EDITORIAL THIS
month Godartet has admittedly faced a challenging period, as balancing between the work that pays the bills and this work that has given us so much already has proven to be quite a task. How to look for new angles on the surrounding world when at the end of a working day you are too tired to pay attention? Well, too often the answer is you don’t. You just take your laptop and stare at the screen for a few hours until it is time to go to bed.
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o matter how tired and busy we may have been, we have still done our best to bring you a new issue that focuses mostly on photography. We have received feedback from our readers and so we decided that it was time to focus more on images. In this issue, we stay true to our style and make you read, but this time we talk a lot about images! Our Gonzo section is all about pictures, so if you think that one picture is worth a thousand words, this issue is incredibly heavy with words!
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ut anyway, summer is coming and with it the beautiful, long and hopefully warm days during which we have plenty of time to enjoy life and take a few pictures. Even if most of us are amateurs and the pictures we take are less than perfect in a technical sense, a memory preserved is art in itself. The bright colors of warm summery days provide plenty of inspiration for beautiful portraits and landscape shots and when the people who have been living in the dark for the entire winter finally wake up and come back to life, you can be sure that they make something beautiful.
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e hope that our talk of images as well as the pictures taken by us will inspire you to grab your camera and point it at what you find beautiful, funny or interesting in some weird, even creepy way. Go point and shoot! In an unviolent way that is! We at Godartet do not condone violence!
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APRIL EDITORIAL 2 COLUMN JUHA HEIKKINEN 4 COLUMN FANNY GRAZZO 7 GODARTET GOES GONZO 8 INTERVIEW LET’S SAVE MAXIM 17 ESSAY VILLE KOSKI 19 RUFUS 22 BATHROOM STALL WALL 23 LAST PAGE 25
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COLUMN
Juha Heikkinen HOW TO BE AN ASPIRING... SOMETHING
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or some years I have found myself craving for a creative instinct and an outlet to express any creative impulses. I bought a guitar and tried playing for a few weeks until I got fed up with the tortured notes that my guitar was producing. They should have been beautiful or at least they should have sounded like the original. Perhaps the biggest issue was not the fact that I could not produce proper sounds but the fact that to be able to really play well, I would have to put in a lot of work. I am sure that there are those who live and breathe what they do and cannot help working, creating, doing what they feel they were born to do. I doubt that kind of a need to do anything is in me, but I feel that the thing is to find something that you feel ok beind uncomfortable with. I never could draw and as stated above, my musical skills are simply not there, mostly because I never had the interest in developing my skills. My drawings always looked poor at best and I couldn’t care less. To me the fact that there are skilled individuals working hard to create beautiful experiences to the rest of us is enough.
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riting is something I’ve always liked playing with. It is only a couple of years ago that allowed myself to admit to myself that I would like to take a shot at writing a book. The book wouldn’t have to be a bestseller but it would be something that I created and no matter how derivative it might be, it would still be mine.
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t’s interesting how hard it is to admit to yourself that you have a big dream that is more than just a above-average paying job in a well known company or a family and a dog in a nice and quiet suburban area. Not to say that the above-mentioned dreams aren’t big or important, but admitting having them seems to be less of a big deal and more commonplace, probably because they are. To be an aspiring musician, actor or waitor takes guts and lots of hard work that might not amount to anything and that is probably the biggest reason why I admire about the people I know who are pursuing their passion for the arts. That takes guts and I love them for their courage.
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hat we would like to see ourselves do is something that we feel separates us from the rest and gives a special significanse to our life on this Earth, because let’s face it: Showing up at work for a paycheck and waiting for 4
retirement is nice and safe, but it would be nice to be able to be one of those people whose names is synonymous with perfection, whose brilliance will be questioned by two aspiring magazine makers during long nights by a pint. Of course it is the work itself that should matter the most to anyone creating, but how many musicians picked up a guitar to get the girls and how many writers or composers have been truly awful, egotistical people who only care about their own accomplisments? Don’t we all have that selfish desire for fame and glory, which we would like to achieve without ever admitting to want it? I am not insulting the hard-working artists by claiming they are only in it for the exposure, because truthfully speaking, it cannot be why you get into it. You won’t last. I am actually challenging myself by making myself answer the difficult question: Why do I want to aspire to something that seems difficult to reach and will more than likely remain only a dream? As is the case with many philosoraptoresque questions, the question is best left hanging in the air. I’ll leave it up to you to answer it if you feel like it.
Juha is an senior editor at Godartet and relatively aspiring something.
