Once again, we do get addicted to cocaine by the shaman .-
The unrepentant drug addict, in fact, Liu Gin Ammannato to a rod that had the following special effects:
It went into a trance all night
They did not fuck dall'Arcimago;
Nor is it prudent to Alkatel that has touched her ass and tits Balakov;
But above all, she realized that Prince Shaman met in the dream was none other than "butt" of the famous duo of comedians demented "thick as thieves" .-
Encouraged by this revelation, and sight of pears Ailin just got up, unfortunately we decide to go away from the dream king badass, that who hates evoked .-
The journey proceeds smoothly .-
us together our bodies and get close enough to the castle, just in time to be a bird by a patrol led by our friend fake dream Tim previously met .-
Ailin Ridgell and show off humility and can not be treated too ill .-
At the castle, accompanied as indeed guests and not as prisoners, we meet the right arm of the king cock, we can not call Lieutenant testicular, because we discover almost immediately be "shirt" always everlasting and famous duo demented cabaret "thick as thieves" .-
shirt is a raised, very powerful, but not as ass .-
He explains that the King is gone and shows us a very safe way to get there .-
In reality tells us that the road is very safe only for the two mentioned .-
Ailin and Ridgell, intelligence and courage to make the same use that ass and make a hole in the human body, accepted with enthusiasm to go it alone in a dangerous hole inhabited by a guardian millennial now boiled to open the way for the other idiots .-
After processing in detail an elaborate plan of defense, the two brave evoked corridor and enter horrid, sure you do not take any risks:
remain stunned because it seems a great digestive system;
is disgraced various powerful spells to attack without obtaining the effect whatsoever;
soon arrive, as cunningly agreed, the other, looking around bewildered .-
At this point I would continue the summary, were it not that he just hit a wall made me lose a hand and subtly disfigured my beautiful little face, than in the past has brought me so many beautiful ... ...-
the face of that evoked no risk!
Indeed, in the delirium of the terrible pain, I remember some things like heavy blankets, Apelios asshole dead Alkatel half sword, Ailin less idiot than usual that ....
E 'with great pleasure that I present this new project related to our beloved series Lost . Key work of the first decade of the millennium, the serial created by JJ Abrams and Damon Lindelof (and later, with the support of masterly Carlton Cuse) is well know as a product of outstanding quality and incredible depth of content. Therefore, contained in a vacuum present in the endless list of sites and blogs dedicated to the series, the purpose of LOST Essays is to provide more or less regular intervals in a series of essays on philosophical, scientific and semiotic with the intent to shed light on all the mechanisms that regulate this perfect narrative production. said, and hoping that the original intent could be made clearer with the passage of posts is good to make two clarifications:
1) Who is interested only to spoilers or news on generic Lost , would do well to directing their gaze toward the good Lost Discovery and Push The Button or, for whoever knows the English, the best current, and Dark Ufo . Our blog by contrast, aims "only" deepen some specific aspects of the show Lindelof & Cuse.
2) LOST Essays is open to contributions from anyone who wants to participate. If you have any ideas or desire to learn something in particular please do not hesitate to contact me.
After this boring presentation I leave you to read the first two contributions: Lost and comics , inaugurating the series of essays devoted to 'Lost in intertextuality, and Mircea Eliade the sacred island, which analyzes , starting from the known theoretical studies, the fundamental matrix that sacred rule from the beginning of the adventures of Locke and his companions.
Coming Soon: Lost in Stephen King: Dark Tower to the IT ; The Lost Film .
The comic narrative as a model: the shadow of Watchmen
"It's not like CSI [...] where you can miss a few episodes and when you get it, you'll always know everything. Lost In things are different. is a series that must be addressed as a book and read chapter after chapter [...] because otherwise you do not understand anything. JJ and I have tried to replicate the model of comic narrative with which we have grown from boys' [1] . The one with the comics is a relationship that every American writer (even more so if the audiovisual) have well-rooted in their DNA, given the prevalence of this medium, often against the most intelligent, 40s then in the United States. The same Damon Lindelof, though starting as a television writer, in 2006 he his dream to produce the Marvel Comics the miniseries Ultimate Wolverine vs. . Hulk . But to legitimize the bond Lost with comics, are in creative team of writers / producers Jeph Loeb and people like Paul Dini, two renowned authors comics, joined by a couple of years by Brian K. Vaughan considered, rightly, the most talented in the industry the last decade. His first test of an author in the episode is Lost Catch-22 (3x17) in which right from the start we listen to a dialogue between Hurley and Charlie argue over who is faster between Flash and Superman . The same Vaughan autoca his Y-The Last Man (2002-2007) when, in The Shape Of Things To Come (4x09), we see Ben use a telescopic stick to kill two Bedouins in the Tunisian desert, or the 'weapon of choice of the agent 355 in comics. Lindelof and Cuse quote that return year after in 316 (5x06) Hurley showing intent to review a copy of Y - The Last Man before boarding the plane back to the island.
