Hmm, cool concepts. Reminds me of the idea that we have a fast and slow way of thinking. The arresting strangeness is something that trips up the fast thinking, the cognitive estrangement is the engagement of the slow thinking.
Hi Ryan, thank you for watching. As long as you find them interesting. I don't want them to feel like homework. That is the last thing that anyone needs.
I’m learning so much from your channel, and it’s truly making the reading experience more enjoyable. Where were professors like you when I was taking English Lit back in 1990?!?
Well thanks for making me feel old AP lol. I was so confused that you had to describe what static was, but honestly probably a lot of viewers might not know. Awesome video as usual!
You think you feel old. I remember to talking to students over ten years ago and I mentioned the Matrix... they told me that they didn't watch old movies. I also remember trying to explain the horizontal and vertical hold controls on a TV... tuning a tv in... only having 4 channels....
These Talking About Narrative videos are fantastic. I love how each time I watch a video of yours, I learn something new, I understand (even if only a wee bit more) literature better. Thank you for the great video, and congrats on the 3k subscribers!
@@ACriticalDragon how could be not? Your videos are so good, and their tone so calm and warm, and I learn so much, it is always a pleasure to watch them.
I'm pretty impressed by the fact that you upload like three videos per week and still manage to produce this high quality contend. Also I feel like your video edit skill improved a lot. Even though Ruthan Badd is trying to ease yours and Phillip Chase's burden of keeping the hole Malazan booktube alive, I get the feeling that you don't mind. I guess you're just enjoying to throw your fireballs around to enlighten us and if one of them accidentally hit the good Dr Fantasy, well that is a two for one. :D
@@ACriticalDragon Well to be fair I would do the same if a supposedly comrade in arms is casting these fire spells in all directions. :D Also sometimes I get the feeling that sometimes the tweet is even reflecting your fireballs, leading actually to you getting burned. So I would argue that the poor one is you. ^^
"On the first day of September, 1974, a child was born to Murray Jacob Katz, a celibate jewish recluse, living across the bay from Atlantic City, New Jersey."
Exellent breakdown of two complex concepts. Also a brilliant demonstration of what a great educator can do with a social media platform. Two fantastic (pun totally intended) lessons for the price of one.
I am so glad that you enjoyed it. They are brilliant concepts that go a lot further than I sketched out, but even this superficial view of them has merit, at least I think so.
Damn, I made a comment some time ago but I hit enter instead of the comment button, so now feels like dejavu :D (at least I think I did and that I am not actually repeating myself) I like the way you articulate concepts that lurk somewhere in the back of my mind, instinctively understood, and you give them shape and form, bring them into the light. And the work that you do helping people understand what it is they are looking at when reading. I think you would be amazing to have as a teacher. Then again, I liked most of my teachers, so I might not be the most critical of people :))) Well, I would have liked that. The title of the video caught my eye and I had to watch it right away, on top of what I already have to catch up to. I started your latest interview with Steve the day you posted it and I got as far as "oh, we are going to be critical?" when my Skype rang and i was dragged into a work call, then a meeting, then some other emergency, and on and on the wheel kept turning :(
@@ACriticalDragon This one had the advantage of being shorter. His was longer and I didn't have the time for it just then. But I will get to it as soon as I can :D
Yet again, an interesting topic to know about. Thank you for taking your time to explain this. I'm wondering now, all those people that read through a book within a few days, they must miss such thoght provoking concepts. You'd need to take time with a book and ponder on some strange concept, otherwise if reading fast aka passively, you'd only get a diluted version of a story.
HI Alen, I think it is absolutely possible to read quickly and actively at the same time, it just takes practice. But I would also be an advocate of people finding the right pace for them to read that allows for active engagement with a text and that feels comfortable. Then again, lots of people enjoy books that are not looking for this and are there for the experience of reading through the events. We all have our different reasons for reading, and we all have our different triggers of enjoyment. But thanks for the great thought.
