rachelmanija: (Books: old)
[personal profile] rachelmanija
An excellent used bookshop in Tucson, The Book Stop, may be closing down unless the current owner, who is retiring, can find someone to take it over. Her contact info is on the "contact" page.

Anyone want to run a used bookshop in Tucson? It's really great and has an excellent location. I can vouch that being a bookshop owner is the best job ever unless you want to make lots of money.

Feel free to link or copy this.

Seven Deadly Sins of Reading

Sunday, 26 October 2025 20:36
naraht: Moonrise over Earth (Default)
[personal profile] naraht
Via [personal profile] foxmoth, this is a brilliant meme but also a challenging one! With a certain degree of "oh well, I guess that one does fit..."

Lust, books I want to read for their cover:
- Taylor Jenkins Reid, Atmosphere (OK I have read it but I would have picked it up just for the cover, UK edn)
- Andrew Porter, The Imagined Life
- Benjamin Wood, Seascraper

Pride, challenging books I've finished:
- Uwe Johnson, Anniversaries
- Laszlo Krasnahorkai, War and War
- JRR Tolkien, Hobbitinn (The Hobbit in Icelandic)

Gluttony, books I've read more than once:
- Alaistair Reynolds, Redemption Ark
- Sergei and Marina Dyachenko, Vita Nostra
- Jon Krakauer, Into Thin Air (I like reading this on airplanes, God help me)

Sloth, books on my to-read list the longest:
- David Bentley Hart, The Beauty of the Infinite
- Milorad Pavić, Dictionary of the Khazars
- Gabriel García Márquez, One Hundred Years of Solitude

Greed, books I own multiple editions of:
- Mary Renault, Return to Night
- (...plus various books in multiple languages but I think that's the only one with multiple editions in English)

Wrath, books I despised:
- RF Huang, Babel
- Don DeLillo, Underworld (I want so much to like this but I don't)
- Fyodor Dostoevsky, Crime and Punishment

Envy, books I want to live in:
- My own
rachelmanija: (Books: old)
[personal profile] rachelmanija


A YA novel about five friends who once played a spooky game that only four of them survived. Four years later, their friendship now broken, the ghost of their dead friend returns to drag them into a gameworld based on Japanese folklore. They must play again, for higher stakes, or else.

I like Japanese folklore, "years ago our group of friends did something bad that's now come back to haunt us," and deathworlds/gameworlds. This book sometimes hit the spot for me but more often didn't; it feels like the bones of a good book that needed a couple more drafts. The main issue, I think, is pacing. It's very fast-paced once it hits the gameworld, to the point where it feels like it's rushing from one scenario to the next, without having time to breathe. This also affects character. The characters are there, but they're a bit shallow because of the go-go-go pacing.

The best parts are a really excellent twist I did not at all see coming, and the scene where they all have to play truth or dare with younger versions of themselves at the ages they were when they first played the game. That part digs into character and relationships, not to mention the feeling of that game itself, in a really satisfying way. If the whole book worked on that level, it would have been much better.

There's a sequel that doesn't sound like it goes anywhere interesting.

Database maintenance

Saturday, 25 October 2025 08:42
mark: A photo of Mark kneeling on top of the Taal Volcano in the Philippines. It was a long hike. (Default)
[staff profile] mark posting in [site community profile] dw_maintenance

Good morning, afternoon, and evening!

We're doing some database and other light server maintenance this weekend (upgrading the version of MySQL we use in particular, but also probably doing some CDN work.)

I expect all of this to be pretty invisible except for some small "couple of minute" blips as we switch between machines, but there's a chance you will notice something untoward. I'll keep an eye on comments as per usual.

Ta for now!

UK people: Scrap The Bathroom Ban

Saturday, 25 October 2025 11:33
rydra_wong: Grasshopper mouse stands on its hind legs to howl. (turn venom into painkillers)
[personal profile] rydra_wong
https://actionnetwork.org/letters/scrap-the-bathroom-ban

From TransActual and Trans+ Solidarity Alliance. Produces a template letter to your MP which you can customize as much as you can or want to.

