worldscape

Where the worldscape is fundamentally for or against the protagonist, we might well appy Clute’s narrative grammars of Fantasy and Horror with their Thinning and Thickening, understanding these as essentially grammars of romance and gothic.

A Theory of Modes and Modalities Hal Duncan 2009

Where the worldscape is fundamentally for or against the protagonist, we might well appy Clute’s narrative grammars of Fantasy and Horror with their Thinning and Thickening, understanding these as essentially grammars of romance and gothic.

Archive 2009-07-01 Hal Duncan 2009

The term worldscape seems apt for a milieu which has, to some extent, ceased serving simply as ground and come to function as figure in its own right.

Archive 2009-12-01 Hal Duncan 2009

The term worldscape seems apt for a milieu which has, to some extent, ceased serving simply as ground and come to function as figure in its own right.

Notes on Worldscape Hal Duncan 2009

One perfect example is the movie HIGHLANDER, where the worldscape is our reality as a lattice of seams, a strange/mundane patchworld in which immortals live among us as liminal agencies, their battle to be The One taking place on the margins of our perception, in the back-alleys and car parks of New York (significantly interstitial spaces).

Archive 2008-08-01 Hal Duncan 2008

One perfect example is the movie HIGHLANDER, where the worldscape is our reality as a lattice of seams, a strange/mundane patchworld in which immortals live among us as liminal agencies, their battle to be The One taking place on the margins of our perception, in the back-alleys and car parks of New York (significantly interstitial spaces).

Notes on Strange Fiction: Seams Hal Duncan 2008

Roughly speaking, one way to look at these is, I think, in terms of the relationship between a mundane "here-and-now" (which is to say a worldscape so minimally dislocated as to be indistinguishable from our world) and a distinctly strange (i.e. more radically dislocated) elsewhen.

Notes on Strange Fiction: Seams Hal Duncan 2008

Roughly speaking, one way to look at these is, I think, in terms of the relationship between a mundane "here-and-now" (which is to say a worldscape so minimally dislocated as to be indistinguishable from our world) and a distinctly strange (i.e. more radically dislocated) elsewhen.

Archive 2008-08-01 Hal Duncan 2008

This is, in effect, the worldscape offered by gothic/horror, where ultimately, in the form of Fate and the diabolic, the worldscape itself may be fundamentally set against the protagonist.

Archive 2009-07-01 Hal Duncan 2009

So Dumuzi may become a chimera/arcanum as he transforms into a gazelle in his bid to escape the demons pursuing him, but relative to his society and worldscape he is disempowered, a humble shepherd, a boy crying for his mother — a nobody.

Archive 2009-07-01 Hal Duncan 2009