Hello friends it has been A Week, let me tell you. Hope y’all had a nice Thanksgiving that was devoid of familial discourse and full of rad food, instead.
I’m gonna apologize in advance for this blog post; she’s not cute. I’ve been slacking on my work for this class, but! We’re in the home stretch! So I’m gonna give it my all starting… Now!
Alright, so this week I read “Separation” by Annie Abrahams.
Looking first at that main screen, I was intrigued to find that the piece was first created during the author’s stay in a hospital. The background surrounding its creation, and its purpose, to “separate” the reader from the computer through those random exercises that would appear throughout the piece were very interesting elements and vastly different from past works we’ve read for class.
Well, other works have had readers do physical tasks, so that’s not new. But having to get up and exercise? That’s new. (Not gonna lie, it was a little eerie, particularly That Face coupled with the phrase “Show the pain.” Yikies.)
… Confession time. I read the piece wrong. I didn’t get up and exercise, I read the whole piece lying down (laying down?? whatever;;; colloquialisms). I did do the first one, though. That creepy one with the open mouth. Gladly, no one was in the room with me, so I didn’t have to explain myself kldjfskljdk.
Also???? L O L when I started clicking more quickly and it gave me this:
Felt like I was being reprimanded. Patience is a virtue, I suppose. I was kinda confused about it, actually, until I actually read through that first page and saw this:
“All computer workers tend to forget their body, and so risk to be a victim of Repetitive Strain Injury (RSI) one day. The visitors of ‘separation’ are constraint to click slowly (, as someone recovering from rsi) to see appearing one word at a time of the text. Every now and than a exercise is proposed and all interaction with the computer is postponed. (A recovering rsi patient needs to do this kind of exercises.)”
In which case, I was like “oh. fair enough.”
Overall, a very interesting piece. The text had me Feeling Some Emotions with the depth of the language, and the meaning and perspective behind it only expanded my view of it.
Okie dokie, so regarding My Piece.
Clear update, huh?
Well, I’ve been editing the story itself, marking the “panels” with numbers to keep track of them while marking the different storylines in different colors (i.e., light blue for Baby Owl, a pinkish-red for Mama Owl; hopefully to correspond with the colors I’ll make the actual panels in Twine). I’ve also been planning how far I want the branching storylines to go. I was thinking of hiding a bio somewhere in there, too, but I don’t wanna spoil anything, I guess.
Anyway. That’s the progress I’ve made. It isn’t much, but I’m planning to really dive into working on it for the rest of the semester. That, along with my writing theory final project… and my novel for YA Lit…
It’s Fine :’)))))))
Okay. I’m gonna go. Looking forward to class tonight!
I’m gonna jump right into it this week because it has been A Long Weekend and I am Tired. Please forgive my less enthusiastic rambling.
So Book & Volume. It took me a bit to download considering 1) I had to use my Big PC, 2) the app download link on the ELC didn’t work, and 3) I had to find one on my own. When I got it working, though, I was immediately endeared. I read the description beforehand and was a little skeptical when I saw that my task in this text game would be a mundane one.
Wowie was I off.
The futuristic, otherworldly absurdity that was the environment, however, completely made up for the monotony of the task you are given: reset(?) these 5 computer servers(??). I love when there’s that level of nonsense in a story’s world that’s taken as the norm, so the “main character” doesn’t question it, even if the reader/player absolutely does. To fully immerse themselves then, readers/players have to accept that nonsense.
It’s always a great time, doing that.
Now, I was a little lost at first because I’m not Completely used to the freedom of these kinds of text games. There’s so much you can do with little Easter Eggs to find (anyone else get approached by Carrie Fisher?) and places to go. It actually took me a few in-game hours to realize that I could travel out of the confines of the described block outside. Once I realized I could “go north,” though, I was set. That’s the charm of text games, I think. You gotta try all your options, and you don’t have visuals to guide you, so you gotta use your imagination to come up with those options to begin with.
There were little visual hints outside of the descriptions in-text, too. The bar at the top that notes your location, the time, and the direction options you can take in the top left corner.
As you can see in one of the screenshots I took in the game, I didn’t win my first playthrough. I think, when I got fired, I sat there and laughed. I had no idea I was on a time limit, but I couldn’t be mad. I’d messed around too much, so it was my fault.
