Author: dchristmas1

I am twenty-two, living in Southern California. I like Vietnamese food and dubstep. My hobbies include reading, writing, cooking, and playing dungeons and dragons. I believe that success lies within, and that if you work towards something, you can achieve it.

How Do You ACCIDENTALLY Commit Mass Murder?

This is an essay I wrote for my Brittish Lit BEFORE 1800 class. It’s talking about the idea of the anti-hero from Malory’s time persisting through to present day.
Balin is an ex-convict. Balin was “delivered out of prison, for he was a good man named of his body” (Malory 16), and he returned to being a knight among King Arthur and the Knights of the Round Table. However, Balin was not seen as a pure and just man, shown when “the damsel” told Balin “Sir, it needeth not you to put me to no more pain, for it seemeth not you to speed thereas all these other knights have failed” (Malory 17), meaning that she took a look at him and assumed that there was no way that he could even be considered pure enough to pull the sword from her sheathe, because only “a knight, [who is] a passing good man of his hands and of his deeds, and [is] without villainy other treachery, and without reason” (Malory 16), may draw the sword. However, Balin proves able to draw the sword, and after doing so, proceeds to go on a sort of “rampage” through Camelot, leaving a trail of angrily murdered and accidentally murdered bodies in his wake, and eventually leading to his own death and that of his brother. This concept of an “Anti-Hero,” a hero who rides the line of evil, or even crosses it throughout his career, is a concept that has endured through the times, and is still popular today (but why?). This idea of an anti-hero continues to persist because of several reasons: first, it is relatable; second, it is different; and third, it makes for less predictable stories, as the reader (or viewer) has little clue as to what the anti-hero might do next, opening up a broader list of possibilities, both comedic and dramatic. A good comparison to the story of Balin could be the adult cartoon, Archer; more specifically, the episode entitled “Placebo Effect.”
In “Placebo Effect,” Sterling (Archer) goes on a rampage throughout the city, leaving a trail of bodies in his wake. Like Balin, Archer is an anti-hero, as he goes on a “heroic adventure,” but conducts himself in a very questionable way, (ie, murdering about a dozen people in horrible [sometimes accidental] ways). However, his cause is a good one, as he discovers that someone (the Irish Mafia, or “potato heads”) has been switching out cancer medicine for placebos, and selling it at ridiculously high prices, to himself and others, including a little old lady named Ruth whom he has built up a relationship with during his time spent fighting cancer.
The story of Balin has the same style as Archer, in the sense that Balin goes on an adventure to prove himself to King Arthur by performing heroic deeds (a good thing), but ends up accidentally murdering: 1. A Knight (whose lover then kills herself in front of him), 2. A damsel (different from the aforementioned), 3. Everyone in King Pellam’s Castle (due to the castle crumbling on down when he struck King Pellam with “the spear”). The blood of these people is all on his hands, which he does seem to acknowledge at one point after he kills the knight and his lover kills herself and he says, “Alas! Me repenteth sore the death of this knight for the love of this damsel for there was much true love betwixt them” (Malory 22-23). This satisfies the various reasons for which we enjoy the Anti-Hero archetype. First, it is relatable (we have all made some pretty big mistakes in trying to do something right), second, it is different (a better man would have been able to spare both the knight and his lover), third, it is dramatic (think Shakespeare’s Romeo and Juliet), and fourth, it leads to a slightly comedic situation when, after accidentally murdering these two people, everyone and their mother shows up and confronts him about the bodies (when they are practically in the middle of nowhere).
The scene when Balin accidentally brings down the castle could easily relate to the scene in “Placebo Effect” when archer accidentally blows up the back-room of the building where the mafia men were playing poker, by putting a fragmentation grenade in the guy’s ass instead of a smoke grenade, as he intended to do. Balin does something similar when he strikes down King Pellam. It goes like this:
So when Balin saw the spear he got it in his hand and turned to King Pellam and felled him and smote him passingly sore with that spear, that King Pellam fell down in a swough. And earth. And Balin fell down and might not stir hand nor foot, and for the most party of the castle was dead through the Dolorous Stroke. (Malory 32)
Balin, in the midst of his rampage, ends up accidentally bringing down the house (castle) around them, killing some number of people. This is another perfect example of the purpose of an anti-hero, as no true hero would be capable of doing something like this. The plot takes a totally unexpected turn when the hero accidentally commits mass murder. This serves the purposes of the anti-hero, perfectly. It is relatable, though on a larger scale. It is different, since no one expects the hero to accidentally murder a bunch of people. It is dramatic and comedic: our hero fails yet again and loses the woman whom he was questing with and also has to deal with the internal and external consequences of committing mass murder; but it is also comedic because “How the hell do you ACCIDENTALLY commit mass murder!?”
So while the anti-hero is not a very efficient hero, they do prove to be an effective and entertaining hero. As we see in Balin and in Archer, heroes are people too. They have good intentions just like we do and they screw up just like we do. The only difference is that when they do it, it is usually on a grander scale (ie, blowing up buildings). The reason that the concept of the anti-hero has persisted through the years is because it fulfills several functions in literature that make it enjoyable; the anti-hero story is relatable and funny/dramatic, and does it in a way that is vastly different from the traditional hero-story.