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INSTRUCTIONS FOR ARTISTS Wish to promote your beautiful work on Godartet? Well then, we congratulate you on making such a brilliant decision! Here are the few easy steps how to do it!
1 HAVE SOME ART MADE From sculptures to stage performances and dadaistic photography, all sorts of visual art goes with us. Choose what you wish to present on our pages and write a small presentation text about yourself.
2 CHOOSE A ROUTE:
3 DO IT FOR ME!
For those who don’t necessarily know or care about technicalities, relax and let us do the work.
4 SEND THE STUFF TO US
On the very basic level, all you need to know is to send us some big-ass pictures (JPEG, PDF or TIFF preferred, no GIFs please!) and the texts with possible instructions regarding the order of photos etc…
3 I’LL DO THE STUFF MYSELF!
For those who may want to do the lay-out themselves and know (probably more than us) about InDesign.
4 SEND THE STUFF FOR US
If you wish to do the layout yourself, make sure your InDesign-profile fits ours in these specifics: Colour profile: sRGB IEC61966-2.1 Page size: 232 x 276 mm Gutter 4,233 mm Margins: 12.7 mm Resolution 72 DPI Font family: Avenir Please make sure that the page size is the same as ours and that you’ll start with a full spread. Pictures can go beyond the margins, but text should stay within the 12.7 mm lines. Even though you may do the lay-out of your own artist pages, we will add a cover page with our lay-out (it’s for continuity!) to the final print. Note that we may do/ask you to do some changes to the text when proofreading the material!
5 EXCHANGE OPINIONS
When the pages are ready in our opinion, we send a version for you to check out and accept. We’ll keep doing this until you are happy and won’t publish anything without your consent.
6 READ AND SHARE!
When the magazine is out, do read it and share with your friends, family and enemies! And if you know more talented people who make art, tip them about us, we’re always open!
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If you have any more questions or comments, don’t hesitate to ask us at godartetmagazine@gmail.com, we’ll answer all your questions (except math problems, math sucks).
COLUMN
Fanny Grazzo
This person just won’t stop with these writings. It’s like nightmare that never ends. And just what the hell is that picture we got?
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ell, hello there again, my dear little plebeius! It’s that time of the month again, the time of blood, mood-swings and wrath, yes, it’s Fanny-Time! Speaking months, do you know who invented the whole concept of a month? Because I sure don’t. Anyhow, as I was saying, when building a ship, you must never let the main mast be too long or the whole vessel may turn around in a storm. And besides, the man up there, the observer, may just have a horrid fear of hights, like the old Benjamin Franklin. Man, was he scared when on observingduty in Santa Maria, which by the way wasn’t the first ship to land in America, the first one was my little row-boat that I had named El Herpes after my life-long friend and companion in crime, Heymann Herpes, who I first met in a bar in Paris, he was drinking with Kinski, who told me “Fanny, never buy mustard from a slovak, its always just leaves.” Oh, the good times!
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ut now, to the point. As I kept talking with Whitmann about his plans of maybe publishing something, he regularly came back to the question of a title. He was horrible at making titles, so eventually I got fed up and said; “Hey Walt, are you a man or a mouse?” and so Mickey Mouse was born. On the Steamboat Leaves in the river Grass in April 1865. Another time that year I spent in a premiere with another friend of mine, Anton Mitterwurzer, who had just returned from the opera. Back in those days he still lived in Dresden, and was doing relatively well in his career, but only I could see how the flame in his eyes was flaring gently into the night. Then of course, as the man lived in Dresden, the flames glaring in his eyes were quite real, but that was later on, that particular evening was relatively dull so I won’t go into further detail.
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ut now is the time for me to draw this little writing into a beautiful closure, and as I have just recently learned, the good boys spreading their bodily fluids of wisdom in the form of Godartet are making this month’s paper a photography-themed one, I shall end this with a photo of my latest… just kidding, late, pet, Cybil the Cyphilis. Look at her, just as beautiful as the day I stole it from an Uruguayan flutemaker. Tally ho!
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GODARTET GOES GONZO This month’s gonzo is all about photography! Nowadays it seems like everything is digital and that old-school photography is falling into oblivion, so we decided to challenge this idea ourselves by competing in a grand digital vs. analogue photography contest. Juha used his fancy digital camera and Ville trusted his good old Olympus M10 film camera and his own skills in film development. The gentlemen competed in four categories; street photography, nature photography, photo journalism and photo manipulation. Here are the results.
Street Photography Juha: Who wouldn’t like living here?
