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Sigune In reply to starofkoriandr [2011-10-12 20:28:44 +0000 UTC]

Thanks!

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Sigune In reply to blackeyedlily [2011-09-04 15:54:38 +0000 UTC]

Thank you!

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Sigune In reply to Servina [2011-02-14 15:14:09 +0000 UTC]

Thank you!

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Servina In reply to Sigune [2011-02-15 00:49:39 +0000 UTC]

npz mate
how was your day?

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Sigune In reply to a-j-nightingale85 [2011-02-13 11:15:38 +0000 UTC]

Thank you!

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Sigune In reply to Angie-Pictures [2011-02-12 21:01:46 +0000 UTC]

Thank you!

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Sigune In reply to AlcinavomSteinsberg [2011-02-12 18:17:42 +0000 UTC]

Thank you!

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Sigune In reply to droxy [2011-02-12 17:30:06 +0000 UTC]

Thank you! I don't know why I've never drawn Death Eater!Snape before...

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Sigune In reply to Ellygator [2011-02-12 15:15:13 +0000 UTC]

Thanks!

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Sigune In reply to cabepfir [2011-02-12 14:16:58 +0000 UTC]

Nihilist Snape!

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cabepfir In reply to Sigune [2011-02-12 15:11:37 +0000 UTC]

Turned fascist to react against a communist father, these are my two pence.

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Sigune In reply to cabepfir [2011-02-12 17:33:10 +0000 UTC]

Nice theory! I'm guessing that, like me, you don't like the stories in which Tobias is an alcoholic and a bully...?

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cabepfir In reply to Sigune [2011-02-12 18:34:38 +0000 UTC]

Pff. If we are to believe that Spinner's end is in Manchester, one of the last functioning mines in Manchester closed in 1970. In my reconstruction Tobias worked in that mine and remained for a long time unemployed after its closing. He then joined the trade unions and started being involved in strikes and protestations around the UK. I want Snape's house to be imbued in political talkings since Severus was a child. Eileen shared Tobias' opinions but was tired of him being away for long periods and risking to be arrested. Maybe he was arrested, after all.
Thatcher became prime minister in 1979 - what a coincidence, the year when Voldy was at the height of his power - and Tobias largely participated in the strikes of the Winter of Discontent ('78-'79).
I guess that young Severus regretted that his father was away from home, too, and that he directed his hate against the thing that kept his father away - Muggle politics, in terms of workers' protests against conservative party. He could have become a labourist too; instead, for pettiness and spirit of rebellion against his family, he chose the other side. He decided to stand on the magic side instead of the Muggle side and found in the Death Eaters a kind of anti-trade union, claiming the superiority of wizards above Muggles and of purebloods against Muggle-born. However, despite what he had heard at home young Snape had very narrow ideas about politics, and was mostly fascinated by the dangerous allure of the DE and by a certain flair of anarchy.
However, I don't know exactly how to place his love for Dark Arts into this

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arcanetrivia In reply to cabepfir [2011-03-28 08:53:31 +0000 UTC]

...

WOW! This is really all very interesting ideas. (Sorry for the comment out of time context - I am looking at artworks to possibly make into buttons to take to a couple conventions this year, checking for Creative Commons licenses and such, and happened to see this comment thread on this one!)

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cabepfir In reply to arcanetrivia [2011-03-28 19:53:37 +0000 UTC]

thank you, shy! I try to do my best to stand up next to *Sigune 's explanations I'm quite proud of this pet theory of mine, in any case

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Sigune In reply to cabepfir [2011-02-12 18:51:10 +0000 UTC]

Heh! My theory (well, it's not a proper theory, just the story in my head) starts from the Dark Arts, and I haven't been able to explain the fascism ... It seems like an either/or situation .

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cabepfir In reply to Sigune [2011-02-12 19:09:39 +0000 UTC]

It's only fair to say that I'm more interested in recostructing the anger of a punk than in exploring what the Dark Arts might be. In truth, for a lover of fantasy I'm pretty disinterested in wizards bent over their cauldrons, contradictory as this may sounds in the specific occasion You know, in the world of Asanor magic is disappearing, and in any case it's more or less equivalent to convey electricity with bare hands

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Sigune In reply to cabepfir [2011-02-12 20:33:01 +0000 UTC]

Oh, I'm the same. I love to write about magic, but not magic that solves anything. My Snapefic was all about mundane things or states of mind - very muggle, but with a touch of magic. I'm interested in psychology and in cause and effect, not in amazing feats of magic. Magic is only interesting insofar as it has an effect on psychology .

