#Currently coming up with ideas for a story that takes a critical lens to some very classic trashy genre fiction tropes

[gnosk]

Normally I'm all for extra subtext and hidden meanings in writing choices but I wish it was more acceptable to just write about animal people who are just animal people for the hell of it (specifically in the context of literary fiction). Like yeah this guy is a dog and his friend is an armadillo girl. Why? Furry reasons. The curtains are blue intentionally, but dog guy is a dog guy because dog people slap.

[thetownwecallhome]

OOC: My biggest regrets regarding this webcomic. And, what's to come.

(( bad grammar intended.

In case you're worried I'm being badged by bad reviews and/or "focusing too much on the bad"--- no. These are self-criticisms I've always had about this comic. It's always a joy to see you guys like it so much and there are some comics I love more than others and return to reread just for myself; but I think it's fine to have a healthy self-critical lens about your work sometimes. Just as long as you don't go 2000s-era Lucas and try retconning everything. So without further ado:

>Dislike the earliest gag where Jack complains about being 'fat'.

>Keeping art consistent and low-effort so it wouldn't take so much work.

>Introducing the Holiday leaders like I did. So underwhelming.

>"Mothball" [*sideshow bob grumble of pain*]

>While we're on it that earlier depiction of Clown being a jerk to Sally and Sally needing to be pepped-up by Jack to feel good about herself. Like 'Mothball' is needs a serious rewriting of dialogue to make it bearable ((to me)).

>"Packing Up" for reasons that should be painfully obvious later when I finish making Halloween Town comics. (it goes against current continuity in my headcanon)

>Really I regret how I wrote Sally and Jack a lot throughout the years. You can tell I was battling different takes about the characters and rationalizing them. I made Sally way too demur and Fluttershy-ish when she's not that kind of shrinking violet meanwhile Jack's either too kind and mature or too wrapped in guilt. For Sally I think I was operating on the logic that og-Carolyn-Thompson-script-softspoken-Sally > better then how she is in the movie because someone in my life was trying to convince me Sally was underdeveloped, and with Jack it's being hit w people saying he's an absolute incel or got away with everything in the film* and my coping by giving him more obvious guilt. Though, in fairness, Oogies Revenge, Kingdom Hearts and the fanbase didn't help that disparity by claiming Jack's just a cinnamon roll. Half of the reason "Ask Jack Skellington" prompts ever existed is so I could have an excuse to make Jack the spooky-doofy manchild of terror he is. I neglected that part of him for so long and he and Sally would be so upset with me. I failed you my babies.

>I think the joke of Jack being way too naive about how violent the other holidays actually are and/or oblivious to what adults use Halloween for is overdone in my work. I've done that gag like four times now I think.

>Unnecessarily hating on Lock, Shock, and Barrel for no reason. I think it shows just how much I didn't care for the characters before Zero's Journey came out.

>The Beetlejuice ask/reply comic from like 2015 or 16 whatever is not canon.

>Jack and Sally were too smexual in my earlier gags. Good god I REALLY hadn't figured out my asexuality, or theirs, for that matter.

>Like Jack suffering more +being too riddled by guilt, I think I made Oogie way too OP in my Oogie's Revenge (the prequel story to the entire comic) outline.

>This is a problem I have with all of my work but I hate the walls of text and run-ons all the characters do. It takes me out of my own fanfiction when it's just so obvious when I'm talking vs when the characters are. "Sally and the Doctor suffers from this a LOT".

>So many decisions made regarding plotpoints and plotlines that I think I muddled along the way or did way too quickly as it's obvious I don't have an exact outline for any of this fan stuff I'm throwing out. I really wanted to emphasize Harley and Mayor's blooming romance more than I did. They deserved so much better.

>AUGHTHEAWFULSELF-EDITED TEXT I DID IN 2015-2016 WAS TORTURE WHY DID I EVER THINK THAT WAS A GOOD IDEA???!

---

All of this is to say, one day, if Oddities or my patreon makes enough dough and my SSI sitch isn't so fragile or fluctuating- I really wanna hire a beta editor/artist to be my extra pair of hands in sprucing this comic up and making it more articulate, readable and complete for my liking. And yes, it HAS to be a hired job. I can't promise big bucks but I refuse to hand that kind of responsibility to someone without compensation. This comic's too big.

As far as what to expect from the comic after this year, here's all I can tell you for my endgame plan:

I plan to go until 2027, when this blog will be 13 years old.

I want to make next year special as it'll be 31 years of Nightmare Before Christmas then.

You're gonna get a new character soon. Don't worry; they won't distract from the og cast too much. In fact they literally go to jail.

More of Halloween Town in the human world to come.

More Wolfman and Vampire brothers shenanigans.

Jack and Sally past tyme.

One of these final years Ima do something really special with the other holiday worlds and leaders. You'll see.

None of the characters will double die but I will be basically ripping off a spongebob episode.

No one from Halloween Town is ever going to meet anyone from New Holland. You are going to get a Beetlejuice character, but not a full blown crossover.

))

[bluerose5]

List 5 things that make you happy, then put this in the askbox for the last 10 people who reblogged something from you! get to know your mutuals and followers (ू•‧̫•ू⑅)♡

Sorry about the late response! My energy levels have just been kind of fluctuating lately, but I've finally gotten around to this! Excuse me as I write with the most romantic lens possible. 😁

In no particular order:

1) That moment of sitting-on-the-edge-of-your-seat excitement when you go to the theater to see a movie for the very first time on the big screen. Unfortunately, I don't go as often as I used to, but damn if I don't love that feeling, especially if it's a movie you anticipated for so long that who cares if so much of the experience is overpriced. It is still well worth it. Can't wait til the next Spiderverse movie. Definitely plan on going, no matter what.

2) That moment when you're writing, and the inspiration hits. You start writing, and you can't stop because the words are flowing as easy as the ideas are coming to you. Even if it's not full sentences, and it's just snippets or scenes that you have to get down right then and there before they leave you. It's the joy of creating. Of having the power to change the reality in your mind as you see fit. There's nothing quite like it.

3) That moment when you're in the car, and you're driving down the road, cruising more like. There's no rush. Time fades into the background. The weather is perfect. It's cool, not humid. You turn the ac off. You let the windows down. Feel the wind in your hair and the sun on your skin. You turn the music up. Then, you start singing at the top of your lungs to your favorite songs. Even better if you manage to drive somewhere with a view of the water, so you can look out on the horizon.

4) That moment when you boot up a game, old or new, and you feel your heart start to race a bit because you're ready to experience the best adventure possible. Disconnect from the fandom and the public for a bit. Who cares if you pre-ordered? Who cares if you splurged? Who cares what critics say about it? You know you're going to simply enjoy the game, and you're gonna have fun. And possibly pick up some new blorbos (ocs and npcs alike) along the way. And you know what, that's what matters. Finish it or don't, but feel free to spend as many hours as it takes til you're content with the story you leave with.

5) Are we at #5 already? But I have so much more! Spending time with friends or family. Making an impact on the lives of others through my job. But you know what, I'll say being able to exchange ideas! Excitement is so infectious —and much-needed as of late. I love getting to go back and forth with people on things we're passionate about. Hell, I love getting to see my mutuals get passionate about random things, even if we're not currently into the same fandom spaces, hobbies, etc. Share it all! Let me give your OC a smooch on the forehead. Let me share all of your projects you've been working on. Writing, art, crocheting, etc. Idc. Let me see it all!

[misarem]

Umineko Episode 5 Thoughts: The Part Where I Try To Lock In

I feel the need to just get this out while I have the chance to do this before I start episode 6. I think I finished this episode over a week ago at this point and have since been doing other stuff, been too busy with real life to pour over this vn, etc. My thoughts on the episode itself will be kinda minor but I'll compensate with my current theories on the overarching mystery and the murders. What I'm hoping to do is have preliminary theories ready for episode 6 so that I can develop them while reading it and be ready for endgame. I even started making a physical journal of my thoughts on each murder, character, and rule because after like 80% of my life in the education system this is all I know how to do to retain information, plus! itll be cute. but anyways

Doing what's easy for me and starting at the beginning and just working my way through. I'm still kinda burnt by Beato in episode 3 but I really do wanna believe she's like fully dejected now that Battler isn't matching her as an opponent the way she thought he would. Surreal to see her practically dead but I guess this is signaling that the game is becoming something much bigger than Battler vs Beatrice, to the point where Bern and Lambda are more active and Knox is now involved. Through some meta lens I almost wanna read this as like, an event within the world of detective fiction where a story spirals out of control and the foundations that do exist need to intervene. Feels like commentary on stories as a whole, what has been established as "good" and "reasonable" and what it means to subvert those paradigms, and how far you can reasonably go. And having these larger themes on fiction as a whole run parallel to the events of Rokkenjima, with the ideas of love and trust being established and broken between family mirroring the trust between an author and reader and the love for reading and storytelling, is very satisfying. And if you read the witches as authors and critics of mystery stories, or just stories in general, then the idea of fiction giving our lives fulfilment and meaning also operates on all these levels: the witches weave the narrative on Rokkenjima from a higher plane to stave off their boredom, those on Rokkenjima cope with the dire situation by blaming the murders on witches and demons, and outside of the murders, the people who struggle because of this family cope with fantasy, from Ange and Maria easing their loneliness with the sisters and Sakutaro, to, as we see later, Natsuhi finding refuge from her responsibilities in an imaginary Kinzo and his furniture.

Going off my ideas about black and white magic in the last episode, Natsuhi herself is beginning to resemble a white witch in the same way Maria did. Her and Jessica finally beginning to come to an understanding of one another only in the dire circumstances that were the murders of Rokkenjima was one of the first terrifyingly realo depictions of strained family relationships I latched onto in the game, and I was sorta sad to see her fall to the wayside in the rest of the Question Arcs (altho everyone else getting some focus was important). Very nice to see her in the forefront again here, this time focusing more on her self-sacrificing nature and her sense of duty to the image and wellbeing of the Ushiromiya family that feeds it.

Having THIS be the backdrop of her inner monologue is fitting considering the way everything she faces ends up spiraling into her own guilt and self-loathing, and how she needs to take everything on for her family. I can't even blame her at this point for imagining Kinzo recognizing her for her work cuz idk how else I would live like this. And when she tries to help her husband and he just keeps making the same types of decisions that fail his business ventures and she ends up just acquiescing every time. Wow its just harrowing. They can never make me hate Natsuhi. Also I forget if I addressed Maria's torture of Rosa in the last write up, I don't wanna say a whole lot besides the cycle of abuse within the Ushiromiya family is horrifying, and that it feels like this chapter, Maria's turn to inflicting harm on others to cope feels unaddressed in a concerning way. Like I'm scared

As for the new characters, I like Erika a decent amount so far, I'm mainly just waiting for her to fly off the handle because she was just so dominant here until the end of the episode. Her being an avatar of Bernkastel almost makes me think of her as like a joke on author insert characters in fiction, also makes me wonder just what Erika is, if she's supposed to be like a meta entity like the witches even tho she's meant to be a human? Does she just exist between reality and fiction as Berns fucked up creation? Its interesting to me. Also they keep namedropping Ange when talking abt Erika as a piece and its getting on my damn nerves keep my homegirls name out your mouth. I like Dlanor a lot too and how cordial and nice she can be. even tho formally she's usually an enemy.

Not much changed here besides moving Natsuhi up and Krauss down again lmao. I'll keep doing these just to track my opinions but it might be good to be more nuanced with it, add a few more tiers or find some other way to address the cast overall altho by this point, almost all of them in the okay tier or above are so well established and integrated into the story. If I take anything from this vn its gonna be the cast.

