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/lit/ - Literature

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>> No.12080940 [View]

memerap like lil peep is the my little pony fandom of the music world

the fans are completely oblivious to the level of cringe they project

>> No.12080717 [View]

>>12079344
Whoa, whoa, whoa - Steinbeck? C'mon.
I mean The Red Pony and The Gray Pearl are fucking great.

>> No.12074335 [View]

>>12073140
>neutral lens
stop taking *any your favorite pony's asshole color* pill

>> No.12056756 [View]

His pony, Fatty Lumpkin! The passages in the book where the Hobbits are staying with Tom are some of the comfiest I can think of.

>> No.12056189 [View]
File: 548 KB, 1365x2048, 1530738256688.jpg [View same] [iqdb] [saucenao] [google] [report]
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>>12056108
>we're also obvious hacks
I resent that good sir, I am merely a consumer of fine art, not a producer.

>Herbert is a one hit wonder that kept milking his shitcow.
That is not true. You need to read something other than Dune.

>Asimov is the most boring man who have ever lived.
What does that have to with his writing? You could have at least mentioned how he came up with the idea of positron brains.

>Heinlein is a misogynistic homosexual cuck that touch himself thinking about his mum.
You also forgot being perpetually butthurt for missing out on WW2 on account of illness. And being a squid. All which gave flavor to his writing.

>Gibson is also a one trick pony that for some reason think he's still relevant in this day and age.
Cuz he writes hipster scifi, with marketing executives and shit.

>Stephenson could not write a non bloated book if his life depended on it.
You could say that's just good buissnes practice.

>>12056146
Anon I told you this is not /v or /pol. Please don't answer me with one liner memes. You are so much better than that.
To put it in terms you might appreciate - don't post like a nigger.

>> No.12056129 [View]
File: 255 KB, 487x335, 3_body_2.png [View same] [iqdb] [saucenao] [google] [report]
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>>12056108
>Gibson is also a one trick pony that for some reason think he's still relevant in this day and age.
>Stephenson could not write a non bloated book if his life depended on it. Like why the fuck is Cryptonomicon more than 1100 pages long?
I agree with this.

>Then there's you, and me
and me, the op of the question

>> No.12056108 [View]

>>12056071
Herbert is a one hit wonder that kept milking his shitcow.
Asimov is the most boring man who have ever lived.
Heinlein is a misogynistic homosexual cuck that touch himself thinking about his mum.
Gibson is also a one trick pony that for some reason think he's still relevant in this day and age.
Stephenson could not write a non bloated book if his life depended on it. Like why the fuck is Cryptonomicon more than 1100 pages long?
Then there's you, and me, we're also obvious hacks based on our posts this far.

>> No.12047647 [View]

>>12047505
My Little Pony: Revenge of Rainbow Dash

>> No.12046837 [View]

>>12046781
I'm not a pony.

>> No.12046251 [View]

>>12046216
Idk if you're asking OP or me, the person who talked about it as a starting point, but nah, don't start with GoW. It's fantastic and is about as Steinbeck as you can get, but it's long and you have to really like the characters to care (which isn't hard, Steinbeck is good at characters). Start with Of Mice and Men if you haven't already, then go with Cannery Row if you want something a bit longer. Grapes of Wrath and East of Eden should come after. IMO, red pony, Tortilla flats, travels with charley, and the winter of our discontent should follow those.