Article by Jane Fae of TransActual (who have been absolutely kicking ass):

https://www.scenemag.co.uk/jane-fae-a-director-of-transactual-writes-on-the-eve-of-launching-a-new-campaign-to-get-mps-to-reject-the-ehrcs-bathroom-ban/

There are now a bunch of Labour MPs who are worried and making noises at the government, even if it's only about the impact on businesses of rules which are possibly illegal and impossible to follow without getting sued:

https://www.theguardian.com/society/2025/oct/23/dozens-of-labour-mps-warn-of-chaos-for-firms-over-gender-recognition-advice

It's alleged that Bridget Phillipson was sitting on the guidance because she was worried it'd scupper her bid for the deputy leadership, whereas Powell is actively trans-friendly and has called for MPs to have a chance to debate and vote on the guidance.

The below may be an overly optimistic view but it seems clear there's tension and conflict between the EHRC and government:

https://iandunt.substack.com/p/frightened-and-desperate-ehrc-anti (warning for Substack, in case you are boycotting it)

So this is a moment when leverage is possible, and letters to your MP may actually do something.

A World Worth Saving, by Kyle Lukoff

Friday, 24 October 2025 12:48
rachelmanija: (Books: old)
[personal profile] rachelmanija


A middle grade fantasy novel about A, a Jewish trans kid who has not yet chosen a name, and whose parents are forcing him to attend a teen conversion therapy group. He secretly texts with the other trans kids in the group and they support each other. When one of his friends disappears, he meets a strange being that constitutes itself from any discarded objects it can sweep up in a wind - a trash golem - that sets him on a mission.

A hooks up with a bunch of LGBTQ people living in a kind of homemade squat, discovers that the conversion therapy leaders are either demons or possessed by demons, and meet a very supportive rabbi and her husband, who know a lot about Jewish folklore, though - and what could be more Jewish? - they don't always agree about what any of it means.

Read more... )

This is a sweet, affirming book for all the trans, nonbinary, genderfluid, and suchlike kids out there, and God knows they can use the affirmation. There's some quite beautiful and affecting moments - the first encounter with the trash golem has a blend of the numinous and comedic that reminded me of Terry Pratchett - and I loved the treatment of A's Jewishness and how that connects to both the fantasy elements and his community. I also liked how A being in a liminal space - he's given up his old name but not yet chosen a new one, he's parted from his family and joining a new one, etc - ties in with the book's time period, the Days of Awe, when all is written but not yet sealed.

The elements I did not enjoy so much were the pace, which gets very rushed toward the end, the sometimes Tumblr-esque quality which did make sense as it's about Tumblr kids but which I still find grating, and, unexpectedly, A himself. He's so self-centered and judgy, and though he does eventually learn better I did not like him. I did not enjoy reading all the scenes where he scolds his friends or they scold him, or when they end up telling him exactly why he's a bad friend and refuse to help him with his mission. I've read this exact form of conflict in multiple books recently, and while it's a real thing that happens, reading about it feels like nails on a chalkboard.

I didn't ultimately end up loving this book, but it has a lot of heart and I'm glad it exists. The somewhat similar book that I did love, which doesn't have those unpleasant "bad friends" dynamics, was Chuck Tingle's Camp Damascus.

Content notes: Transphobia is central to the story.

Chess (Imperial Theater, New York City, 9/17/25)

Thursday, 23 October 2025 13:37
coffeeandink: (Default)
[personal profile] coffeeandink

Chess is a show I know entirely through the cast recordings; if I recall correctly, it was such a thoroughly Cold War project that the liner notes referred to the two chess players as only "the American" and "the Russian". The new book by Danny Strong turns it into a (even more) melodramatic period piece, with the chess matches not simply a allegory for political tensions or a way of obtaining minor diplomatic concessions but tools for averting World War III. The Arbiter is dragooned as a narrator, who exposits both the global situation and the personal interactions with the characters, partly through a series of very bad and very obvious jokes.

Freddie Trumper, American grandmaster and obnoxious wunderkind, is challenged by Anatoly Sergievesky, mordant, depressed, and engaged in a clandestine flirtation with Freddie's chess second and lover, Florence Vassy. Freddie is notoriously a weak point in the original book, so prone to anti-Communist slurs, misogyny, and temper tantrums it is impossible to extend him much sympathy. The new version mitigates this by giving him bipolar disorder and medical noncompliance, and also by casting Aaron Tveit. Tveit is indeed so good and so charismatic that I was on Freddie's side way more than I expected, although not enough to take self-pity anthem "Pity the Child" seriously. (The rest of the audience seemed less skeptical.) Lea Michele as Florence is just as strong vocally, and almost as strong in terms of acting, though unfortunately without much romantic chemistry with either partner. (The closest any scene comes to a sexual charge is Freddie's sleazy half-assed attempt at persuading Anatoly to throw the game in Act II.) Nicholas Christopher as Anatoly is the weak point in Act I, where I had the same opinion as I had of his Sweeney Todd: he's got the potential to be great, but he isn't quite there yet. He really needs to work on his emoting, which is too flat even for the murderous Sweeney or the dour Anatoly. He is greatly handicapped in Chess by having to affect a Russian accent, which I really hope the production drops. But! He pulled out all stops in Act II, both for the songs and the acting, and won me over with his intensity and vocal power.