An Essay on William Wordsworth’s Preface to Lyrical Ballads

So, I’ve been doing a lot of writing for school lately, which has honestly left me pretty drained for doing much writing outside of school. So here is an essay I wrote for my Brittish Lit after 1800 class.

Only a Poet…

            According to William Wordsworth, poetry is “the spontaneous overflow of powerful feelings,” and “emotion recollected in tranquillity”(p 212). These two statements seem to be opposites—that is, in order for one to be true, the other must be false; why then does he make these two statements as if they are true? The argument could be made that Wordsworth simply spoke out of his ass, but perhaps he was on to something; perhaps he had uncovered a deeper truth in poetry, setting the art on a new path and creating the guidelines for modern poets. While the two statements about what poetry “is” seem to be contradictory, through close reading, they are proven to actually be complementary to each other, and instead of one being truth in spite of the other, they must both be truth in order to create good poetry. However, good poetry can only be created by a true poet.

            Early in Wordsworth’s Preface to Lyrical Ballads, he states that “[A]ll good poetry is the spontaneous overflow of powerful feelings”(p 207) This sounds like a very strong statement about the essence of poetry—and it is. He uses the quantifying “good” to show that not all poetry must be a “spontaneous overflow,” but if it does not come from powerful emotions, it will not, and cannot be good poetry. This is not all of what Wordsworth states; in fact, in the very same sentence, he goes on to say “…by a man who, […] had also thought long and deeply.”(p 207) This requirement stems from his description of a poet.

            The following is Wordsworth’s explanation of what a poet is:

A man endued with more lively sensibility, enthusiasm, tenderness, who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind; a man pleased with his own passions and volitions, and who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the Universe, and habitually impelled to create them where he does not find them.(p 210)

He goes on to describe a poet, saying that a poet possesses “The ability to be affected more than other men by absent things,” and to “conjure up in himself passions” which “more nearly resemble the passions produced by real events” (p 210). Wordsworth’s descriptions of what a poet is coincide with his requirements for creating poetry when he states that poetry is an “overflow of powerful feelings,” because according to his description of a poet, only a poet can truly feel such powerful emotions. The poet must also be “impelled to create them where he does not find them.” The ability to “think long and deeply” on powerful emotions is a talent that only a poet has, and a poet “delight[s] to contemplate similar volitions and passions.” Therefore, only a poet “endued with more lively sensibility, enthusiasm, tenderness, who has a greater knowledge of human nature, and a more comprehensive soul” can create good poetry after much contemplation.

            Poetry “takes its origin from emotion recollected in tranquillity,” even though poetry is a “Spontaneous overflow of powerful emotion.” The feeling must first be felt, then contemplated by a poet, (a “man endued with […] a more comprehensive soul”) and then finally “recollected in tranquillity.” The process of a poet recollecting emotion is explained by Wordsworth: “the emotion is contemplated til by a species of reaction the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind” (p 212). This is another example of what Wordsworth means when he says “a spontaneous overflow of powerful emotion”; by recollecting the powerful emotion, the poet begins to actually feel that emotion, suddenly, and powerfully. This ability to make emotions “arise in him without immediate external excitement” (p 210) is an ability specific to a poet, a “being elevated above another, in proportion as he possesses this capability” (p 208), and is essential to creating good poetry—to “recollecting emotions in tranquility” and inspiring these emotions to “exist in the mind” (p 212).