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Street Photography Ville: On my way to work I happened to see this relatively down-beaten guy wobbling in the midst of these fancy office buildings and I thought how clearly out of picture he was. It kind of felt like a representation of a certain people in certain times and societies.
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Nature photography Juha: Beautifull Polish nature.
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Nature Photography Ville: Swans are always picturesque and lovely and a definite mark of spring. The picture itself however is dark and contrasted with the always-ugly electrical pole, which for me usually means only depressing things. The american gothic-feel of the picture gives it a sad tone; it’s spring and there’s swans, but the dark side of the city’s nature is always present.
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Street Photography Juha: Recording the wintery life of Krakow.
Street Photography Ville: As said, it is spring and I figured that some dude fixing his kayak is a definite illustration of this change in season. Note the extensive use of nodging around the person in the shot, in which I aimed for the 1960s and 1970s newspaper feel (nodging around the persons of interest was used extremely often back then).
Street Photography Juha: I suck at manipulating photos.
Street Photography Ville: This is what I see whenever I close my eyes.
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INTERVIEW
Let’s Save Maxim One of the most upsetting topics in Helsinki’s many cultural discussions at the moment is the fate of cinema Maxim. The relatively small, two-theater cinema has rolled films in its current location in Kluuvikatu under different names since 1909. Now, however, the owner of the estate, insurance company Ilmarinen, has terminated the cinema’s current owner Finnkino’s lease and is planning to turn the theater into a hotel. This has caused turmoil among the film-goers in Helsinki, and to save the cinema a social media movement, Pelastetaan Maxim (roughly translated ”Save Maxim”) has been formed. We reached out to the man behind the movement to talk about the matter and what is the current situation in the whole affair.
1. Who are you and what are you trying to do? I am Lauri Ketola, a designer, activist and the founder of the Let’s save Maxim movement. We are collectively trying to save Finland’s oldest working cinema from being torn down. 2. What is the situation with Maxim at the moment? Finnkino’s lease ends in May. With the help of Let’s save Maxim, we have been able to negotiate with Ilmarinen. As a result of the negotiation, Ilmarinen has offered a compromise, where the main hall would still be demolished, but the protected 2nd hall could still be used for viewing films. Also, a 77 seat hall could possibly be built next to it. According to people in the film industry, this does not ensure that the cinema would be able to continue as the theater’s position is strongly weakened and the commercial activities diminished. 3. Any idea why Ilmarinen decided to shut down the cinema use of the building in the first place? They wanted to build a hotel in its place where they would receive a larger rent than what they receive from the cinema. The real estate is marked for cinema use in the zoning plan in order to maintain a diverse urban landscape, so what Ilmarinen is doing on a short street with three hotels is a questionable to say the least. Ilmarinen also did not make a new rent request to Finnkino and they won’t say what kind of a rent they would need to be happy. 4. There have been some rumors that Maxim wasn’t profitable, do these rumors have any truth behind them? Not at all. According to Finnkino, Maxim has been very profitable and they are very happy with the number of people visiting. Around 150 000 people visit Maxim annually, which is rougly the same as the National Theater. According to Finnkino’s programming chief no cinema’s draw a larger crowd than Maxim.
5. Why should Maxim be saved? Maxim is a cultural institution and it forms the heart of Kluuvinkatu along with Fazer cafe (over 100 years of history together). The people of this city need public living rooms like these. Maxim is a haven for art-house cinema whose significance for importing these films is huge: For many art-house films the viewers in Maxim are half of the entire Finnish audience. Without Maxim importing European films for instance will become increasingly difficult. Maxim also has a central role as a premiere and guest screening theater and it is the central theater of Helsinki’s largest film festivals. 6. Do you think the theater itself affects the film-going experience? Is there a difference in seeing a movie in a multiplex and seeing a movie in a smaller venue? Absolutely! In Maxim you can still feel the old feel and glamour of the old world. In Maxim, the films are still the main event. Both the people in the film industry as well as people going to the cinema praise Maxim’s 1st hall, which is now in danger of being demolished. It is said to be the best hall in Helsinki where the seats, acoustics and technology are just right. 7. Your favourite movie you’ve seen in Maxim? There are so many! I just saw Roy Andersson’s “A Pigeon Sat on a Branch Reflecting on Existence” which was very good and original and of course a visual masterpiece like you would expect from Andersson.
Godartet fully supports Save Maxim’s goals and believes that the number and quality of cinemas is essential to any city’s cultural spirit. UPDATE! At the time of writing, Finnkino has just been sold to new owner’s from Sweden. Whether or not this affect’s Maxim’s fate remains unknown.
