#2014 umbrella movement

[alpaca-clouds]

The history of Solarpunk

Okay, I guess this has to be said, because the people will always claim the same wrong thing: No, Solarpunk did not "start out as an aesthetic". Jesus, where the hell does this claim even come from? Like, honestly, I am asking.

Solarpunk started out as a genre, that yes, did also include design elements, but also literary elements. A vaguely defined literary genre, but a genre never the less.

And I am not even talking about those early books that we today also claim under the Solarpunk umbrella. So, no, I am not talking about Ursula K. LeGuin, even though she definitely was a big influence on the genre.

The actual history of Solarpunk goes something like that: In the late 1990s and early 2000s the term "Ecopunk" was coined, which was used to refer to books that kinda fit into the Cyberpunk genre umbrella, but were more focused on ecological themes. This was less focused on the "high tech, high life" mantra that Solarpunk ended up with, but it was SciFi stories, that were focused on people interacting with the environment. Often set to a backdrop of environmental apocalypse. Now, other than Solarpunk just a bit later, this genre never got that well defined (especially with Solarpunk kinda taking over the role). As such there is only a handful of things that ever officially called themselves Ecopunk.

At the same time, though, the same sort of thought was picked up in the Brazilian science fiction scene, where the idea was further developed. Both artistically, where it got a lot of influence from the Amazofuturism movement, but also as an ideology. In this there were the ideas from Ecopunk as the "scifi in the ecological collaps" in there, but also the idea of "scifi with technology that allows us to live within the changing world/allows us to live more in harmony with nature".

Now, we do not really know who came up with the idea of naming this "Solarpunk". From all I can find the earliest mention of the term "Solarpunk" that is still online today is in this article from the Blog Republic of Bees. But given the way the blogger talks about it, it is clear there was some vague definition of the genre before it.

These days it is kinda argued about whether that title originally arose in Brazil or in the Anglosphere. But it seems very likely that the term was coined between 2006 and 2008, coming either out of the Brazilian movement around Ecopunk or out of the English Steampunk movement (specifically the literary branch of the Steampunk genre).

In the following years it was thrown around for a bit (there is an archived Wired article from 2009, that mentions the term once, as well as one other article), but for the moment there was not a lot happening in this regard.

Until 2012, when the Brazilian Solarpunk movement really started to bloom and at the same time in Italy Commando Jugendstil made their appearance. In 2012 in Brazil the anthology "Solarpunk: Histórias ecológicas e fantásticas em um mundo sustentável" was released (that did get an English translation not too long ago) establishing some groundwork for the genre. And Commando Jugendstil, who describe themselves as both a "Communication Project" and an "Art Movement", started to work on Solarpunk in Italy. Now, Commando Jugendstil is a bit more complicated than just one or the other. As they very much were a big influence on some of the aesthetic concepts, but also were releasing short stories and did some actual punky political action within Italy.

And all of that was happening in 2012, where the term really started to take off.

And only after this, in 2014, Solarpunk became this aesthetic we know today, when a (now defuct) tumblr blog started posting photos, artworks and other aesthetical things under the caption of Solarpunk. Especially as it was the first time the term was widely used within the Anglosphere.

Undoubtedly: This was probably how most people first learned of Solarpunk... But it was not how Solarpunk started. So, please stop spreading that myth.

The reason this bothers me so much is, that it so widely ignores how this movement definitely has its roots within Latin America and specifically Brazil. Instead this myth basically tries to claim Solarpunk as a thing that fully and completely originated within the anglosphere. Which is just is not.

And yes, there was artistic aspects to that early Solarpunk movement, too. But also a literary and political aspectt. That is not something that was put onto a term that was originally an aesthetic - but rather it was something that was there from the very beginning.

Again: There has been an artistic and aesthetic aspect in Solarpunk from the very beginning, yes. But there has been a literary and political aspect in it the entire time, too. And trying to divorce Solarpunk from those things is just wrong and also... kinda misses the point.

So, please. Just stop claiming that entire "it has been an aesthetic first" thing. Solarpunk is a genre of fiction, it is a political movement, just as much as it is an artistic movement. Always has been. And there has always been punk in it. So, please, stop acting as if Solarpunk is just "pretty artistic vibes". It is not.

Thanks for coming to my TED Talk, I guess.

[crimethinc]

As demonstrators gather outside this week's Democratic National Convention in Chicago to protest the Democratic Party's continuing support of genocide in Gaza, it's a good time to revisit earlier anarchist mobilizations against the conventions.

In the years 2000, 2004, and 2008, anarchists around the United States converged on both the DNC and the RNC, asserting an anti-capitalist and anti-state position in political discourse and exerting pressure against the capitalist and militarist agenda that both parties share. These mobilizations helped establish countrywide networks and precedents. For example, the organizing against the Republican National Convention in St. Paul in 2008 produced the St. Paul Principles, a framework legitimizing a diversity of tactics, which helped resolve conflicts between pacifists and proponents of direct action.

There is a direct line of historical transmission from the convention protests to the George Floyd Uprising of 2020. A year of organizing for the 2008 mobilizations under the umbrella of Unconventional Action produced chapters around the country. UA in the Bay kept organizing after the conventions, and participated in the revolt when Oscar Grant was murdered, setting a precedent for the movement against police and white supremacy that burst into the public consciousness in 2014.

A full history and evaluation of the 2008 mobilizations:

https://crimethinc.com/texts/rncdnc

[goodgriefnd]

How Common is Neurodivergence?

[image id: poster of "How Common is Neurodivergence?.” There are 12 circles and five small images: an image of a brain, speech bubbles, an infinity sign, a person reading, and a person surrounded by arrows and balls. Each of the 12 circles has a percentage representing how common a particular form of neurodivergence is written in Open Dyslexic font. Full transcript, more information, and references under the cut.]

More Information

Forms of neurodivergence represented here are focused on neurodevelopmental disorders.

These percentages are representative of percentage in general population and do not reflect percentages within neurotypes which are often higher due to co-occurrence being the norm, rather than the exception, within neurodevelopmental disorders; for example, 33-45% of people with ADHD will also have dyslexia (Butterworth & Kovas, 2013), whereas only 10% of the general population are dyslexic (British Dyslexia Association [BDA], 2023).

Certain neurodivergencies are often underrepresented and under-reported, so the percentages are likely to be higher; for example, one study suggests that rates for FASD in the UK may be as high as 17% (McQuire et al., 2019).

Some of the neurodivergencies represented here are umbrella terms and percentages given are representative of all forms of neurodiversity belonging to that term; for example, SpLds include dyslexia which is at a rate of 10% (BDA, 2023) and dyscalculia which is at 3-7% (Haberstroh & Schulte-Körne., 2019). Tic Disorders at 1% are another example here, as this is inclusive of Tourette Syndrome which is at 0.6%, and around 1 in 5 individuals exhibit tics at some point during childhood (Cavanna et al., 2017).

______________

Transcript in Full

1% Intellectual Disability

10% Language Disorder

4% Speech Sound Disorder

5% Stuttering

7.5% Social (Pragmatic) Communication Disorder

1.7% Autism

5% ADHD

10% Specific Learning Disorder (SpLD)

5% Developmental Co-Ordination Disorder (DCD)

3-4% Stereotypic Movement Disorder

1% Tic Disorders

3.6% Fetal Alcohol Spectrum Disorders (FASD)

______________

Sources

American Psychiatric Association. (2022). Diagnostic and Statistical Manual of Mental Disorders (5th Ed., Text Rev.).

Arvidsson, O., Gillberg, C., Lichtenstein, P., & Lundström, S. (2018). Secular changes in the symptom level of clinically diagnosed autism. Journal of Child Psychology and Psychiatry, 59(7), 744–751.

Attention-deficit/hyperactivity disorder (ADHD). PsychDB. (2022, November 29).

Autism spectrum disorder (ASD). PsychDB. (2022, May 19).

Butterworth, B., & Kovas, Y. (2013). Understanding neurocognitive developmental disorders can improve education for all. Science, 340(6130), 300–305.

Cavanna, A. E., Coffman, K.A., Cowley, H., Fahn, S., Franklin, M. E., Gilbert, D.L., Hershey, T.G., Jankovic, J., Jones, M., Leckman, J.F., Lehman, R., Mathews, C.A., Malaty, I., McNaught, K., Mink, J.W., Okun, M.S., Rowe, J.A., Scahill, L.D., Scharf, J.M., Schlaggar, B.L., Stewart, E., Walkup, J.T., Woods, D.W.. (2017). The spectrum of Tourette Syndrome and TIC disorders: A consensus by Scientific Advisors of the Tourette Association of America. Tourette Association of America.

