#(Something something Even More Creative Decisions I Profoundly Disagreed With)

[freddieofhearts]

Bye bye, dears (for now!)

I know there have been a lot of rumours and some posts about me leaving, so here I am to set the record straight and say a quick ‘au revoir’. This post is long, and I don’t expect everyone to read the whole thing—if you just want information on how to keep in touch, or about access to my removed fics, scroll to the bottom. ⬇️

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Why are you leaving?

Firstly, of course I’m not leaving Freddie. This is just an ongoing hiatus from the social side of fandom, because while I have some incredible friends here, who have done all they can to support me and have made this experience wonderful in lots of ways—it’s also true that the social space has become more and more toxic for me.

I get a wild amount of hate. Despite never having my ask box enabled on here, people create new accounts just to message me and tell me all the problems in this fandom are my fault, that I’m faking being sick, that I should kill myself, that I’m fat, etc. I also very regularly get hateful comments on AO3.

Obviously I realise that I’m not the only one who receives these cruel attacks, but it’s become increasingly hard to handle them—especially as some people (‘real’ accounts, not faceless anons) do continue to blame me for wider problems in the fandom. It makes me feel consistently sad, anxious, and paranoid, so that I can’t focus on anything Queen-related that I enjoy.

More pressingly, it’s affected my mental health, which is—imperfect at the best of times. As I’ve occasionally alluded to in older posts on this blog, I have a history of anorexia, OCD, PTSD, and some other overlapping issues. Most people who know me in the fandom are also aware that I’m ‘clinically extremely vulnerable’ to Covid-19, significantly immunocompromised, and have been isolating at home for eleven months.

The combination of all of these things + the constant toxic messages has really been triggering me, and leading to an uptick in disordered behaviours, which my body cannot sustain. Every new instance of hate from an anon—every time there’s another indication of groups in the fandom wanting to ostracise me further—my reaction is deeply self-punitive and unhealthy. Ultimately I need to be out of this environment for, at least, a protracted period. My therapist, my partner and my close friends in the fandom support this decision.

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So, what went wrong?

In 2019, I expected to be an absolutely tiny blog in the Queen Tumblr landscape. The fandom was already well-established, and I have never worked to ‘build a following’ on here—I think I’ve linked my own fic a maximum of three or four times!—in fact, more or less the opposite. As I mentioned above: ya girl is nutty as a fruitcake. As a result, I often avoid extremely niche things in daily life which cause severe anxiety for me, Relevant examples here: I never look at my timeline. I never intentionally look at my follower number. Yup, it’s strange, I fully admit it, but it’s best for me to go with these things—usually. In Queen fandom, however, this avoidance both of analytic stats and of most direct engagement led to some problems... My followers grew without me realising, and way more people were reading my blog than I was aware of. I was still in a—“Wow, this fandom is very frustrating, and rife with ableism, racism, etc., so how do we fix this???”—mindset, and I wanted to share my opinions, sure! but I also thought I was sharing them with 15-20 like-minded people.

Now, intent is not impact, and I recognise that I was brusque, didn’t phrase things particularly sensitively, and absolutely did hurt some people by criticising the fandom so freely. I still regret this—and I regret just as much the fact that some assholes have used my criticising the fandom on my own blog as implicit justification for attacking authors. I have said on here many times that I don’t condone that behaviour—but I also think there’s some truth in the presumption that these anonymous malcontents felt my critiques somehow ‘permitted’ them to engage in abuse. For the first few months, though, I genuinely had no idea there was a link at all—and so I was initially slow to condemn this abusive behaviour in public, because I was taking it for granted all authors agreed it was shitty. It took someone directly telling me (shoutout to @a-froger-epic) that people had identified a connection between my posts and the anons, before everything fell into place.

I would like to offer my apologies to the fandom at large for not being more quick on the uptake about this, because I feel that had I realised sooner that these people were taking ‘inspiration’ in some way from me, it might have been easier to put a stop to it. It does seem that there is still a lot of confusion about whether I support them and which of their views I agree with. Let’s be 100% clear on this: I do not support the anonymous commenters on AO3. At times there is some, limited overlap between parts of their views and parts of mine, but even that is less than you may think—I often see anonymous comments from so-called ‘Freddie fans’ that I substantially disagree with.

Perhaps even more importantly: I do not support anyone who sends anonymous hate on Tumblr.

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What’s all this about ��overlap’ with the anons?

Let’s do a mini-summary of the myths vs. the truth. There are views I hold which are genuinely unpopular in the fandom—but which I own up to completely, and have never tried to hide in any way. I’ve never needed to use anonymous to share my opinions because I’m completely open about them! What people who don’t know me tend to have ‘heard’ about me, though, is usually a drastic distortion of my real opinions.

What people think I think:

- Freddie should never top.

- It’s okay to send anon hate if someone writes Freddie ‘wrong’.

- It’s more important to correct ‘wrong’ portrayals than to respect other writers.

- It’s inherently wrong to be more interested in band pairings than canon pairings.

