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About Calvino

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在这篇评论文章中，Jeff想要讨论的是卡尔维诺追求表现世界复杂性的终极诉求，而当然，为了达成或者接近这一诉求，语言的精确调度和叙事结构的打磨成为了他的方法或者手段。如果你喜欢这篇文章，Jeff此前在沙丘的另一篇文章或许也会引起你的兴趣：

从这点上或许我们能窥得一些卡尔维诺的想法：表述是必要的，表述无法做到的只有交给沉默。而要面对无限大，只能从无限小出发去折射。在感知上卡尔维诺或许已经与世界的复杂达成了和解，然而在文学写作上，他始终抱有无奈-- "语言作为媒介所言说的始终比我们所能体验的一切要少" 。卡尔维诺同时也清楚人的局限性，在《帕洛马尔》中，主人公最终发现 语言没有阐释世界，而是割裂世界、使事物解体 。卡尔维诺认为语言清除了迷惑性和不确定性，使某样事物能够站稳脚跟，但在一件事物确立的同时，我们也从无尽的可能性跌落到了单一的认知里，而人作为主体没有办法逃离出这个局限。事实上卡尔维诺做过这样的幻想：在《看不见的城市》中有一个高跷上的城市，居民从高处看着自己的缺席。将主体抽离出来，使观察者存在的角度模糊化，摒弃掉自我再去认知世界。对于卡尔维诺而言，文学只能做到这一步，也只有文学能做到这一步。

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卡尔维诺：世界无法穷尽，故事不必完成 | 机核 GCORES

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在这篇评论文章中，Jeff想要讨论的是卡尔维诺追求表现世界复杂性的终极诉求，而当然，为了达成或者接近这一诉求，语言的精确调度和叙事结构的打磨成为了他的方法或者手段。如果你喜欢这篇文章，Jeff此前在沙丘的另一篇文章或许也会引起你的兴趣： ...

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Credit... The New York Times Archives

This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

ITALO CALVINO returned last fall to his native Italy after an absence of 15 years in France. He now occupies a spacious duplex in a 17th-century palazzo two blocks away from the Pantheon, in the center of Rome's prestigious Centro historico. Its decor is of distilled and signorial elegance: stark white walls alternating with walls filled floor-to-ceiling with books, ultramodern seating arrangements upholstered in lush suedes and leathers, doorways of travertine, vitrines filled with art nouveau glass, an extensive collection of primitive African sculpture assembled dramatically among large tropical plants.

Calvino shares these sumptuous appointments with his wife, Chichita, and their 16-year-old daughter. He is of slight build and medium height. The day we meet he is dressed in impeccable tweeds and cashmeres, in the style of a grand bourgeois spending a Sunday at his country estate. His features are lapidary, as finely chiseled as the profile on a Renaissance medallion. His chestnut eyes are gentle, meditative, withdrawn. Signora Calvino, who participates in the interview, is a handsome, awesomely quick-witted redhead of Argentine origin who for some decades worked as a translator at UNESCO headquarters in Paris.

The interview is held on the second floor of the Calvinos' duplex, in a newly decorated chalk-white room which has the vault-roofed proportions of a Romanesque chapel and a floor of lustrously glazed white ceramic tiles. ''This is the first time we are using this room,'' Signora Calvino says as she pours tea. ''I fear the acoustics will not be perfect ... Perhaps we'll eventually have to put a rug on this marvelous floor.'' ''Ah no, no,'' Calvino says as he stares reverently at his new salotto. ''It is so beautiful this way ...''

The interview begins, and we agree to refer to Calvino's new work as ''If on a winter's night'' for reasons of brevity. The book consists of a series of novelistic fragments totally independent of each other, and its major plot is the subversion of the plot of each fragment. Does this quintessentially self-referential experiment, which could be described as a meditation on the possibilities of the novel form, still warrant the term ''novel?''

Calvino has a way of staring intensely at the floor for long moments before he gives his softly spoken, carefully deliberated answers. His manner is as self-effacing as it is exquisitely courteous. As he raises his head to speak, his usually impassive face is sometimes illuminated by a kind, impish grin.