When Damon Lindelof said in an interview that "Watchmen (1986-1987) is the greatest work of fiction ever produced" [2] probably believed to have been unclear and shortly afterwards indicated that they considered "the best book I ever read and will be forever. I can not think of anyone else who has written something like this or it will never do, " [3] . A thought probably shared by many, if Time in 2005 has included in its list of 100 best novels in English from 1923 to today [4] and the aforementioned Brian K. Vaughan has admitted to having taken the main inspiration to start writing [5] . It is obvious that with such conditions, the end result Lost have several features in common with the famous graphic novel written by Alan Moore and illustrated by Dave Gibbons, just think of the fact that both works are serial ( Watchmen was released as a miniseries of 12 rolls) and choral, with chapters / episodes exploration of the individual characters through the appropriate use of flashbacks . In addition, both Watchmen Lost that are known for meticulous attention to detail, scene after scene, table after table there is some very important element hidden at first sight as well as cultural references dished out in large quantities. If these elements are common only from structural point of view, from the narrative there are certainly similarities: for example in the Watchmen Comedian is thrown off a building after discovering the plans of the enemy, while in Lost the same happens to Locke when it threatens to reveal the father's fraudulent projects. Or the island hidden from the eyes of the world on which Ozymandias send scientists to do research (like DHARMA), or the history of the Black Freighter (as the mysterious Black Rock of Lost ) and even precognitive powers dr. Manhattan and Desmond. And the authors of Lost be great lovers of the work of Moore, are also thought to mention the gagging of those who travel in time, as Silk Spectre when he arrives on Mars and how Ben and Locke when they occur in the desert Tunisia after moving to the island in space-time.
"It is not an island. It 's a place where miracles happen. " These words, put into the mouth of Locke by Damon Lindelof and Carlton Cuse [1] the final episode of season four Place Like Home pt. 2:03 (season 4, episode 13-14, 2008), we return to a very illuminating the figure of the close relationship between Lost and sacred subjects, because, as stated by Mircea Eliade, "the sacred manifests itself as something quite different from reality" natural "' [2] . And what's more supernatural, if not an island where miracles happen?
It is no coincidence, of course, that to utter these words is the character of John Locke, the man who spent a miserable life on land and hoping to have the illusion of a higher purpose to be pursued, he finds himself catapulted on an island where found, miraculously , before the use of his legs and then a destiny. A spiritual journey, a walkabout from chase between moments of glorious exaltation, and others of pure desperation and resignation (a metaphor for life?) All under the direction of the island itself, which becomes in the eyes of the viewer and the same Locke, acts through the mysterious and miraculous, an allegory of God
John Locke embodies the perfect religious man coming in his wanderings on the island, to transform "the common life of every day, wherever he finds a mystery, a key. Even the most insignificant gesture can mean a spiritual act " [3] , so, when, in the episode appropriately titled Deus ex machina (ST.1, Ep.19, 2005) Locke, desperate, asking for an answer to the island, slamming his fist against the door of the mysterious hatch unearthed in the forest, here which is a light. Glow that becomes a metaphor of hope, a sign to continue to have faith. Although four television seasons later, the same Locke will eventually settle the issue with a lapidary "was just a light" [4] .
Usually a company with a strong religious / sacred, such as that represented by Lost Other [5] presupposes an initiatory path for his followers, usually from an early age, through what Eliade calls "apprenticeship in the bush." And it is the jungle / woods where John Locke (and to a lesser extent all other survivors of Oceanic Flight 815) exceeds continuing evidence that led him to discover the "sacred secrets" [6] island. At the end of this journey and while, or episodes in The Man Behind the Curtain (st.3, ep.20, 2007) and Cabin Fever (st.4, Ep.11, 2008), he makes the decisive steps for entry into the fraternity / secret society that has controlled the island meeting (apparently, but we understand this only after the events) Jacob [7] or "the beginning [for Excellence, ed.], who has known the mysteries, one who knows. " E 'curious, and probably not coincidental that this "meeting" takes place in a hut in the forest, very similar to those, actually existing, theorized and described by Eliade: "In several regions, there is a hut in the bush in the initiatory. In there the young candidates are undergoing some tests and are instructed on secret traditions of the tribe. " [8] Locke meets Jacob and then to understand the secrets of the island, and the second visit she receives from her (alleged?) Christian party, first, the instructions on how to save the island, and later, the request to accept the final test of faith, the sacrifice of his own death in order to achieve the salvation of the island itself. Following guess that this is a swindle made by Christian (actually tied all'acerrimo enemy of Jacob), causing the viewer to reflect on the idea that Lost carries against the illusory power of religion. As the island is itself hierophany , "the manifestation of something completely different , a reality that does not belong to our world" [9] , this that the text would seem to direct us towards audiovisual explanations (fiction) science of these phenomena (which in a joint Lost provides the viewer) rather than those sacred and religious.