- Freddie should be overtly written as a r*pe survivor/victim (and not doing this is wrong).

- Freddie should be overtly written as having an eating disorder (and not doing this is wrong).

- Kink fics are wrong.

What I actually think:

- I believe Freddie did have a strongly defined sexual identity with marked preferences, but I don’t think Jim Hutton lied when he said that Freddie topped. I believe Freddie did top, but this isn’t the time or place to get into my thoughts on why/when/how much. I do believe that my analysis of the sources relevant to this subject is as historically accurate as one can reasonably be in matters of sex (where historical accuracy will always be particularly limited and imperfect)—but I don’t think it’s morally wrong to write Freddie as topping more than he probably did.

- I don’t believe there’s only one ‘right’ version of Freddie (all others being ‘wrong’). I do believe it is possible to be more right or less right—but I’m also conscious of the fact that this scale of value is not one by which everyone measures fanfiction. As a result, then, I don’t think that any perceptions surrounding ‘right’ or ‘wrong’ justify sending anonymous, non-constructive criticism, or outright hate.

- I do believe constructive criticism is a good thing. I welcome and appreciate it myself; I have received it on my fics in Queen fandom, and it has made them better. I have been in writing workshops which included very forceful criticisms, and the value of such feedback has been intimately and immediately part of my life as a writer for years. However: in this case, I have accepted that my opinion differs from the general community preference, and so I no longer offer any constructive criticism (outside private beta-reading). I haven’t changed my view, but I’ve changed my practice to align with community norms.

- I do not think any single, individual writer has a personal responsibility to write about Freddie Mercury in any given way. That ranges from including the more distressing topics to which I’ve devoted attention (such as trauma)—to concentrating on ‘canon’ pairings like Jimercury—to, even, focusing on Freddie at all.

“Now, that doesn’t sound like you, @freddieofhearts,” you might be thinking. And I know it doesn’t; I think something I’ve done a poor job of articulating is the difference between how I view each individual fan—namely, as free to shape their creative experience at will, even in ways that I might find distressing or offensive; even in ways that you might find distressing or offensive—and the way I view the Collective. I think people have interpreted some of my critiques of ‘Queen Fandom’ as meaning something like: “You-in-particular, a specific Queen fan, are doing it wrong and should change everything about how you do it; also you don’t really care about Freddie.”

And—that’s not it. What any given fan, as an individual, does, isn’t a problem. And that can be true alongside—concurrently with—a multivalent critique of how the fandom is lacking in representation of Freddie’s life, with all that that (wonderful, deservedly celebrated, but also profoundly traumatic) life entailed. I still hold that view; I still have myriad problems with ‘the fandom’ (structurally, collectively, historically and presently—from the 1990s to the 2020s). Some of what I want to work on (away from the social life of fandom) is expressing those critiques with greater nuance, in ways that can’t be misinterpreted as shading any particular fanfiction author or subgenre of story.

In brief: I haven’t changed my mind, but I think Tumblr is an untenable environment in which to discuss the things I want to analyse, especially as there is an ever-present danger of hurting someone.

*

Can we keep in touch? Where is the fic?

I will drop by this account periodically to check out posts that friends have sent me, so you can always sent me a private message to ask for my contact details on the other app that I’m using now for fandom friends. Multiple Freddie conversations and projects are going on over there, off-Tumblr, with a much ‘gentler’ environment and no bad actors—I personally love it!

All my fic has been downloaded and saved. I don’t want to deal with constant harassment on AO3, but I’m happy to share a copy with anyone who missed it and wants to read/re-read something. I also saved everyone’s lovely comments and thoughtful con-crit, so none of that has been lost or erased.

Thank you to everyone who welcomed me to the fandom, made me think, taught me, shared with me, sent me into fits of the giggles, collaborated with me creatively, and otherwise made this one hell of a ride! Love you all. ❤️

[howaminotinthestrokesyet]

Behind The Album: The Downward Spiral

The band’s second studio album was released in March 1994 from Nothing Records and Interscope Records respectively. The release represented a concept album from Trent Reznor detailing a person’s descent into depression and ending in suicide. He would combine the record with qualities of industrial rock, techno, and metal. Much like Broken, this stood in stark contrast to Nine Inch Nails debut Pretty Hate Machine. He first thought of the idea for the record while staying in a European hotel just after the touring Lollapalooza Festival in 1992. Along with the rest of the touring band, the singer had felt this very negative vibe towards their live performances. His original vision for the project was to explore a fictional character with major psychological issues. This fictional character in the end turned out to be Reznor himself as he used this concept to speak on his particular issues at the time in the lyrics. At this time, the Nine Inch Nails front man was at war within the group with Richard Patrick, while at the same time gradually becoming a much harder drinker. Reznor made a conscious decision to distance the sound on this album from the harshness and loudness of Broken. For that reason, he tried to minimize completely any use of guitars and synthesizers, but instead sought an atmosphere on the album of “ texture and space.”