''I detest this contemporary trend to destroy the traditional hierarchy of genres,'' Calvino says. '' 'If on a winter's night' is not only a novel, it is a hypernovel, a novel developed to the 10th degree. It has much in common with my ''Italian Folk Tales'' because its effect is created by a sense of the storyteller's abundance, by the pleasure of the sheer proliferation of stories. It also resembles ''Invisible Cities''; it's a catalogue or anthology of novels instead of cities. ... It shares something else with most of my fiction: It concerns individuals confronted by a menace which comes from a powerful, collective, anonymous source of evil, individuals who have involved themselves in this danger because of the attraction of a female character.''

What was the genesis of this new book, Calvino's 10th? Did it prove easier or more difficult in execution than the earlier ones? ''The execution was more difficult than anything I've written. My principal idea was to write a book in which the reader would not be reading the text of a novel but a description of the act of reading per se. I carried this idea around with me for many years without being able to proceed with it, because I had a problem about writing portions of novels which I myself -in the voice of the Reader -must praise as marvelous and fascinating. I was so tortured by this problem that I stopped writing fiction altogether for three years after the idea of the book came to me. I wrote for newspapers, I worked hard at my editorial job at Einaudi. I am definitely the tortured type of writer - I suffer, I suffer, it's the only thing I do well, but I suffer greatly in such periods of fallowness ...''

''Not so,'' Signora Calvino interjected. ''You suffer just as much when you're starting to write a book.'' ''Yes, she's right. I suffer again when I see my book is going to be such a complicated machine. I fall into crises many times. I go to our place on the sea in the Maremma and walk on the beach for days thinking of how to find solutions.''

Italo Calvino was born in Cuba, to Italian parents, in 1923. Both his mother and father were botanists. After receiving a doctorate in literature from the University of Turin, where he wrote his dissertation on Joseph Conrad, he joined the Resistance and the Italian Communist Party, which he left a decade later. Since he is a prolific contributor of essays to Italian newspapers, at least when he is in a fallow period of fiction writing, does he still consider himself a politically ''engage'' writer?

Calvino shakes his head. ''I do not have any political commitments anymore, I'm politically a total agnostic, I'm one of the few writers in Italy who refuses to be identified with a specific political party. I write on things like Sakharov's exile, Roland Barthes's death, I enjoy reviewing a new biography of Orwell or some obscure new book on anthropology or sociology. Recently I much enjoyed writing about a magnificent exhibition, held in Paris, of ancient geographical maps.''

And once the process of working on a book of fiction has begun, what kind of a schedule and method does he set himself? ''I'm terrified of writing at night, for then I can't sleep. So I start slowly, slowly writing in the morning and go on into the late afternoon. I write in long hand, in many drafts. When I'm sure of what I'm writing, I write in very large script, but when I start the difficult, tenuous correcting process, my writing becomes so small I must use a magnifying glass in order to read it. Then I copy it all on a typewriter, I correct and rewrite again with many drafts. I am not talismanic about materials. I began to be a writer during the war when there was no paper in Europe; I'm still accustomed to write on the back of proofs, of magazines, on any scrap of paper I can find in the house.''

The pastiche of novelistic styles in ''If on a winter's night'' ranges from neo-gothic, police thriller and contemporary Latin American to samizdat-modernist, Central European fabulist and Japanese erotic. The author admits to having had most fun with those ''subnovels'' that were the most distant from his own style and experience, particularly with the Japanese erotic tale. He talks at length about the ''sense of terror'' prevailing in his last few works of fiction. Having returned to Italy several times a year during his stay in France, he admits that his ''brooding sense of collective danger'' may have been caused in part by the threat of Italy's terrorist movements. But he feels that it is equally influenced by his lifelong preference for the literature of the fantastic: ''The existence of a mysterious, unnamed danger is characteristic of many 19th-century novels - come to think, it exists in all my favorite American and British novelists: Conrad, Robert Louis Stevenson, Edgar Allen Poe, particularly in G.K. Chesterton's ''The Man Who Was Thursday,'' which is one of my favorite books of all times and which is pervaded by a never-named, perpetually menacing conspiracy.''