The murders themselves I was like fine with. I hope Jessica died painlessly she deserves a break. Obviously things went way differently but, I thought the way it worked was a little boring and I almost expect episode 6 to be some sort of do-over for it altho that feels unlikely at the same time. Altho I do understand it, this is supposed to be a breaking point for Battler, seeing someone actually be (wrongfully?) implicated but being powerless to fight against it before he has his epiphany moment so it's fine. The court scene also made up for it just in its style alone, the sound design, visual effects and transitions are such a treat and give this game such a strong identity among visual novels. The OST with tracks like patchwork chimera, ACI-L and totemblume is like incredible, -45 does such incredible work and I wish I could have them all on my vgm tag on this blog. I might need to liek stop being lazy and do my own vgm uploads and quit replying on other blogs to do it if i want them on my blog lmao. Still a good episode and it's obviously setting up for greater payoffs but it's hard for me to imagine that Bern and Lambda find this first game of theirs particularly interesting before the court scene.

What I'm interested about thought is Natsuhi's baby, if that will end up being a full-fledged piece of Lambda's, and if its the character who I think it is from the little snippets of him I've seen in the intro. It does kinda tickle me that the first twilight murders were all very deep, clean slices to the neck and there's just a Battler-aged, brown haired dude in the intro with a sword. Considering how hard he implicated Natsuhi by controlling her movements, his presence in the story is cooperative with Erika's sleuthing and I'm curious if they'll end up working together as, I guess meta entities in the story? We'll see.

Like I said before I go into ep 6 I wanted to just get down what I have as the solution so far. Nothing concrete still, and I know the how is super important even tho I kinda only have the who and sorta the why, but again I'm hoping episode 6 will help me develop that.

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Anyways I really think it's Kyrie. PIOKJHGFHJKL:L I can't help it. I almost feel like I'm approaching it at the wrong angle and that she's a red herring or something, and I keep going back and forth, but at the same time, so much of the movement of the characters makes sense when you think of it as Kyrie manipulating things. Her face being completely smashed in the first twilight of episode 1. Her being the one to rile the other parents up by warning them about Beatrice in episode 2. The details she reveals about herself in episode 3 and the part of her and Hideyoshi's characters tab that alludes to her shooting him (maybe an accident but ???). And the way she positions herself slightly under Krauss when they're in the dungeon of episode 4, letting him take the reins but still having a lot of influence and command as well as watching them all die as they escape, being the only one to make it inside, being "missed" a bunch by the Chiesters and telling Battler in her own words to believe in magic while her version of the actual events as it is given to Battler is glossed over by the narration. The mystery of the code above the parlor in (i think) episode 3 and half of the numbers corresponding to Battler's birthday. And that, as Beatrice said, because of Battler's sin, people on the island die, that the sin feels like it could be connected to his unclear parentage and that the sin, by the fact that it occurred 6 years in the past, was close to Asumu's death, Rudolph's marriage to Kyrie and Ange's birth. Again I could be barking up the wrong tree cuz I really don't have the how or why down like, in a concrete way yet but I don't know it just feels so likely like I just feel it. And she at least has Genji or Shannon in cahoots too, not committing the murders but just helping with keys or acting as certain people. It would be easy to say they're acting on Kinzo's will but he's dead now so idk. But my vague guess is she wants revenge against the Ushiromiya family for how (like how it affects literally everyone elses like a huge trauma abuse machine) it affected her life, her relationship with Rudolph and the birth of her child. Maybe Battler really is hers but was taken at birth because Asumu's child had died or she has miscarriage and the family wanted to save face. And I think by manipulating the situation and her in-laws she managed to create a state of paranoia on the island, which facilitated most if not all of the murders even without her needing to act. Just because of some of the ways she dies, and some of the red truths restricting the possibilities, I don't know right now if it's possible for her to have killed everyone, but I think it's possible for her to have led people like Rosa and Eva to kill.

Kyrie is shown early on to be among the most shrewd and observant people on the island, at least concerning the battle for inheritance, and since her and the other siblings, besides Krauss and Natsuhi, are already in cooperation against Krauss, I don't find it hard to imagine that she could splinter the group further by influencing any one person in it on her own, away from the others, and I feel like that's how she got some things done in the first couple episodes, and maybe episode 3? Like for the first, I can imagine Kyrie taking Eva aside and using her competitiveness and resentment to convince her to go along with her plan to kill all the other siblings, blame Natsuhi to get her out of the way so the inheritance can be enjoyed by Eva and Hideyoshi with Kyrie taking a fraction while pretending to be dead. Eva goes along with it and after the murders, where Kyrie's whole face is obscured (and Shannon's half-face is hidden from George), and after they return to the parlor, Eva implicates Natsuhi heavily while stoking tensions even further by leaving with Hideyoshi and being very overt about setting the chain to their door and only coming out at precisely dinnertime. Going with the idea that Kyrie's still alive, she hides out in the designated guest room and kills the couple, escaping when Genji and Kanon discover it but leave to get help, escaping and resetting the chain from outside somehow, like with some sort of tool perhaps? and draws the magic circle and leaves, or if we believe Shannon is also alive, that her face was obscured for a reason and any confirmation that "Shannon is dead" can be bypassed with a loophole about her real name (Sayo I think I remember but if I google it I'll get spoiled), Shannon makes the circle and when Kanon and Kumasawa cut the chain, enter and move away from the door to one of the bodies, Kyrie slips out. I can't find any specific red text for this specific locked room other than the one for all locked rooms, so I'm guessing the instances where the entrances are unattended are deliberate. Kanon's death, from what I can find, isn't denied to have been with a trap like Natsuhi's is, so I'll guess that and then say the rest of the deaths were committed straightforwardly, with Shannon disguised as Beatrice for Maria and possibly Natsuhi as Kyrie kills them.

Episode 2 is weird cuz I don't feel like I can act like Kyrie can be proven to be alive atm but it feels like she could have been in contact with Rosa instead, potentially starting with the appearance of Beatrice at the "19th guest". Rosa witnesses her and while it isn't revealed in this episode, it's feels possible that this is likely Shannon in disguise having an effect on her because of how she watched Beatrice die as a kid. Kyrie is in the entrance when Beatrice "enters the mansion", and I think she likely pretended to see her to rile up the other siblings, saw Rosa as potentially weak and had her corroborate to seem more convincing. And later that night, at the chapel, Rosa kills the other siblings. No set motive for this, but when I read the red text which specifies that the key to the chapel didn't pass thru anyone else's hands before Rosa took it, it didn't, to my knowledge, specify that Rosa only took it once, so she could have grabbed the key around midnight and let them all in before killing them, forgetting or pretending she didn't, and then locking and leaving. I also think that the reason they were all at the chapel was over the gold, which we see three ingots after the discovery of the bodies. If the gold is real, I think Rosa could have solved the mystery here considering she solved it in episode 3, and brought some gold as proof, or Kyrie could have solved it and not said anything although that somehow seems less likely. Either way, over the fight about the gold, Rosa in a stupor or frenzy or something kills them and leaves. Since Shannon isn't shown here, maybe she pretends to be the Beatrice we see talking to them here and guts the corpses after, also placing the magic circle, but having Rosa return the key for her to find again. I don't know about the later deaths though I still have to work some of them out. Like what we see as Kanon being warped away and suddenly trudging around outside the kitchen might just be him being killed or gravely wounded and the body being taken and laid against that back door for Gohda to find. Stuff like that but I need to work it out.

Eva in episode 3 almost feels so obvious that it seems like a red herring. If Shannon and maybe Genji and mayyyyybe Kanon? are in kahoots then the six part locked room seems more doable. Eva killing the five after that feels really on the nose, I'm wondering if Beatrice losing some of the games to Battler's Eva culprit Hideyoshi accomplice theory was her playing her own game against him. Altho even with that there's still some mystery like the floating gun killing Hideyoshi which the character tips seem to imply was Kyrie's doing. Battler also proposes that Kyrie's idea about going to the mansion was to privately confront Hideyoshi, in his eyes to confirm that Eva was going out because Eva hated his smoke but a cigarette butt was found in an ashtray of the rom, and I think this is likely, but I also think that maybe, potentially like episode 1, Kyrie colluded with Eva and Hideyoshi and she wanted Hideyoshi to explain why Eva was acting suspicious, in the privacy of the mansion as the smaller guesthouse leaves more opportunity for conversation to be overheard. I also wonder if Kyrie knew that Eva found the gold. If Kyrie was with Rosa here the way she might have been in episode 2, Rosa might've told Kyrie that Eva found it, and besides that, I feel like Kyrie is the type of person to be able to deduce that Eva found it, but this is speculation. No clue what was happening as Kyrie's stomach was bleeding out in front of Eva though.

But this kind of is the best I got right now before I go into episode 6. All of this is assuming Kyrie's able to fake her death as a couple key points and that multiple murderers and servant accomplices are even permitted, I don't think I saw anything in red or any Knox rules against these things but that theory just makes things work better. Technically a lot of these murders can have anyone as the culprit with someone like Shannon as an accomplice but this is the most complete idea I can come up with. I don't even know about episode 5. Hopefully ep6 elucidates some things. Maybe Eva knew Kyrie was a killer and that's part of her resentment of Ange. Maybe there is some fucky true identity shit with Asumu and Kyrie. who knows! Also I had to text search and replace every time I called an episode a chapter because I'm barely cognizant of all the names of the individual chapters within the episodes and I'm just thinking of this like a big book god help me

[the-lady-writes-what]

Warning: Long essay below the cut

Real talk about Harry Potter for a second. As a millennial who was into HP when I was younger, I have to honest and say that I did not see the problematic shit the J.K. Rowling put in her books. For a lot of us, growing up as a white kid in the early 2000's, we were not educated enough to see the anti-Semitism, racism, and lukewarm feminism that wasn't really feminism because Rowling made fun of Hermione for it. Watching the spiral of Rowling into TERF territory and aligning herself with people who reference Hitler in their TERF speeches and literal fascism breaks my heart. HP played a huge part in my childhood, as it did for many people. Sadly there are HP adults who continue to enable Rowling to use her platform for evil. Instead of looking back and dissecting the literature that formed our current mindset, there are people who grew up to be nasty people indirectly because HP taught them that anyone who complains about the system is doing progressive social justice wrong. Harry Potter became a wizard cop for the system that helped put Voldemort in a position of power. Hitler didn't rise to power out of the blue. He worked the current system in his favor and won support. He wasn't just some manipulative well spoken mastermind, he was using rhetoric that already existed. The criticism about the politics in the HP universe came far too late. We currently have numerous adults who are now currently voting to repress Black and queer history from schools, LGBTQ+ education, and criminalize being trans and gay in several states in the USA.

Not every adult who read HP became a fascist, not every adult who is fascist read HP. I'm certainly not saying that HP is solely the reason why anti-LGBTQ+ hate crimes are currently on the rise again and legislations are trying to get passed. What I am saying is that this is what happens when you don't think critically what you read. Critical analysis about what books are produced and by whom can help deter or enable the kind of ideas that Rowling associates with. Her brand of "progressiveness" is seen through the lens of an upper middle class and upper class white British woman. She largely benefits from a system that will come to be the shoulder for her to cry on when the internet "bullies" her, i.e when the internet and former fans try to hold her accountable for the inflammatory things she's said and written about trans people, women, Jews, POC, etc. I am not a saint in all of this either. My first book that I wrote which will never see the light of day again contained an Indian servant because I thought about historical "accuracy" which looking on it now was a load of shit. What I should have done in the first place was do critical research and properly acknowledge the racism and discrimination and imperialism of the British Empire. That character should not have existed and I deeply regret writing a story like that, even if my intention was not to further enable a white-washed history of the relationship between the British aristocracy and the people of India. Whether it was my intention or not, the fact that I wrote it was not okay. I am sorry for that. That book is no longer available and the remaining physical copies will stay with me. They aren't going anywhere. Moving forward, I will do better research and listen to the voices of people of color when it comes to writing characters outside of my own race.