Honestly, I didn’t play it again. I thought it was a poetic ending that would make for a good blog post. I do want to play it again, though. Absolutely.
When I have time.
I really want to explore the town more, and I hope to do so within that time limit I apparently have. I wonder if it was mentioned to get the task done by 2 AM, or if we’re just supposed to Get It.
Again, though, I can’t be mad. It was a rad game. I’ll be back to find out what happens when you reset(?) those servers(???? ?).
Anyway, in class we talked again about our own pieces. I’m sorry to say, but I haven’t made progress. I’m glad we’re being put in smaller groups to discuss our projects. It feels less pressured, more friendly.
I keep talking about how I want to put my YA Lit book into a digital form and go from there, so I will make that my task this week. Get the main plot down on Twine and start Getting My Life Together to figure out what Extra Fun Things I wanna add in. I talked about pictures but I can’t (read: I’m too lazy to) draw and, as I believe I’ve said, I think I’ll do better with words than with drawings. Maybe in the future I can add pictures. But as of now, I’m inspired by the format With Those We Love Alive as well as the absurdist language and situations found in both WTWLA and Book & Volume.
Both start off with a somewhat mundane task to follow. Find the servers. Go about daily life. Sleep. Wander the city because in the future apparently we don’t have GPS.
I apologize for my lack of proper updated content regarding my project, and I hope to work on it tomorrow as well as in the upcoming weeks. I mean like, I don’t have a choice fjdklsjfklds but! Not the point! I’m hyped to work on this project, even if I have a breakdown or 3 in the process of the progression to finals week.
…a lot of things, like a publishing deal and constant validation, but mostly to get this blog post up.
Hey friends, long time no see.
Before I get into the e-lit piece I read/played through this week, Icarus Needs, I wanted to talk a bit about some updated plans I have for my final piece.
I know I kept talking about adding additional media like pictures and videos and whatnot as the story (or stories) progress(es), but I’m not sure if I’ll have the time. I think I want to try to pull of something like With Those We Love Alive, which I talked about in this post. I’ve been looking at Twine lately, which was used for WTWLA and I think maybe I’ll use that. I was playing around with it and there’s so much you can do with it. Also, I’m better with words than pictures, and I feel like I can put out something pretty cool with descriptions alone. Maybe a few pictures? Simple ones? I dunno. I’m afraid of it seeming childish in that way. I’m not sure how effective this whole “growth from simple to complex” idea I had will work out, especially with the time crunch. Anyway, I’ll ponder. I’ll try working out some kinda map for the branching storylines and at the very least start writing out the panels for the main plot.
IT’LL BE FINE, RIGHT?
Aiight, so Icarus Needs.
I remember playing little games like these when I was in middle school. Miniclip.com was my site, alright? Particularly the puzzle games, most of which had stories to them. One that really sticks in my mind is Gateway (I & II). I don’t wanna say much about it, but from what I remember, the story in the second one gets really heavy, so consider that a warning. It’s an incredible game. Go play it if you love puzzle games and deep stories and eeriness.
But anyway. Back to Icarus Needs.
First of all, I love the design. The simple panels give it a fun, deceptively straightforward vibe, but you find out quick that it’s a bit more complex than you think, both story-wise and design. It maintains the simplicity, but… expands… on it…? That doesn’t make sense. Whatever. I’m a fan of games that bridge whimsy with emotional depth, even if the latter part is only hinted at. It gives you the sense of a bigger world outside of what you see in the game.
Fun fact: It makes me mad when games are written off as silly and insignificant. Like… Gateway II touches on [SPOILER]the trauma of losing a family member and the hold they could still have on you even in death. Also, how it’s not always healthy.[/SPOILER] At least, that’s what I remember. I gotta play it again. It’s just so good. But like. How dare you write off a whole story based on the medium it’s presented in? Big UGH.
In Icarus Needs, there’s kind of this narrator who speaks outside the panels in an almost innocently authoritative way, if that makes sense. Like it preaches to main character Icarus (I dig that name, by the way) these… dreamlike phrases that you think would require deep answers or something. Or like. Cliches. Like the “out on a limb” line when Icarus is in the tree.