>> No.12042304 [View]

Video games can be masterpieces in my mind by doing one of two things.
First, they can deliver an engaging, well paced campaign with great gameplay - these are your Mario 64s, your Super Metroids, your Portals, your Resident Evil 4s, your Ocarina of Times, your Symphony of the Nights.
Second, they can use parts of a video game to tell a story that wouldn't work in any other medium - Shadow of the Colossus, BioShock, Undertale and, again, Portal are examples (I haven't played them but it seems like Silent Hill 2 and Mother 3 also fit this category)
None of these games have stories that deep or affecting on their own, if you think of them just as a plot, but they become so much more through the interactive element. SotC's plot isn't anything groundbreaking, but the atmosphere is perfect, the visuals are gorgeous, the design of the colossi are breathtaking and the feeling of the gameplay is unmatched. BioShock was somewhat overrated on release but the atmosphere is also really well done and the 'Would you kindly?' thing, which would be generic in any other medium, used the nature of video game quests and FPS campaigns to make an iconic twist. Undertale gets shit on for the fanbase and occasional Tumblry writing but it does use some very clever narrative techniques, and more than any other game I've played, the gameplay and the story are perfectly intertwined.
A lot of games tried to do similar things with fourth wall breaking stories like Superhot and Pony Island, but Superhot's story is completely irrelevant compared to the gameplay. and Pony Island is absolute trash. These two used hacky 'look at me I'm self aware' writing without Undertale's sincerity and the narrative techniques were more ham-fisted.
There are also 'objective' masterpieces of gaming like Tetris and Counter Strike, but those are more of a craft, to be appreciated the same way as chess or Go, rather than stirring any emotion.
Video games will always fail at telling stories through traditional methods. Modern cutscene-filled games that try to be films are for plebeians that genuinely get all their stories from video games. Visual novels and JRPGs do have their place and are much better than cutscene-a-thons but most of them have bad writing badly translated - a VN or JRPG with true literary sensibilities could work, and something like Final Fantasy is generally much better than most fantasy novels. I am more likely to play Steins;Gate or Final Fantasy IX than I am to play whatever the new bland third person open world game is with a story I don't care about and gameplay I've seen a million times.
Resident Evil 4 takes the best route to these types of games by not taking itself seriously at all. It realises that its writing is B-movie tier and goes with it. And it's fun.
Sorry for spergpost
>>12042060
Imagine being in this much of a bubble
>>12042182
I had a feeling it would be, that and Mother 3 are two games I definitely want to play even now that I play a lot less vidya

>> No.12033844 [View]

>>12033170
Not him but Remains of the Day and The Buried Giant made this look like tepid YA. I found Unconsoled to be a one trick pony, but I did have it spoiled

>> No.12032889 [View]

Hitler threads are the cringiest thing on a website that includes whole boards dedicated to my little pony and anime

>> No.11992573 [View]

>>11992310
This, the games that I would be most prepared to call masterpieces are almost entirely because of gameplay. My personal choices are mostly platformers, the top tier being Super Metroid and Symphony of the Night, as well as some others like Resident Evil 4 and Portal. If I had to pick objective masterpieces in gameplay the first two to come to mind are Tetris and Counter Strike but they don't touch me emotionally like the three I just mentioned and tons of other platformers (Aria of Sorrow, VVVVVV, Celeste disregarding the story etc.) At this point the only games I play are platformers and rarely at that, I barely play vidya anymore.
If a game tells its story in clever ways that completely rely on its being a video game then that counts towards it too - Undertale's story would be nothing special in a book but combined with how it uses the gameplay seamlessly it makes it amazing. This also applies to the twist in BioShock, which would be generic in anything other than a video game, and Portal. I haven't played Silent Hill 2 or MGS2 but it seems like they have similar things. This doesn't mean all '''''deconstructive''''' games are good, Pony Island was crap and Superhot was only good for the gameplay, the story sucked.
Shadow of the Colossus is also up there for not only the gameplay but also the visuals and atmosphere. Every frame looks gorgeous and again, the story is nothing special on its own but the atmosphere is brilliant.
Also I'm not sure I would call any of them masterpieces in themselves, but Final Fantasy has amazing music. Uematsu is unironically one of the best composers of the late 20th century, and I only say 'one of' because I am not too confident in my knowledge of classical music. He is definitely top 10, probably 5. Dancing Mad is absolute fucking gold, and that's not nostalgia (only played FF6 a few years ago and I didn't finish it)
Games that try to tell deep stories with cutscenes are fighting an uphill battle. Except for point and clicks, JRPGs and visual novels no game has enough dialogue for a great 'plot'. Games do have their place but cutscenes for super deep plots are not it. Gameplay and atmosphere are it. Some games are great because of their gameplay, like the best Metroidvanias, RE4 and Portal. Some are great because of how they use the gameplay, like Undertale and BioShock. Some are great because of their atmosphere, like Shadow of the Colossus and BioShock, and apparently Silent Hill 2. If you genuinely play video games for their stories, you are unironically a man child, and cringe shit like Extra Credits claiming that a game based on Dante's Inferno was anything other than a terrible idea just make games look worse.