That most bookish of books ''If on a winter's night'' creates an apotheosis of the act of reading which is often laced with erotic imagery. Does the author think of reading as an erotic act? Calvino continues to stare down, brooding through one of his longer silences.

''Of course you think it's an erotic act!'' Signora Calvino exclaims. ''Remember what you said to me the year before we got married?''

''What did I say?'' Calvino whispers. ''You said that literature was the only aphrodisiac. Or was that just a boutade, my dear?'' ''No no, you're right, that's what I still believe. Reading is a possession, a march toward a possession. It has many degrees of eroticism. It can be a caress or a complete intercourse.''

''Oh, la tu vas trop loin!'' the quintalingual Signora Calvino bursts out. ''All literature proceeds by the act of mystification,'' Calvino has written in ''If on a winter's night.'' One senses throughout his fiction that he constantly wants to surprise the reader, and equally often to lead him astray. Could this be described as a sado-erotic relationship between author and reader? Calvino nods his head with unusual assertiveness.

''In each of my separate books, and in each different part of each book, I want to constantly add to the image that my reader has of me. That is like being a good lover, that is definitely an erotic relationship. And of course there is always something sadistic in the relationship between writer and reader. In this new novel I may be a more sadistic lover than ever. I constantly play cat and mouse with the reader, letting the reader briefly enjoy the illusion that he's free for a little while, that he's in control. And then I quickly take the rug out from under him; he realizes with a shock that he's not in control, that it is always I, Calvino, who is in total control of the situation.''

In Calvino's new work, the charming novel addict named Ludmilla adds an additional erotic element. It is her constant, insatiable desire for a new book, an ever better book, a perfect book that provokes the invention of each subnovel. Would Calvino agree that Ludmilla is the most important female character he has created so far? Signora Calvino hastens to answer the question for her husband.

''Ah, you are so right, the women in all his other novels were so silly, so boring! All they could ever talk about was clothes and horoscopes.''

Is Signora Calvino implying that her husband is sexist? ''Worse, he is macho!'' ''The attitudes of a man have to be improved little by little in our century,'' Calvino says meekly, staring at his shoes, ''I am always trying to apologize, my entire life and work have been colored by the crises of women.''

''Don't apologize,'' Signora Calvino says tenderly. ''You've always gotten the best part of the cake by being what you are.'' Signora Calvino leaves the room to fetch the French reviews of ''If on a winter's night'' (''Some of them are remarkable!''), and the author deliberates on the situation of the writer in Italy. Italian writers do not support themselves by teaching as they do in the United States. They support themselves with jobs in publishing houses (Calvino himself has worked as an editor at Einaudi since 1947), so Italy is a nation whose writers are all professional readers. And Calvino admits this might have contributed to the super-intellectualism of his own work, and of many other Italian avant-gardists. The author says he continues to read voraciously the works of other writers, even when he's engaged in his most arduous periods of creation. One week's average reading might include authors as disparate as Henry James, Jules Verne, Descartes and Freud. He also admits to having no particular interest in the North American novel, and has visited the United States only twice in 30 years. In 20thcentury literature his idols are Jorge Luis Borges, Vladimir Nabokov and Raymond Queneau.

Signora Calvino returns with clippings of Le Monde, and the conversation turns to how the Calvinos feel about living in Rome again after their long stay in Paris.

''I certainly don't miss Paris for its intellectual life,'' Calvino says. ''What I miss most about Paris is the fact that you can see all foreign films there in the original. In Rome all American films are dubbed, which is terrible, terrible.''

''We are movie freaks,'' Signora Calvino explains. ''Our favorite movies of the past decade have been ''The Last Detail'' with Jack Nicholson, and John Cassavetes's ''Husbands.''

''I like American films best,'' Calvino says. ''I like good artisan's movies like Hitchcock's; I have no patience with the ideology the French are pouring into their movies these days.''

Since they were so happy in Paris, why this sudden return to Rome? ''The price of life in Paris, the sad state of the lira.'' Calvino speaks dolefully. ''That's why we had to move back.'' ''On top of that we lost the Portuguese maid we'd had for 15 years!'' Signora Calvino exclaims. ''Life became a catastrophe!'' ''Well we've been in Rome for five months and we haven't found a maid here either,'' Italo Calvino says gently, ''so perhaps we'll go back to Paris.''