Hello A.P. Great stuff as always. I have a question, if you’ll spare me. So, in video games, there’s this idea called “Ludonarrative” which is the intersection between gameplay and narrative. Within that, there’s this idea of “Ludonarrative Harmony” where the design of the gameplay and its mechanics reflect the narrative being told. Often times this manifests as making you feel what the character you’re playing as, or, to put it another way, the perspective your viewing, is feeling. For example, if the main character is frustrated and bored with life, the gameplay will be, well, frustrating and boring in order to evoke those same feelings in the player. It’s a great way to connect with characters and stories. And, so, my question is: is there a term for this for narrative in general? Because no matter the medium, this seems to be a vital element of good storytelling I see everywhere. And, more specifically, is there a term for this for literature based narrative? And also, could you possibly do a video on it? Possibly giving examples? I find this concept very interesting. I think it’s important to discuss as well, because a lot of time in discussion of media, there will be an empathetic divide of sorts between people; conversations like this, where person A goes: “I’m finding the Chain of Dogs story hard to read. It’s slow and grueling and exhausting. I don’t like it.” Meanwhile person B goes: “Exactly! I love it!” and they’re both left thinking: “Did they even read the same book?!?”
Great question. I don't know the answer off the top of my head, but I will ask around because I feel that there is a word and I can't think of it. Essentially you are discussing how narrative elements mimic and support one another to create a harmonic resonance. But there must be a simpler way to describe this.
Great video AP, and great classic examples. I was aware of Suvin's concept but not of Tolkien's. Anyway I have here another nice example that is perhaps a bit extreme: In stable orbit above a congealed accretion disc in the depths of galactic space, there swarmed untold millions of corporatians, who together formed the immense, nimbotranslucent corpuspheres of which an archipelagopolis was composed. In the midst of their jostlings were two consolidated corporatians - and - who together formed a stately, gourdlike shape of ten thousand shares in diameter. - from Sisyphean by Dempow Torishima.
I guess there’s a fine line between whimsy and uncanniness. If not for the knowledge of what comes later, I could see the 1984 example being the start to a Carroll-esque story.
What a great video! I was introduced to cognitive estrangement while reading Butler's Bloodchild, and I had to write a paper on it back in the day - which is to say, it was one of the most fun papers I ever had to write. I really enjoyed listening to you talk about these concepts. Also, I think it would be cool to hear you discuss Butler or Delaney one day. Thanks for taking the time to make this AP!
Thanks for taking the time to watch it and comment, Jon. I really appreciate it. As to Butler and Delaney, they are already on the ever growing list of authors that I would like to cover.
Thanks Christopher, although I didn't mean for it to feel like homework. If you are really interested in the topics you should look up Tolkien's lecture on this, and Suvin's articles. Both concepts are a great deal more involved and intricate than I presented. This was an introduction to them and and way to use them to help refine reading.
Hi AP. Just started the video. Just wanted to say congratulations on 3000 subscribers! I know that you are not making content for the numbers, but aren't round ones psychologically satisfying?😁 Anyway, I will watch the video now. Thanks for all you do. 👍
Your Neuromancer example made me feel really old AP. It is wild to think about how being a certain age can color one's reading of a narrative. I immediately thought of static. When you brought up thay electric blue screen, I realized that my reading will never be the reading going forward. Going to go and have an existential crisis now. 😁
My general sense is that cognitive estrangement is more applicable to science fiction than fantasy. Fantasy may have strangeness, but it isn't enough to give the reader a jarring jolt out of their reality. We've already crossed over into the secondary world. But my tangential thought has to do with skillful use versus overuse of such estrangement. I offer as an example John Clute's Appleseed. It's a novel so full of novums that I literally got lost. When the disorientation is so great, then there's nothing to link to as a concrete detail. I cannot sum up the plot or even tell you what happened. I've forgotten almost all of it because it didn't stick. (Except for the overuse of the word "widdershins"; there's a lot of widdershins. Left handed character, ever turning leftward... Even Le Guin, well aware of cognitive estrangement, knew better than to lean on such a word: "Left Hand of Darkness" is perfectly sound. Can you imagine "Widdershins of Darkness"?) In general, novums need to be used with restraint, just enough to carry you into another world. Using an overwhelming amount is like eating an oversalted, overseasoned meal.
Hi Marsrock, cognitive estrangement is far more regularly seen in SF, but all 'fantastic' genres can exhibit it. Not all fantasy works involve a secondary world. In fact, Gaiman's Neverwhere is a a pretty good example of seeing cognitive estrangement and arresting strangeness both due to how Richard encounters the various fantastic elements. The same goes for arresting strangeness. But as for your second point, this is essentially true of any or all literary or poetic elements. Metaphors, similes, assonance, rhyme etc. etc. 'how' they are used is usually far more important than the fact that they are used.