Rowling has yet to learn that lesson towards trans people and keeps using the debunked conspiracy theory that "men dressed as women" will sexually assault someone in the ladies' room and take up female-dominated spaces. Transwomen are women. End of story. It seems that the more she is criticized for upholding anti-trans beliefs and conspiracy theories, the deeper she digs her heels in. She doesn't want to be corrected or told she's misinformed. The die hard fans of hers follow suit. Adult fans of HP have gone to assault and abuse transwomen, forgetting the soft-spoken message of the books they claim to love so much, that you should not hate people for who they are. I say soft-spoken because HP's message of anti-bigotry can hardly be called as such. It is spoken through the lens of upper class wealthy white woman's perspective of social justice and feminism. I say soft-spoken, and even limp-wristed, because its anti-bigotry message falls flat when discussing the numerous problematic and racist undertones in her writing. She wrote house elves as sentient creatures who want to be enslaved and made fun of Hermione for fighting for their freedom. She wrote the main characters to be all straight, white, and cis who later become part of the very system they fought against as children. The magical races in the Wizarding World universe are frequently looked down upon as if they're lesser than the human wizards and nothing is done for them. She did little to no research on non-European naming conventions and named the one East Asian character Cho Chang, combining a Korean and Chinese name as if the cultures are synonymous, named a black character Kingsley Shacklebolt, and allowed the Fantastic Beast franchise make Nagini (a South Asian name with cultural and religious significance) an Indonesian woman played by a South Korean actress. As if insult wasn't enough, Nagini is portrayed as a submissive Asian woman (stay classy Rowling!) who later dies at the hands of a white character to move the plot forward.

I wrote this fucking essay because Rowling is hurting so many people. Her kind of rhetoric which is a pandemic of hate towards trans people is hurting those I know. Two of my dearest friends are transwomen and I would fight tooth and nail for them. Hearing the author who wrote the books that got me interested in reading say things that accuse my friends of being men and wanting to assault women hurts them more than me and it infuriates me. She is one of the many reasons why diversity in reading is important so her mistakes don't get repeated and regurgitated. When you're a dumb white kid in the 2000's, you don't see the problematic stuff because you're not personally affected by it. Nobody can be racist against a white kid. And when authors like Rowling get praised in spite of the insensitive stereotypes and problematic shit in their books, it really is no wonder that we have a resurgence of hate crimes and rhetoric against LGBTQ+ folk and POC. The books didn't materialize out of thin air. There were so many editors who have had to go through the books and said, "Yep. That's fine" when she was writing offensive names for POC characters, anti-Semitic goblins, and having the white main characters join the system that put wizard Hitler into power.

It hurts to let something like HP go and die a slow painful death. It was a huge part of my childhood and got me into reading books. I might not be the reader I am today without those books. Because I will never be affected by the system in which people of color, trans folk, and the Jewish community are oppressed and I admit to being very privileged, I did not recognize the numerous red flags in J.K. Rowling's body of work until it was too late. For that I am sorry. The damage is done, but I'm trying to do better by listening and protecting my friends, trans or otherwise. J. K. Rowling can go fuck herself.

[ickie-vicky]

acknowledging that the binary exists AS a social construct, as an idea, is not agreeing with or following the binary. im not sure you understood me at all, maybe i wasnt clear enough. i am a gender abolitionist.

when i speak of gender i am using it as a general term to describe peoples connections to their identity and body on a more spiritual sense. it is abstract and undefined, because it is inherently subjective. everyone single person has a different felt sense of identity. the way we traditionally understand gender is through the lens of the binary, i do not. so i can understand your confusion. but yea, hopefully ive made it clearer, at least somewhat, that i do not believe in gender in a way that has anything to do with current understanding of that term.

and i understand that not everyone believes me, or even has been exposed to ideas like i have enough to form perspectives like this. so i am very understanding of people reinforcing the binary in some ways as a way to find deeper self meaning. there are obviously more outwardly harmful ways to do this, like feeding into toxic masculinity as a means of finding acceptance. but i dont prescribe to black and white thinking as much as possible (though, as an autistic person, that is my natural way of thinking). there is always nuance, there is grey. i even empathise with your position. its fuckin scary out here and of course you want to protect your interests as much as possible, and of those in similar circumstances. i respect that need, i dont respect the avenue youve chosen to meet it.

so while i dont believe in or agree with the gender binary and all that comes with it, im not going to demonise or vilify those that do, within reason.

so much of what you post makes it out like trans people ARE the enemy. that we are the ones doing active harm, not the ones being actively harmed. things like saying trans women are predators looking to enter womens spaces and erase them or assault them. OR that you believe we are defenseless, mentally ill little girls who have been lead astray and transed, forced to mutilate ourselves. like just such extreme and dehumanising beliefs. and its so sad because none of it is really actually logical or backed up by reason. its like, i agree with you up to a point and then we just veer sooo far into different extremes. the difference being mine advocates for collective and individual empowerment and health, while yours serves to create more divide and pain for all involved.

truly impressive display of doublethink that you repeatedly claim to be a gender abolitionist and also in support of transgender ideology

gender abolitionism good = transgender ideology bad

transgender ideology good = gender abolitionism bad

you simply can’t have both - these are by definition mutually exclusive beliefs. it doesn’t get more black and white than this. this isn’t a nuanced point

you are so invested in your ideology that you are engaging in doublethink - holding two contradictory beliefs and fighting tooth and nail to argue they align so you don’t have to admit you are wrong

do you really not see that?

how do you continue arguing with me with no shame when you are so clearly wrong?

you saying your ideology “advocates for collective and individual empowerment and health” and mine does not is laughably incorrect

the brutal truth: identifying as transgender is a self-centred and harmful ‘solution’ to a systemic societal problem.

you can’t abolish gender alone, so instead you buy into trans ideology for relief.

you don’t care/can’t acknowledge that this harms women because at least you’re alleviating your dysphoria - and that’s what matters to you.

your life has been hard so you must be right - your suffering proves your virtue. you are the hero and the underdog in your own story and everyone who criticises you is ‘harming’ you. any action you take to should be free from criticism because you are a good person just trying to alleviate your own pain.

you simply cannot bear to admit that your suffering does not exempt you from responsibility for causing harm in upholding patriarchy, which is what you are doing

because you have made your ideology a part of your identity you can’t even entertain criticism as it is now a personal attack against you

you call me saying this ‘vilifying’ trans people because it’s impossible for you to admit what you’re doing is wrong

gender is sexist. transgender ideology is sexist. you still haven’t refuted this.

you’re still not defining gender in a way that isn’t sexist - you’re just desperately trying to obfuscate and distance yourself from the truth which is gender = sexist stereotypes about womanly and manly feelings, behaviour, appearance, etc.

your ideology is inherently sexist

just be yourself and do whatever the fuck you want. you must not support the patriarchy by giving yourself a ‘gender identity’ to cope

this will be my last response as this is now arguing-with-a-conspiracy-theorist territory

i hope this has prompted others to genuinely reflect if not anon

[fozmeadows]

race & culture in fandom

For the past decade, English language fanwriting culture post the days of LiveJournal and Strikethrough has been hugely shaped by a handful of megafandoms that exploded across AO3 and tumblr – I’m talking Supernatural, Teen Wolf, Dr Who, the MCU, Harry Potter, Star Wars, BBC Sherlock – which have all been overwhelmingly white. I don’t mean in terms of the fans themselves, although whiteness also figures prominently in said fandoms: I mean that the source materials themselves feature very few POC, and the ones who are there tended to be done dirty by the creators.

Periodically, this has led POC in fandom to point out, extremely reasonably, that even where non-white characters do get central roles in various media properties, they’re often overlooked by fandom at large, such that the popular focus stays primarily on the white characters. Sometimes this happened (it was argued) because the POC characters were secondary to begin with and as such attracted less fan devotion (although this has never stopped fandoms from picking a random white gremlin from the background cast and elevating them to the status of Fave); at other times, however, there has been a clear trend of sidelining POC leads in favour of white alternatives (as per Finn, Poe and Rose Tico being edged out in Star Wars shipping by Hux, Kylo and Rey). I mention this, not to demonize individuals whose preferred ships happen to involve white characters, but to point out the collective impact these trends can have on POC in fandom spaces: it’s not bad to ship what you ship, but that doesn’t mean there’s no utility in analysing what’s popular and why through a racial lens.

All this being so, it feels increasingly salient that fanwriting culture as exists right now developed under the influence and in the shadow of these white-dominated fandoms – specifically, the taboo against criticizing or critiquing fics for any reason. Certainly, there’s a hell of a lot of value to Don’t Like, Don’t Read as a general policy, especially when it comes to the darker, kinkier side of ficwriting, and whether the context is professional or recreational, offering someone direct, unsolicited feedback on their writing style is a dick move. But on the flipside, the anti-criticism culture in fanwriting has consistently worked against fans of colour who speak out about racist tropes, fan ignorance and hurtful portrayals of living cultures. Voicing anything negative about works created for free is seen as violating a core rule of ficwriting culture – but as that culture has been foundationally shaped by white fandoms, white characters and, overwhelmingly, white ideas about what’s allowed and what isn’t, we ought to consider that all critical contexts are not created equal.

Right now, the rise of C-drama (and K-drama, and J-drama) fandoms is seeing a surge of white creators – myself included – writing fics for fandoms in which no white people exist, and where the cultural context which informs the canon is different to western norms. Which isn’t to say that no popular fandoms focused on POC have existed before now – K-pop RPF and anime fandoms, for example, have been big for a while. But with the success of The Untamed, more western fans are investing in stories whose plots, references, characterization and settings are so fundamentally rooted in real Chinese history and living Chinese culture that it’s not really possible to write around it. And yet, inevitably, too many in fandom are trying to do just that, treating respect for Chinese culture or an attempt to understand it as optional extras – because surely, fandom shouldn’t feel like work. If you’re writing something for free, on your own time, for your own pleasure, why should anyone else get to demand that you research the subject matter first?

Because it matters, is the short answer. Because race and culture are not made-up things like lightsabers and werewolves that you can alter, mock or misunderstand without the risk of hurting or marginalizing actual real people – and because, quite frankly, we already know that fandom is capable of drawing lines in the sand where it chooses. When Brony culture first reared its head (hah), the online fandom for My Little Pony – which, like the other fandoms we’re discussing here, is overwhelmingly female – was initially welcoming. It felt like progress, that so many straight men could identify with such a feminine show; a potential sign that maybe, we were finally leaving the era of mainstream hypermasculine fandom bullshit behind, at least in this one arena. And then, in pretty much the blink of an eye, things got overwhelmingly bad. Artists drawing hardcorn porn didn’t tag their works as adult, leading to those images flooding the public search results for a children’s show. Women were edged out of their own spaces. Bronies got aggressive, posting harsh, ugly criticism of artists whose gijinka interpretations of the Mane Six as humans were deemed insufficiently fuckable.

The resulting fandom conflict was deeply unpleasant, but in the end, the verdict was laid down loud and clear: if you cannot comport yourself like a decent fucking person – if your base mode of engagement within a fandom is to coopt it from the original audience and declare it newly cool only because you’re into it now; if you do not, at the very least, attempt to understand and respect the original context so as to engage appropriately (in this case, by acknowledging that the media you’re consuming was foundational to many women who were there before you and is still consumed by minors, and tagging your goddamn porn) – then the rest of fandom will treat you like a social biohazard, and rightly so.

Here’s the thing, fellow white people: when it comes to C-drama fandoms and other non-white, non-western properties? We are the Bronies.

Not, I hasten to add, in terms of toxic fuckery – though if we don’t get our collective shit together, I’m not taking that darkest timeline off the table. What I mean is that, by virtue of the whiteminding which, both consciously and unconsciously, has shaped current fan culture, particularly in terms of ficwriting conventions, we’re collectively acting as though we’re the primary audience for narratives that weren’t actually made with us in mind, being hostile dicks to Chinese and Chinese diaspora fans when they take the time to point out what we’re getting wrong. We’re bristling because we’ve conceived of ficwriting as a place wherein No Criticism Occurs without questioning how this culture, while valuable in some respects, also serves to uphold, excuse and perpetuate microaggresions and other forms of racism, lashing out or falling back on passive aggression when POC, quite understandably, talk about how they’re sick and tired of our bullshit.