A doorbell rings. Signora Calvino gets up to answer it. She returns with a telegram, waves it triumphantly at Calvino. ''Listen to this! It's from your friend Jean Louis in Paris. It says, 'Smash your pen to pieces. You will never write anything finer than your last novel.' ''

The author bends his head more meditatively than ever toward the floor, whether out of genuine modesty or feigned bashfulness the visiting reader will never know.

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This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

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into a long-form graphic novel

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Designing Some Symbols for the Introduction Page

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Designing Some Symbols for the Introduction Page

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To introduce the graphic novel and its background (two ancient myths), so that the audience can better understand the story.

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Researchers at the University of Oviedo have sequenced the animal's genome. The results could shed light on aging and cellular deterioration in other species, including humans

Turritopsis dohrnii. María Pascual

Some animals, like turtles and bowhead whales, are known for their long lifespans. Others, including elephants and naked mole rats, are known for being immune to cancer. Planarians regenerate even after their heads are cut off, and the microscopic tardigrades can survive any catastrophe imaginable. But unique in their abilities are certain species of jellyfish, who, once they reach adulthood, can turn back and become young again. Now, researchers at the University of Oviedo in northern Spain have sequenced the animal's genome, revealing the keys to their biological immortality. The results could shed light on aging and cellular deterioration in other species, including humans.

The Turritopsis dohrnii is a small jellyfish that can be found from the Pacific Ocean to the Mediterranean to the Caribbean. It belongs to the anemone and coral family. Many species in this group have cellular regeneration abilities that humans envy, but the T. dohrnii surpasses them all. Under normal conditions, its life cycle is divided into four parts. The union of the male and female gametes produces a larva or planula. It then attaches to the seabed as a polyp, similar to an anemone. The polyps then release ephyra, or young jellyfish in the phase prior to sexual maturity. They become jellyfish, reproduce sexually and start over. But if they are stressed by an environmental threat, the jellyfish revert: after reproducing, they return to the previous phases, becoming polyps on the ocean floor again.

Detail of a polyp of a rejuvenated T. dorhnii jellyfish. María Pascual

As far as scientists know, jellyfish can repeat the process indefinitely. Thus they are said to be biologically immortal. They can be eaten by a predator or fall into the hands of a swimmer, but they do not die of old age.

Scientist Carlos López Otín, at the University Institute of Oncology of the University of Oviedo, decided to study the T. dohrnii because of its immortality. It is not the first time that his laboratory has scrutinized an animal's genes: in 2018 they sequenced the genome of George, the last of the Galapagos giant tortoises, who died a decade ago after living about 100 years. They also participated in deciphering the genetic code of the bowhead whale and the tardigrades. The new study sequences the genome of the T. dohrnii jellyfish for the first time and compares it to that of a close relative, the deadly T. rubra. The results, published in the scientific journal Proceedings of the National Academy of Sciences ( PNAS), show why the former has earned the title of immortal jellyfish.

Marine biologist María Pascual is a co-author of the study. With the help of the Gijón aquarium, the scientists set up fish tanks in the laboratory to house the jellyfish, which they fed crustaceans. They planned to sequence the genome at different times in the life cycle as the animal grew. "If there was a genetic change during the reversal, it would be important," she says. They didn't just see one change. They saw several, all related to DNA replication and repair. Such changes appeared in genes involved in oxidative stress. The researchers also made new findings related to various aspects of cellular aging, such as telomere length. "What makes this animal special is the synergy of all these changes, which make this jellyfish rejuvenate," says Pascual.

On its way back, the adult jellyfish shrinks and changes the structure of its tissues in parallel. The scientists observed that at the genetic level, some genes stopped expressing themselves -that is, generating proteins and their functions- while others were activated. Such is the case of the GLI3 gene, which is involved in the differentiation of pluripotent stem cells into other types of cells. T. dohrnii has twice as many copies of this gene as T. rubra, and all are active at the time of reversion. This reversal of the cell differentiation process is known as transdifferentiation. It is an extremely rare phenomenon in nature. "The cell returns to the zero point," says Pascual.