@@ACriticalDragon Is it too mean to point out that Clute's novel read like he thought, "I'm a critic and I'm going to pull out all the stops and show how it's done"? Maybe there's a term/concept to be coined here, something akin to "art for art's sake": estrangement for estrangement's sake.
@@marsrock316 Part of it might be that Clute is incredibly intelligent and has one of the most extensive vocabularies I have ever encountered, so sometimes in conversation he uses a number of lesser known, or arcane, or archaic terms that he thinks are well known and you are left running to try to keep up.
@@ACriticalDragon Is he the one who coined "fantastika"? That one doesn't seem to have stuck, except with one or two other critics, like Gary Wolfe and Paul Di Filippo. I did have to look up widdershins at the time, although it's not a novum. What I was missing was a more grounded plot (not necessarily more mundane or concrete), something with recognizable progression, not just flying signifiers. In trying to be a wizard with words, he created a lot of surface and lost some of the pleasures that readers enjoy in fantastika. There's one or two more recent authors who've done the same thing. They seem to think that rendering a far future society requires such flying signifiers, tenuously connected to any current sense of the words or concepts. Of older writers, I've mentioned Samuel Delany before, an author who sometimes does things to excess just because he can: there's a very long description (200 words?) of some weird eyewear near the beginning of one novel (I forget which one at the moment); but that's all they are, just fancy glasses.
Another fantastic, or is it fantastical, video. You do a great job of breaking down these concepts for the average reader. Is there the concept of absolute and relative fantastical? When I read Dune decades ago, the idea of a body shield was arresting. I suspect that if I was born in our current century, a body shield would feel mundane. A dragon is a fantastical beast, but does it elicit cognitive strangeness in the modern reader? You hinted at the idea that the fantastical changes over time, but for the most part, the fantastical remains the fantastical. Relative to the reader experience, the fantastical can change. Thoughts?
Hi Francois, those are interesting questions, and I think they relate back to the concept that meaning is in the mind of the reader, therefore the degree to which something is fantastic is always going to be judged by the reader. But even if a reader is well aware of what a dragon is to the point that it is a trope, that doesn't make it mundane, it is still a fantastical element. But it lacks the sense of wonder that a first time reader of fantasy might feel when first encountering a dragon. Then again, because modern authors know this, they often play with the concept of a dragon and use them or create them in unusual ways and forms. It is a fantastic arms race in a way. But we could introduce a reader-centric scale of wonder to 'measure' the effect.
AP, the value of the terminology you introduce to me is indescribable. Thank you.
Hi Derri, I am glad that you enjoyed it and I hope that it is useful.
A Fred Colon & Nobby reference! I love these videos, and things like this make them even better!
Sir Terry Pratchett is sorely missed.
What a fantastic(al) video! And what could be more strangely arresting than a Critical Dragon explaining cognitive estrangement? 😁
And people thought arresting strangeness was when undercover police officers dressed as clowns to infiltrate the circus.
@@ACriticalDragon Arresting strangeness is a strangeness that's tired and having a bit of a lie down.
Hmm, cool concepts. Reminds me of the idea that we have a fast and slow way of thinking.
The arresting strangeness is something that trips up the fast thinking, the cognitive estrangement is the engagement of the slow thinking.
Huh, I never thought of it that way. Thanks Rob.
"Both moons were high, dimming the light of all but the brightest stars."
Are you just looking through Kay's work for opening lines that I should have used?
@@ACriticalDragon No. Of course not. Not *just* his. 😁😁
I figured since you already did a pair of videos on this very book, I'd reiterate.
The door dilated but what if the door decimated? A certain fantasy professor shared your love of that word. 😁 Wonderful video, A.P.!
Et tu, Johanna? I am wounded to the quick.
Strange, your vids have arrested me from the diegetic reality of my own personal narrative.
Now that sounds like someone who doesn't need my videos anymore.
Thank you so much for these videos. For ppl like me who never had a good opportunity to take college lit courses, this is very interesting.
Hi Ryan, thank you for watching. As long as you find them interesting. I don't want them to feel like homework. That is the last thing that anyone needs.
Interesting concepts! I enjoyed the examples you proposed and I agree that knowing about something makes it easier to identify. Thanks for the video!
You are very welcome.