During the "fifth season" we see a substantial increase in the group of elements that lead back to the classic Other secret brotherhoods, especially with regard to the rites of entry, or "imprisonment, torture, initial trials, death and resurrection, [...] teaching of a secret language, etc.. " [10] . The first two elements, in fact, invite us to consider the consistency of the corporate group of survivors protagonists of the serial , which can be found on several occasions to imprison and torture people before accepting them as their own members or persons harmless, particularly as we see in One of the other (st.2, ep.14, 2006) when the Iraqi Sayid torture Ben (leader of the Other ), who passed himself off as the owner of a wrecked balloon on the island. The fact that Ben is the leader of Other , is the bridge that leads us, first, the initial sharp dualism between the two groups later transformed into a covenant [11] labile and unlike the sacred distinction between what is good and what is evil, and, secondly, the input mode in the same Others, such as the use of a secret language to use in case you fall captive. The bomb in (st.5, Ep.3, 2009), see, for example, a young Charles Widmore communicate in Latin with one of his companions to avoid being understood by their captors. Latin is also the response ('Ille nos omnes here servabit " [12] ) to the code in question," What lies in the shadow of the statue? " [13] , of \u200b\u200bprimary importance in the final phase of the fifth season.
But even more interesting about the rites of initiation, is the question of the death and resurrection, which brings into play the overwhelmingly figure, increasingly central to John Locke. Died on the mainland to save the Island, but apparently just risen and miraculously appears on the same [14] , Locke takes the form of the supreme religious man. The parallel with Jesus Christ is evident and already Deus ex machina (ST.1, Ep.19, 2005) is the same as Locke's mother to launch a small sign of what we will see later when he says that John has never had a father who was an "immaculate conception." Same is the path, the "pattern of initiation: suffering, death and resurrection (rebirth)" [15] leading one (Jesus) to spiritualize that the free space and time, and the other (Locke) to the unlimited knowledge of the island and its powers and finally to appropriate the role of leader of Other . The comparison becomes even more consistency and legitimacy, when the episode Previous (316 , st .5, Ep.6, 2009) that in which we see in action the revived Locke, there is an examination by Ben (the murderess of Locke, but also the one who will make way to bring the body on the island) of the framework Doubting Thomas , painted by Caravaggio in 1600, showing precisely the Apostle (skeptical just like Jack [16] that Ben is turning) and sticks a finger in the wound in the side of the newly risen Jesus' words, in both cases, death "comes to be regarded as the supreme initiation, the beginning of a new spiritual existence " [17] . Except that, he discovers that Locke never really died and rose again, and that man (?) Do we see on the island with his appearance is nothing but an impostor (a longtime enemy of Jacob, who is plotting behind her), religious beliefs, which until then seemed to be instilled with confidence in the spectator undergo yet another low blow.
episode THE X (st. 6, ep. 1-2, 2010) we find that this sort of shapeshifting is actually the black smoke monster that wanders the island judging - through some kind of scanning - and if, killing the inhabitants of the island, taking the shape and the memories of people who died [18] . A monster that has many similarities with that (of African tribes) described by Eliade, having "the power to kill men, swallowing and vomiting immediately after taking them renewed" [19] . Locke will not be true, but what we now know is definitely a character "Renewed" in all its aspects.
The Monster Island is not only murderous and dangerous entity, but is also the guardian of the Temple. Holy place par excellence on the island, which is protected from any external corruption [20] , "a place just for us" that is only for Others, whose walls represent a threshold for "prevent people like you [anyone who is not one of Other, ed. ] to even view it [the Temple] "as stated by Ben. [21] The monster is the guardian of this threshold hampering the 'entrance to the bad faith of men "and is also (as in some Eastern cultures paleo)' the place of discretion" [22] . In fact it is a hole in the wall surrounding the Temple (the hole is a metaphor of the threshold) that Locke and Ben enter What is dead is dead (st.5, ep.12, 2009) to ensure that the the latter's actions are "judged" by the monster [23] . The Temple is also the place where Ben, dying young, being treated. Following the miraculous cure, Ben loses "his innocence and does not remember anything," [24] , which brings us back to the theme of death processed by Mircea Eliade, who says that 'it must be done to heal the sick born again " [25] .