So basically: the book is still flawed and they need to cut the runtime, particularly in Act I. This was the second night of previews, so there's still time for changes before the show technically "opens". If we're lucky, they'll start by cutting the topical jokes.

But the point of Chess has never been the book; it is the score full of bangers and power ballads. The music is by ABBA's Benny Andersson and Björn Ulvaeus and the lyrics by Ulvaeus and Tim Rice. And the musical performances are GREAT. I am still guiltily fond of the kinda-no-really-very-racist "One Night in Bangkok" (which can plausibly be explained as Freddie's typical white guy take on the city) and which in this production is a camp masterpiece. I am seriously tempted to see the show again just for that.

[syndicated profile] henryjenkins_feed

Posted by Alex McDowell / Tara Lomax

To celebrate International Production Design Week (IPDW) between October 17th-26th, Pop Junctions presents a range of contributions related to the craft of production design, with particular focus on the art of world-building and the creativity and culture of production design practice. IPDW is an initiative led by the Production Designers Collective and involves a calendar of events that showcase production design around the world.

In this contribution, Tara Lomax asks Production Designer Alex McDowell about world-building, reimagining the production process, and his work across industry and education.

International Production Design WeEK — Event Calander 2025

TL: Alex, thank you for sharing your time and experience in this discussion to celebrate International Production Design Week. I’d like to start by reflecting on the history and transformation of production design in the filmmaking process. Throughout your career, have you experienced much change in production design and the role of the production designer in filmmaking and screen storytelling?

AM: Hi Tara, thanks for your questions! 

There have of course been huge changes in our craft since I started, but not enough to fully integrate Production Design in the opportunities of non-linear production. Rick Carter has one of my favorite quotes for all of us: “the production designer's first job is to design the production”. 

This has always been true, and it's our responsibility as designers to take it on. But the context has changed radically. For over 20 years we’ve been pushing for a change in the relationship between the front end and the back end of production and since the early 2000s we developed an art department workflow that aligned closely to visual effects. But the reality was that the pre-production assets that framed the shoot tended to be discarded and then rebuilt in post. 

With virtual production, non-linear production has kicked in. Now our work is to use the tools we have—and keep them up to date—to design the virtual production. Now we take responsibility to update the production design/art process to drive the full breadth of the production, which means a different make-up of the art department. Increasingly, we are working with illustrators using 3D and game platforms, engineers, designers in Rhino or Maya to drive models informed by photogrammetry scans from drones in a location, reference images to blender or rapid fabrication, etc. At this point, the design development can be distributed to any of the appropriate departments—construction, location, stunts, set dressing, DP, VFX, virtual production—and director.

The art department increasingly needs polymaths. Schools need to teach accordingly, and designers need to hire appropriately. It’s also worth saying that a lot of these processes no longer apply only to mega-productions. The smallest budget can use a drone to scan a location and a single designer to accurately add a set extension. 

Across your career you have worked as a production designer on a range of different projects, including Madonna’s early music videos, The Crow (1994), The Fight Club (1999), Minority Report (2002), Charlie and the Chocolate Factory (2005), Watchman (2009), and Man of Steel (2013). How would you describe your own approach to production design and has this changed across your career?

In addition to the previous response, the only thing to add is obvious: every show has different demands. We learn from every show and apply that learning to the next. The designer probably has to adapt to the nuance and context of a script and direction more fully than almost any other department—materials change, crew skills change, vendors change, tools change, location resources change and your knowledge updates exponentially. 

Minority report (2002)

Man of steel (2013)

Your work has been instrumental in the development of a world-driven approach to storytelling, whereby the world is designed prior to and beyond the boundaries of a script. This seems to enable a stronger relationship between production design and other filmmaking crafts across the storytelling and production process. What do you see to be the role of the screenplay within this approach and how does this redefine story ideation, authorship, and collaboration in screen production?