I’m learning so much from your channel, and it’s truly making the reading experience more enjoyable. Where were professors like you when I was taking English Lit back in 1990?!?
I am glad that you enjoyed it, thank you for watching. It is great to hear that you are enjoying the videos.
Well thanks for making me feel old AP lol. I was so confused that you had to describe what static was, but honestly probably a lot of viewers might not know. Awesome video as usual!
You think you feel old. I remember to talking to students over ten years ago and I mentioned the Matrix... they told me that they didn't watch old movies. I also remember trying to explain the horizontal and vertical hold controls on a TV... tuning a tv in... only having 4 channels....
These Talking About Narrative videos are fantastic.
I love how each time I watch a video of yours, I learn something new, I understand (even if only a wee bit more) literature better.
Thank you for the great video, and congrats on the 3k subscribers!
Thanks Rox. I am really pleased that so many people seem to enjoy these.
@@ACriticalDragon how could be not? Your videos are so good, and their tone so calm and warm, and I learn so much, it is always a pleasure to watch them.
This was one of the most interesting and educational videos from you! Thank you, I loved it!
Hi Livia, I am so pleased that you enjoyed it. It is always so very nice to hear from you.
I enjoyed learning about this concepts - Amazing informational video, as usual! Thanks so much!
Thanks, I am glad that you enjoyed it.
I'm pretty impressed by the fact that you upload like three videos per week and still manage to produce this high quality contend. Also I feel like your video edit skill improved a lot.
Even though Ruthan Badd is trying to ease yours and Phillip Chase's burden of keeping the hole Malazan booktube alive, I get the feeling that you don't mind.
I guess you're just enjoying to throw your fireballs around to enlighten us and if one of them accidentally hit the good Dr Fantasy, well that is a two for one. :D
Poor Philip, he does bear the brunt of the occasional fireball. Then again, he wears protective tweed at every opportunity.
@@ACriticalDragon Well to be fair I would do the same if a supposedly comrade in arms is casting these fire spells in all directions. :D
Also sometimes I get the feeling that sometimes the tweet is even reflecting your fireballs, leading actually to you getting burned. So I would argue that the poor one is you. ^^
"accidentally"
"On the first day of September, 1974, a child was born to Murray Jacob Katz, a celibate jewish recluse, living across the bay from Atlantic City, New Jersey."
Morrow is great.
@@ACriticalDragon More people need to read him imo.
Exellent breakdown of two complex concepts.
Also a brilliant demonstration of what a great educator can do with a social media platform.
Two fantastic (pun totally intended) lessons for the price of one.
I am so glad that you enjoyed it. They are brilliant concepts that go a lot further than I sketched out, but even this superficial view of them has merit, at least I think so.
it's a million-to-one chance, but it might just work!
Damn right.
Congratulations on 3000 subscribers!
Thank you very much. Thank you for subscribing.
Damn, I made a comment some time ago but I hit enter instead of the comment button, so now feels like dejavu :D (at least I think I did and that I am not actually repeating myself)
I like the way you articulate concepts that lurk somewhere in the back of my mind, instinctively understood, and you give them shape and form, bring them into the light. And the work that you do helping people understand what it is they are looking at when reading. I think you would be amazing to have as a teacher. Then again, I liked most of my teachers, so I might not be the most critical of people :))) Well, I would have liked that.
The title of the video caught my eye and I had to watch it right away, on top of what I already have to catch up to. I started your latest interview with Steve the day you posted it and I got as far as "oh, we are going to be critical?" when my Skype rang and i was dragged into a work call, then a meeting, then some other emergency, and on and on the wheel kept turning :(
I am glad that you enjoyed it, Claudia. I won't tell Erikson that you bumped his discussion to listen to this one. 😉
@@ACriticalDragon This one had the advantage of being shorter. His was longer and I didn't have the time for it just then. But I will get to it as soon as I can :D
Yet again, an interesting topic to know about. Thank you for taking your time to explain this. I'm wondering now, all those people that read through a book within a few days, they must miss such thoght provoking concepts. You'd need to take time with a book and ponder on some strange concept, otherwise if reading fast aka passively, you'd only get a diluted version of a story.
HI Alen, I think it is absolutely possible to read quickly and actively at the same time, it just takes practice. But I would also be an advocate of people finding the right pace for them to read that allows for active engagement with a text and that feels comfortable.
Then again, lots of people enjoy books that are not looking for this and are there for the experience of reading through the events.