British Dyslexia Association. (2023). Dyslexia. British Dyslexia Association.

Dyspraxia at a glance. Dyspraxia Foundation. (2023).

Haberstroh, S., & Schulte-Körne, G. (2019). The Diagnosis and Treatment of Dyscalculia. Deutsches Arzteblatt International, 116(7), 107–114.

Ketelaars, M. P., Cuperus, J. M., van Daal, J., Jansonius, K., & Verhoeven, L. (2009). Screening for pragmatic language impairment: The potential of the Children’s Communication Checklist. Research in Developmental Disabilities, 30(5), 952–960.

May, P. A., Baete, A., Russo, J., Elliott, A. J., Blankenship, J., Kalberg, W. O., Buckley, D., Brooks, M., Hasken, J., Abdul-Rahman, O., Adam, M. P., Robinson, L. K., Manning, M., & Hoyme, H. E. (2014). Prevalence and characteristics of fetal alcohol spectrum disorders. Pediatrics, 134(5), 855–866.

McQuire, C., Mukherjee, R., Hurt, L., Higgins, A., Greene, G., Farewell, D., Kemp, A., & Paranjothy, S. (2019). Screening prevalence of fetal alcohol spectrum disorders in a region of the United Kingdom: A population-based birth-cohort study. Preventive Medicine, 118, 344–351.

Norbury, C. F., Gooch, D., Wray, C., Baird, G., Charman, T., Simonoff, E., Vamvakas, G., & Pickles, A. (2016). The impact of nonverbal ability on prevalence and clinical presentation of language disorder: Evidence from a population study. Journal of Child Psychology and Psychiatry, 57(11), 1247–1257.

Polanczyk, G. V., Willcutt, E. G., Salum, G. A., Kieling, C., & Rohde, L. A. (2014). ADHD prevalence estimates across three decades: an updated systematic review and meta-regression analysis. International Journal of Epidemiology, 43(2), 434–442.

Polanczyk, G., de Lima, M. S., Horta, B. L., Biederman, J., & Rohde, L. A. (2007). The worldwide prevalence of ADHD: A systematic review and metaregression analysis. American Journal of Psychiatry, 164(6), 942–948.

Prevalence and Therapy Rates for Stuttering, Cluttering, and Developmental Disorders of Speech and Language: Evaluation of German Health Insurance Data. (2021). Frontiers in Human Neuroscience, 15(645292), 1–13.

Social (pragmatic) communication disorder. PsychDB. (2021, March 29).

Stereotypic movement disorder. United Brain Association. (2022, August 8).

Wren, Y., Miller, L. L., Peters, T. J., Emond, A., & Roulstone, S. (2016). Prevalence and predictors of persistent speech sound disorder at eight years old: Findings from a population cohort study. Journal of Speech, Language, and Hearing Research, 59(4), 647–673.

UCL. (2013, April 19). Learning disabilities affect up to 10 per cent of children. UCL News.

[mariacallous]

Indian Prime Minister Narendra Modi inaugurated the Ram temple in Ayodhya in the key northern state of Uttar Pradesh in January in hopes it would earn him a massive victory in the national election that concluded in June. That didn’t happen—at least not to the extent that Modi, his Hindu-nationalist Bharatiya Janata Party (BJP), and their ideological fountainhead Rashtriya Swayamsevak Sangh (RSS) expected.

In what has widely been described as a shock result, the BJP won merely 240 seats in the 543-seat parliament, after setting a target of 400 seats. Modi has formed a government but only with support from other parties.

Like any election result, the outcome had multiple causes that will take time to fully sort out. But one thing is already clear: Modi failed in his long-running bid to homogenize India’s Hindus across castes and cultures and consolidate their vote for his political benefit.

In 2014, Modi came to power on the back of religious nationalism and security issues, and he continued that trend in 2019. This year, in the absence of any urgent security threat from regional rival Pakistan and rising concerns over unemployment, inflation, and authoritarianism, Modi banked on the RSS’s homogenization strategy.

The Ram temple was built on a site long disputed with Muslims, where a 16th-century mosque stood until December 1992, when a group of Hindu nationalists razed it to the ground allegedly on the BJP’s provocation. Experts said the BJP had envisaged the temple would instill pride in Hindus, feed their Muslim animosity, and bring them under the Hindu umbrella to choose Modi.

Even though, by and large, the Hindu community seemed to have been pleased with the inauguration of the temple, that didn’t translate into votes for Modi across the Hindu hierarchy. Instead, the results exposed the weaknesses of the homogenization exercise.

Hartosh Singh Bal, an Indian journalist and the executive editor of the Caravan, said there is “diversity in Hinduism” and the election results prove that it can’t be “papered over by directing attention and hatred outwards” toward Muslims. This election proves that “Hindus are not a monolith” and that “various segments of Hinduism have a successful chance of taking on the BJP,” he added in reference to tactical voting by lower castes in Uttar Pradesh against the BJP.

Karthick Ram Manoharan, a political scientist at the National Law School of India University in Bengaluru, said that in Tamil Nadu, a state in southern India with the second-biggest economy in the country, the BJP did not win a single seat out of a total of 39.

“Hindus are the absolute majority in Tamil Nadu, but they still mostly vote for the secular Dravidian parties,” Manoharan said in reference to local parties that have emerged out of social movements opposed to an upper-caste Hindu order that the BJP and RSS have been long accused of nurturing and propagating.

In March, just a month before voting began, I witnessed saffron-colored flags expressing support for Modi’s party jutting out from rooftops and windows in tightly packed homes in western Uttar Pradesh. Some people I spoke to said that BJP workers had decided to adorn the neighborhoods as they pleased, but underneath the flag-waving, a large-scale discontent was brewing over a lack of employment opportunities.

The upper-caste youth seemed confused, if not yet disenchanted, with Modi and in the absence of industry and strong local economies once again mourned the loss of government jobs to affirmative action. (The Indian Constitution reserves almost half of all state jobs for people from lower castes and others who confront a generational disadvantage and historical discrimination.)

Meanwhile, Dalits, who sit at the bottom of India’s Hindu hierarchy, in hamlets nearby who depend on the quota for their dignity and livelihood were quietly recalibrating their options. The mood was starkly different from 2014 and 2019 when I visited some of the Dalit-dominated parliamentary seats in Uttar Pradesh. Back then, Dalits I met were upbeat and decisively pro-Modi. They said they supported him since they believed that he might raise their stature in the Hindu hierarchy.

But 10 years later, they suspected the BJP was plotting to weaken the constitution, the only assurance of rights for marginalized communities in a country where upper-caste Hindus continue to hold social capital and economic power.

Recent comments by BJP leaders that if Modi won 400 seats, he would change the constitution spread anxiety among lower castes that the party intended to scrap the reservation system. The BJP repeatedly denied this, but the suspicion that it is first a party for upper-caste Hindus is deep-rooted among lower castes, and experts believe the comments were part of the BJP’s political strategy.

“They were testing the waters to see what would be the reaction,” said Sushil Kumar Pandey, an assistant professor of history at Babasaheb Bhimrao Ambedkar University in Lucknow and the author of Caste and Politics in Democracy.

“The opposition picked it up and campaigned on it, telling people a change in the constitution could mean losing your livelihood, your jobs,” Pandey added. “That worked at a time [when] people were also scared of privatization” and in government-run sectors.

For Dalits, it was about more than jobs. The Indian Constitution is nearly worshipped by the community and celebrated en masse on the birth anniversary of the Indian intellectual who wrote it. B.R. Ambedkar was no fan of Ram and advocated against the caste discrimination inherent in Hinduism all his life, even converting to Buddhism when he felt there was no escaping caste-based prejudice. While he couldn’t annihilate the caste system, he ensured that the constitution offered lower castes a quota in government jobs to gradually uplift them.

In his honor, and as an ode to the progressive document, Dalits sing songs in praise of the constitution and hail it as the upholder of their dignity in a society where they continue to be belittled. Any change to the text was unacceptable. “Their cultural identity is linked to this book,” said Ravish Kumar, a journalist and the host of a popular YouTube news show.