An analogy: one of the most helpful and important tags on AO3 is the one for homophobia, not just because it allows readers to brace for or opt out of reading content they might find distressing, but because it lets the reader know that the writer knows what homophobia is, and is employing it deliberately. When this concept is tagged, I – like many others – often feel more able to read about it than I do when it crops up in untagged works of commercial fiction, film or TV, because I don’t have to worry that the author thinks what they’re depicting is okay. I can say definitively, “yes, the author knows this is messed up, but has elected to tell a messed up story, a fact that will be obvious to anyone who reads this,” instead of worrying that someone will see a fucked up story blind and think “oh, I guess that’s fine.” The contextual framing matters, is the point – which is why it’s so jarring and unpleasant on those rare occasions when I do stumble on a fic whose author has legitimately mistaken homophobic microaggressions for cute banter. This is why, in a ficwriting culture that otherwise aggressively dislikes criticism, the request to tag for a certain thing – while still sometimes fraught – is generally permitted: it helps everyone to have a good time and to curate their fan experience appropriately.

But when white and/or western fans fail to educate ourselves about race, culture and the history of other countries and proceed to deploy that ignorance in our writing, we’re not tagging for racism as a thing we’ve explored deliberately; we’re just being ignorant at best and hateful at worst, which means fans of colour don’t know to avoid or brace for the content of those works until they get hit in the face with microaggresions and/or outright racism. Instead, the burden is placed on them to navigate a minefield not of their creation: which fans can be trusted to write respectfully? Who, if they make an error, will listen and apologise if the error is explained? Who, if lived experience, personal translations or cultural insights are shared, can be counted on to acknowledge those contributions rather than taking sole credit? Too often, fans of colour are being made to feel like guests in their own house, while white fans act like a tone-policing HOA.

Point being: fandom and ficwriting cultures as they currently exist badly need to confront the implicit acceptance of racism and cultural bias that underlies a lot of community rules about engagement and criticism, and that needs to start with white and western fans. We don’t want to be the new Bronies, guys. We need to do better.  

[itsclydebitches]

New pet peeve: "You can't criticize the story of an episode, because a later unreleased episode might justify it. But you can still praise the story of an episode even though, by the same metric, a later unreleased episode could retroactively make it worse."

Oh yeah, that one has been a pet peeve of mine for RWBY going on three years now lol. And it's not an entirely baseless stance. Audiences aren't wrong for picking up on cues (deliberate or otherwise), recognizing that this is an ongoing series, and concluding that this will be developed further — potentially for the better. Don't slam the show for not doing X when X needs the rest of the season (or even multiple seasons) to come about/develop. The problem is that a) the fans pushing this perspective likewise tend to ignore RWBY's history of dropping plot threads rather than just slowly unfurling them — making that perspective appear less and less reasonable the longer time goes on — and b) they're applying it to situations that have already messed things up.

Let's take two examples. Example #1 is Penny getting her human body. Putting aside for the moment the thematic issues with that, fans weren't wrong to say, "Wait and see." At the time of "Creation" none of us had any idea what might come of this change. Whether this would lead to a new and exciting arc for her, whether all our questions would be answered... or whether this potential would get dropped along with so much else. Though there's still plenty else to criticize in the episode, specifically criticizing RWBY for not doing more with Penny's change is silly because then and there the story only had 20 minutes we had no idea what might happen in the following episodes. The fact that they didn't do anything with Penny, just killing her off again, is beside the point. The potential did exist and fans aren't wrong to praise potential for being potential. A well-written story doesn't smooth every edge, answer every question, and wrap up every arc in the span of a single episode. It wouldn't be a long-form story if it did.

However, Example #2 is Emerald joining the group, wherein fans say "Wait and see" regarding her redemption. Problem is... that arc is done. We saw it. The group had a brief argument about trusting Emerald, Oscar stopped Ruby from attacking her, there was another few lines of annoyance in the dining room, the group accepted her via laughter, and then Emerald got to smile about how "weird" it felt to be doing good. Badly done as it was, that functioned as an arc! We saw a conflict, a resolution, and growth. It was terrible, but it existed. Which means that all these claims about how the group is going to struggle more in the future, or Emerald will prove herself more in the future, or whatever is currently getting said under the assumption that it will be Good Writing doesn't hold up. Even if RWBY backtracked and gave us that, it's too late. It would read as ridiculous to have the group go from laughing happily at her 'lol remember how I used to try and kill you guys a few hours ago?' speech to suddenly treating her with the reservations her actions always deserved. This isn't potential, this is the RWBY writers backing themselves into a corner. Either we're left with a "redemption" that was never a redemption to begin with, or the story tries to do that work in Volume 9, making the Volume 8 material look like even more of a mess in the process. There is no way to fix this now.

Too much of RWBY is read through the lens of what fans assume is going to happen, to the point where some in the fandom actively ignore what is happening on screen in order to maintain that presumed potential in their minds. Those who put faith in Penny getting a fantastic arc as a human may have been a bit too optimistic given RWBY's history (and I do include myself in that), but they're not wrong to point out that such potential existed for a time. Those who put their faith in Emerald getting a better redemption are actively ignoring the canon in order to preserve the better written version of RWBY they've got in their heads. And then yeah, we have the hundreds of cases in which "Wait and see" is used simultaneously as a way to dismiss criticism while also praising the current canon. Up until we know, say, what happens with grimm!Summer, "Wait and see" allows fans to say that the Volume 8 Hound material was incredibly well written AND that critics are fools for doubting what will come next because they've already jumped ahead and written RWBY to their own standards. They've already imagined a version of RWBY one, two, three years from now where grimm!Summer is handled in a spectacular fashion (whatever that means for each individual fan), thereby validating both the writing we currently have and throwing a metaphorical middle finger up at the critics. Never mind that this version doesn't exist and that a bad version is equally possible, it's treated as fact. Thus, we're left with a community where potential is, so often, assumed to be leading to good things... despite how often RWBY has proven otherwise. Because whenever we do get to that future writing — when it's clear we're done with Oscar's outing, or forgiving Ozpin, when Penny is dead and Raven never showed up in Volume 8 and a ton else — when it's clear that "Wait and see" didn't actually lead to anything good like so many claimed... the fans who made those claims suddenly no longer want to engage with that. They ignore it rather than going, "Huh, yeah. That didn't turn out like we'd hope. I can see now why you'd be hesitant to put your emotional investment in this new question the show has raised. If they dropped the ball before, they can definitely do so again..." Instead, it's this round robin of "Wait and see" applying to the newest plot point, ignoring the dropped plot points behind us, a catch-all response to praise the current canon and shrug off anyone who would doubt the brilliance of the writers... not matter how much evidence they can point to in order to say, "Hey, this doesn't appear brilliant to me." I mean, it certainly makes for happier viewing, but if you're at all interested in discussing the canon as it stands and what, based on history, is possible, if not likely to happen... that's not a good perspective to take. And that catch all "Wait and see" response will continue all the way up until RWBY ends. Potentially even longer if the other publications — Chibi, novels, etc. — continue beyond it. I can easily imagine a community where one half is frustrated with how the RWBY series finale ended and the other half is going, "Well, we haven't see the next novel yet that's definitely going to make all this better, so your criticisms mean nothing."

[littlesystems]

For the people who are out there “fighting the good fight” and “trying to make fandom a better place,” I have two important questions for you:

1. Is the author dead? x

2. Is your baby in the bathwater? x

What do I mean by those things? Let’s start with #1. The Death of the Author is a type of literary criticism, the extreme cliff notes version of which is that art exists outside of the creator’s life, personal background, and even intentions. I’m using it slightly differently than Barthes intended, but that’s okay, because the author is dead and I’m interpreting his work through my own lens.

In fandom, the author is dead. In fact, the author was never alive in the first place, not really. The author has only ever been the idea of a person, because unlike published fiction, the only thing we know about a fanfic author is that which they choose to tell us about themselves.

Why is that important?

Because it might not be true. Hell, that happens in real life with published authors, who have SSN’s on file with their publishers, who pay taxes on the works they create and have researchable pasts. If the author of A Million Little Pieces could fake everything, why can’t I? Why can’t you? Why can’t the writer of your favorite fic in the whole wide world?

Stop me if you’ve heard this before: “you can only write about [sensitive subject] if [sensitive subject] has happened to you personally, otherwise you’re a disgusting monster that deserves to die!!” Or maybe “you can only write [x racial or ethnic group] characters if you’re [x racial or ethnic group] otherwise you’re racist/fetishizing/colonizing!”

You can play this game with any sensitive subject you can come up with. I’ve seen them all before, on a sliding scale of slightly chastising to literal death threats.

Now, I could tell you that I’m a white-passing Latina whose grandmother was an anchor baby. I could tell you that I speak only English because my family never taught me to speak Spanish, something which I’ve been told is common in the Cuban community, though I only know my own lived experience. I could tell you that I’m mostly neurotypical. I could tell you that I’m covered in surgical scars. I could tell you lots of things.

Are any of these true? Maybe! I could tell you that my brother has severe mental development problems, so uncommon that they’ve never been properly diagnosed, and that he will live the rest of his life in a group home with 24-hour care. Is that true? Am I allowed to write about families struggling with America’s piss-poor services for the handicapped now?

Am I allowed to write about being Cuban? After all, I did just say that I’m Cuban. But is it true? Can I instead write a character that’s Panamanian? Maybe I really am Panamanian, not Cuban. Maybe I’m both. Maybe I’m neither. Maybe I’m really French Canadian. Should we require people to post regular selfies? I can’t count the number of times I’ve had someone come up to me speaking Arabic, and I’ve been told that I look Syrian. What’s stopping me from making a blog that claims that I am Syrian? Can you even really tell someone’s race and ethnicity from a photo?

Am I allowed to write about being a teenager? Am I allowed to write about being a college student? Am I allowed to write about being an “adulty” adult? Can I write a character who’s 40? 50? 60? How old am I?

All of this is to say: you can’t base what someone is or is not “allowed” to write about on a background that may or may not be real. No matter how good your intentions. And I get it - this usually comes from a place of well-meaning. You’re trying to protect marginalized groups by stopping privileged people from trampling all over experiences that they haven’t suffered. I get that. It’s a very noble thought. But you can’t require a background check for every fic that you don’t like.

If you say “you can only write about rape if you’re a rape victim,” then one of three things will happen:

Real survivors will have to supply intimate details of their own violations to prevent harassment

Real survivors will refuse to engage and will then have to deal with death threats and people telling them to kill themselves for daring to write about their own experiences

People who aren’t survivors will say “yeah sure this happened to me” just to get people to shut up

Has that helped anyone? I mean really - anyone??

So now let’s get to point #2: is your baby in the bathwater?

If your intention is to protect marginalized people from being trampled upon, stop and assess if your boot is the one that’s now stamping on their face. Find your baby! Is your baby in the bathwater? Which is to say: find the goal that you’re advocating for. Now assess. Are you making the problem worse for the people you’re trying to protect? Does that rape victim really feel better, now that you’ve harassed and stalked them in the name of making rape victims feel safe?

Let’s say you read a fic that contains explicit sex between a 16 year old and a 17 year old. Is this okay? Would it be okay if the writer was 15? 16? 17? Should teenagers be barred from writing about their own lives, and should teenagers be banned from exploring sexuality in a fictional bubble, instead of hookup culture? Is it okay for a 20 year old to write about their experiences as a teenager? Is it okay for a 20 year old to write about being raped at a party as a teenager? Is it okay for a 30 year old? How about a 40 year old? Is it okay so long as it isn’t titillating? Is it okay if taking control of the narrative allows the writer to re-conceptualize their trauma as something they have control over? Is it okay if their therapist told them that writing is a safe creative outlet?

Is your author dead?

Is your baby in the bathwater?

Now let’s take a hardline approach: no fanfiction with characters who are under 18 years old. None. Is the 16 year old who really loves Harry Potter and wants to read/write about characters their own age better off? Should they be banned from writing? Should they be forced to exclusively read and write (adult) experiences that they haven’t lived? Will they write about teens anyway? Should they have to share it in secret? Should 16 year olds be ashamed of themselves? Should we just throw in with the evangelicals and say that the only answer is abstinence, both real and fictional?