Nine Inch Nails recorded The Downward Spiral at 10050 Cielo Drive in Los Angeles, which stood as the house in which Sharon Tate had been murdered by members of the Manson family. Reznor had first bought the house in 1992 during the recording of Broken. He named the studio that was built there Le Pig After what was scrawled on the wall in blood after the murder. He would later produce Marilyn Manson’s debut album there, Portrait of an American Family. Both the Nine Inch Nails front man and manager John Malm stayed at the house for 18 months while recording Broken and The Downward Spiral. Later in 1993, the sister of Sharon Tate, Patty Tate confronted Reznor about exploiting her sister’s death by recording at her sister’s former home. The encounter did affect him profoundly causing the singer to change his perspective. “For the first time, the whole thing kind of slapped me in the face. I said, 'No, it's just sort of my own interest in American folklore. I'm in this place where a weird part of history occurred.' I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don't want to support. When she was talking to me, I realized for the first time, 'What if it was my sister?' I thought, 'Fuck Charlie Manson.' I went home and cried that night. It made me see there's another side to things, you know?” Once again, Reznor would collaborate with producer Flood for this record, but it would be their last. They would both have major creative differences moving forward that could not be resolved. One example of these differences came in the song entitled “Just Do It” that did not appear on the finished album. The producer believed Trent had gone too far with that particular track based on the entire concept of the album.

Over the years, the album has been interpreted in a wide variety of ways that make it difficult to pin down. Some of these themes include nihilism, self control, self abuse, depression, and madness. The one interpretation that people did agree on unanimously represented the idea that the entire record is semi autobiographical meaning the fictional protagonist is Trent Reznor. That same person has gradually been going insane through the effects of drugs, alcohol, religion, society, and finally decides to end it all. Some accused Reznor of copying a well traveled theme of angst within grunge music only a few years earlier. The music on The Downward Spiral represented something new, unique, and very unconventional. As noted before, Trent incorporated several seemingly different genres into the record including technical, metal, rock, and electronic. He would regularly utilize distortion and other noises In unstructured ways that listeners were not used to at the time. This meant that the formula of following verse and chorus went out the window with Nine Inch Nails. Another unique trend on the album came with Reznor’s use of new time signatures that were off the standard beat. Another quality found within the music emerged with his singing as it alternated between whispers and screams. He did not rely on too many samples either for The Downward Spiral with the primary ones being one from the George Lucas film THX1138 and an Iggy Pop drumming sample. The singer has noted that the two primary inspirations for the album emerged in David Bowie‘s experimental Low and Pink Floyd’s The Wall. Nine Inch Nails released the tracks “March of the Pigs” and “Closer” as singles, while “Hurt” and “Piggy” did make it on the radio, but not as singles. He was frustrated by the fact that “Closer’s” lyrics were widely misinterpreted as a song about lust, but Reznor intended the lyrics as a theme of self-hatred. The song “Hurt” subsequently released in 1995 made reference to hurting yourself and an addiction to heroin. The track would get worldwide fame a few years later when Johnny Cash covered the song. Reznor would say this about it in interviews. “I wasn’t prepared for what I saw, and it really then, wasn’t my song anymore. Then I got a CD in the post. I listened to it and it was very strange. It was this other person inhabiting my most personal song. Hearing it was like someone kissing your girlfriend. It felt invasive.” As time passed, the singer would make the statement that Johnny Cash covering one of his songs probably meant more to him than winning a Grammy.

The Downward Spiral did suffer from numerous delays from Reznor. He had hoped to finish the album in 1993, but setting up the studio to his liking took longer than expected. At the same time, he was trying to educate himself on how to write songs vastly different from anything he had ever recorded. Another reason for a further delay came in the fact that halfway through the album he suffered a massive attack of writer's block. The record became a massive hit for the band as it debuted at number two on the Billboard charts eventually being certified quadruple platinum by 1998. In the first week alone, The Downward Spiral sold 119,000 copies. Some very early listeners of the record predicted that Reznor had affectively killed the profitability of the band with the release. The singer did not disagree with this assessment as he saw the commercial value of it as quite limited, so the huge sales surprised him quite a bit. Critics almost universally praised the album commenting on its brutal honesty, darkness, and offbeat sound. Robert Christgau of The Village Voice gave it an honorable mention, while the New York Times review found the music to be quite abrasive, but meant as a compliment. Jonathan Gold of Rolling Stone likened the album to cyberpunk fiction popular at the time. Tom Sinclair of Entertainment Weekly had this to say about it. “Reznor's pet topics (sex, power, S&M, hatred, transcendence) are all here, wrapped in hooks that hit your psyche with the force of a blowtorch." In the end, the record would make many best of lists ranked very highly. Rolling Stone’s 500 Greatest Albums Ever saw the release as number 122 in 2020. Spin Magazine’s Top 20 albums of the past 25 years gave it the 10 spot. The legacy of The Downward Spiral was felt by both Reznor, his touring band mates, and the rest of the music world. Its success would lead to fame and notoriety that the singer had not envisioned, nor was he prepared for it in a mental health way either. The group had to deal with rumors left and right referencing Reznor‘s depression, possible death, and even a crazy story that he had been friends with Jeffrey Dahmer. The record also led to countless imitators including Motley Crue. Reznor would later say that The Downward Spiral was an album, where the actual truth self-fulfilled itself, meaning all the darkness, depression, and other negative themes came true in his own life.