In the south, too, there was a fear of culturally being subsumed by a Hindi-speaking upper-caste elite. Indian federal units, or states, were defined in the 1950s on the basis of language, and to this day south Indians identify themselves on the basis of the language they speak. The Ram temple had no resonance in the southern states, particularly in electorally significant Tamil Nadu, with the highest number of seats regionally. Tamils were wary that the RSS’s homogenization agenda would drown out their cultural ethos and impose a secondary status on the Tamil language.

Manoharan, the political scientist, said that in Tamil Nadu, it was “not so much religious but fear of cultural homogeneity” and “a language policy which will give importance to Hindi speakers over Tamil speakers and upper-caste Tamils over other backward castes.”

In a state where “88 percent people come from so-called lower castes” and “69 percent have jobs under affirmative action through a special act,” people were also extremely worried that the BJP may “water down” the employment quota promised in the constitution, Manoharan added.

The southern Indian states have a longer history of resistance to upper-caste domination, a higher literacy rate, better economies, and a tradition of secular politics. While the BJP maintained its tally of 29 seats from the last election, it is being seen as a poor result considering the inroads the RSS has made in the south.

For instance, in the southwestern state of Kerala, the RSS has more than 5,000 shakhas, or branches, second in number only to Uttar Pradesh, India’s most populous state—yet “despite the fact that the RSS has thousands of training grounds in Kerala, they are unable to get influence,” said K.M. Sajad Ibrahim, a professor of political science at University of Kerala. “That’s because while religion is important, communal harmony is more important to people here. BJP tries to create tensions, and that doesn’t work here.”

The BJP managed to gain one seat for the first time in Kerala, but that isn’t being attributed to its ideological success or expansion of homogenization project but to the winning candidate’s personal appeal. Suresh Gopi, the winning candidate, is a popular movie star.

In many states in the Hindi belt and even in the south, the BJP did well. The upper castes and urban voters are standing firmly behind Modi. Kumar, the journalist, said it would be foolhardy to dismiss Modi—and the bigger Hindutva, or Hindu nationalist, forces backing him—just yet. He said Hindutva hasn’t lost and only faced a setback. “The BJP was trying to dominate caste politics with Hindutva,” he said, “but the election result shows that dominance has cracked.” However, he added, “it has only cracked—the ideology still has wide-scale acceptance.”

Everyone else Foreign Policy spoke to concurred but added that Hindus are far too diverse to be homogenized. Manoharan said the results exposed the weakness of the homogenization agenda and its faulty premise. “Hindutva’s aim for homogeneity is confounded precisely by a structural feature of the religion-culture it seeks to defend—caste,” he said.

[ritchiepage2001newaccount]

Project2025 #CorpMedia #Oligarchs #MegaBanks vs #Union #Occupy #NoDAPL #BLM #SDF #DACA #MeToo #Humanity #FeelTheBern

JinJiyanAzadi #BijiRojava YPJ: Women’s Protection Units [UPDATES]

The YPJ is an acronym whose translation means “Women’s Protection Units.” It is the all-female brigade of the YPG, the armed forces of the Syrian region of Kurdistan, known as Rojava (meaning Western) Kurdistan…

RELATED UPDATE: 'I want to make the YPJ a household word,' says B.C. woman in documentary on Kurdish female militia

RELATED UPDATE: Saving the YPJ, saved by the YPJ: Kurdish women’s feminism, agency and intervention in Syria

RELATED UPDATE: Fighting for more than survival

https://news-decoder.com/fighting-for-more-than-survival/#comment-31972

RELATED UPDATE: Yazidi woman held by IS for 10 years freed by Kurdish fighters in Syria

RELATED UPDATE: WATCH Near Gaza, Kurdish All-Women Militia's Anti-ISIS Op: What Makes 'YPJ' Force Special | Syria

RELATED UPDATE: 'The source of the YPJ's strength is the paradigm of Leader AP0'

RELATED UPDATE: Kongra Star: We want to bring the Rojava Revolution outside Northern and Eastern Syria

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FURTHER READING:

[sawthatmountainburn]

I haven't watched the barbie movie and don't really plan to, I just have a problem with some arguments people have been making in its defense, as they are weak arguments regardless of what piece of media they're defending. specifically it's the "this is just feminism 101 for kids, it doesn't have to be a whole manifesto!" type of dismissive arguments.

first of all, if a movie is marketed as feminist and the fanbase praises it for its feminism, people who go see it will have certain expectations based on their own idea of feminism, since feminism is an umbrella term for different ideologies whose common trait is that they want rights for women. who counts as a woman, what specific rights they should have and how we should get them are all points of contention, without even getting into intersecrionality just yet. (very broad generalization, also some leftist feminists disagree with the 'rights' framing) there's only so many grains of sslt you can take, before you decide this is just too far away from what it was presented as and clearly, many women feel this way about the movie.

second of all, regardless of how a piece of media is marketed, it is always fair game for critism, whether that be from a feminist perspective, an anti-racism perspective, a leftist perspective or whatever else you can come up with. to demand that people simply not bring up these critiques because it's ruining people's fun or it's not that serious (but still serious enough that you call people misogynists for criticizing it?) is blatantly reactionary. it's the same thing angry geek boys do when you point out their funny little sci-fi and fantasy shows have weirdly few POC in them. you can say a criticism is in bad faith or based on a misreading of the text (I've seen this about the gynecologist scene, for example), sure, but what I'm seeing more commonly is just a total dismissal of these critiques and perspectives, as if the movie simply isn't subject to it for whatever reason.

expounding upon this, the "feminism 101" part of the argument is similarly reactionary. to reiterate what i said in my last reblog about this, the way people talk about this movie gives me the impression that it's way more suited to the ~2012-2014 pre-gamergate era of tumblr feminism, when people said stuff like "eyeliner so sharp it could kill a man" and feminist criticism was treated as more of a checklist of good and bad tropes. we're almost a decade past that era, with many events that changed the political and pop cultural landscape in the meantime, so what was passable back then might not be such now. we've talked extensively about intersecrionality, issues of race have been brought up time and time again, especially in light of the BLM movement and anti-Asian racism in the COVID era, queer issues have also been gaining more and more traction, etc etc, I can't and won't recap the last decade of political development. my point is, if you're a feminist in 2023 (or any other type of left-leaning politically active individual, but the barbie discourse is about feminism, so that's what I'm talking about specifically) you cannot simply ignore these issues and say multiply marginalized women will have their time, but they need to wait for the privileged women to go first. actually, it was always unacceptable to demand marginalized women support more privileged women while getting nothing in return, but it's even more obvious and ignorant in the current era, after we've been trying to make people understand intersecrionality for years.

it's also insidious how the implication is that feminism needs to be dumbed down for kids (a dubious claim in the first place) and for some reason, that dumbing down involves flattening everything to being about the most privileged women possible. why shouldn't young privileged girls learn about the issues that face their less privileged peers face? why should girls of marginalized groups have to sit and listen about the issues facing their privileged peers, but never being given the tools to discuss their own issues? whom does this dynamic serve exactly and why is it not only acceptable to continue to exist, but it also important to so vehemently defend?

I'm not trying to tell people not to like the barbie movie, that's really not what I care about. I'm saying the types of arguments being made reveal a failure of intersectionality and a dismissal of multiply marginalized women's issues, coupled with a self-centeredness which should be unacceptable to any serious feminist. stop making excuses for a hollywood blockbuster funded by a multi-billion(!!) dollar toy company and start giving a shit about the women in need right in front of you!

[chemicalbrew]

2023 game list, part 1: I love complaining!

Once again continuing what has become an honorable tradition thanks to @smash-64 💜

I tried to promise myself I'd be more organized this year, trying to take notes after I beat things, making lists and gifs and everything, as it has become a consistent yearly undertaking. In truth, what happened is that I felt more overwhelmed by this than I did the last three years. The best explanation I can give is a combination of two facts: this year, while not particularly worse than what came before, still saw my confidence in myself tank a bit (i.e. What does this matter when few people read it and I don't bring much things of value to the table?)...

And the fact that I played very few games that really stuck with me, that I enjoyed enough to see through to the end and feel like that had merit, for a lot of the year. When that wasn't the case, it was more than likely I'd been on my nth playthrough of Katana ZERO of the year (more on that in a later post, hopefully).

I probably need help, don't I?..

games I played, but don't have much to say about at the moment without being prompted, aside from 'I kinda liked them, I guess', ordered best to worst:

Purrfect Apawcalypse trilogy (2019-2021) - series of VNs that's genuinely just good fun as you find yourself attached to the characters before you know it. You'll know if this one is for you at a glance. Also, this is how I found out about Panel Royale! LOL

The Witch's House MV (2018) - good old RPG Maker horror with a few decent twists. The remake has good QOL changes.