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ESSAY
Ville Koski ON I.K. INHA, INSTAGRAM AN D THE IMPORTANCE OF IMPERFECTION VILLE KOSKI
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pril 3rd this year we celebrate the 85th anniversary of the death of the Finnish photographer I K Inha who later this year would be celebrating his 150th birthday if he were alive. For those not familiar with his name, Inha was a prolific Finnish photographer and modernist who left a massive legacy including photographs and negatives depicting life in Finland and landscapes from the city to the countryside. Essentially, one might argue that he did what Albert Edelfelt did with paintings and Elias Lönnrot with national epics: Went out and documented it. Considering that he was born in 1865, around the same time as modern photography, Inha’s work was not only important and impressive, but almost revolutionary. With just one trip to the Finnish countryside with his bike, he could take up to 200 brilliant-quality photographs.
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or a 21st century reader, seeing a dude biking and taking a couple of hundred photos while at it may not seem too impressive, but we must understand the times Inha lived in. Photography was relatively new and was still from the very first glass-plates into the first types of film, and cameras themselves were big and much harder to use than those today. Another thing to remember is that even bicycles were rare back then and, interestingly enough, I.K. Inha was among the first to bring bikes to Finland. Seeing the future potential of bicycles was just one example of Inha’s mindset; he was always exploring and developing something new and was very much interested in modernism and progress, all of which he also documented well in his photographs along with the landscapes. His pictures of Helsinki are still seen in books and discussed. It is amazing to see brilliant photographs of streets and places that no longer exist. He didn’t just capture the time and the moment, but witnessed the crime future builders would commit by destroying the city somewhere in the 1960s with their horrid architecture, but that’s another story. Looking at the photos Inha took in Helsinki in the beginning of the century feels like a stroll through those times. They are not just sterile documentations of landscapes, but they capture moments, feelings and the soul of the moment. With brilliant use of focus and shutter speed Inha manages to have more action in his still photographs than most modern movies. However, one must take into account the time lapse between when the modern viewer watches them and the time when the photos were taken. This creates its own lens of value for them. As strange as it may feel for a modern person, photography was extremely rare back in the 19th and early 20th centuries, so every picture we see is unique in a different sense than the photos seen today. This is especially true for the ones with people in them, as they may well be the only photos ever taken of those people. That’s hard to comprehend these days, when most of us have some kind of cameras with us (in our cellphones) at all times and can easily take selfies and send them for all the world to see in mere seconds. But does this affect the value of our photographs? Has photography lost some of its value during its technical progress?
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n my opinion, yes. Especially two things, method and quantity, have killed part of photography’s soul in the last three decades more than anything before. By method I mean digital photography which on the one hand gives photographers much more possibilities than film photography in terms of editing and on-the-goshooting, but essentially lacks the foremost core of photography; the beauty of light and shadow. One may argue that digital photography is still about capturing light, as photography has always been, and one would even be partially right about it, but with digital photography the light is never really captured like in film. When shooting with film, the photographer is literally capturing light and shadows into the light-sensitive surface of the film for those bits of seconds as they push the shutter to open and close. With digital photography, the shutter opens the world only to a bunch of technical sensors that don’t capture the light but transform it into pixels and data. The end result is no longer a representation of a brief moment in time, but an already edited version of it. Digital photography is also incredibly easy and cheap, which are both relatively positive qualities, but their downside is the massive flood of photos we are soaking in everyday. When it was rare to take just one photo of a person in his/her lifetime, you can nowadays take 15 selfies in a second of your weird (sorry, but it’s true) face. So the inflation of interest is only natural and selfies and breakfast-photos have spread to personal imagery. I believe that that inflation has already happened with global photography; our current media are so soaked up in visuals that good photographs, even the best ones, are prone to drown somewhere in the sea of mediocrity. Luckily there are competitions and magazines that support quality photography, but for everyday people even the covers of these publications can fade away between two gossip-magazine covers taken with a cameraphone. The fact that cameraphones have developed into extremely quick ways to snap photos and social media is constantly turning into a more and more visual experience, this flood of mediocrity is already affecting our personal photos; our eyes are growing blind to yet another picture of someone’s cat so that we can’t see the value of a picture of our own cat. Which leads us to Instagram.
