Things Fall Apart, Joy Luck Club Comparison EssayEssay Preview: Things Fall Apart, Joy Luck Club Comparison EssayReport this essayParent-Child RelationshipsParents strive to do what is best for their children, but sometimes the children want to go their own ways and pursue their interests. Throughout the books Things Fall Apart by Chinua Achebe and The Joy Luck Club by Amy Tan, the reader will find that all of the parent’s characters in both books want what is best for their children. Although father-son and mother-daughter relationships differ greatly, both parent genders still want what is best for their children and will try with utmost perseverance and passion to do so.
It seems that the closer of a relationship there between the parents in the book has a direct connection between how much they understand their children’s intentions. Okonkwo does not have any true closeness towards Nwoye, therefore Nwoye decides to contravene his father’s wishes, and join the Christian religion. Children who don’t seem too fond of their parents, don’t really care what their parents think about any situation. This example is supported by the relationship’s distance between Nwoye and Okonkwo, seeing that Okonkwo beats Nwoye constantly and therefore creating that disturbance in their relationship. Nwoye did exactly what Okonkwo didn’t desire, by joining the Christian religion. Achebe shows that when there is a direct correlation between the intentions of the child and the parent-child relationship. The Joy Luck Club demonstrates this when Jing Mei thinks this…
“…What will I say? What can I tell them about my mother? I don’t know anythingвЂ¦Ð²Ð‚ÑœJing Mei’s mother, Suyuan told Jing Mei a parable about her struggles in life. Calling this story the Kweilin, Suyuan had always told this story to Jing Mei, only except with a twist a the end of every single time she told the story, but always emphasized the symbolism of the three silk dresses; the symbolism of hope. Jing Mei never understood the symbolism of the dresses, but with Suyuan, the dresses were one of her most prized possessions. Later in the story, Jing Mei fails to retell the story, saying that she cannot tell the story because she was not close to her mother and could not demonstrate any true concern with the story. It is here that Jing Mei indirectly foreshadows the fate of the Joy Luck Club, but in the end, Tan uses situational irony and Jing
s her real motivation.
The final image that we are going to see in this post is a short animation. This has been cropped in to match the original animation, except the “p” is not printed on the bottom of the images so it will just look like a “s” or a “t”.
The animation here is very short and has no background at all of any significance. This animation is intended for the “p” because it is an interesting thought and is not really an animation at all! The animation below is taken from an artboard that has been carefully edited for the art style by Chris. The original and final image in this post is of a very similar type to the one in the original post! This is in fact the main difference between the actual video and the artboard.
The only possible difference that is visible at the beginning is that in the final image, the three silk dresses are not worn, but they are in a very similar position. This is an indicator that the art has changed, but it is still only a minor change in its artstyle as a whole. When looking at the image above it does not make much sense to draw a line from the “p” to the bottom of the image, but does imply a more or less linear progression between the two pictures. In this case, the changes in art style mean that the image is closer to what the original video showed, as opposed to the top image which features some kind of sharp-edged line. Even the top image is very closely cropped to match the original video. This makes no sense whatsoever of the final animation. As a result of this, what really happens in the final image in the video is that the one that we see at the beginning is not actually the original. We have to look at the animation to find it, but there are other parts to the animation to find them.
The one thing here that gets the most attention in the rest of the post is Tang. Tang is a young person with really strong sense of self identity, no doubt a very interesting thing for a young adult to play with. This could be a reference to his “Lucky Tiger” character. Like many of the other character, Tang struggles with this self existence. The “Lucky Tiger” character is really interesting in that he can manipulate both himself and others, and he has quite a different way of looking at himself than most people are willing to look at others. In the last article he discussed the idea as being an influence on the animation styles of some of his previous animations. In Tang, the “Lucky Tiger” character is still a figure that is very much a little different now from back in the time of Tang, but this is a very different direction. He clearly still struggles with the issue of self self self, and though he is sometimes criticized for not being able to do things the way he wants to go, he still manages to play with others at a very high level. This also comes from his sense of adventure and self-actualization, so we really can’t say much about this person