"John Locke [...] is to protect the radical separation of the island from the world. In other words, its being sacred " [26] , and tries to do it in every way to hinder anyone who wants to abandon it or occupying it. Paladino to the bottom of this divine world, a paradigm of a very ancient religious concept, "one of the perfect place, that is full [...] and isolated . Perfect place in paradise and the miniature world together, a source of bliss and place of Immortality " [27] . Mere appearance, perhaps we could say with the experience gained from the sidelines. Apparent immortality, apparent bliss and, for those who sought the island itself, even apparent redemption. Locke loses his life will lose all the illusion of having been the victim of a bigger game, the victim of an island that depending on your point of view may appear as paradise as hell [28] . But perhaps more like a middle way, a purgatory. As suspected and theorized by many viewers in its first year of airing the serial [29] .
it not be a Heaven, but is certainly a place with its sacredness, its miraculous uniqueness. And like any place with such important characteristics, has an entry that refers to the difficult religious symbolism of the "narrow gate" and as "Vision of St. Paul shows a bridge as narrow as a hair" that connects our world to Paradise [and which] are sinners, unable to cross it, rushed in Hell " [30] also those who want to reach the island, must follow a precise route obtained through complex scientific calculations to avoid encountering dangerous "side effects", which in this case consist of space-time fluctuations of the mind, which lead, in short, to a painful death.
John Locke, the 'man of faith , and Jack Shepard, the' man of science , mixes different times during the series, their destinies and their ideals and end up exchanging them, when at the end of the third season in Through the Looking Glass (st.3, ep.22, 2007) is the death of the first to seal the metamorphosis of Jack. These, haunted by remorse, he begins to believe that it was his destiny to leave the island. Now, excluding a few attempts we've seen previously, we can not figure out which one is right and if there is one. The same Lost lives and develops his own philosophy on this dichotomy, in a quarrel that probably has no solution, and as noted by Eliade:
areligious Man descends from 'homo religiosus and , like it or not, is also his work [...] and was formed in opposition to his predecessor, trying to "empty" of any religion and any meaning transhuman. [...] Is formed through a series of denials and waste, but is constantly haunted by the fact that he recanted. [31]
Andrea Belcastro
[1] Main writers and executive producers of the serial. Damon Lindelof is also co-creator of Lost with JJ Abrams.
[2] M. Eliade, The Sacred and the Profane , tr.it., Hogarth, Torino 1973, p. 14.
[11] When Charles Widmore (ex-leader of the exiled Other ) to retake possession at the expense of Ben Linus, sends a team of mercenaries on the island armed to the neck ready to kill any citizen.
[12] Richard Alpert, the director of Other is the first character we see how to respond to the question in the accident (st.5, Ep.16-17, 2009).
[13] ruled for the first time by Ilana, a mysterious ally of Jacob, in What is dead is dead (st.5, ep.12, 2009 ).
[14] We see life again in the episode Life and Death of Jeremy Bentham (st.5, Ep.7, 2009).
[15] M. Eliade, The Sacred and the profane, cit., p. 124.
[16] The man of science par excellence of the serial .
[17] M. Eliade, The Sacred and the Profane , cit., P. 124.
[18] their bodies, except (oddly) to Locke, as swallowed seem to disappear into thin air.
[19] M. Eliade, The Sacred and the Profane , cit., P. 122.
[21] respectively Meet Kevin Johnson (st.4, Ep.8, 2008) and in What is dead is dead (st .5, ep.12, 2009).
[22] M. Eliade, The Sacred and the Profane , cit., P. 23.
[23] In fact, as we learned in the course of several episodes, we can extend the concept of threshold, as a place of trial in which the monster acts, including at 'Island itself. The monster is the "security system of the island" as stated by Danielle Rousseau in Exodus pt.1 (ST.1, Ep.23, 2005).
[24] Richard Alpert in What has happened, has happened (st.5, Ep.11, 2009).
[25] M. Eliade, The Sacred and the Profane , cit., P. 124.
[26] S. Regazzoni, The philosophy of Lost Ponte alle Grazie, Milano 2009, cit., P. 41.
[27] M. Eliade, The Sacred and the Profane , cit., P. 98.
[28] Anthony Cooper, Locke's father, he finds himself catapulted the island after a car accident and encountering a pirate ship in the middle of the jungle, his son who thought he was dead, he thinks, probably rightly, to be right in Hell (The Brig , st.3, Ep.15, 2007).
[29] In many internet forums dedicated Lost in the discussions on .
[30] M. Eliade, The Sacred and the Profane , cit., P. 115.
... . greets, but do not wake up, someone keeps us .-
Probably another stracciacazzi it takes to hire another mission ....
Alkatel scaccola you with the stick that suddenly ... ... ... ... ... ..
Exactly!
Even Prince .- Shaman
Unfortunately commitments beyond the control of proctocronista not allowed to prepare the record in time to allow a memory of what actually took place .-
Having said this, suffice it to say that:
Liu Gin makes a dead cat with Prince Shaman;
Balakov, bastard, taking advantage of the temporary inability of consent Archmage, he's fucking the crossbow, the thirty missiles and the dagger;
Alkatel broke my balls all night because he has the magic arrow!