But then, in reply, Icarus is kinda blunt, or subverts the line/question/cliche. I hope that makes sense…
Here are some of the panels that stood out to me regarding that:
His responses are so realistic while the narrator is more… idealistic ? Is that the word? Maybe not. Either way, Icarus’ responses are refreshing in the dreamlike setting.
And speaking of dreams. You’re told that this is a dream from the beginning, but you almost ignore it at first? At least, I did.
Also it’s difficult to automatically trust an outside, omniscient voice just after you wake up in a strange room and have to save your girlfriend with giant phones, mud balls, nets to catch a rat, and apples (exactly 5). So yeah. I wasn’t trusting it or its cliche banter anytime soon.
Regarding the end…
I was waiting for a different catch other than “and then he woke up.” I’m not mad about it, I mean. On the one hand, it’s expected. On the other, I wanted something more. And perhaps there is something more, what with the little squirrel king in the corner. It’d be so rad to have a sequel to this in a similar style. The puzzles were really cool and the story was just perfectly whimsical.
Looking forward to experiencing this again in class!
Hello! Happy Election Day! I am very late with this “storyboard” of sorts and I apologize. It’s been A Rough Few Days, haha.
Here’s the gist of what I have so far.
I know I’d definitely like to hint at stories/story ideas that I’ve come up with in the past. And it’d be really cool to “break the fourth wall” and put bits about myself in there, as well. Ha, maybe that could kinda be like the “credits” of the whole piece in a way, while still being a part of the story.
On Dark, DarkNights is a children’s book I wrote earlier in the semester, and I feel like it would be a good, simple starting point for the story to branch off of.
It’d be really cool to compose my own little tunes for it. Not sure I’ll have the time, but I’m pretty adept at Musescore, so I could probably whip something and it wouldn’t take too long.
Well, until the perfectionism sets in and I’m up at 4 am editing a melody for panel 236.
Haaaaaaa. Can’t wAIT.
Regarding the drawings, I feel like whatever character is “You”/the main character would be whose eyes the reader sees through at the time. Hence the change in color schemes and such. I have an alright tablet at home so… hopefully for the plots closest to the central plot (Baby Owl’s storyline) I’ll be able to do simpler drawings. It’d be cool to get more complex the further from that storyline the reader goes, until you see the actual pictures taken for the “author” storyline (aka mine).
And a mess.
Welp, I’m nothing if not ambitious. Let’s see how it goes.
It’s a good thing I have the main plot done already, haaaaaaa.
(Apologies for not giving examples of what the art would look like… I’ll see if I can draw some stuff in the upcoming weeks.)
For the love of god, please never let me put references in my blog post titles again. Like I’ve made some okay ones in the past, but I’ve reached a new low with this one. Anyway, stan block b.
Before I get into the e-lit pieces we’re going to cover this week, Façade and Pieces of Herself (aka the point of reference for that blog title, but let’s forget that exists, shall we?), I’d like to touch on the shared document we wrote on in class last week, in which we brainstormed our ideas for our own e-lit pieces. I posted this:
I was thinking of having some kind of branching hypertext narrative that kind of starts off fantasy/almost children’s book-like (like this kids book I wrote recently about a baby owl) and gradually getting more realistic (Maybe even branching into autobiographic snippets???)? Maybe?? Like starts off with simple sketchy drawings with few words and what seems like a single story then you realize that there are multiple things to click on on the page (pictures or words of the text I suppose?) that branch off into other little stories (maybe connected? maybe not?). With actual pictures and more color and links to music and videos. Idk I think the transition from simple to complex/fantasy to reality would be cool to play around with. I was thinking of throwing in bits of stories I’ve already written, actually. Wondering if I could (and would be able to) have a page where readers/users/players could type in “passwords” from other parts of the piece in order to unlock other pages… Wondering how to do that… make it kind of a game.
I… think I’m being a little over-ambitious here, but BIG SHRUG. I’ve noticed I have a habit of doing Too Much sometimes. Don’t really know what more to say about that except I doubt I’ll be able to make it extremely poignant or anything… more of a mass dump of all the stories and thoughts in my head. Previews of sorts scattered through hyperlinked pages of sketches and doodles I can hopefully gather from past notebooks. I guess in a sense it’ll be a look into my head?
Not…… sure…… if that’s a good idea. BUT WE’LL SEE, I GUESS?