>> No.11977919 [View]

>>11977645
It's hard for me to really view the west as, "the west" as something other. It seems so mundane to me, it's hard to really to view it as an entity. I guess the thing about the oriental/occidental is a fictitious view that presupposes a cohesive nature while missing the nuanced relations that bring it to coherence. It's catagorical assumptions with no systematic insight. Due to me pretty much being a one trick pony that can only afford to care about ecological issues, and my personality which is very independent and self-assured, aswell as a life long background in the life sciences, which doesn't mesh well at all with right wing beliefs ime. I've really only spent time on the left since I've been mature enough to hold serious convictions. I've never liked marxism, and only felt like I was an anarchist for a short while before becoming feed up with the lack of insight and silly convictions of other anarchist. Also, my beliefs lend themselves to a sort of hobbesian view of the state-capital even, for practical purposes. Though I also wish to destroy the current iterations of those things from their foundation, I'm not so naive that I let my radical desires alienate me from the political economy that I really don't like. It's obvious that the change needs to be ecological and not ideaological, and see no problem at all using capital and state power to advance my goals. I also don't pretend to be some kind of communist, I've never seen moving to a non-market economy as an option, it's obvious that capital should just be banished from the market. Anyways I don't really care for politics or even consider myself a leftist. Honestly it's all too anthropocentric for me. So in the case of politics I call myself an animist, which is also what a call my religious beliefs and possibly my burgeoning metaphysics, if it turns out my intuitions about potential make sense when I get it figured out.
I know how you feel, as I am Peirce fag. Apparently I'm a recognizable fag, since I started reading Peirce and and posting about him I've went from a know-nothing tyro to an apt, albeit megerly read philosophist. I feel somewhat lucky, as I before my exposure to Peirce ala biosemiotics my background was almost entirely in the life sciences, but I already had pretty nuanced views of my own. I feel like I found a sort of master key for scientific and philsophical investagation in Peirce's triad. So branching out from a Peirceian vantage has been fun and I feel like my ideas have a sort of integrity, that feels unique. As far as political philsophy goes I haven't seriously engaged with anything but my own, I somehow managed to maintain that intellectual virginity and my political ideas had a sort of rhizomatic, immaculate conception. Politics is too painful for me to study, I'm working out phenomenology, logic and metaphysics before I try to study any normative theories. I just let my political beliefs ferment in the dark I guess.
Sures been a Wild Ride

>> No.11968333 [View]
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I'm reading Ship Breaker now, it's a weird feeling because I once followed Bacigalupi very closely, he's the only writer I ever followed from practically their first story. But after The Windup Girl I stopped caring because it looked like he was turning into a one-trick pony with the climate change stuff. That said I'm glad I'm finally reading this, it's entertaining enough.

>> No.11959331 [View]

>>11957821
Houellebecq's a fucking one trick pony, all he ever writes about is how sex is unequally distributed

>> No.11957821 [View]

>>11957792
>Updike
>Comparable to Houellebecq
anon, Updike was never relevant outside of the US, and he was a one trick pony

>> No.11942139 [View]
File: 3.67 MB, 1200x800, meme.png [View same] [iqdb] [saucenao] [google] [report]
11942139

There are two artists and two societies.
One wants to maintain a painting habit. His art supply needs are reasonable by anyone's standards. Perhaps sometimes he exceeds himself, but not habitually.
The other wants to create 50-foot statue of his favorite My Little Pony character that looms over the city from a neighboring hill.
The two societies are, of course, a capitalist and a socialist one.
I made a table to cover all the possibilities here.

