- Sep 22, 2013
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A samurai warrior is hired by a village to tackle a band of ruthless and barbaric bandits who routinely pillage their humble settlement. The samurai warrior enlists the aid of three other samurai warriors, and together, the four mighty samurai prepare a defensive stand against the marauding bandits on behalf of the helpless villagers.
The samurais notice that the villagers are in awe of their swords and confidence while the samurai are training in the fields of their village, while the villagers notice that the samurai are rather nonchalant about their skill, almost as if they are automatically aware of their potential (like robots!).
This is the secret of war. The villagers are hypnotized by the consummate skill of the warriors, and the warriors are giddy about the simple gaiety of the villagers, almost as if the two groups envy each other for no apparent reason. Why would villagers want to be warriors they know they can not be, and why would warriors think so much about the gaiety about the villagers when they know their own lives are only about war meditation?
Of course, we know that envy and competitive thinking is what creates political and social conflicts which lead to war, but here we see that the nature of envy can be rather strange and even mysterious.
The job of the warrior-defender is therefore to tackle the Dragon (or serpent) who brings to paradise the poison of envy, and the job of the villager-audience is to appreciate the labors of the warrior-defender.
The American comic book vigilante Batman (DC Comics) is a strange and brooding masked crusader who tackles the most terrible society nemeses who are completely criminally insane in a fictional place called Gotham City which is a nice symbol of modern urbanization, perhaps representing 1970s New York City or 1990s Los Angeles.
Batman tackles a nemesis called Bane, a gripping maniacal brute who signifies pure ugliness, and Gothamites are grateful for the way Batman can quash unwanted cruelty. When Batman defies Bane, he literally conquers the fear-poison of envy and how envy can drive everyday men to seek unwise levels of ferocity.
This is why the Batman-Bane dynamic signifies a domination-controversy recognition in pedestrianism art.
So how does art help us characterize deformity?
The samurais notice that the villagers are in awe of their swords and confidence while the samurai are training in the fields of their village, while the villagers notice that the samurai are rather nonchalant about their skill, almost as if they are automatically aware of their potential (like robots!).
This is the secret of war. The villagers are hypnotized by the consummate skill of the warriors, and the warriors are giddy about the simple gaiety of the villagers, almost as if the two groups envy each other for no apparent reason. Why would villagers want to be warriors they know they can not be, and why would warriors think so much about the gaiety about the villagers when they know their own lives are only about war meditation?
Of course, we know that envy and competitive thinking is what creates political and social conflicts which lead to war, but here we see that the nature of envy can be rather strange and even mysterious.
The job of the warrior-defender is therefore to tackle the Dragon (or serpent) who brings to paradise the poison of envy, and the job of the villager-audience is to appreciate the labors of the warrior-defender.
The American comic book vigilante Batman (DC Comics) is a strange and brooding masked crusader who tackles the most terrible society nemeses who are completely criminally insane in a fictional place called Gotham City which is a nice symbol of modern urbanization, perhaps representing 1970s New York City or 1990s Los Angeles.
Batman tackles a nemesis called Bane, a gripping maniacal brute who signifies pure ugliness, and Gothamites are grateful for the way Batman can quash unwanted cruelty. When Batman defies Bane, he literally conquers the fear-poison of envy and how envy can drive everyday men to seek unwise levels of ferocity.
This is why the Batman-Bane dynamic signifies a domination-controversy recognition in pedestrianism art.
So how does art help us characterize deformity?