Let’s say that no rape is allowed in fiction, at all. None. What happens to all the hurt/comfort fics where a character is raped and then receives the support and love that they deserve, slowly heal, and by the end have found themselves again? Are you helping rape victims by banning these stories? Are you helping rape victims by stripping their agency away, by telling them that their wants and their consent doesn’t matter?

Is your baby in the bathwater?

Fandom is currently being split in two: on one side, the people who want to make fandom a “safer” place by any means necessary, even if that means throwing out all of the marginalized groups they say they want to protect - and on the other, people who are saying “if you throw out that bathwater, you’re throwing the baby out too.”

The whole point of fandom is to be able to explore all kinds of ideas from the safety and comfort of a computer screen. You can read/write things that fascinate you, disgust you, titillate you, or make your heart feel warm. This is true of all fiction. People who want to read about rape and incest and extreme violence and torture can go pick up a copy of Game of Thrones from the bookstore whenever they want. Sanitizing fandom just means holding a community of people who are primarily not male, not straight, not cis, or some combination of those three, to higher and stricter standards than straight white cis male authors and creators all over the world.

There is nothing you can find on AO3 that you can’t find in a bookstore. Any teenager can go check out Lolita, or ASOIAF, or Flowers in the Attic, or Stephen King's It, or Speak, or hundreds of other books that have adult themes or gratuitous violence or graphic sex. The difference is that AO3 has warnings and tags and allows people to interact only with the types of work that they want to, and allows people to curate their experiences.

Are these themes eligible to be explored, but only in the setting of something produced/published? Books, movies, television, studio art, music - all of these fields have huge barriers to entry, and they’re largely controlled by wealthy cishet white men. Is it better to say that only those who have the right connections to “make it” in these industries should be allowed to explore violence or sexuality or any other so-called “adult” theme?

Does banning women from writing MLM erotica make fan culture a better place?

Does banning queer people from writing about queer experiences make fan culture a better place?

Is M/M fic okay, but only if the author is male? What if he’s a trans man? What if they’re NB? Who should get to draw those lines? Should TERFs get a vote? What if the author is a woman who feels more comfortable writing from a male character’s perspective because she’s grown up with male stories her whole life, or because she identifies more with male characters? What about all the trans men who discovered themselves, in part, by writing fanfiction, and realized that their desires to write male characters stemmed from something they hadn’t yet realized about themselves?

How can we ever be sure that the author is who they say they are?

Who is allowed to write these stories? How do we enforce it?

Is it better for none of these stories to ever exist at all?

Have you killed your author?

Have you thrown out your baby with the bathwater?

[kemifatoba]

C/O Berlin Magazine | It’s a space for everyone, and everyone can come in — Thoughts for the future

“I cringe when I hear words like ‘diversity’ and ‘inclusion.” To quote the civil rights activist, philosopher, and writer Angela Davis, “diversity” and “inclusion” are terms that you, dear reader, might have also stumbled across in recent months, whether you wanted to or not. Inspired by global Black Lives Matter protests, mainstream media, corporations, and other institutions finally realized – in some cases as it seems overnight – that racism is also an intractable problem in Germany. Unfortunately, we need more than just hollow words and empty promises to solve this problem. You might be thinking to yourself: “But didn’t people take to the streets or write opinion pieces in newspapers to protest structural racism? And didn’t major institutions promise to offer diversity and inclusion workshops in discussion after discussion on television?” Perhaps, but don’t be fooled. Instead of critically questioning the role that white decision-makers play in perpetuating systemic racism, “society” was blamed. Over and over again, Black* people were asked to answer if they had really experienced racism through scrutiny of their real-life stories, while predominantly white “experts” were invited onto talk shows to discuss the so-called “racism debate”. Profound, structural changes are still lacking, at least as of the time this text goes to print. 

Presence equals power. This brings us to the current moment where you are reading these words about British photographer Nadine Ijewere’s solo show at C/O Berlin. Nadine Ijewere is the first Black woman to be given a space that has previously been occupied almost exclusively by white men. As such, this exhibition is significant not only for Black photographers, but for everyone more used to being treated as the object than the artist or curator in spaces like this where many people don’t feel welcome or simply don’t exist. As trivial as it may sound, visibility comes from being able to hang pictures on a wall—or write these lines.

Joy as an act of resistance. Nadine Ijewere belongs to a generation of artists and creatives who have realized that there are more options than simply following the traditional path. Knowing that society has long since changed—even if many gatekeepers in fashion, art, and the media still cling to the status quo—this DIY generation is creating its own platforms to elevate their own role models with an army of loyal followers. In their work, representatives of this generation create worlds that rarely center Eurocentric beauty norms. The same goes for this young British artist, whose work shows people in all their beauty and uniqueness. Her photographs regularly appear on the pages of British, American and Italian Vogue, i-D, or Garage, and she has collaborated with brands such as Nina Ricci and Stella McCartney. Ijewere proves that beauty is multifaceted and that fashion is fun and for everyone. 

More than a seat at the table. When artists like Ijewere make it to the top, it’s not because of nepotism, tokenism, or diversity as a trend, but despite all the obstacles that have been put in their way. And instead of assimilating after being accepted by the old guard, they continue to write their own rules. In Ijewere’s case, this means not only working with diverse models and teams, but also passing her knowledge on as a mentor to keep the proverbial door open. She’s less driven by the desire to stand out from the mainstream than she is to give back by inspiring younger generations, who are able to see themselves in magazines. “Within the time I have, I’ll use every opportunity I get and every space I can get into to expand the horizon of others.”

Representation matters. Celebrating Black people and people of color in a traditionally white space was also the goal of “Visibility is key – #RepresentationMatters,” a watershed moment for the German lifestyle magazine industry when it launched on vogue.de in spring 2019. The goal was to take first steps toward a forward-thinking future where inclusion and diversity would no longer be mere buzzwords, but lived practices. Part of that effort meant ensuring representation in front of as well as behind the camera. The results weren’t perfect and they might not have led to social change, but we proved that there isn’t a lack of creative talent among Black and Brown people in Germany. If anything, we proved that these talents are often denied the space to develop their full potential. 

Ideas for the future. As you see, dear reader, it takes teamwork to bring about long-term change, and for the first time the doors are open a bit. Nadine Ijewere's exhibition shows this, as does being able to write these very words in the C/O Berlin Newspaper. In the statements below, we asked German and international artists and creatives to envision a future where representation and inclusion are lived practices instead of rare exceptions. The results are ideas for a future that is reachable—as long as we all keep working towards it every day. Together.

Nadine Ijewere, artist Art is about art. It’s not about you personally. That’s why artists need to be seen as artists. We all get stereotyped and put into the same box—but we have our own identity. We are put into the same space just because we are Black, but we are all very different people.

Edward Enninful, OBE, Editor-in-Chief of British Vogue Nadine is one of the leading fashion photographers of her generation. She’s not only inherently British in her work, she’s also Black British. She really understands the complex mix of culture, fashion, beauty, and the inner working of a woman, so when you see her images, it’s never just a photograph. There’s also a story and a narrative behind it.

Benjamin Alexander Huseby & Serhat Işık, designers for the label GmbH Our work has always been about wanting to show our community and culture to tell our stories as authentically as we can. It was never about “diversity”, but about being seen. We want to create a world where not only exceptional Black and Brown talents no longer have to be truly exceptional to get recognition for their work, a world where we no longer are the only non-white person in the room because we built the motherfucking house ourselves.

Mohamed Amjahid, freelance journalist and author, whose book Der weiße Fleck will be published by Piper Verlag on March 1, 2021. It's time that Black women become bosses. Gay Arabs should get to call the shots. Refugees belong on the executive boards of big corporations. Children of so-called “guest workers” should move into management positions too. People with disabilities should not just have a say, they should make the decisions. Vulnerable groups deserve to put their talents and ideas to work in the service of the whole society. Not every person of color is automatically a good leader by virtue of their background, but all-white, cis-male executive boards are certainly incapable of making decisions that are right for everyone. That’s why we need more representation at the very top, where the decisions are made.

Melisa Karakuş, founder of renk., the first German-Turkish magazine For a better future, I demand that we educate our children to be anti-racist and to resist when others or when they themselves are subjected to racism. I demand that discrimination is understood through the lens of intersectionality and solidarity! I demand that even those who are not affected by racism stand up against it! This fight is not one that we as Black people and people of color fight alone—for a better future, we all have to work together. 

Tarik Tesfu, host of shows including the NDR talk show deep und deutlich When I look in the mirror, I see someone who grew up in the Ruhr region and loves currywurst with French fries as much as Whitney Houston. I see a person who has his pros and cons and who is so much more than his skin color. I see a subject. But the German media and cultural system seem to see it differently because far too often, Black people are degraded and made into objects for the reproduction of racist bullshit. I'm tired of explaining racism to Annette and Thomas because I really have better things to do (for example, my job). So get out of my light and let me shine.

Ronan Mckenzie, photographer The future of our industry needs to be one with more consideration for those that are within it. One that isn’t shrouded in burnout and the stresses of late payments, and one that doesn’t make anyone question whether they have been booked for the quality of their work or to be tokenized for the color of their skin. The future of our industry needs to go beyond the performative Instagram posts and mean-nothing awards, to truly sharing resources and lifting up one another. Our industry needs to put its money where its mouth is when words like “support”, “community” or “diversity” slip out, instead of using buzzwords that create an illusion of championing us. How there can be so much money in this industry yet so many struggle to keep up with their rent, feed themselves, or just rest without worrying about money is truly a travesty. If this industry is to survive then we who make it what it is need to be able to thrive.

Ferda Ataman, journalist and chair of Neue deutsche Medienmacher*innen A recent survey of the country's most important editors-in-chief revealed that many of them think diversity is good, but they don't want to do anything about it. This is based on the assumption that everyone good will succeed. Unfortunately, that’s not true. It’s not just a person’s qualifications that are decisive, but other criteria as well, such as similarity and habit (“XY fits in with us”). It's high time that all of us—everywhere—demand a serious commitment to openness and diversity. Something is seriously wrong in pure white spaces that can’t be explained by people’s professional qualifications alone. Or to put it differently: a good diversity strategy always has an anti-racist effect.

Nana Addison, founder of CURL CON and CURL Agency Being sustainable and inclusive means thinking about all skin tones, all hair textures, and all body shapes—in the beauty industry, in marketing communications, as well as in the media landscape. These three industries work hand in hand in shaping people’s perceptions of themselves and others. It’s important to take responsibility and be proactive and progressive to ensure inclusivity.

Dogukan Nesanir, stylist  The current system is not designed to help minorities. By giving advantages to certain people and groups, it automatically deprives others of the chance to attain certain positions in the first place. That's why I don't even ask myself the question "What if?" anymore. My work is not about advancing a fake worldview, but about highlighting all the real in the good and the bad. I strongly believe that if some powerful gatekeepers gave in, if representation and diversity happened behind the scenes and we had the chance to show what the world REALLY looks like, we wouldn't be having these discussions at all. I don't just want an invitation to the table, I want to own the table and change things.

Arpana Aischa Berndt & Raquel Dukpa, editors of the catalog I See You – Thoughts on the Film “Futur drei” In the German film and television industry, production teams and casting directors are increasingly looking for a “diverse” cast. Casting calls are almost exclusively formulated by white people who profit from telling stories of people of color and Black people by using them, but without changing their own structures in the process. Application requirements and selection processes in film schools even shut out marginalized people by denying them the opportunities that come with being in these institutions. People of color and migrants as well as Black, indigenous, Jewish, queer, and disabled people can all tell stories, too. Production companies need to understand that expertise doesn’t necessarily come with a film degree.

