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Sep. 5th, 2016 07:47 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
proximoceptionKubo and the Two Strings:
"Day content" is a dead father and a mother lost to depression (who thus takes the non-perspective of the uncaring world; implication is she was roused from earlier depression by her husband and then child, but fell apart again after her loss). The father's resurrected through paper rather than memorabilia since never met - imaginatively reconstructed, but in a way that becomes 3D as Kubo finds out more about him.
The moon is things-as-they-are. I can't tell if it's defeat by brainwashing is about the self-conscious creation of religion or something more complex, something about art. Memories teach us that realities contrary to the present one are possible, inspiring storytelling. With storytelling we can talk the world into being better than it is, if only within the spell-zone of the story. Stories end, unlike the world, but can both remember and be remembered, so can re-start. The poor memories of the parents suggest the pitfalls of telling stories, as do the three kinds of armor: becoming invulnerable to life ends all stories, so is either not possible or a death-in-life like depression. The story finds its end when Kubo is able to define what they're for.
The strings-as-parents thing takes us out of Stevens territory and toward Edgewood. Is this part underbaked? The father is fun, the mother serious, and I guess Kubo combines these, since a form of serious play is his own tune, but that seems hazy. Overprotective vs. friendly parenting ... Is there any more to the father? Ability to find himself silly, maybe - which, by modelling, he spreads to the monkey. He saves Kubo from the eyes, so amiably self-deprecatory humor defangs self-consciousness? (Had the cold-eyed vigilance of the mother kept the fear of death at bay somehow?) A long lake where eyes at the bottom whisper secrets hypnotizing you into never leaving ... I dunno. Something paralyzing and imagination-paralyzing (the disintegrating boat) about being seen. Can't think of an alternative to self-consciousness, unless social anxiety, which pretty much does its damage via the former. Nothing anxiously social happens on the lake, though. Are the two sisters the fears of death and smallness? (I guess the big skeleton is the fear of death if the sister isn't.) Both are enemies of imagination, fought by imagination. I wonder if some earlier draft was clearer about all these matters.
The injuries to faces. Yeah, Kubo's lost eye must have something to do with his mother's contribution. Seeing too much reality is something passed on by a depressed mother? Or the result of caring for one? What am I missing?
"Day content" is a dead father and a mother lost to depression (who thus takes the non-perspective of the uncaring world; implication is she was roused from earlier depression by her husband and then child, but fell apart again after her loss). The father's resurrected through paper rather than memorabilia since never met - imaginatively reconstructed, but in a way that becomes 3D as Kubo finds out more about him.
The moon is things-as-they-are. I can't tell if it's defeat by brainwashing is about the self-conscious creation of religion or something more complex, something about art. Memories teach us that realities contrary to the present one are possible, inspiring storytelling. With storytelling we can talk the world into being better than it is, if only within the spell-zone of the story. Stories end, unlike the world, but can both remember and be remembered, so can re-start. The poor memories of the parents suggest the pitfalls of telling stories, as do the three kinds of armor: becoming invulnerable to life ends all stories, so is either not possible or a death-in-life like depression. The story finds its end when Kubo is able to define what they're for.
The strings-as-parents thing takes us out of Stevens territory and toward Edgewood. Is this part underbaked? The father is fun, the mother serious, and I guess Kubo combines these, since a form of serious play is his own tune, but that seems hazy. Overprotective vs. friendly parenting ... Is there any more to the father? Ability to find himself silly, maybe - which, by modelling, he spreads to the monkey. He saves Kubo from the eyes, so amiably self-deprecatory humor defangs self-consciousness? (Had the cold-eyed vigilance of the mother kept the fear of death at bay somehow?) A long lake where eyes at the bottom whisper secrets hypnotizing you into never leaving ... I dunno. Something paralyzing and imagination-paralyzing (the disintegrating boat) about being seen. Can't think of an alternative to self-consciousness, unless social anxiety, which pretty much does its damage via the former. Nothing anxiously social happens on the lake, though. Are the two sisters the fears of death and smallness? (I guess the big skeleton is the fear of death if the sister isn't.) Both are enemies of imagination, fought by imagination. I wonder if some earlier draft was clearer about all these matters.
The injuries to faces. Yeah, Kubo's lost eye must have something to do with his mother's contribution. Seeing too much reality is something passed on by a depressed mother? Or the result of caring for one? What am I missing?