            Throughout his Preface to Lyrical Ballads, Wordsworth explains the essence of creating poetry, and all of its requirements. First, he explains the language which must be used. Then, he explains what a poet is, and what capabilities a poet possesses. Finally, he explains what—exactly—poetry is; the following sentence is a perfect definition of poetry:

Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated til by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. (p 212)

On first reading this, one might find Wordsworth’s explanation to be confusing, however, after taking into account his definition of a poet, and the various skills required in order to create poetry, this statement begins to make perfect sense, and his definition becomes truth. If a man does not have the ability to recollect emotions and bring them fully to his mind from a calm state, he cannot accurately inject those feelings into his words; while it is still possible to create poetry without possessing this ability, it is not possible to create “good” poetry, for it is “In this mood [that] successful composition generally begins.”

            In order for poetry to exist, powerful emotions must exist, but in order to create the poetry, one must have the ability to recollect those emotions in a peaceful state when the time comes for composition. Wordsworth is very clear though, when he says that “whatever passions he communicate[s] to his Reader, […] should always be accompanied with an overbalance of pleasure.” This is one last requirement that Wordsworth proposes for good poetry, and reminds the reader what the overall purpose of poetry is: to “give immediate pleasure to a human Being”(p 211).

Works Cited

Wordsworth, William. From Lyrical Ballads (1800, 1802) from Preface. The Longman  Anthology British Literature Volume B. 2nd ed. Ed. David Damrosch. Pearson Education, Inc, 2004. 206-212. Print.

           

The hardest thing I’ve ever done

“Do you have something to say?” I asked.
No response. She was packing her things.
“Look, I still love you. That’s never going to–”
“Stop it!” She bolted upright, her eyes were red. She wanted to cry, but refused to let me see the pain I was causing her.  “I don’t want to hear that from you!”
“But it’s true. I care about you.” It hurt me too. I really did love her, which is why this was so hard for both of us. I had held on too long, tried to fight it, but it wasn’t right — i couldn’t lie to her or myself any longer.  It was causing us both too much pain.
She continued packing her things; it’s amazing how much stuff collects over time. I hadn’t even realized the amount of space she filled in my room.
We were civil–this time. We had broken up a few times in the past and it was always dramatic, with screaming and crying and hitting; this time it was different, calm, easy, like a cancer that had been eating away at our relationship since the beginning. We tried to cure it, to subdue it, but it came back; every time, it came back.
Now, we were married. We had done it on a whim. I thought I was helping her, and she thought i loved her–not that i didn’t, just that I didn’t love her that way. We had good times, but like everything else in my life, we were destined to fail.

Naruto d20: Sojiro Kudo

So Kaien died. This is Sojiro:

Sojiro Kudo was born in Konohagakure (The Village Hidden in the Leaf), to a woman of the Senju clan named Asami Senju, and a man named Junichi Kudo. Junichi was a member of a clan with a special gift in artistry, specifically drawing and painting. His clan had the ability to bring their art to life, an ability that was much respected.

When Sojiro was six years old, he began showing his bloodline’s abilities, bringing his art to life. Lord Danzo caught wind of this child and his gift, and wanted the boy for himself. First he tried to convince the couple to give him the child “For the good of Konoha,” but when they refused, he sent his ANBU to retrieve young Sojiro. His parents fought to defend him, but were slain by the ANBU. Before Danzo’s men could get to the child however, Sojiro’s grandfather, Sosuke Senju arrived and dispatched the assailants and rescued his grandson.

That night, Sosuke went to Lord Hiruzen, the Third Hokage and told him of the events that had transpired. Hiruzen told Sosuke to take the boy and leave the village, and so they did. Sosuke went to Iwagakure, where one of his old friends lived, and told the Tsuchikage of what had happened to bring them here. They were accepted into the village and have lived there since. Sosuke did not enroll Sojiro into the Academy, and instead, personally trained him to be a ninja. Now, at fourteen years old, Sojiro has been accepted into the ranks of Iwa’s ninja and been given the rank of genin. As Kaien’s replacement in Team 11, he is about to meet his new teammates, Hanzo and Katsuhiro.

