of their teachers and only adding more chaos to the precarious situation. It isn’t long until personalities snap, people are killed, and the laws of nature are shattered in a final act of desperation to save one’s love. 

The issue of the novel is exposed in the harsh treatment of the Celia from her father, as he constantly uses abusive methods in order to push her into furthering her skills, which are to be used in a contest for his own pride and not her benefit. This kind of malicious intent in the beginning is something that goes against the cardinal rules of modern magic in our world. Many current Pagan and Wiccan practitioners emphasize that ‘intent and belief is everything; if you start out with a negative thought in mind, then that is the crop you shall reap.’ As much as her father’s patronizing and (literal) bone-breaking teaching methods cause her to stiffen and become resilient in character, they stem from a place of loathing towards her not-so-lovable paternal figure. Ultimately this lends itself to the climax of the story, when Celia unbinds herself and Marco from the physical realm. She is a tragic hero, losing most everything save her true love, and all because of the cyclical nature of magic. 

Magic is a strange and fussy thing, and often it reels that what one asks for is never really what they are deserving of or necessary. It has an important role of acting as a placebo for enabling characters to think they are the masters of themselves and of others, only to end up with everything taken or ruined in the end. It is a shame that the consequence of all the hideous deeds committed and schemed had bear down on Marco and Celia, but even if their end was tragic, they were allowed to escape beyond the confines of the circus -even if only to stand in it’s eternal shadow, finally freed of the ploys that trapped them there.

Anna Sibilia

David Steiling

The One Adventure to Rule them All

As far as fantasy goes, there has yet to be an author to outshine J.R.R. Tolkien in depth, fame, and overall influence of a genre. Throughout the course of his life, he redefined and hand-crafted many new tropes and that would soon lay down the new foundation for almost every author to come after him in the fantasy genre. His understanding of narrative, balancing of character tone and action, as well as creating a tremendous world that was so meticulously detailed it was almost tangible, created a platform that raised him high above many and designated him a permanent seat among many other famed authors and playwrights. 

The Lord of the Rings is the quintessential journey of the hero, sending a band of characters onto a quest that controls the very balance of the world and the fates of all of those whom live there. What’s more is that each character has their own journey to be completed and their own epiphany at the end of it. For instance, the four main hobbits all start in the Shire, though all of them from different backgrounds: Frodo had already become aware that the ring was evil and that he must find a way to be rid of it: Samwise had wanted to accompany his friend and employer, for he has a loyal (if not timid) heart; and Meriadoc Brandybuck (Merry) and Peregrin Took (Pippin) were perfect examples of childish innocence that the sheltered world of the Shire allowed them to be (it is possible to go further and explain the trials of the rest of the party, but let’s stick to these four).

As they leave the Shire and venture into the wilds, the naive state of their unexposed minds is slowly chipped away by the new surroundings and people. Frodo starts experiencing the weight of the Ring around his neck, and though it is subtle in the beginning, the power of the infernal creation slowly starts to seed his mind with doubt. Sam starts having his whole view deconstructed, no longer seeing the world full of rosy hues and glorious tales, but a new reality in which he and his companions might not survive. Merry and Pippin also portray the loss of innocence in that war has ways of turning children into adults whether they are ready for it to or not, though they still maintain their ability to create trouble and mischief. 

The characters also represent dualities of each other, as Frodo and Sam are representational halves of people torn between staying virtuous or giving into temptation, and this becomes so much more apparent once Gollum is introduced. He embodies Frodo’s corruption and personifies the twisting nature of the Ring, a prophetic tool meant to warn the hobbit lest he give into the dark forces that tempt him. Sam is the opposite, being reliable and caring even though he is afraid and ignorant of the troubles around him. even when he becomes aware of the perilous danger surrounding he and Frodo, he still refuses to leave and uses this as a reason to fight harder until the end. Though the is evil all around, he shall not fall though he may waver. 

This series is truly an epic, written in emulation of many classic biblical tales, and as such it carries almost as much symbolic force and righteousness.