Gunbrella (2023) - the plot might be forgettable, but you get a gun that's an umbrella! What's not to enjoy?

Donkey Kong Country 2: Diddy's Kong Quest (1995) - I played this game, but only in the most technical sense. Literally cheated the fun out of it - either that, or this platformer style is not for me.

Coffee Talk: Episode 2 - Hibiscus & Butterfly (2023) - the most upsetting entry on the list. The writer behind the original game has passed away, and his absence is felt keenly even if you're not aware of the fact - because this sequel lacks charm.

Turnip Boy Commits Tax Evasion (2021) - yet another of those cheap and short indie 2D Zelda clones. The definition of the word meh.

Irisu Syndrome (2008) - a unique free puzzle timewaster. Tries to have a story and fails.

dishonorable mentions (the part with the most complaining)

2064: Read Only Memories (PC, 2014) [♪ Home (Not) Sweet Home]

Starts off decent enough, doing the bare minimum to string you along the mystery (which, for most people with standards, wouldn't even be good enough, but I was willing to stick with it for the sake of the neat audiovisual presentation).

As soon as the murder scene is revealed, however, the main plot starts to fall apart, and the longer you spend with the game's writing (which seems to go on and on forever) and characters (about as flat as a pancake fresh off the pan), the more bleak and yawn-inducing they seem (including Turing, who just took longer than everyone else to annoy me).

Do yourself a favor, play VA-11 Hall-A (which this game gratuitously references) instead. You'll get all the benefits of cute pixel art and upbeat soundtrack, but with an actually good story\character cast to match. I swear it says something about 2064 that one of its most exciting moments was seeing throwaway lines from a VA-11 character!

Ori and the Blind Forest: Definitive Edition (PC, 2015) [♪ Climbing the Ginso Tree]

This is a game that won awards back when it came out almost a decade ago. Unfortunately, it feels like it was made to win awards and little more. While the credits scrolling up the screen tried to convince otherwise - with the usual special thanks given to families and pets of the developers - I sat there, unsure of what I was supposed to take from this experience (once again, the less words you try to use to tell your story, the more it usually suffers!).

The heart of any platformer is its movement systems - and, while eventually Ori's tools open up just enough to make you feel at least a little free and alive in its world, they also never go beyond what is almost painfully typical. Double jump, wall climb, ground pound, glide, charged projectile? None of that is going to wow anyone. The way it comes together is not too pleasant, either - Ori's too floaty and the obstacles before him, while painted with a talented stroke, are too unclear in their presentation to make for truly fun traversal. The exception to this is the escape sequences - sure, a lot of the time they're not much less frustrating than the rest of the game, but they're definitely more memorable, to the point where the accompaniment to one was the only part of the soundtrack I could think to showcase.

I don't regret the time I spent on this, per se, but what I can tell you is that it probably didn't deserve the awards. Also, the way the wall jump worked was annoying! Pushing towards the wall to do it feels very counter-intuitive, and with this I found that I much prefer when games have you face away from the wall to register wall jumps, or do not require you to press a direction at all.

Celeste (PC, 2018) [♪ Checking In] + Celeste Classic (2015, played as part of full game) :)

I was in high school when this made waves. I pointedly feigned disinterest as it splashed all over the internet, while making sure to download the soundtrack quickly and listen to it - more than occasionally - over the next three or so years. Lena Raine's work carried me through my school years and empowered me, and all the while I hadn't a clue what playing the game is actually like.

Those were the better days.

Now, the things about this game that seem to appeal the most to a lot of people are how refreshingly simple Madeline's moveset is and how much the game respects your time with death transitions and reloading, and the story it tells through heartfelt cutscenes and gameplay working in sync. To which I boldly say... none of those things are good enough.

Having to climb and manage your stamina adds another layer to navigating the rooms, sure, but to my simple ass, that's one layer too many. To the game's credit, there's a setting to make climbing toggleable instead of requiring you to hold down the trigger, and using that was the only reason I managed to push past the hotel and Oshiro (call me a scrub, it was genuinely overwhelming otherwise), but it still did nothing to change how I feel about this mechanic fundamentally.

I get it, it adds precision and verticality to your movement, and, seeing as you're literally supposed to be scaling a mountain, it's more than a natural inclusion... but its existence did nothing but add pressure for me, somehow. I would frequently forget it's an option at all before realizing the room in question expects me to utilize it. Instead of feeling like climbing expands my options, I felt constricted and awkward.

My second issue is much simpler. I'm a spoiled brat, and Celeste's respawning process involving that annoying whoosh sound effect and a transition that, yes, takes only about a second, but is still not quite instant, was not good enough. I recognize that having it be truly instant would not be ideal, either, but I can't help but wish that was the case.

As for the story... It underwhelmed me even back when I was doing surface level research at the time of release, and it's not impressing me now. It's okay, and I recognize why it would resonate with people - the themes of self-acceptance and resolve are plain to see (and just as plain to mull over). But in my time with the game, Madeline never began feeling less like an avatar for my failures and more like an actual character, never changed into someone I would truly like.

By the time I reached the Mirror Temple, I was certain that this game, in most respects, is just not what I would ever want. I pushed towards the summit anyway, and left it feeling profoundly... nothing.

However... Celeste Classic did not have any of those things! That little prototype gem of a game wastes zero time trying to set the stage and make you feel things with ~a story~, doesn't give you any opportunity to climb whatsoever, and neither does it waste your time having the screen fade to black when you die! And these three things, I reckon, are key to why this smaller version, that's supposed to just be treated as an Easter egg now, a relic of the past, and to be forgotten in favor of the project it grew into... resonated with me so much more! I beat it twice! It's lovely! It's what I actually needed Celeste to be!

IT'S COMPLICATED

AI: The Somnium Files (PC, 2019) [♪ MonzAI] + AI:TSF - Nirvana Initiative (PC, 2022) [♪ Nefarious Institute 1]

You know how they say not to judge the book by its cover? This is a story of me learning (once again) to judge a game neither by its reception nor by the credentials behind it. When I plowed through this duology, I came to understand that sometimes, lightning might strike just the once.

Of course, most of my bitter feelings about it stem from just how miraculous of a fuck-up Nirvana Initiative ended up being as a sequel (it's impressive how much it had to twist everything its predecessor stood for to even have a chance at making a mediocre point!), but a lot of the disappointment came from the way the first game carries itself in general, and maybe even from the presence this game has among fans. 'Oh, if you want more of the magic and mystery that you so enjoyed in Zero Escape, you have to try this! It'll be just as good!'

I should have had my doubts from the start, given how little I had enjoyed the ZE series after 999. AI1 flounders in many things, like its obtuse, deeply unfun gameplay loop - most of which is pressing random buttons until you see the most ridiculous shit present itself. There's also the overt reliance on stale and perverse jokes, and a story that can barely do much except trudge to the finish line and attempt to convince you the journey was worth it with a trite dance number, of all things.

But the thing is… even with all that, the first entry was somewhat compelling during its runtime, though most of that comes from its bold novelty. The idea of taking advantage of the surreality of dreams to find deeply concealed truths is fun to occasionally ponder, and there's just enough fluff to the places you visit and things you do to string you along for the ride (though having to check the same spots for flavor text on each revisit to very little results is a deep annoyance I have with both entries). The characters actually got a chance to grow (if not by much… this series' urge to be immature at every turn is nothing short of ruinous, sometimes), and their designs strike a wonderful line between outstanding and cringeworthy that makes them just… stick out in your brain, you know?

So while I thought the song and dance (both the literal and the metaphorical) were ultimately not worth much, I was still convinced, fooled by the magic just enough to see things come to an end; and the resolution itself was satisfying and believable, if nothing else. And with how exhausted I felt reaching this point, I figured that'd be enough.

To me, AI1 is all about finding shards of diamonds in the rough, and it doesn't surprise me in the slightest that its fandom runs away with what little they have to try and improve on it (and often succeed). As such, you'd expect its sequel to take advantage of how much room there is to grow, capitalize on this chance to refine things, and use the few strong themes the original presented (value of bonds and family made both by blood and by choice, finding those you can rely on to carry what you have done forward, etc)... right?

Um, yeah, turns out it twists over itself even more than I'd already thought possible in order to make sense (not to mention seemingly forsaking most of that mess right at the true end in order to approach the established universe from a contrived meta angle). If AI1 can be described as having extremely unrefined gameplay coupled with a decently intriguing story, NI is just about the opposite of that.