Kaien Kaji, the Ninja Puppeteer: My Naruto d20 Character…

Naruto d20 is a free tabletop RPG / supplement for d20 Modern. It can be downloaded at narutod20.com.

Kaien Kaji, the Genius Puppeteer

Kaien Kaji was born in the Village Hidden in the Sand (Sunagakure), in the wind country. His father was an ANBU ninja from Konohagakure (The Village Hidden in the Leaf) named Hideki Hideyaki, and his mother was a Chuunin from Sunagakure named Kaori Katsuo. The two met just before the Second Shinobi World War, while Konoha and Suna were still performing subterfuge against each other and against the other Ninja Villages; Hideki was seventeen and Kaori was fifteen.

At the time, Hideki was working to become an ANBU Captain. He had always been gifted, and rose through the ranks to ANBU faster than most ninja. He was good at what he did too, and the Village recognized that; his one problem was that he was passionate and rebellious. Hideki always believed that he knew better than his superiors, but he seldom made poor choices in the field. This passion led him to fall in love with a ninja from another village.

Kaori was a Puppeteer in the Sand Village’s Puppet Brigade, and, although not considered a genius, was a rather skilled Puppeteer. One day (12 BNT [Before Nine-Tails Attack]), while she was on a mission with her chuunin squad, they were ambushed by a large group of Stone Ninja (Iwa Nin), and her entire squad was killed in front of her. Before the Iwa Nin could get to her, a strange man leapt between her and her assaulters and convinced them to leave her. He carried her back to her camp where he left her in her tent, but before he could leave her, she demanded to see his face and know his name so that she could remember the man who saved her; he revealed himself to be Hideki of Konoha. Hideki was a handsom man, and she immediately fell in love.

Over the course of the next year, Hideki frequently kept an eye on Kaori from the shadows. Unbeknownst to him however, she noticed his presence, and one day, she addressed him. After that, they became lovers. Their romance had to remain secret due to the war, but that didn’t stop them from seeing each other as often as possible. A few months later, Kaori became pregnant, and was forced to return to her village until she gave birth. At last, the two lost contact with each other.

Nine months later, a baby boy was born. Shortly after, Kaori returned to the front lines, and, since she had no family to take care of him, she brought her son along.  While Kaori was away on a mission, the camp came under attack by the Iwa Nin and everyone in the camp was slaughtered except for a single child who was found by an Iwa Jounin and brought back home with him. This Jounin’s name was Kaidoh Kaji.

Kaidoh already had a wife and daughter, and when he brought the child home, he was quickly made a part of the family. They named the boy “Kaien,” and raised them as their own. Kaien grew up with his father, Kaidoh, his mother, Suzami, and his sister, Ayami. From the time he met her, Kaien adored his older sister Ayami. She was ten at the time that he was brought to live with them, and Kaien wasn’t more than six months. Ayami also cared deeply for her new baby brother (whom she truly believed was brought by the stork), and doted over him night and day. At the time, Ayami was also a recently graduated Genin, and constantly displayed feats of extraordinary ability for her brother, such as walking up walls and changing her appearance.

By the time Kaien was three years old, he could throw a kunai and perform the Kinobori Jutsu (wallclimbing). Seeing this natural talent, his father insisted that he be enrolled in the ninja academy. Kaien spent two years studying the ninja arts, and in that time, learned all of the basic graduation requirement jutsu, including Tadayou (waterwalk), Bunshin (clone), Henge (change appearance), and Kawarimi (replacement).

When Kaien graduated from the academy, his father, Kaidoh, informed him that he had been adopted. He told Kaien that his real mother had been a Sand Ninja who was killed during a raid, and that Kaidoh had found the baby and rescued him. Kaien took the news rather well, tossing the information to the back of his head–what did he care about some people he never met? As far as he was concerned, his family was his family. When Kaidoh revealed this information to Kaien, he also presented him with a small, wooden puppet about the size of a doll; this, he said, was the only thing that he possessed of his birth mother. After that, Kaien became fascinated with puppets.