Vanessa Vu & Minh Thu Tran, hosts of the podcast Rice and Shine  It may be convenient to ignore entire groups, but we are and have been so much more for a very long time. We contribute to culture by making films or plays and bring new perspectives to science, politics, and journalism. We’re Olympic athletes, curators, artists, singers, dancers, and inventors. We dazzle and shine despite not always being seen. Because we have each other and we’ve created opportunities to do the things we love. We’ve created platforms for each other and built communities. Slowly but surely we are finally getting applause and recognition for the fact that we exist. That's nice. But what we really need is not just the opportunity to exist, but the opportunity to continue to grow and to stop basing our work primarily on self-exploitation. We need security, reliability, and money. That's the hard currency of recognition. That would mean being truly seen.

*Black is a political self-designation and is capitalized to indicate that being Black is about connectedness due to shared experiences of racism.

Written by: Alexandra Bondi de Antoni & Kemi Fatoba C/O Berlin Magazine April 2021

[olivish]

Melanie/ Alex hc: (sorry it’s LONG and not even done) 

1. Leading up to Snowpiercer’s commercial launch, Melanie and Wilford argued about division of labor. He was constantly travelling the world to secure financing and to oversee track completion, while Melanie stayed with the train. She accused him of taking exotic holidays while she worked, and he told her, fine.  “You think you can do my job, Melanie?” he said. “No problem. You go attach the Alborz stretch to the Holy Land. And I’ll stay here and tinker with the engine. Bon Voyage, and don’t call me when it all blows up in your face.” 

2. Melanie was surprised by the assignment, not really wanting to go, but Wilford was insistent. “Time for you to learn the dirty half of this business.” So, she packed her bags and flew to Jerusalem, which they were trying to connect to Tehran by way of Lebanon, central Syria and finally, the Alborz mountains just under the Caspian Sea. Political tensions made construction tricky and expensive, mainly due to the number of bribes involved. Melanie was out of her element but resolved to be successful. 

3. She travelled north, to Beirut, where a large camp of climate refugees would need to be relocated to make space for the track. While there, she met a photojournalist covering the story. He challenged her on Wilford’s plan to “lasso the world” (to quote their marketing), saying that to the refugees, it might feel more like a “steel noose.” Melanie bristled at the criticism, explaining that the technology they were developing on Snowpiercer was planet-changing. 100% renewable, 100% emission-free. “That’s worth relocating a few thousand refugees.” They argued, and then they debated, and then they discussed. 

4. They ended up in a cafe, where Melanie sketched out a diagram of the train. She explained how it worked, why they could “just move the track”, and how, with more research, the technology could be adapted to replace everything from coal plants to internal combustion engines. “Imagine a world where energy is free and plentiful,” she said. “That’s a world without poverty.” 

The photographer ordered another coffee and pulled out his tablet. Now it was his turn. They weren’t debating anymore; he just wanted to share his work. 

His photographs were stunning. Nature, travel, wildlife, but mostly, people. He’d been all over the world, documenting the effects of climate change on disempowered communities. That’s what brought him to the camps in Beirut. “And, to you,” he added with a smile. His eyes were deep brown. Long lashes. Melanie couldn’t look away. He pulled out his camera and asked if he could take a picture of her. She shocked herself by saying yes.  

As he pointed the lens, Melanie asked, “what should I do?” 

“Just be yourself,” he answered. It was then that Melanie realized, she had no idea what that meant. Still, she liked the picture he took. She didn’t appear happy, or sad. More like... curious. “So you weren’t lying,” he said. “You are a scientist.” 

Melanie ordered another coffee, and they talked long into the night. 

5. In a matter of days, they were properly in love. He took her to see the refugee camps and relocation sites, she took him to see the Alborz terminus. They hiked the mountains together, taking photographs and telling each other everything. Birthplaces, parents, siblings, friends, likes, dislikes, hopes and dreams...  

Melanie couldn’t explain what happened, but she knew she wasn’t the same person anymore. Something fundamental had shifted, all her jumbled pieces nudged into place. She was at peace with herself for the first time in 34 years. 

Everything was easy. Loving him was easy. Talking, laughing, thinking... all easy. No fear. No acting. Just her. And he loved her. Even in disagreement, he loved her. She didn’t question it, she knew. She knew this was it, nothing else would ever feel as natural or as right.

6. Three weeks later, they travelled to Jerusalem where she was to catch a flight home. It was already decided, he’d finish his current project and come to visit in a month. Melanie felt silly to be heartbroken over such a brief separation. 

One month. That’s nothing. Still, her heart was heavy as they walked through the holy city, stopping at a cafe for one last breakfast. As they waited for service, Melanie pressed her hand flat onto the table. “What is it?” he asked. 

“I don’t know,” she answered. Something. 

Suddenly, the ground jumped. The building cracked. Glass shattered and car alarms blared. People ran for cover under tables and doorframes. As the worst  earthquake in 200 years ripped through the city, Alexander took Melanie’s hand and pulled her to the ground, crawling away from the outer wall.  

It seemed like an eternity before the tremors subsided. Hearts pounding. Eyes locked. They were both okay. Then, came the screaming. 

7. When Melanie woke up, she was alone. In and out of consciousness. Then, a hand on hers. “Alex?”

“It’s me,” Wilford answered. 

“Where’s Alex?” 

“I don’t know who that is. Look at me.” 

She shook her head. She wasn’t in pain, but she couldn’t move. Using every drop of cognizance she could muster, she said, “Alexander Safaryan. He’s a photographer working off a grant from UNHCR. We were together. I need you to find him.” 

It was hard to breathe. The pain was creeping in. “Melanie, listen to me. They’re going to do some work on you here, but as soon as you’re stable, I’m getting you back to America. I’ve got a team on standby at Chicago General. Only the best. You’re going to alright, I promise.” 

8. Melanie never saw Alex again. Her memory slowly returned, helped along by eyewitness accounts, people who reached out to thank her for saving their lives, or their child’s life. But they were thanking the wrong person. 

Alex was the hero. She’d panicked. She tried to stop him from going back inside, but he was determined. “I can hear them. Stay here. I’ll be right back.” But she couldn’t let him go alone. Melanie followed, terrified but with no other option than to help him dig through the rubble. They managed to get four people out before an aftershock came, and then there was nothing.  

CONTINUED HERE.

[incarnateirony]

Do you think SPN is a good and clever show? The ppl I know have either never heard about it or say it's a stupid show about demons and that the older brother is hot. Truth is: I watch a lot of movies and shows, and SPN always stood out to me as less than mediocre. Weak A story with more filler than an aging beauty pageant. I think it's true strength are the characters and that you grow attached to them. You want to see these broken ppl succeed. Killing off most characters was a huge mistake imo

I have a post about this somewhere i’m too tired to dig up.

The old show was, frankly, trash TV, you’re right. Absolutely. It was trash TV, and as long as we were aware it was trash TV, we could enjoy our trash TV for the characters.

However, it did gain incredible complexity over time. I’m currently watching fandom try to galaxy brain to validate their own bad takes pretending it *stayed* poorly written.

Today with my own eyeballs I had to read some stuff that was like “wow purgatory was really bad writing unless you think about it as about dean and castiel instead of about purgatory and fighting so it’s all such accidental intentional good writing omg”

holy fuck people, no shit. If you try to read romeo and juliet with expectations of a gritty comic book action show, it’s gonna fucking seem “bad.” If you expected the 15x18 confession scene to be About Billie, it would seem “bad.” If you demand weird ass perspectives on any piece of text, it would seem “bad.” If you refuse the angle a text is being written in and try to make it perform as if told from a different angle, it’ll seem “bad.”

As was declared, after being forced to read that with their own eyeballs, by @judgehangman “WOW!!! WHY WOULD POSTMODERN ROBERT BERENS PLAY WITH FORM IN AN EPISODE!!!”

Fandom’s abject refusal to *stop* trying to read it like a dumb monster show over the last handful of years, and actually apply meaningful tools to understand what the authors started doing with the text, because they literally just don’t want to think about it--that’s where 99% of bullshit fandom noise comes from.

The /ending/ was bad. But the thing is, if you actually study the text piece itself within its long running paradigms, the text even tells you unto itself it knows that ending is bad. But then because everyone keeps tripping over “surprises” about “accidentally intentionally good episodes” that we have been telling people about LITERALLY ALL YEAR and getting shit on for it, and gasping dramatically, while still on a gradient of thinking that MAYBE 15x18 didn’t happen spontaneously and accidentally--and STILL trying to convince themselves to not critically look at the actual text--like, trying to explain “if you review the text, you’ll see why they know and explained the ending is bad before it happened and are fully aware of how bad it would be if the network, literally an active presence in the text in front of 20 TVs cancelling shows, forced through its ideas and was mutually opposed to ‘Dean and Cas [don’t screw up] their part’.” -- explaining that?

Is like trying to argue algebra with an ill behaved goose.

It’s just going to keep honking “BAD WRITERS BAD WRITERS” while rolling through their accidental intentional good bad writing takes instead of maybe figuring out how far back they *should* roll to start looking at what things they judged through a bad faith lens to begin with. And when they should start giving the text, and writers of that text, credit for actual Good Ideas.

It’s popular to have hot takes though, so I don’t expect it to stop soon.

[reflections-in-a-critical-eye]

Hi! So, why BTS? And why now? I want to follow your blog, but may I speak openly?

Writing about BTS through the lens of various critical theory is amazing. You are so smart. I am going to be honest about my own biases here, so feel free to trash me for it. I am anonymous after all so trash away as is your right. I understand.

There is often a supposition from critics, both professional and amateur, that the fandom- frequently presented as an immature, undifferentiated mob of cultists- is unable to think critically and must have basic things explained to us so that we don't throw stones at the free speech warriors of truth and standards (not saying that this is your attitude). I find that a little alienating. This fandom has existed for eight years. We have seen blogs and empires rise and fall.

I also don't think that it is an accident that the desire to project these more critical ideas into the public sphere usually comes after a year of being a full on ARMY (judging from my friends experiences). I have read peices about BTS's work referencing Lacan, neo-marxism, post-structuralism and other such stuffs. (My friend used to have an analytic blog that she chose to shut down a few years ago). I am going to be a bit blunt again, so trash if you must, but I think what was being exposed in those pieces was not only "critical thinking" but an excess of emotional investment in BTS, and the desire to intellectualize or justify it.

BTS got a lot of people through 2020. Those long content dives kept people sane. But now, based on a lot of the dissapointed PTD criticism, it feels like some people are waking up hung over and kind of bitter. Emphasizing the three English singles and ignoring BE, an album they worked on for months, seems like a symptom of this. Removing BE from the narrative seems to advance theories of BTS's 'Americanization', lack of creative agency and homogenization into some inferior or less Korean form of pop. BE should not be dismissed as irrelevant to this discourse. Many western artists take an average of 2 years between albums. BTS put out a lot of work. Maybe some of the distrust of criticism that we plebes have comes from the suspicion that critics may use art and events to construct a story. As a person of Asian heritage, LGO going #1 on Billboard meant a lot, emotionally.

I hope none of this caused offense. If it did please just ignore. Thanks for your great thoughts. Wishing you success in your goals.

Hi! Your ask did not cause offense, I'm more than fine to talk about this.

There's a lot to unpack here, so I'm taking it one by one.

Why BTS and why now? I chose to write about BTS because it's been an interest of mine for quite long. I mean, I didn't expect more than a year later to be here. My past obsessions usually lasted between 2 to 3 months, max, and everything felt so intense, but then it faded for a few years. (The last band I really focused on was Pearl Jam back in my first year of college while I was going through a bit of a difficult period in my life).

Yes, I have become a fan during the pandemic. It was sort of inevitable for it to become such a huge focus (escapism from the world outside and from writing a thesis). If I had started this blog a year ago, then you're right in one way: it would have been emotional investment and my desire to intellectualize and justify it. Basically that's what I did in the first few months (when I was on my own, in no community whatsoever). In order to explain myself and others why I'm spending time on this, I used to read research articles. But that's not the full truth and that's because to me such practice comes naturally, just as when I was 16 I couldn't just watch and enjoy movies, I had to read about them every day, or how I'm surrounded by pop culture just as everyone else, but I want to read books about it so I'm willing to do that for months. It's how I'm wired, so in a way, of course it had to happen with BTS as well.