Anna Sibilia

David Steiling

Women and Witchcraft 

There is a disparity within literature in the way gender is portrayed. More often than not, a male hero is sent on a quest with a group of sidekicks meant to appeal to other dynamics and groups of people than the norm of the protagonist. Consequently this created an archetype of female characters whom are ‘only strong for boys’ being that they near constantly could be written as a male and have no dramatic change to their character to push views of toxic masculinity onto the audience in subtle, snide ways. 

In the case of Aunt Maria authored by Dianne Wynne Jones, we see a cast of women higher on the proverbial mountain of power with no qualms in wielding such abilities over the heads of their male counterparts. Aunt Maria herself is a nagging, fickle woman who starts out as an annoying force that harasses the family. Usually, this isn’t the place of a lady in media, for in most worlds -fantastic or otherwise- women are not antagonists who brutalize or harass others, they work in more subdued ways to either undermine or usurp power from others. Therefore Maria’s actions are quite unexpected, and her bullying role only increases until it seems her targeted family is nearly rent asunder. 

Maria does exemplify the trope of being both woman and filled with ill intentions (another evil witch-queen, as she’d surely be in the Disney fashion), however, that is not the point of Jones’ writing. Her blatant reversal of the world’s power distribution only highlights how much of our society is so reliant on the typical distribution of power and the way things are delegated to each gender. 

There is a strange dichotomy of men and women in literature and media that spawns back from the beginnings of story telling. It is a belief that men are more representative of the physical world: they are the embodiment of what we can understand and interact with, the pinnacle of power, whilst women are symbolic of the mystical and ethereal part of life. This is largely caused by the fact that women can carry and give birth to children, something men could not do, so therefore women were tied to the spiritual side of creation when men were tasked with handling other physical labors. Women are also more empathetic and emotionally understanding in the written word, and therefore can better understand and interpret the minds of others -something many typical heroic figures rarely do. 

By turning things on their head in this novel, Jones wanted the audience to understand that this dichotomy should be deconstructed and done away with. Men and women play equal parts in society, however there is this notion to demonize or oppress one half in favor of the other. Misandry and misogyny create an unhealthy atmosphere where it is hard for the masses to communicate with another and the ruling party is able keep the stigma alive.

Anna Sibilia

David Steiling

Weird, Inventive, and Horrifying

It is not surprise that the horror genre has an ever changing dynamic in relation to the public’s taste; with each new trend, hundreds of new scary stories and films bombard the silver screen and other media whilst clamoring for attention. During the beginning stage of each new wave is a small group, something that sets the example for the rest of the genre. The ‘Weird’ is a slightly alien part of the encompassing genre, as the outliers that linger there are usually thinking and morphing their ideas at a faster pace, evolving and bringing new elements into the horror genre. 

For instance, the newest exploitation of these trend setters is the revitalization of the Zombie sub genre, bringing the undead back to the forefront of horror and the public’s view. One of the most popular forces in this was the Walking Dead series, originally a series of novels written by Robert Kirkman and illustrated by Tony Moore that introduced the audience to an Earth where all notions of zombies had never existed and therefore everyone was ill-prepared for the shambling rise of the Walkers. AMC had discovered this Weird installment and translated it into prime-time television, which only spread the influence of the genre further. The gritty, realistic take on the zombie horror sub-culture exposes more than just rotting flesh in its writing, often pitting up morality and practicality; the conflict of individual survival versus sacrifice for the whole; this series began ripping apart humanity (literally) and displaying the notion that maybe man is as monstrous as the very things people are trying to protect themselves from. 

As time passes, I’m sure the Weird will reinvent the horror genre countless times again,  yet I’m not too sure where it will go. As of late, there has been quite a recurring theme of demonic horror movies hitting the mainstream cinema screen, mostly in part of works like Sinister, Paranormal Activity (the first one anyways), and Insidious, though I cannot think of where the next focus may be. My guess lends itself to the more psychological side of horror, wherein writers have their stories blend hellish imagery and nightmarish themes in with the daily decomposition of the mind as madness starts setting in. Yet this is already a prevailing theme in modern horror and I am unsure of whether or not it will be considered ‘old enough’ to be reworked into a ‘new’ facet of popularized culture.