The Concept Art Gallery

Work in progress

As the website is shifting focus to becoming more article and concept art oriented, I’ve decided to include excerpts from articles that I’m still working on, just to make the site more interactive, as well as to give an idea of where it’s headed.

 

 

The Orwellian rabbit hole

 

We’re living in Orwellian times, would be a logical conclusion to arrive at from a quick web-search of the word Orwellian coming up in the news, in the early months of 2017 — but what exactly would that mean, anyway? With the increased usage of the adjective, we’ve consequently seen a growing number of articles criticizing improper application of the label. Going through different dictionary definitions of Orwellian it becomes clear that, far from being clear-cut, an accurate usage of the concept would require an in-depth knowledge of the subject matter of Orwell’s novel ‘Nineteen Eighty-four’, as “Orwellian is something that resembles the world that George Orwell described in his book 1984“. As if that wasn’t demanding enough by itself, keep in mind that, given that the themes of the story are symbolic, the correct usage of the term Orwellian would require a sound understanding of the story’s symbolism – and it’s self-evident that fiction can only ever be a symbolic depiction of reality, as it is, and so there is no escaping the fact that in order to become competent at applying the concept of ‘Orwellian’, one would first need to delve into the symbolism of Nineteen Eight-four. And so we proceed to take a trip down the Orwellian rabbit hole.

[The rest of this article is still under construction.]

 

 

Genres and genetic makeup

 

As near as I can tell, the use of the concept of ‘genetic makeup’ in relation to story development may have been coined by film critic Mark Kermode in his 2011 review of the fourth Pirates of the Caribbean movie (simply as I haven’t found any other cases of the concept being used that way), in which case the film doctor deserves credit for his choice of words, as it is a perfectly fitting simile for our craft of stringing together ideas and story elements in hope of ending up with something resembling a ‘sentient being’. Just as Richard Dawkins describes the problem with the animal class of reptiles that excludes birds while it includes crocodiles (who are nevertheless closer cousins to birds than they are to other reptiles such as lizards and snakes) in his book The Greatest Show on Earth (2009, p.160), fiction genres can be seen as suffering from the same kind of inaccuracy; a ‘fantasy’ novel may have less in common with another ‘fantasy’ than with a novel that has been categorized as ‘horror’ – as genres are generally based on a rather superficial observation of predominant themes.

[The rest of this article is still under construction.]

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