I’m glad I got my presentation out of the way relatively early so I can focus on this for a longer period of time.
Anyway, look forward to disjointed rambles and thinly veiled social commentary, I guess.
Okay, onto Façade.
I’m going to preface this by saying that, as of writing this post, I haven’t played the game yet. Excuses being: my everyday laptop is a Chromebook, my Windows laptop at home is too decrepit to run anything above Word these days, I’m pretending my old baby Gateway laptop doesn’t exist (plus it could barely run Undertale), and my Fancy New Desktop stopped connecting to its monitor.
But I know Façade. I know it from back in my YouTube days, when I religiously watched Let’s Players. There wasn’t a cryaotic, markiplier, or jacksepticeye vid I hadn’t seen back then. But anyway. Most of the youtubers I watched played it at some point, so I’d skimmed their playthroughs out of curiosity.
And lemme tell you. This game is wild.
User-input-dominated. Incredibly intelligent. Wildly open-ended. I don’t even know how many endings there are with this game, but I know they can get… interesting.
Hopefully I’ll be able to play it at some point, and when I do I’ll be sure to link either a video or my commentary on it [HERE]. If you see no link, please carry on reading and pray I get my life together some day. *wink + finger guns*
Alrighty, onto Pieces of Herself.
First impression of the little point-and-click story is Wow, these controls are wonky. The side-scrolling was incredibly frustratingly sensitive and it was a little difficult to drag the little objects over to the “doll” on the left side of the screen. Plus it looked like you could still click on the areas where the objects were, but it didn’t do anything, so it gave me a little paranoid feeling that I was missing something (OOF. INTENTIONAL?). I can’t complain too much about the sounds, as the cacophony of sound effects and music clips was undoubtedly intentional.
The overall sense I got from the game, while ominous and foreboding from the black-and-white and jauntiness of the programming, was overwhelming. All the societal expectations of being “female” (whatever that means, amirite?) and being A Good Wife/Girlfriend/Daughter/Woman/Girl (Eeugh.) were expertly represented. Be timid but not boring. Be social but not too much so. Be sexual but no, not like that.(don’t think I didn’t peep that hidden vibe in the living room) Women are meant to be contradictions in society, therefore. But then it’s seen as frustrating when we contradict ourselves…?
That’s… does that make sense? Man, I don’t even know.
Being a woman, I’d like to think I’m over those kinds of expectations and I’m currently actually living as myself, but I suppose there are those self-conscious moments of Am I allowed to do this? or Is it my place to say that/have that opinion? I catch myself seconds later, because maaaaan heck that mentality. I’m allowed to have whatever opinion I want (within reason, tho, let’s be real), and being a woman shouldn’t deter me of choices I make.
(Oof, I’m listening to some inspiration music at the moment so pardon the Emo Turn this post has taken.)
Story-wise, though I feel like a lot of the environment’s little voice clips and such can be relatable and the overall story can be up to interpretation, I know there is an actual story to go along with this particular woman’s environment. Something to do with mental health and gender identity and coming to terms with (and hopefully defying) societal expectations. There really is no “end” that I could find, which only adds to the ominousness of the “Main St.” scene. Did something happen? What’s with the hospital? The cop cars? The car on the far right? What happened to this woman?
I’m looking forward to discussing this piece more in class. This piece as well as Façade. I hope we get to play both, and that we don’t have any more technical problems. Lookin @ you, wi-fi. Get your life together.
I hecked up, friends. Y’know how you have a thing to do sometimes, but you’re like “mehhh I can wait a bit; I need to rest right now, but I’ll get to it” and then you just… fall asleep?
Case in point: this blog post.
But that’s okay! Because I got to read Brainstrips just after I woke up. And what a wild ride that was.
It’s interesting reading something so offhandedly deep and philosophical so early in the morning, because in that still-tired state, you both miss things and catch things and basically get a whole different story than you would while reading it when you’re fully awake.
Maybe that doesn’t make much sense.
Anyway. I got to experience both Brainstrips and the Taroko Gorge remixes, but I’ll be chatting here about the former just based on the bigger impact it had on me. (Sorry, Vee ;u; )
The “comic” / e-lit piece had what seemed like 2 layers to me (probably more to be honest, but I’m capping it at 2): the ridiculous humor layer, and the serious layer. I considered calling the second layer the “Things We Don’t Want To Talk About Because They’re Too Off-puttingly Serious” layer but the title seems too long to keep typing.