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ince 2010 Instagram has been one of the most popular photo-sharing services over the internet. It wasn’t the first photo-sharing service, but its simplicity and overall usefulness quickly enchanted the smartphone-using world by one nice addition; filters. The app had a bunch of “old school” filters that users could add to their photos to make them look like they were taken with an old film camera. Instagram wasn’t the first in these either, but was the first to easily combine sharing and quick-editing so it became a hit and nowadays it’s actually pretty hard to even find an unfiltered photo from your social media photostream. For me, this is one of the most interesting paradoxes in modern technology. For decades engineers have worked effortlessly to make cameras as small and good as possible and now that they have succeeded (modern camera phones take amazing photos), people are actively editing those photos to look “worse”.
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he big question of course is why? Why are we actively looking back to times we can’t even be nostalgic about (considering that nostalgia requires actual experience of a time and I doubt that most of the Instagram-users weren’t born before 1950s) and spend money to imitate the technical issues of those times? My theory is that we do this exactly because of technological advancements. Most of the people using retro-filters are unprofessional photographers, everyday people just snapping photos of their everyday life. And those people (which includes me, by the way, I’m not holier than thou in photography) want to memorize the best moments of their lives; the fun parties, joyful celebrations and happy picnics. We never look at our photo albums and think “man, those sure were hellish days back then”, we want to look back and see smiles. And this is why technology has kicked us in the face; with the evolution of camera-phones, our photos of fun picnics are starting to look much more realistic and sharper than before, which in turn makes the memories of the photos look even a bit too sharp. You see, when cameras weren’t that good, we could snap away photos of the fun picnic in the sun and later watch them with love even though they may have been a bit blurry and the colors weren’t exact. Nowadays, however, the photos are crystal clear and we can actually see the moment in painful reality; the fat, red-faced bastard stuffing your mouth full of chips and cheap alcohol while 20
smiling like a road kill hippo is you. But when we add some nice filters that take away the details, we twist the reality in our favor and elevate our reality to some relative escapism where life is more beautiful and funnier than it really was, which also is the way we remember it. Also, when we add those retro-layers, we manufacture an artificial time-gap between us and the memory. This also works as an escapism mechanism, making the photo a bit more unreal and dreamy, like a fading memory. This way the filtered photos end up not representing the actual me, but my ideal idea of me, but unconsciously we also admit this forced perspective in these filters; by adding the artificial time-gap we admit that the idea is unreal and beyond reach, but actually remembering the moment through the photo strengthens our image of ourselves because the moment really happened. We make ourselves believe that the photo never lies and then actively make the photos lie to us.
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also believe that on some subconscious level we all know or feel that digital photography just lacks the soul that analog photography has. As I said earlier, photography is an art of light and digital photography is essentially just pixels. With “vintage camera filters” we’re desperately reaching for an artificial version of that soul, making a photo actually look like a photograph. For me, the analog photo is never (or rarely is) actually perfect, the darks may be a bit too dark, white parts can burn through, or maybe the film has some dust or scrubble and the photo can never be truly replicated outside of copying film. The digital, however, usually fixes and calculates everything at the split-second you take a picture and is always perfect. And like the saying goes, devil is in the details, so at least in my oculomotor nerves the imperfection brings perfection, while perfection is never truly perfect but boring. The same of course can be seen in the subjects as well; one of the greatest things about I.K. Inha’s photography was that he went out and documented the peasants in the countryside and often the have-nots of the cities. Back then, it was considered foolish to document these imperfect people, but today he’s admired. And when the first digital cameras started to really take off, the good old film cameras were thrown to the trash just so that a decade later we could imitate them with our digital cameras. Sometimes media science just works in the strangest cycles.
Ville is the Editor-in-Chief of Godartet and recently purchased an old negative enlargener.
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One evening, Rufus sent his credit card information to a Nigerian prince who had contacted Rufus with a brilliant business proposition. Rufus was excited, this prince would make him rich! But the good feeling quickly changed to anxiety. Despite all the money he was about to have, Rufus still felt numb. IN NEED OF A HAPPY ENDING
The next day, Rufus met his one true friend, Simon the Sassy Salamander and told him about this. As always, Simon had the answer to Rufus’ problems right after wondering why he even talked to him. “Oh, man, sounds like you’re in a time of need! You need to get your bones-a-rockin’! And now that you’re about to have money, even a loser like you can do it, just go meet Betty the Busty Bluebird, for a couple hundred bucks, she’ll give you a happy ending”. Simon’s advice thrilled Rufus, who immediately called Betty and booked an appointment with her.