[kalluun-patangaroa]

Brett Anderson: ‘I was trying to look at myself as a specimen’

by Helen Cullen

The Irish Times, 28 September 2019

Suede singer discusses his second memoir and how it swings from candour to euphoria

Brett Anderson’s book avoids exploitation of those that travelled within his orbit, with no trace of gossip, blame or exposé. Photograph: Paul Khera 

Here he comes: the beautiful one, with the book in his hand he vowed never to write. It was inevitable. Those who read his first memoir, 2018’s Coal Black Mornings, the bildungsroman which so elegantly deconstructed the childhood, adolescence and ultimate creation of the artist, will understand why it was so irresistible for him; Brett Anderson is a poet who discovered songwriting first.

Renowned for lyrics that elevate the banal, bleak ephemera of ordinary life to something extraordinary, Anderson says he finds “the iconography of mundanity inspiring. I look at a chain link fence and see romance there.” On this occasion, he has taken something extraordinary – cultural superstardom – and made it uniquely ordinary with its grounded presentation.

Once he had embraced the opportunities that writing his own memoir gave him; reclaiming truth from the tabloids, re-evaluating perceived successes and failures, creating the official record of Suede’s history, and all with the precision prose and eclectic turns of phrase that were synonymous with his lyrics, he was destined to keep going.

The first book was written for his son so that he would know his father in a way that is profoundly difficult for most of us. This time around, the book exists because Anderson loved writing Coal Black Mornings so much. “I thought it was really interesting what I did with it,” he explains, “so I couldn’t resist picking at the scab, although I know the experience of publishing this book will be different because of the period of my life that it deals with.”

Charting the ascent of Suede in the 1990s through the halcyon moments of appearing on the cover of Melody Maker before ever releasing a single, to the gut-wrenching ultimate implosion of the band, Anderson doesn’t shy away from either the glorious or the gory. The book ends backstage at the Graham Norton show with the band splitting up; the perfect moment to close as Anderson is unafraid to hold failure up to the light. As he says, “Sometimes it’s not the sparkling moments that define us but the darker ones leading up to them.”

Absence of exploitation

And yet he manages to achieve something unique for the realm of rock biography; the book exhibits a total absence of exploitation of those that travelled within his orbit, avoiding any trace of gossip, blame or exposé. All the revelations are his own; the secrets just his to tell. As such he is dispirited in anticipation of the inevitable trawling through by some for salacious quotes to satisfy a greediness for controversy.

“I know that a gossipiness is going to be projected on to it and that every review will focus on Britpop even though the whole point of the book was to try to talk about something other than that,” he says. “It was slightly naive of me to think that I could write about these things in a more interesting way without it being dragged back to that agenda, but I hope when people read it they will understand what I was trying to do.”

“I was interested in understanding what the industry did to me . . . out of fascination with how it all worked.” 

In chapter one, Anderson explains his ambition was “to use elements of my own story as a way to reach out and reveal the broader picture, to look at my journey from struggle to success and to self-destruction and back again and use that narrative to talk about some of the forces that acted on me and to maybe uncover some sort of truth about the machinery that whirrs away, often unseen, especially by those on whom it is working, to create the bands that people hear on the radio.”

The result becomes a masterclass in understanding the emotional and practical infrastructure of the 1990s music industry. The micro level of Anderson’s unique personal experience is positioned within the macro in an illuminating and thought-provoking manner that contextualises their trajectory.

Amoral industry

“I was trying to look at myself as almost like a specimen,” he says. “The industry is completely amoral. It’s not deliberately trying to romanticise drugs or damage anyone but these things grow out of it. I was interested in understanding what the industry did to me, not by way of complaint, but more out of fascination with how it all worked.”

Reading Anderson’s account of the darkest days of his addiction is harrowing; it’s difficult to reconcile his past self with the refined, intellectual and incredibly warm gentleman waxing lyrical before me on a sunny September morning in his west London bolthole. More than anything, it is a relief that he survived.

The memoir manages to avoid, however, pandering to the cliches surrounding the drug-fuelled mythology of rock stars that Anderson admits being seduced by. Instead it raises questions about the consequences of mining your own self as the muse. If you become personally invested in the dangerous myths that surround creativity – so you must keep perpetuating behaviours that might destroy you in order to create – how do you ever break that cycle and find a new way to work?

Looking back now, Anderson acknowledges that “justifying indulgences is a function of that myth but you do learn that isn’t the only way to create and that you don’t need an external stimulus to generate ideas – that in fact it can have the opposite effect”.

The importance of tenacity within the creative process is a major, and refreshing, theme of the memoir. It is poignant to hear Anderson recount how a fear of returning to the poverty of his childhood drove him to persevere with the band when others might have surrendered. Although many would disagree, it’s clear that Anderson does not consider himself an artistic visionary but rather someone with a great work ethic.