Dido Carrero is a molecular biologist at the Asturias Marine Observatory and co-author of the research. "This jellyfish is the only animal capable of reverting from an already differentiated state in adulthood," she says. Other jellyfish are capable of reverting their life cycles, but only before they reach sexual maturity. For Carrero, T. dohrnii's power lies "in the activation of genes related to the state of pluripotency of cells." From the start, the animal has a higher number of copies of genes involved in cell replication and DNA repair than T. rubra. This duplication means that the first jellyfish has "more efficient cellular mechanisms," write the authors of the study, than the second.

The senior author of the research is López Otín, who has spent 35 years investigating the cellular mechanisms of cancer. "What I have learned in this time is that cells can become selfish, wandering and immortal. Understanding cancer requires studying other mechanisms and processes of immortality. Hence our interest in this jellyfish," he explains. The professor has also learned that "immortality is undesirable, aging is inexorable, but longevity is extraordinarily plastic and T. dohrnii carries this plasticity to the limit."

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The immortal jellyfish reveals its secrets for eternal life

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Researchers at the University of Oviedo have sequenced the animal's genome. The results could shed light on aging and cellular deterioration in other species, including humans Some animals, like turtles and bowhead whales, are known for their long lifespans. Others, including elephants and naked mole rats, are known for being immune to cancer.

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Keres, god of violent death

Drunk Minotaur in front of the bones of the sacrificed young man and woman

In the same garden (also the centre of labyrinth), Killed Minotaur in front of Keres

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Keres

Goddesses of violent death

Abode
Erebus

Parents

Nyx[1] and Erebus[2]

Siblings

Moros, Thanatos, Hypnos, Oneiroi, Momus, Oizys, Hesperides, Moirai, Nemesis, Apate, Philotes, Geras, Eris, Styx, Dolos, Ponos, Euphrosyne, Epiphron, Continentia, Petulantia, Misericordia, Pertinacia

Roman equivalent
Tenebrae

In Greek mythology, the Keres (/ˈkɪriːz/; Ancient Greek: Κῆρες), singular Ker (/ˈkɜr/; Κήρ), were female death-spirits. They were the goddesses who personified violent death and who were drawn to bloody deaths on battlefields. Although they were present during death and dying, they did not have the power to kill. All they could do was wait and then feast on the dead. The Keres were daughters of Nyx, and as such the sisters of beings such as Moirai, who controlled the fate of souls, and Thanatos, the god of peaceful death. Some later authorities, such as Cicero, called them by a Latin name, Tenebrae ("the Darknesses"), and named them daughters of Erebus and Nyx.

The Greek word κήρ means "death" or "doom" and appears as a proper noun in the singular and plural as Κήρ and Κῆρες to refer to divinities. Homer uses Κῆρες in the phrase κήρες θανάτοιο, "Keres of death". By extension the word may mean "plague, disease" and in prose "blemish or defect". The relative verb κεραΐζω or κείρω means "ravage or plunder". Sometimes in Homer the words κήρ and moira have similar meanings. The older meaning was probably "destruction of the dead", and Hesychius of Alexandria relates the word to the verb κηραινειν "decay".

And Nyx (Night) bare hateful Moros (Doom) and black Ker (Violent Death) and Thanatos (Death), and she bare Hypnos (Sleep) and the tribe of Oneiroi (Dreams). And again the goddess murky Nyx, though she lay with none, bare Momus (Blame) and painful Oizys (Misery), and the Hesperides ... Also she bare the Moirai (Fates) and the ruthless avenging Keres (Death-Fates) ... Also deadly Nyx bare Nemesis (Revenge) to afflict mortal men, and after her, Apate (Deceit) and Philotes (Friendship) and hateful Geras (Old Age) and hard-hearted Eris (Strife).

They were described as dark beings with gnashing teeth and claws and with a thirst for human blood. They would hover over the battlefield and search for dying and wounded men. A description of the Keres can be found in the Shield of Heracles (248-57):

The black Dooms gnashing their white teeth, grim-eyed, fierce, bloody, terrifying fought over the men who were dying for they were all longing to drink dark blood. As soon as they caught a man who had fallen or one newly wounded, one of them clasped her great claws around him and his soul went down to Hades, to chilly Tartarus. And when they had satisfied their hearts with human blood, they would throw that one behind them and rush back again into the battle and the tumult.