The Puppetry Technique was not unknown to the ninja of Iwagakure, but was not popular amongst them. Kaien spent much of his time researching puppets and puppeteers at the academy’s library. When he read of Chikamatsu Monzaemon, he vowed that he would become like him, and become the greatest puppeteer in history. After that, he began building small puppets and educating himself on the use of poisons. He wasn’t too fond of the idea of poisons, however, and liked to build special components and weaponry attachments for his puppets. He graduated the academy at the age of five, and is currently a member of Team 11 of Iwagakure, along with Hanzo Hizashi, a medical ninja, and Katsuhiro Koga, a ninjutsu specialist, and their Jounin Captain, Takeshi Uyaeda.

Kaien’s father, Kaidoh, is an Ex-ANBU Captain, and currently operates as one of the Elite Jounin of Iwagakure. He is part of a Jounin team with Uyaeda and Hisashi.

Kaien’s mother, Suzami, is a restaurant-owner in Iwagakure. She trained as a ninja until she became pregnant with her first child, Ayami. At that time, she was a Chuunin, and had always dreamed of owning her own restaurant; her pregnancy was the perfect chance for a career change.

Ayami is a Chuunin. As Kaien’s older sister, she enjoys spending time with him, and training him. Kaien however, prefers to stay in his room and work on his puppets, so their time together is restricted. Ayami trains as a Katon (fire style) specialist, and is part of a Chuunin Team.

Why?

I’m sitting in the computer lab at school right now and I’m bored A.F. so I decided to post something here on my blog. I’m stuck at school right now because I have a class in an hour and a half. I’ve been doing homework basically all day today and I am totally sick of it. So I’ve decided to ask a series of questions that I invite anyone to answer.

Why does windows 7 not have a calender planner? I realised this when I was in a computer class (for people who don’t know how to use a computer–I was in the wrong place) when the professor was explaining the different widgets on the desktop, and an elderly man in the class asked if you could write on the calender. Now this may not seem so odd at first, but think about it: This is Windows 7, and calender planners have been around forever. We have them on our phones, why not on our computers? Seriously, this should come standard.

Why am I crazy about Asian girls? Specifically, Vietnamese. I’m married to a vietnamese girl, and I enjoy anime. I liked asians before I met my wife, but now it has gotten ridiculous. What makes asian girls so attractive?

Why does our world use science instead of magic? I know this one sounds a little ridiculous, but I LOVE fantasy. Sword and sorcery is my favorite genre, and I thoroughly enjoy D&D. This one doesn’t really need an answer, but just think about what life would be like if you could be a wizard. What kind of spells would you use? How would you use them? What would be your wizard name (if you have one)?

Why doesn’t “The Force” exist? Another one for y’all. Wouldn’t it be awesome to be a jedi? Move stuff with your mind and flip around with a sword made of laser? “Oh, I locked my keys in my car.” Use the force, Fox *Click* “Sweet.” Would you be Jedi or Sith?

Why is chocolate so delicious?

What is the meaning of life?

What came first, the chicken or the egg?

Is there life beyond our Earth?

Pancake or Waffle?

Bacon or Sausage?

Hashbrowns or House potatoes?

Color or Colour? Armor or Armour? Neighbor or Neighbour?

Why is there a silent “k” in Know or Knight or Knot? Is it to distinguish them from no, night, or not? If so, why isn’t there a silent “k” in well vs. well or well?

Why has english changed so much over the years? Why don’t we still spell show as shew? Why don’t we still say words like alway instead of always?

Why do people hate Obama?

Why do people give up on life?

Why was G.W. Bush considered stupid? Why was he voted in?

Was there life on Venus before it heated up?

Was Atlantis real? Is it still around?

Are there other universes? I want to go to them.

Why is poke’mon still around? And Yu-gi-oh?