As you can see capitalism gets it right 3/8 times, communism 3/4.

>> No.11941822 [View]

Nobody will just say the obvious: many if the passages are the first and only time boys come into contact with homosexual sex acts. This book has turned many people gay. Beyond that the passages with more imaginative science fiction were a great influence on the genre. He’s also essentially the first shitposter of all time. His whole thing was to destroy every convention in writing ever.

All this being said he was a one trick pony. When I read his work it’s very obvious to me that he’s cemented into the post-modern world and a product of his time. He’s sort of like the noise music of literature and the idea of him is more important than any prose he could write being near and dear to writers hearts. His books are a chore to get through personally but the passages that are more fluid are extremely imaginative. I won’t be reading him again anytime soon but now you can understand when people talk about him and maybe the type of person they are on how they talk about him. Beware of pretentious writers as they flock to him but also many interesting people love him; take for example William Gibson who felt very close to him. This kind of extreme art attracts some loner types that can stake out their claim over his work and realize his writing was made for them. It certainly wasn’t commercial.

>> No.11937610 [View]
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>>11937415
But I thought the good thing about your system was that in 3/4 of cases it lead to people making the "correct" choice of not wasting resources on producing trash. Now it looks like the probability that people will erect a pony statue is just as high as the probability that they'll support the guy who's painting naturalistic depictions of the life of the working class as it should be. Could it be that in your populist system, the political decisions are entirely at the whims of the majority, regardless of whether what it wants to do is reasonable or not? (I'd put that last sentence in cursive if it were possible)

>> No.11937216 [View]
File: 3.67 MB, 1200x800, table.png [View same] [iqdb] [saucenao] [google] [report]
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>>11936877
I'm sorry, those weren't supposed to be strawman versions of you, I just like framing my line of reasoning as a series of quick questions and answers sometimes.

> provide people who are out of work
why should people ever be out of work in the first place?

>create and enforce regulations for the market where necessary
why is it ever necessary? Regulations amount to a muzzle for a rabid dog. The socialist asks "why do you keep a rabid dog in the first place!?"
Let's imagine the converse: In what circumstance would communism need to be regulated? Is there such as thing as "too much" sharing of the resources according to each one's needs? "too much" sharing of the burdens according to each one's abilities?

>I don't *want* the sum of all average people deciding what does and does not constitute a 'useful' asset to society and granting or denying me resources to create the art I want to create based on commune sense.

great, I want to talk about this.
There are two artists and two societies.
One wants to maintain a painting habit. His art supply needs are reasonable by anyone's standards. Perhaps sometimes he exceeds himself, but not habitually.
The other wants to create 50-foot statue of his favorite My Little Pony character that looms over the city from a neighboring hill.
The two societies are, of course, a capitalist and a socialist one.
I made a table to cover all the possibilities here.

As you can see capitalism gets it right 3/8 times, communism 3/4.

>> No.11934246 [View]

People like Shakespeare for the same reason people like My Little Pony.

Have an obsessed fanbase constantly telling you "just one more episode, then you'll get it!" and eventually you'll start to agree with them, eventually you'll be infected with that in-group feeling.

Obviously it is also a pathetic form of literary virtue signalling.

>> No.11933969 [View]

>>11926855
It isn't exactly "doting betas" that provide them with the financial support to indulge their excesses, they work for tips in the service industry where they often make hundreds of dollars a night provided by people who still see them as little girls despite the fact their in their mid-20's and steeped in debt, and who doesn't want to help a little princess buy herself a new pony?



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