This is an anthology film which is a trilogy and comprises some of my previous works. From dehumanizing the enemy to dehumanizing the perceived self in a dying world, the film attempts to navigate through the chaos of tragedy and transcendence. It's a story about the new Zarathustras of our world, and it's also one about embracing absurdity, akin to a smiling Sisyphus. The trilogy, as depicted through the short films "Fragile Symphony," "World of Grey Men," and "Guardless," offers an exploration of the human experience in the face of existential challenges, societal structures, and the relentless passage of time. At its core, the trilogy is a meditation on death—not merely as a biological inevitability but as a pervasive force that shapes individual and collective consciousness. In "Fragile Symphony," the narrative unfolds amidst the backdrop of a calamity, symbolized by the sinking of the RMS Symphony. The dehumanization of the "enemy" during wartime serves as an introduction to the harsh realities of human conflict. Here, the trilogy sets the stage for an examination of how societies, in the pursuit of power and survival, often reduce individuals to mere entities, stripping away their humanity. "World of Grey Men" delves into the contemporary landscape, particularly the tumultuous times marked by the COVID-19 pandemic. The protagonist, a student navigating the complexities of a world in crisis, reflects on the structures that govern human behaviour. The concept of the "guard" serves as a metaphor for both societal authority and the perception of a higher power. The film contemplates the consequences of expanding the metaphorical panopticon, drawing parallels between societal structures and the panopticon's watchful gaze. "Guardless" catapults us into a speculative future where the grand narratives of the present have collapsed. The protagonist, an artist, grapples with a world devoid of traditional theological structures. The film explores the banality of existence in a post-collapse era, where the mundane takes centre stage. In this narrative, the "guard" transforms into an abstract concept—a symbolic representation of the death of God and the dismantling of traditional belief systems. Throughout the trilogy, the themes of dehumanization, existential questioning, and societal critique resonate. The protagonists—be they anonymous grey figures or introspective artists—become vessels for the audience to contemplate the human condition. The absence of explicit identities allows viewers to project themselves onto these characters, making the themes universally relevant. The concept of a Nietzschean Zarathustra echoes through the trilogy, not as a singular character but as an idea that manifests differently in each film. The new Zarathustras of the world are not only mourners of the death of God but, in a contemporary twist, may also be complicit in killing or redefining these metaphysical entities. This dynamic highlights the evolving nature of belief systems and the responsibility individuals bear in shaping the narratives that govern societies. The trilogy engages with philosophical ideas from thinkers such as Simone de Beauvoir and Audre Lorde. The distinction between the master, vulnerable, and powerful, as well as the critique of using the master's tools to dismantle the master's house, add layers of depth to the exploration of power dynamics, oppression, and societal structures. The Proustian and Kafkaesque moments contribute to the atmosphere of the trilogy. For instance, the juxtaposition of dystopian imagery and moments of melancholia in "World of Grey Men" tries to create a nuanced emotional landscape. The trilogy borrows elements from existential philosophy, absurdism, and critiques of societal structures to craft a narrative that invites introspection and contemplation. In essence, this trilogy is a tapestry of ideas. This philosophical exploration invites the audience to confront the fragility of existence, grapple with the consequences of societal choices, and reflect on the ever-shifting nature of belief systems.

On the Edge of Transcendence

already past him,
he talks to his friend Denman after work about how he
feels and he recommends him a therapist

Animo: Lift Off (NOT CANON) (Episode 4 and 5)

The year is 2014. Kerbal kind has reached the stars - but at what price? First contact is imminent, and it is looking ugly. The planet Kerbin sends its bravest warrior, Jebediah Kerman, up into the stars to fight the space invader. What Jeb doesn't know will kill him - if his own spaceship does not first! The president of Kerbin has prepared the following message in case of highly probable catastrophe: IN THE EVENT OF mun DISASTER: Fate has ordained that the men who went to the mun to explore in peace will stay on the mun to rest in peace. These brave men, Jebediah Kerman, Bill Kerman, and Bob Kerman, know that there is no hope for their recovery. But they also know that there is hope for kerbalkind in their sacrifice. These three kerbals are laying down their lives in kerbalkind's most noble goal: the search for truth and understanding. They will be mourned by their families and friends; they will be mourned by their nation; they will be mourned by the people of the Kerbin; they will be mourned by a Mother Kerbin that dared send three of her kerbals into the unknown. In their exploration, they stirred the people of the world to feel as one; in their sacrifice, they bind more tightly the brotherhood of kerbal. In ancient days, men looked at stars and saw their heroes in the constellations. In modern times, we do much the same, but our heroes are epic kerbals of flesh and blood. Others will follow and surely find their way home. Kerbal's search will not be denied. But these kerbals were the first, and they will remain the foremost in our hearts. For every kerbal being who looks up at the mun in the nights to come will know that there is some corner of another world that is forever mankind. PRIOR TO THE PRESIDENT'S STATEMENT: The president should telephone each of the widows-to-be. AFTER THE PRESIDENT'S STATEMENT, at the point when KSA ends communications with the men: A clergyman should adopt the same procedure as a burial at sea, commending their souls to "the deepest of the deep," concluding with the Jeb's Prayer.

jeb vs the space invada

At Cyberen's sad, sad funeral, Cyberen suddenly begins to move; astounding all of the mourners, including

Cyberen Gets Hospitalized

The brave one hundred and thirty astronauts who gave their lives for this mission were mourned and soon

//Sacrafice.1

Westboro picketed the funeral of gay murder victim Matthew Shepard, delivering an obscenity-laden sermon

Star Day 2006: Collab #1

The third and final installment of my first Flash movie series, "The Mourner."

The third and final installment of my first Flash movie series, "The Mourner." This time he really kicks some @$$. Enjoy!

A Legend: The Mourner 3

The sequel/prequel to "The Mourner," my first flash movie.

The Mourner 2

This is my first EVER Flash movie [now updated]. It's a sad little short about loss and death. Hope y'all like it! ^_^
--Charlie