The reason why I decided to make a blog now it's not necessarily because I ''woke up'' or that suddenly I see ''the truth''. Perhaps you may have had that impression because of my first post where I talked about PTD and the recent talks about ''Americanization''. I touched on that subject because I was closely following it, but that is not to say it was my only purpose on making a blog. I feel that, a year later, I'm more secure with my general knowledge and that of BTS. I couldn't have done it before that. I also plan to talk about other topics as well, not just what's ''hot'' at the moment. If I didn't have any other ideas, I wouldn't have made a blog.

And I'm certainly not here to teach anyone or ''plebes'' as you said, anything. And I also know that I'm not going to be the last to have a blog, write a think piece or publish something about BTS. People are allowed to engage in all types of discourse, depending on what they like and what they feel comfortable with. There are countless blogs with countless topics and perspectives. Some last, some don't, that's just how it is. I don't have huge important plans to teach the fandom, my ego is not that big and this is just a hobby for me. It's also not the first time I'm publishing something, but it is the first time on my own blog, despite being on tumblr for 10 years now.

But you are right when you talk about people forgetting about BE and I may add, Film Out which is more recent. I too thought that LGO going #1 on Billboard was incredible. It was a song in Korean that really reflected how people felt during the pandemic. Not just LGO, but the entire album is a true reflection of current times on top of being just simply good music. The album was promoted as well, different versions of the MV, the logs that preceded it focusing on production, it really made me look forward to it and it did not disappoint. The last few months of 2020 have been really good for what BTS has delivered. To go back to your argument, I don't think it's about constructing a story. Yes, in a way people could be accused of ignoring BE, but what's the problem with focusing on what's been going on at present? We shouldn't be surprised about that, PTD was released not too long after Butter. It was full of promotional material ever since May.

I stated in my blog introduction that I'm in film studies, so I will end up making a lot of references because I can naturally make my point across. Let's say I'm a fan of Xavier Dolan. I've watched his first films, fell in love with his aesthetics and his stories. Then he releases something that I don't really like, doesn't work for me. Then another. And then another. I'm thinking, ok, this is the direction he's going with, it's not as daring as what he used to do before, but so what? He gets the awards at Cannes, but I'm still writing a negative review of his film Mommy. Doesn't mean I'm wrong, doesn't mean the Jury at Cannes is wrong, it certainly doesn't mean that I don't like Xavier Dolan anymore. We're just looking for different things.

We write about things that are happening at the moment and how see them now. We make judgments of value based on our current knowledge. Who's to say that in 10 years people won't look back and think: those critics had no idea what they were saying about BTS (Antonioni's L'Avventura was booed at Cannes when it was released in 1960 and now it's considered a masterpiece and even taught in schools). But that's just a possibility right now and if in 10 years I'll remember that I used to write about this, perhaps my opinions could/would change. Maybe less than10 years :)

[glenngaylord]

Glenn Gaylord’s Capsules From The Bunker – Summer 2021 Lockdown Style

Like many of you, I’ve lost all concept of space and time during this lockdown era. I’d watch movie after movie, but somehow forget to write about them. I’d consume films for sustenance, but then I’d move on to the next task of cleaning a room, doing a crossword puzzle, or staring at my dog for hours on end. Thank goodness I have a few friends to have breakfast with every now and then, or else I’d have assumed I had been transported to a cabin in Montana. “Am I a film critic or a hermit?” I’d ask myself daily…that is, if I even understand what days are anymore. All of this is to say that I have a lot of catching up to do now that we’ve taken a baby step or two towards returning to some sense of normalcy. Wait a minute. What’s that? Highly transmissible variants? Back into the cave I go. While I still can, I’ve managed to blurt out a few capsule reviews of some films worth mentioning.

In Between Gays – Film Review: Summer Of 85 ★★★★

Prolific French filmmaker, François Ozon, has made a career out of finding dark crevices in the most unexpected of places. Here, with Summer Of 85, he tweaks this New Wave era gay romance just enough to upend our expectations. In pure Talented Mr. Ripley meets Call Me By Your Name meets Luca fashion, Ozon spins what could have been that sun-dappled, seaside summer that changed everything into a love that perhaps never was, zeroing in instead on a young man’s obsession for something unobtainable. Beautifully shot and acted, Ozon takes the story to more provocative places than you’d initially expect while still maintaining the boppy fizz of a great Cure song. Despite the mish mash of tones, the film has a pulse all of its own. It’ll make you swoon, pull the rug out from under you, and then make you wonder how he managed to quietly get a little twisted.

Summer Of 85 currently in select theaters, see official website for details. Released on DVD and BluRay August 17th.

Truffle In Mind – Film Review: Pig ★★★★

Writer-director Michael Sarnoski makes an auspicious feature debut with the story of a man searching for his stolen truffle-hunting pig. Caked in dirt, blood and looking not so much like a homeless man but as a person who died inside a thousand times over, Nicholas Cage gives one of his best performances ever as a man who seeks the truth at all costs. He asks his only connection to the outside world, Amir, played wonderfully by Alex Wolff, to drive him through Portland’s dark underbelly to retrieve his pet companion.

Although the film takes us to a rather unbelievable “Fight Club” moment, it generally holds its mood with credibility. It’s a great calling card, not only for Sarnoski, but also for his talented cinematographer Patrick Scola, who brings a painterly quality to every single image. The film finds beauty in a bite of food, a breath of air, or simply the compassion between two main characters who have seemingly little in common. It’s a shame the trailer elicits laughs when Cage utters lines like, “Who has my pig?” Clearly they want to sell the actor’s neo-gonzo persona, but Cage brings so much depth and seriousness to this project, only raising his voice once. He deserves the highest praise for committing to such an oddly touching, gorgeously quiet story. At risk of sounding Dad-jokey, the only thing that hogs the scenery is his porcine friend.

Pig is in theaters now.

All Is Lost – Film Review: Old ★★

In 1999, M. Night Shyamalan made a great film, The Sixth Sense, and has been chasing that dragon ever since, often to diminishing returns. His films, however, often do well because he has great concepts, a keen eye for visuals and timing, yet things always seem to turn clunky and inane real fast. With Old, he continues down that path by giving us something compelling—a group of people on a beach who age quickly—and ruining it with dialogue seemingly written by an algorithm and rendered unintelligible much of the time, while the terrific cast seem to have no idea how to make Shyamalan’s words sound any better than a high school play. A couple of sequences did make me sit up and take notice, and he uses compositions and offscreen space well, but overall, Old plays like a stretched-out episode of Lost, and like that cool but overstuffed series, you’re not gonna get very good explanations as to what transpires. Sure, the big twist works well enough on some level, but it doesn’t save you from the discomfort of watching good actors flatline in more ways than one.

Old is currently in theaters nationally.

Hi Fidel-ity – Film Review: Revolution Rent ★★★1/2

Shot in 2014, Andy Señor Jr., who played Angel on Broadway along with a host of other credits, staged the classic musical Rent in Havana during a thaw in our relations with the Communist regime. He did so against the wishes of his Cuban family, who suffered under Castro and insisted his production would merely serve as a propaganda tool for the government. He plows ahead instead, capturing the months long process in a rather artless home movie style. The aesthetics don’t carry any weight here when you have such a compelling subject matter. Witnessing his actors struggling with their performances while also living in harsh conditions adds new layers to the late Jonathan Larson’s story of squatters in the age of AIDS.

With a limited talent pool, one of whom doesn’t feel comfortable with the gay subject matter and another who lives with HIV himself, Señor finds new connections to Larson’s material as well as an affection for his heritage. What we may have taken for granted here in the US in terms of sexuality and gender expression feels like a whole new experience when seen through a Cuban lens. Señor speaks out against the Castros with quick sequences showing moments of oppression, thus preventing this film from perpetuating the lies of its government. Instead, he gifts the people of this poor, struggling country with a real sense of community and its first burst of musical theater in ages. Sure he’s a privileged westerner who dangles hope in front of people only to return to his cushy life, but he does so with heart and good intentions. You end up loving and rooting for his cast in this moving, sweet documentary.

Revolution Rent is currently streaming on HBO Max.

Do The Hustlers – Film Review: Zola ★★★★

Call me wary when I went to see a movie based on a viral twitter thread and directed by Janicza Brava, whose Sundance Award-winning short, Gregory Go Boom, proved to be not only tone deaf but downright offensive towards people with disabilities. Her new film, Zola, excels however, in ways her prior work has not. Taylour Paige, a standout in Ma Rainey’s Black Bottom, plays the title character, a stripper who meets Stefani (Riley Keough) one night and is convinced to travel with her down to Florida where they can make a lot of money dancing all weekend. Things, however, do not go as planned, with Zola’s story escalating from one insane twist after another. Paige and Keough are outstanding, as are Nicholas Braun and Colman Domingo as their traveling companions. Jason Mitchell, so great in Straight Outta Compton and Mudbound, brings a wild, dangerous energy, something he shares with the film itself. It comes across as The Florida Project meets Hustlers, but with its own surreal, unexpected tone. I laughed out loud often, especially with Paige’s loopy reactions to her surroundings and the giddy, zippy energy on display. Zola chews you up, twerks on your face, and spits you out, exhausted yet anxious to see whatever this talented group of people will do next.

Zola is currently playing in select theaters and available on demand.

Banned On The Run – Film Review: There Is No Evil ★★★★

It’s impossible to review There Is No Evil without giving away its central premise, so I will avoid as much description as possible. Iranian filmmaker Mohammad Rasoulof has crafted a four-part anthology of sorts around an agonizing moral issue important to people worldwide. At the end of the first part, a stunning cut to an unforgettable visual reveals everything and allows you to watch the rest with informed eyes. Rasoulof seamlessly excels at different genres, from family drama, to action escape, to romance, weaving a tale of such depth and sorrow for its talented cast of characters.

The making of it proves as interesting at the film itself. Banned by the regime from producing feature films for two years and prohibited from traveling outside of Iran, Rasoulof, like any crafty filmmaker, came up with an ingenious plan. He slipped under the radar by calling these four short films, mostly shot in small towns far outside the reach of Tehran, and then had the final product smuggled out of the country. A filmmaker with such talent not only at telling stories, but the with ability to will his vision into existence against all odds, deserves the world’s attention.

There Is No Evil is available on DVD, BluRay and VOD now.

In Space No One Can Hear You Think – Film Review: F9: The Fast Saga ★★★

Considered review-proof, the Fast and the Furious franchise has ruled the box office for the past 20 years, so my calling its latest entry, F9: The Fast Saga, monumentally dumb will have zero influence on anyone’s decision to see it. We all know it’s big and stupid, as do the filmmakers. These films, deliver said stupid with such gusto, that you simply surrender and have a great time nonetheless. Nothing, however, prepared me, for this series to go all Moonraker, sending a car to a place no car has ever gone before. You’ll know it when you see it and probably say, “That’s ludicrous!” and also say, “That’s Ludacris!”

F9: The Fast Saga is currently playing on every screen on Earth and in select theaters throughout the universe.

[natsubeatsrock]

Guide to Avoiding Fairy Tail Criticism

Fairy Tail is far from a perfect series. I'm not here to argue otherwise. I've made plenty of critiques about Fairy Tail over the years and I've been a strong proponent of people being allowed to say things they don't like about the series.

Though, as I watch the fallout of Hbomberguy's video on RWBY and how its fans are dealing with it, it's hard not to think about the stupid things people have said negatively about Fairy Tail. This series has its fair share of stupid, bad faith complaints repeated by critics over and over. While I've talked about some of these in the past, I think it's worth talking compiling a list of things that people who hate Fairy Tail say that I can't take seriously.

"Fairy Fail."

Let's just get this one out of the way. It's not clever in any way. I can't believe this has become as popular an insult as it has. I've seen so many people jokingly refer to this series with this name. No one who unironically uses this is genuinely interested in engaging the series on fair terms at all.