While I'm glad they bothered to make exploring the dream worlds enjoyable this go around, there's no way in hell that makes it worthwhile to bear witness to the innumerable ways in which this mess of a sequel sullied the already weak foundations laid down by its predecessor. When I had finished that game, I wrote, on impulse, that 'I haven't been this confounded by a sequel's existence since Chrono Cross'. It just… did not need to happen, like, at all.

Nirvana Initiative posed to me one of the worst questions you can have while playing a game, which is…

'Why am I doing this, again?'

Let's be real, it was mostly for the soundtrack. Unlike AI1, this game had passable music! Though having to watch ANOTHER dance number (like half a dozen times, actually! and no, there's no skip button!) just about had me gagging.

That's not even the worst part about that sequence, no - that would have to be the way it almost actively ruins and undermines what's probably the only passable character arc in NI (and even then, you have to squint hard for it to pass your judgement, given how it starts... gotta hand it to this game for managing to have multiple relationships with genuinely questionable setups involving uncomfortable age gaps).

I wanted to feel touched by the new, somewhat expanded narratives, I wanted to see the world grow a little, despite all the grievances I was certain I would have... But not even halfway through the plot, I realized that my true wish was to just move on. I think that's what I'll do here, as well, as even reminiscing on this chaos is quite dreadful.

Xenoblade Chronicles 3 (Switch, 2022) [♪ Agnus Colony]

Don't become prey and victim to your own expectations - or to bad advertising.

Xenoblade is a special series, full of wonder and power. Words fail me this year, as they did the year before, when it comes to describing how much of an impact these games - the second entry most of all, a game I think about now and then with a bittersweetness on my heart that I oddly never can get enough of - had had on my mental well-being last year. They might as well have saved me back then, and while getting to experience them was something I'd been planning to do for a while, the specific circumstances it all had happened under were just so special, so exceptional, so wild, that it's hard to think of those days as anything but a gift.

And yet, there are plenty of things in this particular journey I still have to reconcile with. I never settled on what my impression of 1 is, in the end (or, some might say, I never properly played it); I could use a fresher look at 2, and… I never, ever, will finish Xenoblade Chronicles 3. It's a game I once had hopes for, but nowadays don't ever want to think about.

I thought it a privilege, of sorts - the fact that I was there to witness (and acquire) a brand-new release in a series that became dearly important to me. I ended up hearing many things - the trailers, the rumors, the leaks. They all spoke of a definitive resolution to the series, of levels of refinement never seen before, of intrigue so big you can barely take it, of key character appearances we were all dying to see.

Turns out most of what we were so eagerly expecting came with an extra price tag.

The base game of Xenoblade 3 is a mirage, a mere shade of what came before it. The environments are open and vast, but they look more drab than ever - and with the new autowalk feature, it takes even less time to get sick of it. The music takes you on a journey, but you forget what it sounds like far sooner than you'd prefer. The battle system promises lots of options and a nice learning curve, but it only overextends, overwhelms and forces you to grind. The cutscenes look every bit the part of a Xenoblade story, but meander and stretch things out to the point of boredom, which means none of the characters get enough time to grow on the player, either… Though a lot of them would probably go nowhere even given all the time in the world.

And the setting as a whole? Well, it's a simulation, so who cares about it feeling unique or fun? That's the point, the game says, you're supposed to empathize with these characters breaking out of their bonds, out of this miserable existence! Well, I say that things can be made appealing even in decay. You don't have to actively worsen things to make a point.

Future Redeemed is an impressive demonstration of how things could have been. It fixes practically every point where the base game falters - and it is in this part of the game where all those promises that once seemed hollow finally come true. Sort of. The exploration process is smooth as butter in the way none of the games before were, characters are at last back to having defined roles in battle, and all that teasing becomes a thing of the past as 3 acknowledges its own roots and past in full, and you think to yourself… 'If only we'd got this in the base game all along!'

But we didn't. And the credits on Future Redeemed roll far too soon to truly be satisfied. Is this how you wanted the saga to end?

honorable mentions

Butterfly Soup 2 (PC, 2022) [♪ Night Tourist] *I hope you'll forgive me for not finding a GIF for a mostly static VN...

It's so funny. For me it has been two years; for the creator, it'd been five. But I guess time doesn't matter when it comes to maturity, as I feel like both myself and this game have done plenty of growth. And for that, I love it all the more, just as I am now thankful to be able to call Butterfly Soup a short series.

Compared to the first game, the art is more refined, the tone is more consistent, and treatment of serious topics is more grounded - in more ways than one, this sequel is like a fond, yet melancholic look at what you once had, what changed since then, and what you hope to make of things. But between all that, it stays sincere and silly in the best of ways - the ones that make you feel cozy on the darkest of nights, the ones that endear you for a good while yet. Truly, this game was a ray of light in a sea of mediocrity this year.

Road 96 (PC, 2021) [♪ Hit the Road]

Yeah, I know. The fact that I have played a goddamn walking simulator at the behest of a good pal (who might or might not be reading this, hi on the off chance that you are!) is nothing short of a miracle. Not to mention the fact that I ended up having a good time with it!

I'll put it plain: the vibes of this game are almost impeccable. It wastes little time setting things up - it's the turn of the century, and a massively corrupt government is practically folding in on itself as it closes its borders. It's up to you, as you're literally put into a blank-slate teenager's shoes, to go on a desperate journey and see whether or not you make your way out.

Over the course of Road 96, you do this six times, and the people you meet on the way and choices you make with them may or may not shape not just your own future, but that of the whole country. There's nothing for it, then, but hit the road and see what awaits you, as you sit in a car that's probably stolen, blaring music from your carefully curated tapes… or are dropped off on the wayside with nothing but a paltry backpack to speak of… or find yourself biding your time near a gas station… or… whatever it is the game throws at you, as you hope that the strangers you run into actually deign to help.

Yes, the biggest way this game attempts to stand out is with our good old friend, RNG. Even reading blurbs about it, you cannot escape the all-too-typical claims of 'your own personal journey', 'a thousand unique paths waiting for you' and all that… months later, I find myself unable to decide whether this helped the game or harmed it more, as it's definitely smaller than it makes itself out to be.

As a story hook, this setup is clever and delightful, as I tried to illustrate a moment earlier, but the moment you begin to overthink it, you realize that the randomness aspect clashes hard against the continuity the game tries to establish. You, as the player, indeed learn more about the world and colorful characters in it each time you venture forth, but the avatar you control is supposed to be clueless as ever, setting out on a path that is, in fact, not quite their own any more. It's a weird gripe to have, and I found it an easy one to ignore, but I wish something could be done about it anyway.

As for the rest of the plot, let's just say it's... surprisingly binary, and the supporting cast small and not always compelling in turn. The game sacrifices some of the personal intimacy and uniqueness it has built up to make a sweeping, painfully boring statement of 'freedom good, suppression bad' before credits roll, but as damaging as that is to the overall experience, I feel like one can't deny the fundamental appeal of just being asked to go on a journey with sweeping stakes and truly, truly banging music. Seriously, it was meant to be put on speakers and blasted as the world passes you by!

In a word, Road 96 is ambitious, and in a sentence, it is ambitious, yet falling short of itself. Nonetheless, I was impressed by how it managed to worm its way into my heart for a while.

A Space for the Unbound (PC, 2023) [♪ Don't Have Much Choice]

Wouldn't you know it? I had actually played two games involving entering people's subconsciousness to solve their problems this year!

Truth be told, I'd been looking forward to this game for about a year, given that it was published by the people behind Coffee Talk (which, if you recall, I had quite enjoyed). The warm and inviting screenshots on the back-then almost empty store page, showing off awesome art and promising a sweet little journey with slice-of-life tropes and a mystery waiting to be solved… well, to say all of that was alluring is to say nothing, really. I just about jumped when I received a notification for this game releasing at last at the beginning of the year, and wasted little time trying to dive in.

The sad thing is, what you see is not always what you get. The cozy, comfortable, sensible vibes of the early game - running around the city, doing chores at your school, naming every stray cat you come across, watching the protagonist's diary fill up as he crosses all the little goals he had set in life off his precious list… Yeah, those things won't last - definitely not long enough to get you attached to characters living in this world.

As the plot begins to unfold, it fumbles over itself trying to introduce various cliches and supernatural elements, to the point where you recognize the whole experience as a tedious drag as you see exactly where it's heading, and think to yourself that you have heard all this before. It's yet another heartfelt story about self-actualization, and as the game hammers it in harder than ever before, you sigh and wish you could go back to the times of bottle cap collecting and cat petting. Sometimes, simpler is better.

