A Flashback to Petit (A Video-Game Story)

So, this past week, one of my favorite videogame franchises, Assassin’s Creed, released the newest installment in the series: Assassin’s Creed Unity. I was understandably excited and, as soon as I sat down to play it, my first instinct was to explore the absolutely breath-taking rendition of Paris that the game was set in. These were some of the best graphics I had ever seen ever! Ubisoft, the franchise’s developer, is known for constructing the settings as close to real life as possible, using the actual blueprints.

A rendition of Notre Dame in Assassin's Creed: Unity.

A rendition of Notre Dame in Assassin’s Creed: Unity.

Now, as anyone familiar with Assassin’s Creed will know, the game involves a lot of climbing, clambering and parkour. As I was traversing the rooftops of Paris, I spotted a particularly high cathedral; only when I had gotten to the top of one of its two towers, did I realize that this was none other than the great Notre Dame cathedral itself! This virtual rendition had taken almost close to two years to construct and was one of the most accurate models in the entire game! As my character sat atop the tower, another thought raced across my mind: these two towers was one of the places that Phillipe Petit, on his wire-walking adventures, had crossed. Although I have never visited Paris, this beautiful rendition of Notre Dame had given me an entirely new perspective on one of Petit’s walks; there was an intense sensation of wonder to the entire moment and led me to appreciate not just the amazing hard work that the designers of the game had put into creating such a historical structure, but of the history that was attached to this building that we, the players, were allowed to experience.

Robert Frank Photos

I am glad that Professor Grazyna Drabik posted five of Robert Frank’s photos on the blog. The photos show how different parts of the country look. New Mexico looks like if it is largely made up of deserts. In Chicago, musicians line up for a political rally. It looks like an elevator’s glass doors closed right in front R. Frank, but the people inside are indifferent and do not express any concern for him. A person looks ready to go to a rodeo, but it is hard for me to imagine having a rodeo in New York City. Lastly, a photo shows that the woman looking at Frank looks like she is trying to ignore him while everyone else is paying attention to a Hollywood premier and looks interested in it. This shows that many individuals do not enjoy one another’s presence and that they rather watch a show for entertainment. However, It is important that people get along well with one another.

On Szymborska – sample post

(Here is a short reflection I have to Szymborska’s very raw poem on 9/11. Please note my use of tags as thematic markers so that you can reuse what you need and add more if there is no tag suitable already. Also note how I’ve categorized it both as “poetry” and as “week 2”)

Photograph from September 11 – Wislawa Szymborska

This poem struck me in a way that is not always possible when reading something. I can’t say whether it’s because I remember so clearly because I was your age, 18 and a 1st year college student, when 9/11 destroyed what we thought we knew about being American, or because the words are just so raw.

I instantly understand what the poet is seeing, the images of desperate people flinging themselves from the towers that flashed on the news for months and months.

What strikes me most of all about this poem is the connection she draws between the power of this writing and the photographic image: suspension. The photo froze them all above the ground, not yet dead. This resonates for me with where she stops her remembering: 
I can only do two things for them–
describe this flight
and not add a last line.
Like the harrowing images from 9/11, Symborska has frozen the now-dead before death–holding on to them in a space where we we can see and remember.