“I was brought up in a very poor family, aware of the narrow limitations of my parents’ lives. Not wanting that for myself and my own family still drives me,” he explains. “A lot of great art has been created because of that fear and there’s nothing wrong with that. I don’t give up and I like how hard I work, that I keep throwing ideas together and in the jumble occasionally good things pop up.”

Press caricature

Anderson’s account of how his persona was curated by the media at the height of their celebrity is compelling. Although his essential self was always driving their creative decisions, the press created a caricature of him that he lost control of and resulted in three decades of a man bridging the gap between his authentic self and a stage persona.

Brett Anderson and Suede: “It doesn’t matter what else I do now or how many great records I make because I was most influential as an artist during a certain time.” 

“It wasn’t something I was conscious of doing at the time but I definitely made choices that fuelled it and the press exaggerated it further and ran with it,” he explains. For all music fans, and the Suede tribe in particular, the book offers these delicious insights into all aspects of the band; their image, songwriting craft, business decisions and relationships with the press. Did he feel any anxiety about stripping away that protective veneer now and allowing the fans and beyond to visit Oz and meet the wizard?

“There was definitely a fear that I might be undermining my own mystique to its detriment but I’m at the phase in my career where it doesn’t matter anymore. If I’d done this 15 or 20 years ago I think it would’ve affected how people see me but by now my image is too set. It doesn’t matter what else I do now or how many great records I make because I was most influential as an artist during a certain time and I can’t ever get away from the perception formed then. It’s galling, irritating, frustrating but I just have to accept that.”

In this, Anderson may not be right. This memoir has a profound capacity to alter the way music fans perceive the industry, their idols and the creative process – and to challenge any fixed ideas they may have about the man himself. In the wake of their eighth studio album, 2018’s The Blue Hour, and the incredible documentary, The Insatiable Ones, produced by Mike Christie that charts 25 years of the band, Anderson is experiencing a cultural renaissance that signifies him as an artist still in his prime. In the memoir he describes Suede as being like “a pram that’s been pushed down a hill” but his legions of fans will be relieved to hear it is finally parked up safely. For now, at least.

Afternoons with the Blinds Drawn is published by Little, Brown on October 3rd

[hellzyeahthewebwieldingavenger]

I am genuinely concerned that comic book youtubers are going to create a GamerGate situation where there are extremists who poison the mass perception of people who criticise comic books or certain decisions in general.

 Like I have genuine problems with Amadeus Cho and Jane Foster being Hulk and Thor and I think Riri Williams and Miles Morales are bad characters (the latter being especially saddening because, unlike Riri, he had a strong initial concept powering him). I think Sam as Captain America was creatively problematic and that Marvel have been pulling the replacement hero thing for social/political reasons (and probably not sincere ones at that) as opposed to genuine creative ones. Similarly I think the America book is a lame super hero comic book and Gabby Rivera isn’t a strong super hero comic book writer. Similarly I think Marvel’s modern editors and assistant editors really do tend to suck at their jobs right now.

 But my rationales for all of those things honestly don’t have much crossover with certain Youtube comic book commentators (I’m sure you’ve all seen the kind) and I actually disagree and believe in a lot of other types of characters and directions cut from the same kinds of cloths as those above examples.

 I think Ice Man being gay made a certain amount of sense with his history and if you did have to pick a classical character to reveal as in the closet he was one of the best choices for it. We are in a position where Bobby could legitimately be given a strong romantic storyline and an iconic (for him, not necessarily within Marvel as a whole) love interest. I mean before Bendis had Jean out Bobby who honestly knew or cared who Bobby’s (comic book, not movie) love interests were? Hardly anybody aside from hardcore X-Men fans and most of them would argue Polaris was really the big one for Bobby. But at the same time most of them shipped Polaris with Havok anyway so what did that matter?

  I’ve said numerous times before Kamala Khan is the best new superhero character to come out of Marvel in the last 20 years. My problems with her series stem from the decompression alongside the fact that I don’t think her villain pool has been managed as well as it needs to be to enable her to last long term.

 Carol becoming Captain Marvel is something I find profoundly organic and logical, a brilliant stroke of character development that makes use of an iconic title by giving it to an iconic character who truly has claim to it. Look to me Carol’s outfit is always going to be the Ms Marvel outfit she wore for decades but at the same time to me Carol’s codename will always be Warbird, not Ms Marvel or Captain Marvel. I’m just from that generation.

 I think the general idea of temporarily having a black person become Captain America is interesting and understand the logic of making it Sam but at the same time I think the book never fulfilled it’s potential and ultimately Issiah Bradely or even Patriot would’ve been a much more interesting choice. But at the end of the day I cannot accept the creative bankruptcy of replacing Steve for the THIRD time and doing it the SECOND time in less than 10 years.