In my Gawain story, too, I really wanted to have magic and faeries, but the magic has only a limited use and limited influence. Ygraine can't magic her way out of her problems. Merlin and Morgana are not all-powerful. And one of the things that drew me to Gawain in the first place is that his magic has very specific restrictions. His strength waxes with the sun - but that means that he grows weaker in the afternoon. And any wound that he sustains before noon, will be healed by evening - but that means that any wound he sustains in the afternoon will not be healed magically. This is great. He is formidable, but not all the time . Very human, that, despite the magic... The superhuman is just not very interesting.

I like the "traditional" Celtic and Arthurian magic. Some faeries can run faster than horses, or make you prosper, or they can change shape or shift between youth and old age. I didn't want to dispense with all that. But yes, if I continue the story all the way to Camlann, you'll see magic vanish from the world too...

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cabepfir In reply to Sigune [2011-02-13 17:14:24 +0000 UTC]

I've reflected a bit. Probably I'm leaning more toward the "punk joins terrorist squad" because I tend to see Voldemort War I as very radicated in history - I think about dates, I like to connect it with Muggle music, etc. I think of Snape and I see a late '70 terrorist (Italy experienced much political terrorism in the late '70, including the abduction and murder of a former prime minister, Aldo Moro, killed in 1978).
On the contrary, the "wizard searches too deep inside the Dark Arts" sounds more atemporal to me; it's not important that it happens at the end of the Seventies. Moreover -and I'm going against canon here, I mean acceptable canon - it leads toward a characterization of young Severus as more bookish and intellectual than I visualize him. For me young Severus had a lot of ideas, but confused; really studying the Dark Arts involves an application that I believe he lacked as a teen.

We will hopefully have occasion to discuss about this later, but you see, in my ever going construction of the Asanorverse, I progressively got rid of magical feats and inexplicable deeds. At the very beginning Asanor had magical powers too; now he doesn't. Once he was lured into action by a prophecy, then the prophecy turned into a fake. I'm still keeping a spell that involves using the blood of a virgin, however And there is a "pureblood" family of wizards who tried to keep their powers by inbreeding.

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Sigune In reply to cabepfir [2011-02-13 18:46:45 +0000 UTC]

Ha! I write a very bookish Snape, of course . This is a young wizard who obsesses over his exams and invents his own spells! For me, he is ambitious above all, and very much drawn to the Dark Arts (for which I like to think he has a special penchant - much like my Morgana, who is just uncommonly talented for destructive magic). At the same time, I picture Snape as conservative. I consistently write him as a homophobe and a misanthropist. That helps to keep me from identifying with him too much .

Mmmyes, that is a more a-historical approach... I guess in Snapefic I snatch up just as much history as fits my fancy; I like to use class rather than history as a starting-point.

I simply need to hear more about Asanor . -I think we all set out with characters who have magical powers who get triumphantly out of tight spots. Then we get older and realise that characters and situations are more interesting when they stay closer to our own experience. And we get rid of the magical trappings, except when they actually signify something. Well, some of us like to keep a little magic. I had a dsicussion with my parents about True Blood - which I think is really good, and they think is really bad - in which both my parents agreed that a story/film/tv-show can't be good if it needs vampires or magic in order to be interesting. They never seem to read the fantasy element as a symbol for something else, or to be interested in "what if...". I don't understand that attitude. Seriously. *shakes head*

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cabepfir In reply to Sigune [2011-02-13 19:28:20 +0000 UTC]

Ah. A couple of years ago I was in a car with a childhood friend of mine, and she asked me: "Why all those people like fantasy movies and books? With wizards and magic? Those things don't exist, then they are bullshit." And I looked at her like O_o, people invent fantasy elements exactly because they don't exist in reality, they are possibilities of reality. I was especially shocked since when we were children together we constantly invented fantastical settings for our dolls plays.

I said that I was going against acceptable canon there But my reasoning takes origin from the question: does Snape really like potions? We know that he didn't want to teach them, that he preferred - out of guilt? - to teach DADA, that is slightly more active and it's also about hexes. So, for me, the hexes could pertain to a possible terrorist - but I don't know if young Snape was interested in theoretical magic, and I guess that studying the Dark Arts should involve a lot of theory. Are hexes "dark" magic? Is Sectumsempra a "dark" spell? The problem, as you always point out, is that we don't know exactly what the Dark Arts are. In my fic, I have Snape explaining that the Dark Arts are Dark only because people call them such, and that the adjective Dark actually turned the subject in a taboo and solicited the fascination of people with them. In the end, Dark Arts don't exist as a separate magical entity, it's only a matter of definition.
Uhm, I'm growing confused.

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