Unfortunately, that's not exactly true when it comes to actually playing A Space for the Unbound. The gameplay is as simple as can be - basically all you do is walk around (quite slowly) and interact with things. I can appreciate how linear the game is, for the most part, but I wish it let us accomplish our goals without wasting too much time! Not to mention, if you try to see everything there is, you have to be prepared to deal with quite a few mind-numbingly repetitive mini-games for far longer than you have to. Don't do that. It'll just sully your impression of the game.

If you're somehow still interested in this after reading this messy opinion of mine, don't be too discouraged - you'll see plenty of beautiful sights, hear some cute music, and, maybe, be affected by the story far more than I was. (Besides, for a cat lover, it's always nice to see others appreciate them!) Just... try not to waste too much time with the game's superficial sidequests.

Tales of the Abyss (3DS, 2011 port of a 2006 release) [♪ The Distribution Base]

There's something ironic in how playing (most of) this game has been one of the best things I have done with my lovely 2DS since I homebrewed it earlier this year... and yet I quite regret not checking how (ahem) easily available the PS2 version is, instead. They may be functionally identical, but the hardware is not - you have no idea how hard some of the goddamn Mieu Fire puzzles become when your character is taking up a mere four or so pixels of an already tiny screen. Man, that was trying my patience at its finest.

These horrors aside, though, what kind of game are we even dealing with here? Well, it’s a Tales game first and foremost. I can’t deny claims that Abyss has a few strengths of its own (most notably, of course, actually bothering to have coherent character development arcs), but it’s not quite enough to obscure the ever-prevalent issues this series has:

exploration and side-questing is still annoyingly obtuse, not to mention traversal is painfully slow in the first half of the game,

some characters (in this case, Anise more so than others, but I'd argue Mieu's whole existence is part of this too) are obligated to suffer because Tales has to meet its unhealthy anime tropes\wackiness quota per game,

the skit system has not, unfortunately, evolved one bit (the amount of times I would skip a skit on accident, because any input halts its playback entirely…),

while I’m inclined to say the battle system is, for the most part, an improvement (the Field of Fonons mechanic is quite a nice change given the foundations of Tales gameplay, I have to admit), any goodwill you might want to give it gets shattered when you realize Free Run breaks bosses in half. And aside from that, it’s just your usual button-mashy fare.

So why did I push on with this game as far as I did, pulling the classic move of quitting right at the final boss instead of, well, any earlier? A lot of that is because I was just in the mood to mash some buttons in bed until I realized I was slightly underleveled for the finale and caught myself groaning at the mere thought of trying to even cheese it. A shame, that, because the ending of this game is pretty wonderful for what it set out to do, and it was the only bit I did not see on my own. It's like my experience with Final Fantasy VI all over again…

That's not all there is to it, though. Abyss has some of what's probably the most involved and curious worldbuilding (once you get past all the awkward made up jargon it loves to throw at you) of any Tales game I know! Not that this says much, because that's a low bar, and I'm not too familiar with the series at large, but it was enough to keep me engaged for a long while. And, as mentioned earlier, it puts in greater efforts than I expected to endear you to the cast as they slowly band together and uncover their own talents, purposes and aims in life - Luke in particular.

I liked him almost immediately - because I'm not too hard to please when it comes to this series, and his design is, I feel, particularly sweet and striking (especially given how nicely the game used the Important Haircut trope with him, and of course, the contrast between him and Asch). But that alone doesn't a good protagonist make - it's the fact that the story allows Luke to make mistakes (from small ones to straight-up catastrophes), get his comeuppance and grow from them organically, at his own pace, that makes him stand out in my mind.

As Luke sheds his sheltered ways of thought and accepts his responsibilities, those that were traveling with him, either out of obligation or by chance, begin to support him more and stand by him in earnest. It all comes together gradually and at a satisfying pace, and is definitely a highlight of the experience to me.

Growth and connection are probably among the biggest themes of the game, so it's nice to see that it applies pretty much equally to both protagonists and antagonists. Sure, it's the job of a Tales' Big Bad faction to be goofy and up to nefarious activities, but beyond that, the group has solid enough chemistry both among themselves and with the party that I actually ended up looking forward to most encounters with them, even if ultimately it felt a little predictable. As an aside, for a game this old, the voice acting was really good and plentiful (though there is none for skits, which sucks), and further piqued my interest in the story along the way.

To conclude, I'd like to say that the biggest thing I learned while playing this game is that I'm a sucker for grounded tales of (ha) self-actualization even this many years later. And also that once you play one Tales game, you truly, to some extent, know them all.

SANABI (PC, 2023) [♪ Warm Hospitality]

Do you want to know why I ended up playing this one? Of course you do, that wasn't really a question. I only bring this up because the answer can be revealed with a single screenshot:

...yep, the inspiration is that blatantly on display. I was expecting it, of course - the Katana ZERO community is the only reason I know of SANABI in the first place, and even as you read people's thoughts on it, the extreme similarity is practically all they ever bring up, be it in a positive or negative light. It pleased me and warmed my heart, while also making me feel wary - it's one thing to be inspired by something, and another to actually carve an identity of your own.

That said, KZ is far from the worst thing to try to replicate, particularly when it comes to visuals - SANABI has some awesome scenery that makes me feel right at home. And while the story at times feels so much like an amateurish copy that it leaves me confused more than anything (I'm sure the awkward English translation sadly does not help matters, not to mention the fact that I'd played this game in an unfinished state - you might expect me to write about it again next year!), the gameplay is anything but.

I'm sure there are quite a few platformers out there that have you use what's essentially a grappling hook to swing through the stages, but SANABI is my first experience with something like this, and in this regard the game absolutely manages to shine on its own. Movement is lightning-fast and responsive, enemy targeting is extremely generous - almost to the point of being handholdy (and, of course, they all die in one satisfying hit - as do you, if you set the game to the highest difficulty. It's nice to be given an opportunity to learn the ropes before engaging with the game earnestly!), and there's something to be said about how the level design has that extreme kind of clarity to it that I always appreciate and favors speed over precision, with how spacious everything is.

My only big issues with how the game plays are how it doesn't seem to be designed with a controller in mind (it is an option, but I found myself moving much more precisely with KBM! Me! Someone who never plays games with that!), and, once again, the just-a-bit-too-long death animation\transition. Being able to skip it helps, but I just yearn for no time to be wasted...

[mostlysignssomeportents]

This day in history

On June 21, I'm doing an ONLINE READING for the LOCUS AWARDS at 16hPT. On June 22, I'll be in OAKLAND, CA for a panel and a keynote at the LOCUS AWARDS.

#15yrsago Soviet-era punks https://englishrussia.com/2009/06/11/soviet-punks/

#15yrsago Junk science and cocaine scares https://www.badscience.net/2009/06/this-is-my-column-this-is-my-column-on-drugs-any-questions/

#10yrsago The Return of Zita the Space Girl https://memex.craphound.com/2014/06/13/the-return-of-zita-the-space-girl/

#10yrsago Bot alerts you every time the Supreme Court silently alters its rulings https://web.archive.org/web/20140613031445/http://gigaom.com/2014/06/12/clever-piece-of-code-exposes-hidden-changes-to-supreme-court-opinions/

#10yrsago Academic publisher tried to stop publication of paper on price-gouging in academic publishing https://www.techdirt.com/2014/06/12/academic-publisher-fights-publication-paper-criticizing-publishers-price-increases-profits/

#10yrsago How Hayek bred a race of elite monsters https://www.nakedcapitalism.com/2014/06/bill-black-hayek-helped-worst-get-top-economics-ceos.html

#10yrsago Snowdenbot performs tele-diagnosis and offers aid to reporter who had first epileptic seizure https://www.tagesspiegel.de/kultur/he-is-not-alone-4821781.html

#10yrsago Apple adds privacy-protecting MAC spoofing (when Aaron Swartz did it, it was evidence of criminality) https://www.eff.org/deeplinks/2014/06/umbrella-hurricane-apple-limits-mobile-device-location-tracking

#5yrsago Couture fashion company Vetements is selling an unauthorized €800 Pirate Bay hoodie https://torrentfreak.com/red-hot-vetements-fashion-brand-is-selling-a-845-pirate-bay-hoodie/