 I like Jane Foster’s Thor outfit, there are moments and aspects to her stories I find interesting but the way the series went about it overly denigrated the real Thor (and yes I will call him the real Thor, it is literally his name and he is supposed to be the actual figure from Norse mythology). I mean he was literally called out as ‘unworthy’ and the reason for his unworthiness made no sense at all. He realizes the Gods are assholes so he loses his worthiness. That isn’t how the hammer works, it’s just a binary ‘you are worthy or you are not’. Conviction in your personal beliefs doesn’t matter or else countless bad guys would be able to lift the hammer too. Additionally there were times where he narrative divulged into cheap, shallow in-universe attempts to ‘comment’ on the backlash against the concept. The Absorbing Man was at least somewhat exaggerating the complaints over a female Thor and at least dabbling in strawman arguments whilst Titania’s solidarity with Foster because she was stepping into the role of a man was utter out of character nonsense considering Titania’s arch nemesis is SHE Hulk. Jane consequently knocking out someone who’d surrendered was also ill considered. And I also cannot get over how we’ve been here before. Beta Ray Bill and Thunderstrike are testament to that. Once again creative bankruptcy.

 I’ve spoken countless times before how I think Miles had a good concept and still has potential but he’s been mismanaged and currently sucks shit as a character and how Marvel and certain fans and certain media outlets building him up as the best thing since sliced bread (or at least as great as Peter Parker) is profoundly unearned.

 I think the quality of editing at Marvel has clearly gone down hill but unless there really is some weird ass super Secret Empire conspiracy wherein Marvel went hardcore into hiring people because of their gender regardless of their qualifications, I don’t think the reason for that decline in quality is due to some (but far from all) of the editors and assistant editors being women. Frankly Steve Wacker is/was a major editorial player for awhile and his only legitimate qualification for being a Spider-Man editor was he could get the product on the shelves on time. The editing present in that product and their overall quality was shit 99% of the time. The guy lacked sufficient knowledge, passion or understanding of the character to really edit Spider-Man properly. This is a guy who was an amateur stand up comedian before entering comic books and has to my knowledge zero writing experience so why the fuck he was qualified to edit anything is beyond me. Maybe the new slew of editors and assistant editors are the same bunch of unqualified morons but I don’t think that’s got much to do with their sex or gender. After all Ann Nocenti was a solid X-Men editor and Molly Lazer edited Spider-Girl which was obviously a brilliant book. And shit Jeanette Kahn was President and EIC of DC comics for over 20 years and MOST of the stuff under her tenure was baller as shit. John Byrne Superman. Frank Miller Batman. Perez Wonder Woman. Wolfman Titans. DeMatteis/Giffin JLI. Kyle Rayner Green Lantern. Vertigo. Milestone. Watchmen. Frankly she oversaw what was maybe the single best EIC tenure for DC EVER in terms of quality.

  I gave up reading Coates’ BP run because I found it dull but I think T’Challa SHOULD have a book along with Blade, Luke Cage, Shang Chi and Jessica Jones.

I think the America Chaves series was problematic as a superhero story but the times where it does focus on the normal life stuff are generally good.

I was very impressed by Spider-Gwen when she debuted and looked forward to her ongoing, even defended her debut issue until I realized the critics were ont he money and it sucked and continues to suck to this day. It’s a profoundly shallow book but it could have been great and I supported it initially hoping it would be great.

I felt the Chelsea Cain Mockingbird series had moments of poor research, mischaracterisation and disingenuousness. I am specifically talking about how in issue #3 (I think) Cain uses Bobbi as a mouthpiece to criticise the lack of female representation within superhero comics. Okay cool. But she did it by essentially pretending that there never were any in the Marvel universe, that they got no respect in-universe and that Bobbi herself was at most a teenager growing up inspired by those male heroes whom she could never be like because she was male. Except there were female heroes, they did get in-universe respect (maybe not as much as was deserved but it wasn’t like people forgot they existed) and Bobbi is clearly too old to have grown up with any of the heroes other than the WWII guys like the Invaders. 

Similarly her retconning of the Phantom Rider thing in her final issue fixed one problem but did so utterly illogically whilst opening up multiple other problems. Look I’d also retcon the Hell out of Phantom Rider gaslighting and raping Mockingbird if given the chance I hate that plotline. But Cain retconned it by just having Mockingbird say that the stuff we have clear on the page evidence of didn’t actually happen. She was saying the colour blue is the colour red and always had been but it wasn’t. And Cain’s new spin on that Phantom Rider thing essentially threw Hawkeye under the bus by making him profoundly insecure and an asshole, because he’d rather believe his wife was raped rather than she cheated on him. Not to mention if Cain’s story is to be believed Mockingbird let the man she was sleeping with die for exactly no reason. There were other times during Cain’s run where I felt she was mischaracterizing some people or else was being too on the nose about stuff. 

But there were other times I thought the series was really funny, really action packed, i generally loved the pacing and I felt when it did cut more realistic (like the first issue when Bobbi is having a health check up) or in issue #3 when it was discussing the psychology of a sixth grade girl (even though said girl’s story had insufficient resolution, like did she go to jail or what?) it was incredibly refreshing. Truth be told a lot of the stuff in that series writing wise becomes easier to understand when you realize it’s partially a zany comedy and not really taking itself too seriously nor is it asking you to do the same, which is starkly different to say Spider-Gwen’s approach wherein it is playing stuff seriously but there is arbitrarily zany shit thrown in for the sake of it.