As the big night arrived, Rufus went to the local red light district and found Betty’s parlour. She met Betty, who told him to sit down and asked what he wanted. “I heard you know your way around happy endings” Rufus said, trying to sound cool. “Oh do I”, Betty answered. “Happy ending is what you get of a life lived to its full potential. Modesty, empathy and love are key elements in happiness. Don’t judge a book by its cover, and don’t go to the extreme in anything, have a balanced diet and try to learn something new every day. That’s how to live and get a happy ending. That’ll be 250 bucks”. Rufus left, slightly confused and a bit disappointed. At home, he still felt needy and also realised that the nigerian dude had just scammed all his money. Rufus sighed, remembered that all good things in life are free and turned on private browsing on his computer.
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ONE MORE THING, JUST FOR YOU, OUR DEAR
NORWEGIAN/SWEDISH/FINNISH/ESTONIAN READER!
ARE YOU AN ARTIST, OR DO YOU KNOW ANY ARTISTS OR THOUGHTFUL PEOPLE IN SOME OTHER FIELDS? YES? WOW, THAT IS SO COOL! IF YOU OR YOUR FRIENDS WISH TO SEE THEIR NAMES IN THIS MAGAZINE, THAT CAN EASILY BE ARRANGED! HERE’S WHAT WE’RE LOOKING FOR: WRITERS!
ARTISTS!
Essays, short stories, poems. You name it, we’ll take it! If you have anything in your drawer just waiting to see the light of day, send it to us and we might just publish it. We’re not telling you how to write your stuff, but in essays we’re looking for something that’s related to Nordic arts or culture. Poems and short stories are of course a free-roam, but local point of view is preferred. We don’t have any word or character limitations like those silly professionals, but we hope that you remain in a maximum of 15 A4 pages with some basic size 12 font. Also, no politics, religion, sports or other unrelated boredom!
This is why we do this, to give visibility to amazing artists. Whatever is your medium, from painting to sculpture and photography to textile design, we’re willing to let you promote yourself. In each number we have room for 5 artists and each artist gets a total of 6 spreads to promote themselves (1 spread is a mandatory cover, so 5 is just for art) that you can use any way you wish. Not all of them have to be used, of course. We’ll take care of the lay-out and the end result will always be approved by you before publishing and all the copyrights remain with you.
TIPS!
READERS!
Do you have local knowledge of the best culture events in your town that nobody else knows? Or maybe you have a great idea for a feature story, Gonzo-concept or otherwise great ideas on how to make Godartet a better magazine? If so, do contact us! We’re eager to know what’s happening out there.
If you don’t have anything to contribute, but just like to read our nifty little paper, do share us with the world! We’re on Facebook, Twitter, Instagram and Issuu, we have our own webpage and a YouTube channel so there are many ways for spreading the word about Godartet. And for this, we salute you! Sharing is daring... Or something like that.
And just for all to know, we can’t compensate for your writings, as Godartet works purely on voluntary work (this includes Ville and Juha). However, we also won’t be charging you for anything, and we hope to help you in any way we can. Also, don’t worry about your English, because Godartet has a professional proofreader, who makes sure your words are solid. Hope to hear from you soon!
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LEGAL INFORMATION GODARTET IS A NON-COMMERCIAL, NON-PROFIT MAGAZINE AIMING TO SUPPORT, SPREAD AND ANALYSE ART AND CULTURE FROM NORWAY, SWEDEN, FINLAND AND ESTONIA. THE MAGAZINE IS BASED IN HELSINKI, FINLAND. EDITOR-IN-CHIEF: VILLE KOSKI. SENIOR EDITOR: JUHA HEIKKINEN. EVERYTHING PUBLISHED IN GODARTET IS PROTECTED BY COPYRIGHT AND ALL OF THE COPYRIGHTS BELONG TO THEIR RESPECTIVE MAKERS UNLESS SPECIFICALLY MARKED OTHERWISE. DO NOT COPY, ALTER, SHARE OR IN OTHER WAYS USE THE MATERIAL IN GODARTET WITHOUT THE PERMISSION OF THE SPECIFIC COPYRIGHT OWNER, WHOM YOU MAY CONTACT DIRECTLY OR THROUGH GODARTET MAGAZINE. ANYONE BREAKING THESE RULES WILL BE CAUGHT, FOUND AND - FOR YOUR INFORMATION - WE THINK LANNISTER IS THE COOLEST HOUSE IN GAME OF THRONES. ANY QUESTIONS OR COMMENTS CAN BE SENT TO GODARTETMAGAZINE@GMAIL.COM. HAPPY READINGS!