#5yrsago In Alabama, it’s traditional for sheriffs who lose their elections to steal and waste money, destroy public property https://www.propublica.org/article/alabama-sheriffs-undermine-successors-after-losing-reelection

#5yrsago After American juvenile offenders are released, they can be re-imprisoned for failing to make restitution payments https://www.themarshallproject.org/2019/06/11/punishing-kids-with-years-of-debt

#5yrsago Majority of American millionaires support a wealth tax on American millionaires https://www.commondreams.org/news/2019/06/12/even-1-know-they-arent-paying-their-fair-share-new-poll-shows-60-millionaires

#5yrsago Facebook execs are worried that Zuck’s emails show he never took his FTC privacy obligations seriously https://www.wsj.com/articles/facebook-worries-emails-could-show-zuckerberg-knew-of-questionable-privacy-practices-11560353829

#5yrsago Hong Kong’s #612strike protest movement: a million strong, leaderless, wireless and smart as hell https://memex.craphound.com/2019/06/13/hong-kongs-612strike-protest-movement-a-million-strong-leaderless-wireless-and-smart-as-hell/

#1yrago Saving the news from Big Tech with end-to-end social media https://pluralistic.net/2023/06/13/certified-organic-reach/#e2e

[importantwomensbirthdays]

Denise Ho

Singer and pro-democracy activist Denise Ho was born in Hong Kong in 1977. Ho rose to stardom as a Cantopop singer in the 90s. She had a string of hit songs in the 2000s, and won several awards. Ho came out as gay in 2012, becoming a high-profile gay rights advocate. She was an outspoken supporter of the Hong Kong's 2014 Umbrella Movement, and the 2019 anti-government protests. In late 2021, she was arrested for "conspiracy to publish seditious materials", and again in 2022 for "colluding with foreign forces".

Image source: United States Congress

[voluptuarian]

"New Turkey" Introductory Reader

I did so much research for my paper that the final product barely scratched the surface of what I've read or looked up in the course of writing it. As such, I feel like the scope of my paper is very basic compared to the depth of the issue. (And considering how quickly I wrote it, frankly I'm not that sure of its actual writing quality.)

My research topic was current Turkish politics, centering on recent policies of President Erdogan and his party, the AKP, who have dominated the country since the mid-2000s. In particular I wanted to look into the roots of, and meaning behind a sort of party motto/discourse/policy umbrella which started in 2014 when Erdogan became president and announced the arrival of a "New Turkey."

This motto has frequently been compared to "Make America Great Again," and is just as bold and lacking in specific meaning. It is also the mission statement behind much of what's happening in Turkey's social and political climate right now, so for anyone interested in what's been going on in Turkey in the recent past, or curious about where the country's current direction is leading, the "New Turkey" idea is central to everything.

Rather than just delete all my references I thought I would share them here for anyone who's interested. Consider this a bit of "New Turkey" intro. It includes most of what I used in my bibliography and some other sources I looked at but didn't get to include.

I'm including some newspaper articles here-- these are all very introductory-- they're helpful for people with no background at all on Turkey, as well as for anyone who's interested and doesn't want to go through an entire paper's worth of books and articles. All these should be accessible for most people, I think.

“Erdogan Elected Turkey’s President, Promises ‘New Era.’”

"21st Century Will Be the Century of Türkiye: Erdoğan."

"Recep Tayyip Erdogan Sworn in as Turkish President; Swearing-in Ceremony Caps Monthslong Campaign."

"Erdoğan's split personality: the reformer v the tyrant"

"Turkey, lavish new presidential palace proves divisive."

"Turkey Rages at Shoddy Construction of 'Earthquake-Proof' Homes."

(Also looking up information on the Gezi Park protests from 2013 or Fethullah Gülen and his movement will be helpful for newbies as well.)

Behind the cut is all the more scholarly stuff. I've included entries in citation form so all the info you could need is there; I've also included links to everything but I don't know how many will be accessible everywhere, or to people without accounts, or even usable (I had a couple links stop working during the process of writing this.) Hopefully even if you can't access them all through the links provided, looking up the article information or even reaching out to the author will get you access. Happy reading!

The progression and consolidation of erdoğanist authoritarianism in the New Turkey - Bilge Azgın https://www.tandfonline.com/doi/full/10.1080/14683857.2020.1764277

Bâli, Aslı Ü., 'The “New Turkey” At Home and Abroad', in Amal Ghazal, and Jens Hanssen (eds), The Oxford Handbook of Contemporary Middle Eastern and North African History, Oxford Handbooks (2020; online edn, Oxford Academic, 9 June 2015), https://doi.org/10.1093/oxfordhb/9780199672530.013.29‌

Bourcier, Nicolas. “Erdogan, the Enduring Reinterpreter of Turkish History.” Le Monde.fr, October 29, 2023. https://www.lemonde.fr/en/international/article/2023/10/29/erdogan-the-enduring-reinterpreter-of-turkish-history_6212761_4.html.

Cagaptay, Soner. “Making Turkey Great Again.” The Fletcher Forum of World Affairs 43, no. 1 (Winter 2019): 169–78. https://doi.org/https://www.jstor.org/stable/45289835.

Çevik, S. B. (2024). Grandiose dreams, mega projects: Ottoman nostalgia in ‘new Turkey’. International Journal of Applied Psychoanalytic Studies, 21(1), e1846. https://doi.org/10.1002/aps.1846

Heper, M., & Toktas, S. (2003). Islam, Modernity, and Democracy in Contemporary Turkey: The Case of Recep Tayyip Erdoğan. The Muslim World, 93(2), 157-185. http://proxy.lib.ohio-state.edu/login?url=https://www.proquest.com/scholarly-journals/islam-modernity-democracy-contemporary-turkey/docview/216437044/se-2

ERDOGAN'S GRAND VISION: Rise and Decline - Hillel Fradkin, Lewis Libby (2013)https://www.jstor.org/stable/43556162?searchText=&searchUri=&ab_segments=&searchKey=&refreqid=fastly-default%3A07607ba3d65e40f3231e2694b7b6b306&seq=2

Eissenstat, Howard. "Recep tayyip erdoğan: From 'illiberal democracy' to electoral authoritarianism (born 1953)" in Dictators and Autocrats: Securing Power Across Global Politics, ed. Klaus Larres (Abingdon, Oxfordshire, U.K: Routledge, 2021) https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003100508-25/recep-tayyip-erdo%C4%9Fan-howard-eissenstat

Cinar Kiper, “Sultan Erdoğan: Turkey’s Rebranding into the New, Old Ottoman Empire”, http://www.theatlantic.com/international/archive/2013/04/sultan-Erdoğan-turkeys-rebranding-into-the-new-old-ottoman-empire/274724/

Kocamaner, Hikmet. “How New Is Erdoğan’s ‘New Turkey’?” Middle East Brief, no. 91 (April 2015): 1–9. https://doi.org/https://www.brandeis.edu/crown/publications/middle-east-briefs/pdfs/1-100/meb91.pdf.

‌McKernan, Bethan. 2019. “From Reformer to ‘New Sultan’: Erdoğan’s Populist Evolution.” The Guardian, March 11, 2019, sec. World news. https://www.theguardian.com/world/2019/mar/11/from-reformer-to-new-sultan-erdogans-populist-evolution.

Populism, victimhood and Turkish foreign policy under AKP rule - Mehmet Arısan https://www.tandfonline.com/doi/full/10.1080/14683849.2022.2106131?src=recsys

Development of the 'New Turkey' Media Image: Substantive Aspect - N. E. Demeshko; V. A. Avatkov; A. A. Irkhin https://eds.s.ebscohost.com/eds/detail/detail?vid=0&sid=ea94c4bc-4632-4ee4-a8c2-df8b9f5973bf%40redis&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#AN=edsdoj.

Smith Reynolds, Aaron. “The ‘New Turkey’ Might Have Come to an End: Here’s Why.” giga. https://www.giga-hamburg.de/de/publikationen/giga-focus/the-new-turkey-might-have-come-to-an-end-heres-why.

Solomon, Hussein. “Turkey’s AKP and the Myth of Islamist Moderation.” Jewish Political Studies Review 30, no. 3/4 (2019): 128–35. https://www.jstor.org/stable/26801121.

Yavuz, M. Hakan. “Social and Intellectual Origins of Neo-Ottomanism: Searching for a Post-National Vision.” Die Welt des Islams 56, no. 3–4 (November 28, 2016): 438–65. https://doi.org/10.1163/15700607-05634p08.