We all have our different reasons for reading, and we all have our different triggers of enjoyment. But thanks for the great thought.
Hello A.P. Great stuff as always. I have a question, if you’ll spare me. So, in video games, there’s this idea called “Ludonarrative” which is the intersection between gameplay and narrative. Within that, there’s this idea of “Ludonarrative Harmony” where the design of the gameplay and its mechanics reflect the narrative being told. Often times this manifests as making you feel what the character you’re playing as, or, to put it another way, the perspective your viewing, is feeling. For example, if the main character is frustrated and bored with life, the gameplay will be, well, frustrating and boring in order to evoke those same feelings in the player. It’s a great way to connect with characters and stories. And, so, my question is: is there a term for this for narrative in general? Because no matter the medium, this seems to be a vital element of good storytelling I see everywhere. And, more specifically, is there a term for this for literature based narrative? And also, could you possibly do a video on it? Possibly giving examples? I find this concept very interesting. I think it’s important to discuss as well, because a lot of time in discussion of media, there will be an empathetic divide of sorts between people; conversations like this, where person A goes: “I’m finding the Chain of Dogs story hard to read. It’s slow and grueling and exhausting. I don’t like it.” Meanwhile person B goes: “Exactly! I love it!” and they’re both left thinking: “Did they even read the same book?!?”
Great question. I don't know the answer off the top of my head, but I will ask around because I feel that there is a word and I can't think of it. Essentially you are discussing how narrative elements mimic and support one another to create a harmonic resonance. But there must be a simpler way to describe this.
Great video AP, and great classic examples. I was aware of Suvin's concept but not of Tolkien's. Anyway I have here another nice example that is perhaps a bit extreme:
In stable orbit above a congealed accretion disc in the depths of galactic space, there swarmed untold millions of corporatians, who together formed the immense, nimbotranslucent corpuspheres of which an archipelagopolis was composed. In the midst of their jostlings were two consolidated corporatians - and - who together formed a stately, gourdlike shape of ten thousand shares in diameter. - from Sisyphean by Dempow Torishima.
That is brilliant. It might have been a bit much for this video... but I may have to steal it for future examples.
@@ACriticalDragon Please use it. In my own review at the time I described this paragraph as... merciless.
I guess there’s a fine line between whimsy and uncanniness. If not for the knowledge of what comes later, I could see the 1984 example being the start to a Carroll-esque story.
I think the 'unlucky' connotation of 13 plays into it.
@@ACriticalDragon yeah, definitely
Have not read 1984 but do know what time it is when the clock strikes 13. Time to get a new clock.
What a great video! I was introduced to cognitive estrangement while reading Butler's Bloodchild, and I had to write a paper on it back in the day - which is to say, it was one of the most fun papers I ever had to write. I really enjoyed listening to you talk about these concepts. Also, I think it would be cool to hear you discuss Butler or Delaney one day. Thanks for taking the time to make this AP!
Thanks for taking the time to watch it and comment, Jon. I really appreciate it. As to Butler and Delaney, they are already on the ever growing list of authors that I would like to cover.
@@ACriticalDragon Oh man, I can't wait for those videos. Glad we get to keep learning from you!
Great video AP! This the first of your videos I've felt the need to take notes on. It's like I'm back in school. Love it!
Thanks Christopher, although I didn't mean for it to feel like homework.
If you are really interested in the topics you should look up Tolkien's lecture on this, and Suvin's articles. Both concepts are a great deal more involved and intricate than I presented. This was an introduction to them and and way to use them to help refine reading.
@@ACriticalDragon Further reading is always a plus. Thanks!
A sentiment I can fully agree with.
Hi AP. Just started the video. Just wanted to say congratulations on 3000 subscribers! I know that you are not making content for the numbers, but aren't round ones psychologically satisfying?😁
Anyway, I will watch the video now.
Thanks for all you do. 👍
Your Neuromancer example made me feel really old AP. It is wild to think about how being a certain age can color one's reading of a narrative. I immediately thought of static. When you brought up thay electric blue screen, I realized that my reading will never be the reading going forward.
Going to go and have an existential crisis now. 😁
Thanks Seth. Sorry for the existential crisis. Now you know how I feel on a daily basis. Have a brilliant weekend.