The humor of that first layer is one I’ve seen around the internet a lot, particularly in nihilistic games/posts/etc. A kind of “hahahahah this makes no sense but it’s okay we’re all dying inside” kind of millennial humor.
Regardless of if that makes sense or not, Brainstrips was intriguing in that it explored deep matters–philosophy, morality, environmental awareness–in a sort of flippant way.
Like this. Peak internet humor. Blatant use of wordart. Stock image of a button I could swear I’ve seen floating around the internet in other games/game-type things like this.
In the first section (and the other two, but I’m just focusing on the first right now) we have that comic-style lightheartedness, but with questions in the corner that would stop a person short and either a) make them squirm, or b) start a whole existential discussion that may or may not end in tears and an awkward but good-natured and consoling pat on the back.
Anyway is it just me… or does it give off that feeling like from Back to the Future 2… in a very materialistic future where Everything’s Great but really Everything’s Terrible? Maybe BttF2 is a bad example. I dunno. But do you get what I mean? Like some kind of false-utopian/actually-dystopian genre vibe?
Maybe I’m looking too much into it.
Regarding the questions, Brainstrips is absolutely literary. Comics on their own are a form of literature–a stance which I will defend to my dying breath–and Brainstrips is no different based on formatting alone.
When navigating through the text, I tried changing up what I thought would be The Correct Order of the story by clicking on questions lower on the list before the higher ones on the first page. Turns out the order didn’t matter, but just that small bit of ability to choose was… nice. And frustrating once I realized the choice didn’t matter but hey, that’s life ain’t it.
One more thing before I sign off and finally post this thing. The sounds were a crucial aspect of the piece. Ambient and creepy sometimes, loud and garish at other times, all-around off-putting and perfect the entire time. Sound in a story can make a story. Just look at horror movies/horror games. Watch them/play them with the sound off and you have a whole different experience. There are probably articles on it that’ll get all psychological and such which I’d love to look into, but! That’s for another time!
As for now, I will bid thee adieu with a final screencap from Brainstrips:
When I was looking for the e-lit piece I wanted to present, I knew I had to pick something creative. Something story-driven and maybe just a bit weird. Don’t get me wrong, all of the pieces in the Electronic Literature Collection are extremely creative. Many are story-driven, as well. And many are so very very weird. But something about Hobo Lobo of Hamelinreally struck me as The One. Maybe it was the story line blending old fable and modern socio-political commentary. Maybe it was the blended setting of Renaissance and 21st century. Maybe it was the really cool color schemes and site design and music and sketchiness and humor and subtle (and not so much) grotesqueness of it all–
Okay, it was a lot of things, so here goes nothing.
Hobo Lobo of Hamelin is a webcomic, a medium I am relatively familiar with, posted from 2011-2014. It is, according to the Hobo Lobo ELC page, “a digital pop-up book about a city, its scruples, some rats, a wolf, his woodwind and the stuff that goes down.” Sounds simple, but it turns out to be a lot more complicated than that. Just one look at the first page gives the reader an expectation of something lighthearted and playful, but… it’s clear by the third “panel” of “page” one–(see: “coked-up rats… freaking everybody out” as citizens of Hamelin try to “get them to fuck off”)–that this story will be a lot more real than originally thought.
There are a few topics I’d like to hit in my exploration of Hobo Lobo, and I’ll put them here in a nice little list so I don’t forget:
Background – programs, author, inspiration, etc.
Story – a simple fable twisted beyond recognition
Themes – the eerie way the tale has aged and “predicted the future”
“More to come…” – ???
Will I be able to cover everything in extensive detail? Probably not. But hey, we’re all friends here. All human. Let’s just go with the flow and maybe we’ll discover some things together.
First, we’ll check out the behind the scenes, or the back end, of the piece, starting with its author.
Stevan Živadinović of San Antonio, Texas, is a graphic designer, artist, video game design teacher at a creative youth development program, creator of “comics and comic-like things,” and overall a pretty rad dude, if his Twitter and Tumblr are anything to go by. (Note: they are; he’s pretty active.)