 I think Laura becoming Logan’s successor makes sense but it doesn’t mean it’s okay to just axe off Logan because he’s broken. FIX him and then down the line replace him. Laura’s book as is frankly just...an okay X-23 book with a new costume. I never cared for Laura outside of X-Men Evolution or the Logan movie (where she was more endearing) anyway.

 I didn’t agree with the female exclusive screenings of the Wonder Woman film but I also felt Zeus’s involvement in her origin was an unacceptable compromising of the specific feminist ideas and messages Wonder Woman was supposed to represent. I felt the same way about Azzarello’s run on the character which is where the Zeus origin came from and was happy Greg Rucka tried to fix that in his 2016 run.

 I’ve said before a poc actor playing Peter Parker is fine and dandy in my book and I was very open to Zendaya possibly playing Mary Jane (until I saw the movie...ugh...). My only concerns were in a significant way having the characters change to reflect the realities of them now being poc.

 I’ve suggested some basic ideas on how to maybe get more representation in Marvel and DC, including for queer, Trans and mentally ill characters and as I’ve seen it I’ve called shit out I found to be racist, sexist, homophobic, etc, e.g. I was disgusted by Civil War II killing off Rhodey and called out the way Cindy Moon was initially handled by Slott. And my frequent lambasting of MJ’s depiction under Slott (especially in Superior #2) should I hope by this point go without saying.

 So yeah my views don’t line up with those of Diversity and Comics but nor do they line up with those of ComicsAlliance and their hordes either. But because of people like the former people like the latter are going to broadbrush label and demonize people like me. People who might SEEM like we agree with guys like D&C but actually we’re coming at it from a very different angle and we don’t actually agree with their rationales 99% of the time.

 But in the times we live in right now nuance is apparently as dead as Batman’s parents.

 Frankly as I get older I guess I see myself socially/politically speaking being more of a moderate when it comes to comic books...and right now that feels like a profoundly lonely place to be.

[builderfly]

Can you see the way online shopping has changed?

Now, you are never again constrained to spend hours on online shopping sites—you can simply click through a brand’s Instagram and effectively buy that shirt updated in a post. Social media is capable of boosting the growth of any business, which is the impact of ecommerce.

Considering everything, both social media and online shopping turn out to be an integral part of our lives. Their collaboration is making it significant and influential ideation for businesses to actualize their dream idea.

Here’s the reason.

Quality in Numbers

What is one thing that isolates social from other marketing channels? NUMBERS! Holy yes! Would you be able to envision that Facebook alone has 2 billion dynamic month to month clients? That is two trailed by I-don’t-know-what number of zeroes long. Furthermore, even though Facebook is the father of social media, there are different powerful platforms to be dealt with, like Twitter, Instagram, YouTube, and the rundown goes on and on.

Is Socila Media empowering ecommerce or Ecommerce empowering Social media?

This is the part where ecommerce organizations can literally have clashes. One essential requirement for an ecommerce site is Sales! Who triggers these deals? People or site guests as they are named in the online marketing language. Subsequently, social media ticks all the privilege boxes here by allowing ecommerce site owners to exhibit their items and services to the world; honestly, truth be told.

Am I not persuaded at this point?

We should dismember this a little bit at a time and see how social media and ecommerce are bound to go inseparably:

Revealing to People Your Brand is Alive

How would you anticipate that individuals should realize that the image of your business exists? Can’t shout and yell till everybody gets the message currently, can you?

All you have to do is start via social media and present yourself before the world. The world that remains online seven days per week, 365 days per year.

This is the pre-imperative of all marketing endeavors.

Storytelling Is A Must!

Gone are those days when individuals like to scan through long entries and sections of content. Nobody has saved time any longer!

This is the time of visual creativity, about relating to a story instead of merely advertising your items with a single site connect.

Tell the story of your brand, how it came to the realization, what’s the motivation, early-day battles, about its legacy. Hence, people connect with the brand itself and build a stable relationship.

Building Your Brand

How would you need your ecommerce brand to be depicted as? What hues do you see your group wearing? How would you need your clients to resemble? Who’s the one to be focused in the crowd? What sort of a client would you say you are serving? What’s the age band you need to target? Each one of these inquiries can be replied with the strength of social media.

You need to make a brand around your ecommerce site with the goal that clients don’t simply run in for deals; however, for the contact too.

Hi Customers!

This is somewhat of an easy decision! Social media ensures numbers. What can be another place where you can get a canvas of conceivably millions basically by signing in?

This is a one-stop answer for potential people who are simply standing by to purchase what you’re selling.

The best thing about being present via social media is that it’s pretty much free! This is the sort of ROI that you find in paradise.