What we have learnt simply is that non-linear production is possible when storytelling meets narrative design. Every world provides unique context and logic from which any number of story paths can evolve. Ideation, authorship, and collaboration in screen production become a single workspace for development. Production design in this context provides an immersive and adaptive container that much more closely mirrors the conditions of production start to finish for all the makers of a film and evolves accordingly. 

minority report (2002) ‘precogs temple’

World building requires an interdisciplinary approach to storytelling, within filmmaking departments and with experts in other fields like computer science, animation, and culture. This seems to require a reimagining or reorganization of the traditional film development and production process. Do you see evidence of this kind of reorganization happening in the industrial context? And is it possible for traditional filmmaking processes to still embrace world-building principles without a complete restructuring of the production process?

Industrial is the right word. We are finally moving from a 19th century Victorian-industrial linear production process to one of the most agile and effective non-linear practices in the world. I’ve experienced a broad range of industries outside entertainment media, and our industry can compete with any of them. But it absolutely requires a restructuring of the traditional production process. This assumes that the traditional creative skills remain and are still vital, but we all have to work with new tools as we always have. These tools speak to each other in ways that make ideation and creativity more intuitive, closer to our imagination, and we have to adapt to take advantage of that. We are biological, cellular creatures, but we’ve been forced to work with straight lines. It’s fun to see us getting closer to our intuitive selves. 

Your work sits at such an interesting intersection between design, technology, and education and you have been instrumental in promoting the critical role that production design plays in world building and storytelling. Can you discuss some of the work you have been doing as part of the World Building Institute at USC, particularly the Project JUNK consortium? Why has it been so important for you to also work across education and support the development of future world builders? What has been the most rewarding part of working at the interface of industry and education?

Most rewarding and valuable continues to be the demands of the students when they see that the edges of their work are unconstrained, and when they understand that world building demands cross-disciplinary co-creation. I hope we are developing the base for new generations of polymaths, who can work across media, in industries within and outside entertainment, and in fields that do not yet exist. If we are able to focus on the need to break down the silos of disciplines and understand the power of folding together the craft skills and toolsets across media, we need to train generations that can navigate and exploit these changes as they happen. 

The JUNK project is a world building program that we are now teaching globally that originated in a collaboration between USC SCA and Austral University in Buenos Aires. It is not only reaching students in entertainment media but also in trades as wide reaching as engineering, biology, anthropology, architecture and social politics. It’s a true test of how what we are learning through the intersection of the advances in media and world building can change the world. 

Finally, how would you characterize the twenty-first century production designer based on creative and technological developments in screen practice and the film industries?

Our work is to stay on our toes, be aware of every change in tools and resources, interface more deeply with the full breadth of production, and increasingly demand that the technology keeps up with our imagination. 

future world vision – mega city 2070 project

Biographies

Alex McDowell. Designer. Royal Designer for Industry (RDI). Creative director, production designer, professor, world builder. British citizen, US citizen, living in the US since 1986. He has been a production designer and creative director in film, game, animation, theatre and other media for over 30 years. McDowell is an advocate and originator of the narrative design system world building. His practice incorporates design and storytelling across media in education, research, institutions, corporations, and entertainment media. He is co-founder & creative director of Experimental Design, Professor of Cinematic Practice at the University of Southern California School of Cinematic Arts, Director of the USC World Building Institute & World Building Media Lab, USC William Cameron Menzies Endowed Chair in Production Design, founder of the the JUNK Consortium, Associate Professor at USC Dornsife College of Letters, Arts and Sciences, The Bridge Institute. He’s written and talked a lot about narrative design, for a long time, in many places, to many people.

Tara Lomax is an Associate Editor at Pop Junctions. She has expertise in entertainment franchising, multiplatform storytelling, and contemporary Hollywood entertainment and has published on topics such as transmedia storytelling and world building, creative licensing, seriality, virtual production and visual effects. Her work can be found in publications that include JCMS: Journal of Cinema and Media Studies, Senses of Cinema and Quarterly Review of Film and Video, and the book collections The Screens of Virtual Production (2025), Starring Tom Cruise (2021), The Supervillain Reader (2020), The Superhero Symbol (2020), The Palgrave Handbook of Screen Production (2019), and Star Wars and the History of Transmedia Storytelling (2017). She is the Discipline Lead of Screen Studies at the Australian Film Television and Radio School (AFTRS) and has a PhD in screen studies from The University of Melbourne.