On the main Hobo Lobo website, Živadinović has linked his professional portfolio page detailing his credentials, projects, areas of expertise, and contact links. It’s an aesthetically pleasing page with charmingly simple (yet still professional) language and a subtle, almost dry humor (see “Marketing that is dead inside,” “I make things special,” etc.) that carries over into Hobo Lobo. There’s also the quirkily “hidden” background/statistics/about/credits page helpfully titled “What is this thing?” It’s kind of like an info-dump on that page. Any questions you want answered (and others you didn’t know you wanted answered) can be found there.
Živadinović linked to a tutorial on building said framework and throwing everything together on that info-dump page I mentioned, for those crazy kids out there who want to make their own side-scrolling web comic. He claims himself that the formatting is “janky as hell” under the Technical Considerations section, but personally I find it adds to the sketchy charm of the piece.
I can’t say I’m well-versed in back end stuff like this–coding and site-building and whatnot–so I’ll cap it off here, but as far as I’ve seen, the amount of work and consideration that went into this multimedia work is incredibly impressive. Feel free to peruse those links I gave. There’s some quirky coding throughout that’s arguably as enjoyable as Hobo Lobo itself.
Ah, one more interesting thing I noticed: Živadinović mentioned some of his influences for Hobo Lobo in his parallax tutorial, one of which was MS Paint Adventures. Color me surprised, as I was neck deep in that fandom several years ago. Turns out you can never really escape Homestuck. Learning this, though, I can see the connections–the dry humor, the deep story hidden by lighthearted visuals, the charming music, the multimedia aspects. Maybe it’s fate I picked this comic, then. Or it’ll go terribly wrong and we’re in a doomed timeline, and–
Let’s move on.
ELC’s editorial statement summed up the story as: “A wolf turned Renaissance journeyman travels to the town of Hamelin where the local mayor refuses to pay him for ridding the town of ‘coked-up rats.'” That’s… honestly exactly what we have.
It’s a liner story, nothing crazy or hard to follow. Despite the multimedia aspects, a majority of the story is told through text. Let’s go with like… 35% text, 55% visual imagery, 15% cool animations, 5% rad tunes.
Those statistics are not real, I’m just conjecturing. Bottom line, there’s a lot of text / visuals.
As for content, Hobo Lobo is a curious blend of old and new–“medieval Pied Piper”/”European folktale” and the modern-day-esque, political and media disaster of a town called Hamelin. Even the characters themselves are a mix of this old and new. Heck, even the genre itself and the design choices down to the coding are a mix. It’s really cool.
We’ll read the story together in class (I’d like to get through the whole thing, as it’s not particularly long), but I’d still like to touch a bit on the main characters of Hobo Lobo.
First, we have the story of the Mayor, whose name is literally Mayor Dick Mayor–(did I say subtle humor earlier? I take it back). The mayor runs a “progressive Fascist-Calvinist coalition government” in Hamelin–(essentially, for those like me who can’t really keep political anything straight, it’s an ultra-religious dictatorship). He’s… a terrible and corrupt politician who ignores due process, goes to psychics for advice, and wants to purge the city of rats–all for the purpose of staying in power during the next election.
Hm……… Interesting………… That’s not familiar at all………………..
He’s cryptically told to hire a professional.
Thus enters Hobo Lobo, the “protagonist” of sorts.
This “Renaissance Journeyman” rolls into town ready to accept any job he can for the barest of fees. Seems a little too good of a match for our Mayor Dick Mayor.
It’s interesting in the beginning–seeing the way these two characters are set up. The mayor gives a very established, power-driven but laissez-faire vibe. Words that come to mind when thinking about his character, to me, include: manufactured, corrupt (-ed and -ing), uncaring, misled, ignorant, perfection-seeking, power-hungry, modern (in the bleakest sense).
Hobo Lobo, on the other hand, from the very start has more of an old but carefree vibe. Words like versatile, pure (in a weird sense), supernatural/fantasy (see: page, folklore come to mind. (I’m struggling to find the right words, but basically: he’s a complex character that juxtaposes the mayor… but when you think a little harder they have some things in common. Would it be selfishness, perhaps?) You get the sense that he knows what’s up from the get-go regarding his eventual deal with the mayor, but it would seem that a more base need wins out in Lobo’s moral dilemma.