Now that's a catchy, punchy title if I've ever come across one! ;)
Thanks. I worked very hard to make it sound straightforward and not academic at all. 😂😂😂
I love it. Congrats on 3k, you deserve it and a hundredfold more.
Thank you very much.
My general sense is that cognitive estrangement is more applicable to science fiction than fantasy. Fantasy may have strangeness, but it isn't enough to give the reader a jarring jolt out of their reality. We've already crossed over into the secondary world.
But my tangential thought has to do with skillful use versus overuse of such estrangement. I offer as an example John Clute's Appleseed. It's a novel so full of novums that I literally got lost. When the disorientation is so great, then there's nothing to link to as a concrete detail. I cannot sum up the plot or even tell you what happened. I've forgotten almost all of it because it didn't stick.
(Except for the overuse of the word "widdershins"; there's a lot of widdershins. Left handed character, ever turning leftward... Even Le Guin, well aware of cognitive estrangement, knew better than to lean on such a word: "Left Hand of Darkness" is perfectly sound. Can you imagine "Widdershins of Darkness"?)
In general, novums need to be used with restraint, just enough to carry you into another world. Using an overwhelming amount is like eating an oversalted, overseasoned meal.
Hi Marsrock, cognitive estrangement is far more regularly seen in SF, but all 'fantastic' genres can exhibit it. Not all fantasy works involve a secondary world. In fact, Gaiman's Neverwhere is a a pretty good example of seeing cognitive estrangement and arresting strangeness both due to how Richard encounters the various fantastic elements. The same goes for arresting strangeness. But as for your second point, this is essentially true of any or all literary or poetic elements. Metaphors, similes, assonance, rhyme etc. etc. 'how' they are used is usually far more important than the fact that they are used.
@@ACriticalDragon Is it too mean to point out that Clute's novel read like he thought, "I'm a critic and I'm going to pull out all the stops and show how it's done"?
Maybe there's a term/concept to be coined here, something akin to "art for art's sake": estrangement for estrangement's sake.
@@marsrock316 Part of it might be that Clute is incredibly intelligent and has one of the most extensive vocabularies I have ever encountered, so sometimes in conversation he uses a number of lesser known, or arcane, or archaic terms that he thinks are well known and you are left running to try to keep up.
@@ACriticalDragon Is he the one who coined "fantastika"? That one doesn't seem to have stuck, except with one or two other critics, like Gary Wolfe and Paul Di Filippo.
I did have to look up widdershins at the time, although it's not a novum. What I was missing was a more grounded plot (not necessarily more mundane or concrete), something with recognizable progression, not just flying signifiers. In trying to be a wizard with words, he created a lot of surface and lost some of the pleasures that readers enjoy in fantastika.
There's one or two more recent authors who've done the same thing. They seem to think that rendering a far future society requires such flying signifiers, tenuously connected to any current sense of the words or concepts. Of older writers, I've mentioned Samuel Delany before, an author who sometimes does things to excess just because he can: there's a very long description (200 words?) of some weird eyewear near the beginning of one novel (I forget which one at the moment); but that's all they are, just fancy glasses.
Maybe The Dexter Hand of Darkness? 😁
Another fantastic, or is it fantastical, video. You do a great job of breaking down these concepts for the average reader. Is there the concept of absolute and relative fantastical? When I read Dune decades ago, the idea of a body shield was arresting. I suspect that if I was born in our current century, a body shield would feel mundane. A dragon is a fantastical beast, but does it elicit cognitive strangeness in the modern reader? You hinted at the idea that the fantastical changes over time, but for the most part, the fantastical remains the fantastical. Relative to the reader experience, the fantastical can change. Thoughts?
Hi Francois, those are interesting questions, and I think they relate back to the concept that meaning is in the mind of the reader, therefore the degree to which something is fantastic is always going to be judged by the reader. But even if a reader is well aware of what a dragon is to the point that it is a trope, that doesn't make it mundane, it is still a fantastical element. But it lacks the sense of wonder that a first time reader of fantasy might feel when first encountering a dragon. Then again, because modern authors know this, they often play with the concept of a dragon and use them or create them in unusual ways and forms. It is a fantastic arms race in a way.
But we could introduce a reader-centric scale of wonder to 'measure' the effect.
the door is a jar.
And the car turned into a street.
@@ACriticalDragon 😂😂😂 now we're talking fantastic
@@ACriticalDragon Driving on a parkway?