Critical Analysis of a Short Story (Eng 101 Essay)

So I had to write a critical analysis essay on a short story for my English 101 (critical thinking) class, so I figured I’d put it up on here. Since I know that not everyone has read the story I wrote the essay on, I’m also including a link to the story: “How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie” by Junot Diaz

And , without further adeau, my essay:

Uncle Tomming

     The short story “How to date a Browngirl, Blackgirl, Whitegirl, or Halfie” was written by Junot Diaz, a writing professor at MIT (Colbert Report), and follows the seeming advice of the narrator as he walks the reader through exactly how a date will or should go with a “Browngirl, Blackgirl, Whitegirl, or Halfie.” In this story, the narrator addresses the reader in a very casual sort of “how-to” language, and uses specific situations and language to support the ideas presented in the narrative, and to make a bold, yet subtle statement about racism in America:

Dinner will be tense. You are not good at talking to people you don’t know. A halfie will tell you that her parents met in the Movement, will say, Back then people thought it a radical thing to do. It will sound like something her parents made her memorize. Your brother once heard that one and said, Man, sounds like a whole lot of Uncle Tomming to me. Don’t repeat this.

[…] Black people, she will say, treat me real bad. That’s why I don’t like them. You’ll wonder how she feels about Dominicans. (99)

The narrator begins by addressing the reader as “you,” which he does throughout the entirety of the text. The very casual language he utilizes, such as “You are not good at talking to people you don’t know” implies a familiarity with the listener. This has the function of making the reader feel more comfortable with the narrator, and making them more open to the internal messages of the text. When he says “Your brother once heard that one,” he relates to someone whom the reader may feel a close connection to. Even if the reader doesn’t necessarily have a brother, the idea of a brother further implants that idea of loyalty and closeness. The narrator supplements this sense of trustworthiness by using confident language: a repetitive use of “will be,” “will tell,” “will sound,” etc., gives a sense that he knows—for sure—what he is talking about.

Once the reader has been led to feel an attachment with the narrator, they are more easily receptive to the messages thrown into the text. Here he mentions “the Movement,” which is referring to the African-American Civil Rights Movement (1955-1968), whose goal was to end racial segregation in the United States. This gets the reader thinking about a sensitive, political topic, even amidst a seemingly pointless (except for its entertainment value) story about a teenager trying to get laid. “Dinner will be tense,” shows the awkwardness between different peoples; in this case, it’s between not only a boy and a girl, but a “Dominican” and a “halfie.” Here, the narrator begins to mention the importance of “the Movement” to the girl (as well as her parents) by saying “It will sound like something her parents made her memorize.”

The narrator then states “Your brother[‘s]” response to her story: “Man, sounds like a whole lot of Uncle Tomming to me.” “Uncle Tomming,” is a reference to the culture-shaking novel Uncle Tom’s Cabin, which is a story about an African-American slave named Uncle Tom, and, according to Wikipedia, “helped lay the groundwork for the Civil War (Kaufman).” This reference to Uncle Tom is implied to have been taken offensively when the narrator says “Don’t repeat this” in response to the “halfie[‘s]” story. The implication that the “halfie” is upset by the comment is hinting at the sensitive subject of race and racial equality. The fact that “your brother” would say something like that also implies an amount of racial insensitivity amongst Americans, which shows that people are starting to look at these topics as something for the history books. The idea of racial inequality being something from a time long-passed is supported when the girl starts her story with “Back then,” showing that even she looks at it as old-news.

The idea that racial stereotypes aren’t a modern problem anymore is blatantly shown to be untrue throughout the entire essay with comments such as “the white ones are the ones you want” (98). Even the title implies significant differences in ethnicities and the way that people look at each other. When the girl states that “Black people […] treat me real bad,” the narrator again, is addressing the topic of racism as a very real problem for many Americans—something that stems from all peoples, and breeds only negative emotions: “That’s why I don’t like them” is an example of those feelings. These general statements such as “Black people” and “I don’t like them” lump everyone of a single ethnicity into a single body, and shows one person’s feelings towards an entire people based—likely—on the actions of a few. Lastly, the narrator says “You’ll wonder how she feels about Dominicans.” This is another example of the negative feelings that are bred when the subject of racism is raised. The narrator addresses the worry that the listener might feel when put in a situation where someone has opinions about an entire people without intimately knowing the individuals. This goes back to the first line of the passage where the narrator says “Dinner will be tense,” where he then goes on to explain that what should be a pleasant date will turn into a minefield of sensitive topics.