Though not mentioned by Hesiod, Achlys may have been included among the Keres.

A parallel, and equally unusual personification of "the baleful Ker" is in Homer's depiction of the Shield of Achilles ( Iliad, ix. 410ff), which is the model for the Shield of Heracles. These are works of art that are being described.

In the fifth century, Keres were portrayed as small winged sprites in vase-paintings adduced by J.E. Harrison (Harrison, 1903), who described apotropaic rites and rites of purification that were intended to keep the Keres at bay.

According to a statement of Stesichorus noted by Eustathius, Stesichorus "called the Keres by the name Telchines", whom Eustathius identified with the Kuretes of Crete, who could call up squalls of wind and would brew potions from herbs (noted in Harrison, p. 171).

The term Keres has also been cautiously used to describe a person's fate. An example of this can be found in the where Achilles was given the choice (or Keres) between either a long and obscure life and home, or death at Troy and everlasting glory. Also, when Achilles and Hector were about to engage in a fight to the death, the god Zeus weighed both warriors' keres to determine who shall die. As Hector's ker was deemed heavier, he was the one destined to die and in the weighing of souls, Zeus chooses Hector to be killed. During the festival known as Anthesteria, the Keres were driven away. Their Roman equivalents were Letum ("death") or the Tenebrae ("shadows").

Hunger, pestilence, madness, nightmare have each a sprite behind them; are all sprites," J.E. Harrison observed (Harrison 1903, p 169), but two Keres might not be averted, and these, which emerged from the swarm of lesser ills, were Old Age and Death. Odysseus says, "Death and the Ker avoiding, we escape" ( Odyssey xii.158), where the two are not quite identical: Harrison (p. 175) found the Christian parallel "death and the angel of death.

Mathias Egeler suggests a connection exists between the Keres and the Valkyries of Norse mythology. Both deities are war spirits that fly over battlefields during conflicts and choose those to be slain. The difference is that Valkyries are benevolent deities in contrast to the malevolence of the Keres, perhaps due to the different outlook of the two cultures towards war. The word valkyrie derives from Old Norse valkyrja (plural valkyrjur), which is composed of two words; the noun valr (referring to the slain on the battlefield) and the verb kjósa (meaning "to choose"). Together, they mean "chooser of the slain". The Greek word "Ker" etymologically means destruction, death.

Gaius Julius Hyginus, Fabulae from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project.

Harrison, Jane Ellen, Prolegomena to the Study of Greek Religion 1903. Chapter V: "The demonology of ghosts and spites and bogeys"

Hesiod, Theogony from The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library. Greek text available from the same website.

March, J., Cassell's Dictionary Of Classical Mythology, London, 1999. ISBN 0-304-35161-X

Marcus Tullius Cicero, Nature of the Gods from the Treatises of M.T. Cicero translated by Charles Duke Yonge (1812-1891), Bohn edition of 1878. Online version at the Topos Text Project.

Marcus Tullius Cicero, De Natura Deorum. O. Plasberg. Leipzig. Teubner. 1917. Latin text available at the Perseus Digital Library.

Unknown. "Greek Gods and Goddesses".

The dictionary definition of Keres at Wiktionary

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Keres Goddesses of violent death Abode Erebus Parents Nyx [1] and Erebus [2] Siblings Moros, Thanatos, Hypnos, Oneiroi, Momus, Oizys, Hesperides, Moirai, Nemesis, Apate, Philotes, Geras, Eris, Styx, Dolos, Ponos, Euphrosyne, Epiphron, Continentia, Petulantia, Misericordia, Pertinacia Roman equivalent Tenebrae In Greek mythology, the Keres (/ˈkɪriːz/; Ancient Greek: Κῆρες), singular Ker (/ˈkɜr/; Κήρ), were female death-spirits.

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Made some texture for the transition pages to suit the overall atmosphere

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Made some texture for the transition pages to suit the overall atmosphere

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Back cover

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Then it became the title page

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I use 'heart' as a general symbol of each character in the status of an embryo. And the square-shaped branches imply the embryo is surrounded by a labyrinth.