Media in New Turkey: The Origins of an Authoritarian Neoliberal State - Bilge Yesil https://books.google.com/books?hl=en&lr=&id=w3tMDAAAQBAJ&oi=fnd&pg=PP1&dq=%22new+turkey%22+origins+erdogan&ots=iqHojS41ci&sig=KC201icwuSS6tseeNml_IFMnZWU#v=onepage&q=%22new%20turkey%22%20origins%20erdogan&f=false

Yilmaz, Ihsan. "Islamic Populism and Creating Desirable Citizens in Erdogan’s New Turkey." Mediterranean Quarterly 29, no. 4 (2018): 52-76. muse.jhu.edu/article/717683.

The AKP and the spirit of the ‘new’ Turkey: imagined victim, reactionary mood, and resentful sovereign- Zafer Yilmaz https://www.tandfonline.com/doi/full/10.1080/14683849.2017.1314763

[partisan-by-default]

Plans to stop UK public bodies boycotting foreign countries and British companies that trade with them represent a further attack on the right to freedom of expression, civil society groups have said.

Officials from the Department for Levelling Up, Housing and Communities (DLUHC) have said the boycotts, divestment and sanctions bill, announced in last year’s Queen’s speech and designed to stop actions against Israel, will be tabled soon.

The move, first reported by the FT, comes amid anger over the crackdown against protesters at last week’s coronation of King Charles, days after the Public Order Act was given royal assent.

The bill would outlaw campaigns, including those relating to the purchase of goods and services or investments. The government has previously highlighted a 2014 Leicester city council motion banning goods from illegal Israeli settlements, while the communities secretary, Michael Gove, has claimed the Israel-targeting BDS (boycotts, divestment and sanctions) movement is fuelling antisemitism.

However, 60 civil society groups under the right to boycott umbrella claim the bill will stifle social and climate justice campaigns.

[papuapress]

The United Liberation Movement for West Papua (ULMWP)

The United Liberation Movement for West Papua (ULMWP) is an umbrella organization formed in 2014 to unite the various pro-independence groups advocating for the separation of West Papua (the Indonesian provinces of Papua and West Papua) from Indonesia. Here’s a breakdown of key information:Goals: The ULMWP’s primary objective is to achieve independence for West Papua and establish a sovereign…

[yessadirichards]

Amazon show with Hong Kong protest scenes not shown in city

HONG KONG

A new television series starring Nicole Kidman and featuring scenes of Hong Kong's pro-democracy protests debuted on Amazon Prime Video on Friday, but could not be accessed in the Chinese city where it was partly filmed.

"Expats" revolves around the lives of three American women -- including a protagonist played by Kidman, who is also an executive producer -- in the former British colony in 2014, according to Amazon.

Created by Chinese-born American filmmaker Lulu Wang based on a 2016 novel, its first two episodes were listed as "currently unavailable" for viewers based in Hong Kong.

According to early reviews of the show, its penultimate episode -- set to be aired on February 16 -- includes scenes recreating Hong Kong's 2014 Umbrella Movement: a 79-day occupation of main thoroughfares to oppose Beijing's restrictive election rules.

Amazon's website on Friday listed the show's country availability as "worldwide".

AFP has contacted Amazon for comment.

Hong Kong's Commerce and Economic Development Bureau said the city's film censorship laws do not apply to streaming services.

Five years after the Umbrella Movement, Hong Kong saw fresh protests that were massive and at times violent, with demonstrators taking to the streets to call for greater freedoms.

Beijing clamped down on dissent in 2020 by imposing a national security law on Hong Kong, which critics say has affected the city's artistic and cultural freedom, and tightened censorship.

In 2021, Hong Kong also passed censorship laws forbidding broadcasts that might breach the national security law.

Censors have since ordered directors to make cuts to their films and refused permission for others to be shown.

While those rules do not cover streaming services, authorities have warned that online platforms are still subject to the national security law, which criminalises the broadly defined crimes of subversion, secession, terrorism and collusion with foreign forces.

Episodes from "The Simpsons" that satirised the 1989 Tiananmen Square crackdown and forced labour in China were previously found to be missing from the Disney+ streaming service in Hong Kong.

"Expats" -- partly filmed in Hong Kong in 2021 -- sparked controversy then when Kidman was allowed to shoot scenes without having to follow Covid quarantine rules, which at the time were among the strictest in the world.

[trend-q]

周庭 （アグネス・チョウ）

2023年12月31日 周庭（アグネス・チョウ）さんは、香港の民主活動家であり、民主化運動の中心的なメンバーとして知られています。 彼女は2014年の雨傘運動において重要な役割を果たし、「民主の女神」とも称されていました。 周庭さんは日本の音楽やアニメが好きで、独学で日本語を学び、香港の民主化運動を支援するために日本語で訴えていました。2 019年には違法な集会への参加をあおった罪で実刑判決を受け、2021年に刑務所から出所しました。 また、香港国家安全維持法に違反した疑いで逮捕され、その後カナダに亡命しました。 December 31, 2023 Agnes Chou is a Hong Kong democracy activist and known as a central member of the democracy movement. She played an important role in the 2014 Umbrella Movement and was also referred to as the "Goddess of Democracy." Mr. Zhou Ting loves Japanese music and anime, taught himself Japanese, and used Japanese to advocate for the democracy movement in Hong Kong. 2 In 2019, he was sentenced to prison for inciting participation in an illegal assembly, and was released from prison in 2021. He was also arrested on suspicion of violating Hong Kong's national security law, and subsequently fled to Canada. Citations: [1] https://youtube.com/watch?v=5IFmaSDat3A [2] https://www.tachikawakeirin.jp/keiringrandprix2023/ [3] https://www3.nhk.or.jp/news/special/international_news_navi/articles/qa/2023/12/07/36417.html [4] https://micro.utk.edu/m5625740/ [5] https://www.tbs.co.jp/tv/20231227_3261.html

[feelmir]

US and DPRK

On Sunday, the Democratic People's Republic of Korea (DPRK) launched a short-range ballistic missile to celebrate the 12th anniversary of the death of ex leader Kim Jong Il. As expected, this launch made headlines in the West while there are nothing in the news concerning the dispatch of Dwight D. Eisenhower Carrier Strike Group from the Persian Gulf into the Gulf of Aden, off the coast of Yemen, to protect the ships transporting US modern weapons to Israel from recent attacks by Yemen's Ansar Allah rebel movement also known as the Houthis. It is worth nothing that the DPRK was born under the protective umbrella of the Soviet Union. North Korea and north Vietnam became two members “observers” of the Comecom. Taught by the history the legacy of the Korean war, North Korean leadership know very well that the International relations are governed by the force not by set of rules, by so called international law and by moral considerations. A golden rule learned by North Korean leadership, contrary to Putin’s naivety, the West will not be trusted and to deal with the Behemoth, the only language that understands is the force and the balance of power supported by very powerful military, chiefly by nuclear power. Some international events gave it the certitude that in the International arena, the big fish devour the small ones. First before all, the the Gulf war in 1991 provoked behind the scene by the US with the main objective, attacking Iraq close ally of the USSR and annihilating its rising military power, bombing of Yugoslavia in 1991 during 78 days without mandate from the UN, invasion of Afghanistan in October 2001 under the false pretext, fighting Islamic terrorism, invasion of Iraq in March 2003 without  mandate of the UN, colour revolutions fomented by the US in the ex Soviet Republics from 2004 to 2014, invasion of Libya in 2011 and its destruction and the murder of its leader by NATO under the false humanitarian principles, the right to protect (R2P)and NO FLY ZONE, attempt of invasion of Syria in 2011 by Jihadists mercenaries, funded and trained by the West, and last but not least, using Ukraine as battlefield by NATO members to attack and dismantle the Russian Federation, triggering the military special operation on February 24, 2022. All these US wars of aggression against weak countries convinced the North Korean leadership that only a powerful military, ballistic and intercontinental missiles added to nuclear weapons could play a dissuasive role and protect the nation in case of US war of aggression.  

[aristeon89]

Hong Kong Activist Agnes Chow Ting Has Fled Hong Kong and Is Now in Self-Exile in Canada

Agnes Chow Ting (周庭), a prominent Hong Kong politician and social activist, announced on Sunday (December 3) that she has left the former British colony and is now in self-exile in Canada. Chow is a former member of the Standing Committee of the pro-democracy party Demosisto and former spokesperson of Scholarism. She was involved in the 2014 Umbrella Movement and the 2019–2020 Hong Kong protests.…