“How to date a Browngirl, Blackgirl, Whitegirl, or Halfie” is—at first glance—an entertaining story about a person (presumably a young man by the language) explaining to the reader/listener how to successfully go on a date with girls of various ethnicities, and when accepted as nothing more than that, is quite entertaining. However, when the text is broken down and the internal messages are brought into light, this seemingly innocent story is revealed to be a very powerful statement about racial prejudices in America. The narrator shows that, while some people may consider racism something from the past, others still have strong feelings about the different peoples of America.

Works Cited

Diaz, Junot. “How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie.” Literature to Go. 2nd Ed.

Ed. Michael Meyer. Boston: Bedford St. Martin’s, 2014. 97-100. Print.

“Junot Diaz.” Colbertnation. Colbert Report, 25 March 2013. Web. 24 Feb 2014.

“Uncle Tom’s Cabin.” Wikipedia, The Free Encyclopedia.  Wikimedia Foundation, Inc. 14 Feb. 2014. Web. 25 Aug. 2014.

Kit Fox Plays D&D

Hello all, in this installment of Kit Fox Says, I’ll be sharing with you my latest and greatest undertaking. As the title suggests, in this scene, I’ll be sharing with you my recent experience playing D&D (Dungeons and Dragons 4e). In case you don’t know what that is, I’ll share with you a brief explanation:

D&D is a tabletop roleplaying game based on the fantastic novel series: The Lord of the Rings. In this game, you create a character and then assume the role of said character in a world invented by you and your friends. The goal of this game is to go on adventures and have a good time. At least, that is what it is supposed to be.

We began by meeting up at my friend Wyatt’s house. There were four of us. Myself, Wyatt, Angel, and Captain Whacko. We each pitched in and got ourselves a couple of pizzas, then picked our characters. I went first, and choose Beerus, the Dark Elf Warlock. Captain Whacko went second, choosing Copius Danks, the Elf Rogue. After Whacko, Angel picked Valen, the Half-Elf Paladin, and Wyatt went last, settling with some gender-ambiguous half-elf chick. Then we began.

So far, a good start. Wyatt was DMing (Dungeon Master-ing), and started us off in a prison. We were chained and beaten (cue the S&M jokes), and managed to sneak out when Copius picked the lock on his manacles and freed the rest of us. Fortunately, as we were escaping, the prison fell under seige by an orc raiding party, and we were able to fight our way out. After beheading several of the orcs, my character, Beerus gained a thirst for killing. Honestly, I had never seen this side of myself before–except for that one time in Seattle, but I’ll leave that for a later time.

After busting out of the Asylum, our group re-cooped ourselves in a nearby temple to the Sun-God. After skillfully avoiding the guards, we decided it a good idea for us to leave under the cover of night and seek safety in another land. First, we needed to get arms and armor, and paid a visit to a friend of ours who owned an armor-smithy. Unfortunately, when we asked him for armor, he informed us that his armor had been stolen and if we wanted it, we would have to get it ourselves.

So off we went in search of the thief, whom our smithy friend named “Falconi.” His mansion was said to be somewhere in the slums, and so we had to wade our way through sick, homeless people in order to get to our destination. We found it with relative ease, and approached the door stealthfully. We approached the door. There was a rustling inside. I reached for the doorknob and-

And that’s where it ends, I’ll let you guys know what we find on the other side.

The Hobbit

I just watched the Hobbit. I saw it once a few years ago but I couldn’t quite remember so I watched it again on Valentine’s Day with my wife.

I like this film.

But it was long. This film is so long! But of course, this isn’t unexpected. All the Lord of the Rings films are absurdly long. I realize that it was just the first of another trilogy, but I was really quite bummed when nothing really got resolved. I also felt like Gandalf was different from the Lord of the Rings trilogy, and while it was sixty years prior, he looked older, sounded older, and acted like a crazy old man compared to the former. It was something I noticed and it distracted me from the story just a little bit. 

It was however, nice to see some of the old favourites, such as Saruman and the Elf Goddess chick. The effects were also amazing, I love the way the dragon looked, even if they only show glimpses of him. The dwarves–I don’t even know how they did that. Anyway so the language is good, plot is good, spectacle is amazing, character is alright. 

All that being said, I can’t wait to see “The Wrath of Smaug”!