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Trying to combine some main elements together

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The crow go back to the tree, the monster's blood get out of the Labyrinth, and things return to peace.

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Home of the crows, embryos and new borns, endless life cycle

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Arranging layout for best showing the eclipse

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Reference photo - beautiful blue water scale inside the water bottle in my grandparents' house

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Reference photo - My friends and an abandoned carrousel

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Reference photo - I took this photo in high school.

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Bleeding sun/ monster killed in the centre of labyrinth

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These two spreads originally depict the scene when people noticed the eclipse happened.

I used a different style to distinguish the real world, daily life space from the illusionary narrative space.

However, these four pages don't communicate well, the audience may be confused. Also, they interrupt the narrative, so I deleted them from the whole story.

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Different possible relationship between the attacker and the target.

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'So we shall walk barefoot on walnut shells of withered worlds, and stamp out puny hells and heavens...'

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Super cool outfit! Especially the bear headgear

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I went to Lego that day and made a rock-n-roll killer bear.

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Designing the character from my Lego bear

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During the summer, I drew some sketches and short graphic novels, through which I discovered the charm of airbrush in Procreate.

Airbrush creates a tender atmosphere with subtle sense of light. I created some new visual effects while experimenting with overlapping different layers blending modes. They are really impressive!

The following two images are two pages of the short graphic novel 'Love Story' I drew during the summer. I used this combination of layer blending mode and brushes for the first time, to create a sense of memory and dream, showing a gentle but prickly quality. In this final project, I'll continue developing this visual language.

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Visual Diary- A Stormy yet somewhat Sunny Day

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illusion

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echoes

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eternal cycle

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empathy

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reconciliation

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labyrinth

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backfire

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absurd

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trapped monsters

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paradox

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'So we shall walk barefoot on walnut shells of withered worlds, and stamp out puny hells and heavens...'

I love the image of 'walnut shells' here so much.

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Comments & analysis: 'Perspective betrays with its dichotomy: / train tracks always meet, not here, but only

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A world in which one chooses all the possibilities. A world of maze.

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The Garden Of Forking Paths Jorge Luis Borges 1941 : Free Download, Borrow, and Streaming : Internet Archive

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Borges's the garden of the forking paths

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Greek Mythology —— The Minotaur Labyrinth

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Greek Mythology —— The Minotaur Labyrinth

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The Labyrinth of Crete: The Myth Of The Minotaur

Zeus, in the form of a bull, brought Europe from the Phoenician seashore to Gortys in Crete where he made love with her under a plane tree (or on the plane tree after assuming the form of another sacred animal, the eagle), since then the plane tree was blessed to never lose its leaves (evergreen).

From their union three sons were born triplets (or two twins). Next, Zeus arranged the marriage of Europe to the Cretan King Asterion (or Asterio), who appointed Europe's and Zeus' sons as his successors.

-> Read more about Gortys

-> Read more about the Abduction of Europe by Zeus

As promised, the three sons of Europe and Zeus (Minos or Minoas, Radamanthis, Sarpidon) succeeded King Asterion to the throne of Crete. Initially they seemed satisfied to co-govern, but Minos, who wanted the reign to be his exclusively, ended up banishing his brothers: Radamanthis was sent to Viotia (or Cyclades) and Sarpidon to Asia Minor. Minos became the monarch who believed the gods would give him everything and anything he wished.

The gods loved Minos because his father, Zeus, honored him above all. They presented him with a wife, Pasiphae, daughter of Helios (Sun) and Persida, and sister of Circe, the sorceress, Kalypso and Aete, and aunt of Mideia, the grand sorceress. There is talk of eight children for Minos and Pasiphae: Androgeos, Katrefs, Defkalion, Glafkos, Akali (or Akakalis), Xenodiki, Ariadne and Phaedra.

Once, wanting to offer a sacrifice in honor of his uncle Poseidon, Minos asked Poseidon to send the best bull he could find from the sea. The bull was so beautiful that Minos didn't sacrifice him, but instead kept him with his flock (or in the palace gardens). To revenge Minos for not keeping his promise, Poseidon made the bull so ferocious and dangerous that his eventual capture in Crete became one of the twelve feats of Hercules (Cretan Bull).