Amazing Customer Service

Businesses are continually progressing in the direction of improving relations with clients, and social media gives a superior approach to do so. Companies can improve how they can satisfy clients’ needs through a value-based web approach. This encourages you to better draw in with your clients and the market.

The instantaneous response is a significant component in web-based life, giving temporary access to what you’re doing. Social media gives you ease, as a business to rapidly react to real client questions, while at the same time making it simpler to see and respond to those disagreeable remarks. This gives you get a prompt response to support your clients, and you can build up techniques to react through these stages.

At the point when everybody’s utilizing these objectives, it bodes well to react and arrive at clients along these lines. Shoppers will adore that you’ve adopted this strategy to draw in with the brand.

Drive Visitors To Your Website

Make social media the channel through which people arrive at your site, which is the whole ballgame by the day’s end. You need deals, and this is how you’ll get them.

Social media is an effective tool loaded down with natural traffic; no big surprise why organizations burn through millions for genuine leads.

Helps Your SEO Efforts

You probably won’t know this yet; however, having a decent social media presence supports your site’s SEO remainder primarily. Indeed, even the best SEO company out there will recommend a similar immediately.

Just as the significance of SEO for e-commerce is mammoth, social media isn’t excessively a long way behind.

These are two powers if functioning couple admirably can soar your deals in only months.

Google considers how you’re contacting your crowd, how you’re interfacing with them, what they’re stating about your brand, the rating, and the criticism you’re getting while at the same time choosing search engine ranking positions, makes a successful situation for your business.

Making Community

Your customers and clients are something beyond that—they’re a piece of your locale. Your customers have discovered something in your image they identify with. This is the reason they like you.

You need to develop that network, notwithstanding building reliability inside it. Strategize how you can build your followers and guarantee every one of your posts is much increasingly viable and locks in. Offer fun, astonishing, and helpful substance that your crowd identifies with. Start discussions, regardless of whether it’s by commenting on the post or identifying a companion.

Social media enables your image to pick up trust and assemble credibility. Think of your social profile as your retail facade. Reliably present connecting with the content to develop your business and keep the network that cherishes all that you do.

Impact Buying Decisions

We just said how clients interact with social media, is an impacting factor in their buying choices. On the off chance that your profile needs content—or you aren’t even on the stage—you’re on a difficult task with regards to persuading your crowd to purchase from you. You need compelling content for each phase of the shoppers.

In the advanced age, you need to go on the web. Online networking impacts brand notoriety, to such an extent that it impacts the purchasing choice. An incredible online life nearness is vital for unmistakable ecommerce results.

Solid Brand Image

A functional social media presence enhances how individuals see your brand. Positive client surveys, input, and recognition help in ecommerce conversion. Make it a piece of your system to incorporate item surveys and client created content. This gold-mine strategy is how a client exceptionally acknowledge because they perceive themselves in the matter.

Individuals are as of now discussing you. Internet-based life places you as an in-charge of your brand’s account. Utilize this to grow your potential benefit to design the full picture. At the point when your crowd sees a strong reaction, they are forced to discover progressively about you. Customers account for validity, and this ultimately grows their trust upon you and your business.

It’s About More Than Selling

We know that the sole reason for your social presence is to sell, but if you follow through this approach, your followers and clients will quickly catch it. So, try to be contributing to the community. Social media is more than a gateway to a web-based business. You need to draw in with clients on another level, one that isn’t just about purchasing.

Individuals use Instagram, Pinterest, and different platforms for interest and human touch. Offer your image, its advantage, and relatable substance that is in line with your clients. Think about internet-based life past its selling potential: It’s a new method to draw in with your crowd and an instrument to hype the best material that shows off your image. You don’t need to do everything solo either—curation is staggeringly accommodating.

You’re constructing an association with clients, and you need to cultivate a sound association with them. Try not to be dynamic just when you’re attempting to sell.

Platform Purchasing Techniques

Utilizing an assortment of systems is significant because everyone is made with various ultimate objectives. Amplify your effort’s potential and take advantage of every stage. Not exclusively would it be able to facilitate the business procedure and permit an increasingly successful connection with clients, utilizing every step enables you to change your methodologies and complete deals in various ways.

Facebook, for instance, remembers worked for instruments for occasion advancements and is incredible for profoundly focused on broadcasting. Instagram is, to a great extent, considered the millennial go-to, with its convincing invitations to take action and high-caliber visual substance. Every stage has its very own advantages that engage your clients to purchase.

Exploit the trendy things inside every interpersonal company activity, such as hashtags, live video, join fastens. A significant piece of social networking includes the following patterns, and these subtleties help to flourish your business’s perception.

Conclusion

As observed above, Social media marketing isn’t a choice with to do or not to do; however, an impulse for each brand, be it a little developing one or effectively settled. Making social media channels the key idea of communication, the companies can connect with a more extensive unbiased crowd and convert them into a client base. Being embraced by numerous online business organizations now, social media marketing has just demonstrated its value.

Remember, the quantity of social media clients is required to arrive at 2.5 billion by 2018, and it is a major open door for all organizations. Is it safe to say that it isn’t?