Continuing this look at blending old and new, simple and complex: the plot itself is another element. We start off with a simple story about a simple (but grim) deal made in a town–one that could take place in any setting and for now seems to be more medieval than anything–but come to realize that there are more complex things at play here. Socio-political unrest, religious zealots in power, xenophobia, genocide, the effect of the media (Fourth Estate)… All of which… is uncannily relevant.
Which brings us to the themes of Hobo Lobo.
Let’s start with the obvious. Hobo Lobo is very politically charged, showcasing political extremism, complacency for that extremism, racial and social ignorance, and overall exacerbation by the media (which, in Hobo Lobo, is aptly named “Fourth Estate” in a logo startlingly reminiscent of General Electric and another of Fox News).
As I am not particularly one for going on and on about politics, so I won’t be touching too much on it (aside from opening the floor for discussion, of course), I’ll just point out that this piece was written in 2014. While the themes were relevant back then, it was more of an extreme future–a laughable 1984-esque dystopian dream.
In our year 2018.
It’s safe to say that Stevan Živadinović predicted the future.
That’s really all I’ll say about that, unless anyone has any comments they’d like to bring up about anything socio-political or Fourth Estate. Feel free to discuss!
There is one other topic that I would like to touch on, though. The rats.
The rats, while not given much of a voice in the story, are portrayed in a somewhat polarized way. The narrator and the mayor both boast about how the rats are “freaking people out” (p. 1) and “destroying the livelihoods of taxpayers” (p.2), but on the third page, we’re given a wordless panorama of their lives–a vibrant array of who rats are as a people. You can even see it subtly throughout the second page, as rats go about their lives and get help from Lobo, as well.
It’s a brief snapshot, the beginning of the third page, but it works, because the rats’ absence is felt very strongly in the subsequent page. “This was noticed” (p. 3.2), but the mayor and media gloated of this great achievement of historical significance. It’s a testament to the rampant xenophobia/racism of today–of the fear of someone “different,” the impact of their absence to a society, and the disgusting, prideful sense of achievement when that society is consequently seen as “free” from that “different” force.
“More to come…”
The seventh page of Hobo Lobo is, in one word, haunting. You can tell on the previous page that Lobo is fed up with the mayor, with Hamelin’s ignorance, with the whole of society, and so he comes to a decision with a swift kick and a busted radio.
The anticipation that builds up with the seventh page, and the realization of what Lobo is doing–luring the town’s children in that same Pied Piper-esque way that he lured the rats to their deaths–is like watching the second shoe drop. That simple, almost righteous vibe Lobo gave off earlier crumbles away–purely visually, which is even more powerful–and you get a sick sense that there really are no “good” characters in this story.
And he must realize it, too, with that distraught, perhaps even self-loathing, look to him. This must go against everything about his character, but it must also give him some kind of twisted satisfaction to get revenge. The question is, which one wins out? Will he regret this decision or accept it and be satisfied by it?
I’m sure that that is what we would find out later on in the story… but this is the final page, and has been for about four years. According to that Info-Dump page…
… it’s been a while. That chart there represents the days between pages. It looks like an update won’t be coming in the near future. (Which is fair! It’s common in the fanfiction world; life gets in the way and updates come few and far between. It’s also a mood, I say as I recall a story I started sophomore year of high school that is only halfway finished… I’m a graduate student… Actually, Hobo Lobo started the same year I started that story. Ha. Small world.)
Anyway, honestly? This “final page” acting as an ending is… actually perfect. Hauntingly poetic. Stories with no definite ending that leave you with more questions than answers, with a sense of worry in your gut for what comes next and dreaded acceptance that you’ll never find out… they’re really cool. Especially a deeply morally-rooted and horribly relatable one as this.
Were this story to continue…what do you think the ending would be? Are the children okay? What will Lobo do? What will become of the mayor? the town?
And, considering the eerily similar state of our own society today, as touched on earlier, what does that say about the future of our society? Are we waiting for the second shoe to drop? Where are we in the Hobo Lobo story? What will become of us?
Well. I’d say that about wraps up my little exploration of Hobo Lobo of Hamelin. Props to Stevan Živadinović for “[MAKING] A THING” that would turn out to be a masterpiece on modern-day socio-political commentary and complex moral dilemma.