When Pasiphae, his immortal wife, saw the bull she fell in love and coupled with him. She was able to couple with him with the help of Daedalus, who constructed a wooden likeness of a cow, in which Pasiphae hid. From this union the monster Minotaur was born, a humanoid being with a bull's head, which Minos promptly jailed in the Labyrinth, an enormous construction in Knossos.

-> Read more about the Minoan Palace of Knossos

-> Read more about Daedalus

Minos, as ruler of the greatest naval kingdom of that time, undertook many journeys and military expeditions. His best known aggressive expedition was against Athens to avenge the murder of his first born son, Androgeos. When the siege of Athens continued for too long of a period, Minos asked his father, Zeus, for help, and Zeus unleashed a terrible epidemic. Following the instructions of the Oracle, the Athenians were forced to surrender and accept all of Minos' terms of submission. The most onerous condition of the surrender was the blood tribute. This called for Athens to provide every year (or every three or nine years) seven young men and seven young women as food for the monster Minotaur for as long as he lived.

When the last group of young men and women arrived from Athens, prince Theseus, son of Poseidon and the successor of King Aegeas of Athens, was among them. The princess of Knossos , Ariadne, fell in love with the brave youth from Athens, and helped him escape. She devised a plan and gave Theseus a ball of yarn (mitos) so he could find his way through the Labyrinth and kill the monster Minotaur. After the killing, Ariadne departed Crete together with Theseus. However, along the way Theseus deserted her. Eventually, Ariadne became the wife of the god Dionysos.

During Minos' reigning years, Daedalus, from Athens , took up residence in Knossos, after he was exiled to Crete for committing a crime in his own country. In Crete he eventually became the official architect and sculptor for Minos. In Knossos he built the Palace, the Labyrinth, the wooden likeness of a cow for Pasiphae, and even helped Ariadne and Thiseas kill the horrible Minotaur. However, when Minos became disillusioned with him, he jailed Daedalus together with his son, Icarus. The brilliant engineer didn't stay long - he made a pair of wings for himself and Icarus and they flew away. The wings were made of feathers held together with wax. Daedalus warned his son not to fly too close to the sun, as it would melt his wings, and not too close to the sea, as it would dampen them and make it hard to fly.

They successfully flew from Crete, but Icarus grew exhilarated by the thrill of flying and began getting careless. Flying too close to the sun, the wax holding together his wings melted from the heat and he fell to his death, drowning in the sea. The Icarian Sea, where he fell, was named after him. Daedalus lamented his dead son and then continued to Sicily, where he came to stay at the court of Cocalus in a place called Camicus.

Of Daedalus' many ingenious works, the most famous was the Labyrinth - the gigantic palace comprised of clusters of rooms and corridors so complex and convoluted that only Daedalus himself was able to find the way out again. It was in this Labyrinth that the Minotaur, the horrible creature who was the love-child of Pasiphae's perverse affair with the bull from the sea - was kept.

NOTE. This story comes from the book "The Labyrinth of Messara" by Kaloust Paragamian and Antonis Vasilakis. English translation by Lou Duro for ExploreCrete.com - ALL RIGHTS RESERVED

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The Labyrinth of Crete, the myth of the Minotaur

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Zeus, in the form of a bull, brought Europe from the Phoenician seashore to Gortys in Crete where he made love with her under a plane tree (or on the plane tree after assuming the form of another sacred animal, the eagle), since then the plane tree was blessed to never lose its leaves (evergreen).

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Rosencrantz and Guildenstern Are Dead is a tragicomedy written by British playwright Tom Stoppard in 1966. This play takes two minor characters in Shakespeare’s Hamlet as the heroes, retelling the whole story from their perspectives. In the play, Rosencrantz and Guildenstern find themselves trapped in a world where their fates have already been written and they always don’t understand their situations. In this play, we find an evident incredulity towards grand narrative.

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Rosencrantz and Guildenstern Are Dead (1990) Tim Roth, Gary Oldman. Subtitled (En, Fr, Sp)