More than that, it's not even true. Despite any issues regarding the series, Fairy Tail is still a fairly popular series with fans, especially outside of Japan. It's one of Kodansha's most successful IPs of the 2000s. The fact that people put it on the same level as Shonen Jump's Big 3 is impressive. If this is what a failing series looks like, I can't imagine what success would look like for Mashima.

"Mashima didn't plan anything."

This is one I've fallen victim to in the past. To be fair, Mashima hasn't been the best at explaining this to his fans. For critics, it's easy to see that Mashima says he comes up with plot points as he goes. Of course, the reason this is a critique is that this is as far as many go.

As Mashima explains it, it's not that Mashima didn't have any plans for future events for the series and how future events would go. While he didn't start the series with many concrete plans aside from the basics, he has had plans for how the series would go. But rather than being fixed plans, Fairy Tail's decisions have been more fluid paths Mashima chooses to go down as the series continues.

This isn't a bad way to write a story. As a story progresses, you may realize that certain ideas may be less possible than others or things you've planned at the start make less sense than you originally thought. Again, the critique could be that Mashima's style of writing is responsible for some of the series' weaker moments. However, it's wrong to say that Mashima shot from the hip every week, as some people have described his writing. Luckily, Fairy Tail is the only series Mashima has written this way. Both Rave Master and Edens Zero have been planned more from the beginning.

"It's like One Piece, but worse."

I've seen it thrown around that Fairy Tail looks like One Piece. If that's all there was to it, I don't think this would be on this list. Despite what people tell you, Mashima was never an assistant for Eichiro Oda. Mashima got into the landscape without being anyone's assistant. That's easy to dismiss.

However, I've seen people argue that Fairy Tail is a poor attempt at trying to copy One Piece's formula. Ignore for a moment that Edens Zero is closer to following that model and even it isn't a copy. Or that every series this side of Dragon Ball has been accused of being similar to it and people have been doing the same with series after Naruto.

The focus of Fairy Tail isn't similar to that of One Piece. There is no grand treasure or giant goal that the series revolves itself around finding. A lot of the main conflicts to Fairy Tail present themselves less as threats to the individual goals of characters or but to the guild's existence.

"There is no point to Fairy Tail."

I've talked about this one in the past. One thing you'll see people say regarding Fairy Tail is that there wasn't a goal the series was getting to. People will often make the poor comparison to Bleach in this regard, despite Bleach's focus being Ichigo's growth towards being able to protect the people that care about him.

This is a point that even fans of the series miss. I've recently been describing Fairy Tail as a series told through the lens of its main characters about the guild. The focus isn't on how the Fairy Tail guild grows towards being the best, especially since they start at the top. We're meant to watch the characters in the guild as they interact with the world around them and the other guild members.

If that sounds like a weird way to run a series, it's not. Durarara has a similar setup but splits the focus from one core group of characters to several groups and individual characters split up across its main city. Its plot focuses on how each different group connects with each other in ways they don't know and we can't expect as viewers. I wish people would engage Fairy Tail criticism on this level because there are ways to criticize in its implementation of this. However, people see that there's no "I'm gonna be Hokage" or "I'm going to find the One Piece" plotline and think that the series has no point to it.

"Natsu/Lucy is a bad protagonist."

This is related to the last point. The series is less about how Natsu or Lucy achieve their specific goals and more about the guild after they meet each other and start working together. If the series were about those things, we'd get more time focusing on Natsu's search for Igneel or Lucy's growth in the guild. Once you understand what the series is about, the focus the series takes makes sense.

However, I want to spend some time explaining the functions that either character. Again. While the series is, for the most part, told through Lucy's perspective, Natsu is the main driving force of the series. The comparison I've been making for years now is the Sherlock Holmes stories. If Natsu is Sherlock Holmes, Lucy is Dr. Watson. Mashima's referred to both as the main character and the argument could be made that this focus expands to other main members of the Strongest Team.

"Juvia had no arc."

Yet another one I've been responsible for sharing. I've had a weird arc over the past few years of writing about Fairy Tail going from tacit defense to reluctant attacks to my current stance of nuanced critique. However, I've never been a huge fan of how Juvia's been written, despite liking Juvia herself. It's been thrown around that Juvia didn't have a real character or arc, especially outside of Gray.

Juvia's arc involves coming to experience love better. She goes from learning to love other people as friends to engaging with romantic love. She even gets the opportunity to share that love with others. While the focus of that arc becomes centered around Gray, it's not as if Juvia becomes less loving of others or that her arc focusing on Gray makes no sense considering he started her on the path of becoming more loving.

As much as I should sympathize with this argument, it's become a lot more annoying to see this kind of argument levied towards female characters. You're not seeing people argue that Jellal's change is too focused on Erza. I'm not even saying this as someone who loves how this has been played out in the series. It's just annoying to see at all.

"Watch Craftsdwarf's videos on Fairy Tail!"

I've talked about a few of the issues I have with the series already, but I keep seeing this brought up. I'll give credit where it's due. Craftsdwarf's "Overly Long Analytical Tirade on Fairy Tail" does make good points about the series. And considering it's broken up into different parts, it's more digestible than that rant about RWBY. I'm a big fan of the kind of media analysis videos and I've often linked some of my favorite videos in my posts here.

However, Craftsdwarf's videos aren't perfect. The videos come at the series from a hilariously uncharitable point of view, resulting in repeating many of the points I've already mentioned in this post. Their analysis of both Fairy Tail and Rave Master is often shallow and ill-formed. It might be helpful to watch the series to see a negative perspective about Fairy Tail. However, I worry that the points made in that series will be the foundation of future criticism of this series.

“Fairy Tail is the worst (popular) battle action shonen.”

It’s funny seeing this one levied towards plenty of series that aren’t Fairy Tail. People say this about Dragon Ball. People say this about the Big 3. People say this about other hits in Weekly Shonen Magazine like Seven Deadly Sins and Fire Force. People say this about the current popular stuff from WSJ like MHA and Black Clover. Fairy Tail is far from the first or last series to get this complaint.

Even ignoring how hilariously hard this is to quantify as objective fact as opposed to personal preference, I’ve noticed that most of the people making this claim don’t do the work to understand why things they don’t like happened. To be honest, I don’t know too many fans who are willing to do the same. A lot of fans have the infuriating mindset of “it’s bad, but I still like it”.

Despite whatever anyone tells you, Fairy Tail has internal logic outside of “nakama power”. Characters face genuine loss and win for logical reasons. Even if it’s not as consistent as fans would like it to be, I don’t think the anime/manga fandom is worse for this series being as popular and beloved as it is.

Let me know if I forgot any or if you’ve heard another one.

[ladyknight33]

Hero of Numbani: A Review

So I finally got around to reading this book. In short it is cute. Written for grade school children much like Efi, age 12. A lovely dip into the Overwatch world for fans of the game by bringing in in-game interactions and voice lines. If you play the game you immediately get the characters’s voices in your head because of them. Also prolific use of current lore, mainly by way of the Overwatch Cookbook. The favorite foods of the characters liberally referred to throughout the pages.

The protagonist Efi is adorable in trying to balance the life of a genius with life as a child. The story is as much about this struggle as it is about the building of Orisa. The transformation and teaching of an OR-15 “Idina” is the catalyst for Efi’s growth as an individual. Without spoiling too much of the plot, Efi and her friends navigate the struggles of relationships, both with family and friends. The lessons learned are important for young people to learn early and this book allows its readers to experience such turmoil and joy across its pages.

Forewarning, I’m going to get a little critical here on out. 

While I enjoyed the attempt to expand Overwatch Lore and develop their characters with a backstory, it generally felt stilted. My initial takeaway thoughts were on why the Overwatch animated shorts and comics felt approachable to all ages but the Overwatch prose/short stories felt limited to school age children. 

My personal opinion, probably from reading too much epic fantasy by Robert Jordan and Elizabeth Haydon, was that the world Drayden wrote for Numbani relies heavily on the reader having played the game and experienced the Numbani map. Very little description is given to fill in the non Overwatch fan of this world 

Perhaps my favorite piece of description was for Efi’s iconic look. Drayden took the time to try to put into words the African clothing for us non-African readers. Trying to describe ethnic clothing for people who have never seen it before and have no idea what the items of dress are called is complicated and time consuming. I appreciate the effort and it will take me a few more readings to really understand what the items of dress actually look like. But for Efi, Drayden did more than that. She explained the personal history of each item Efi wears in the above picture. It gives the reader a clear sense Efi’s personality and what’s important to her. This is all for a purpose within the plot, but I felt these descriptions were among her best in the story.

Perhaps the most complicated part of writing is the pacing of the plot and warring with character development. Obviously Efi and Orisa are the protagonists and it is their growth that is most important to the story. The side characters such as Efi’s friends felt more like a list of names. While reading the story, I did not get a good sense of their personality or even their physical description. Efi’s cousin Dayo got the most attention of the group for his use of a cane and spectacular costume sense. Yet as a three demential character even he seems lacking.

This is easily justified by the story length and target audience. I’m clearly not part of the target audience. I read in-depth and get discouraged when reading works I cannot get lost in. For the target audience, this is appropriate but not challenging in its use of English. Again, I’m comparing my childhood favorites of Brian Jacques and Mickey Zucker Reichert to a totally different genre. Do not let it detract from the enjoyment of the Drayden’s story.

Another difficulty is making “baby” characters interesting. Both Efi and Orisa are children. They do not have the long complicated backstories that most of the Overwatch characters have. We’re reading their adventures as they happen. Nor do they fall easily into a hero trope. They do not have a lot of experience to draw upon, so we get to read about their mistakes and lessons learned. Some instances don’t seem plausible, but I had to remind myself that this is a future world and Efi is a genius so the power of the suspension of disbelief must be strong. 

The most troubling issue for me within this story, is how Efi does not seem to have a mentor. No guiding light beyond the collective memory of Gabrielle Adawe and the idealization of Overwatch. Efi sets out on her robotic misadventures without an elder to ask questions of. Sure this would make some of the misadventures impossible, but it also would make the world more believable. 

While building Orisa, Efi’s priorities seem scattered with no real plan. This leads to multiple failures. Efi takes on an insurmountable task for anyone much less a 12 year old. It would stand to reason one lesson to be learned is not to be afraid to ask for help. I don’t think this is conveyed through this story as there are many instances where Efi assumes full responsibility for problems beyond her control or capability. Again, I’m not the author so I do not know Drayden’s decisions beyond this might not be the story she wanted to tell.

Now we cannot have a story without discussing the antagonist. In some respects the obstacles Efi overcomes is her own family’s expectations and limitations. The clear conflict comes from Doomfist. His act of stealing back his Gauntlet and destroying the OR-15s is the beginning of Efi’s story. Everything before was setting the stage.

Doomfist does not receive much “screen time” within the book. He is a background threat. He shows up, causes chaos, and remains a haunting threat into the future. Drayden tries to set up his terror by comparing it to the previous Doomfist: The Scourge and to the Omnic Crisis. All of this through Efi’s view point of the scant memories she has of her family.

The Reader may not get a true sense of the threat and danger, but Drayden does well to describe it around the lens of a child who had been shielded during the worst of the terror.

Doomfist himself is a flat character within this story. The reader knows his story from his character release, not from Drayden’s The Hero of Numbani story. Efi and her friends mention the jail break, but there is little context to it. He serves only as the grand obstacle and test of Orisa’s abilities. 

Let’s not forget Lucio. 

He’s like the prize inside the cereal box. 

If Efi were ever to have a mentor, Lucio is a great fit. She idolizes him. Drayden wonderfully gets inside the mind of a “tween” to show how captivated she is about the music icon. He is the voice of reason and encouragement Efi needed through this whole story.

Lucio shows up much like a guest star. We get a greater sense of his character and personality through his interactions with Efi. Yet we are still left to develop out sense of him from the gameplay.

His purpose within this story is that of a “fairy-godmother.” To give the protagonists exactly what they need at exactly the right moment. This is a very useful tool in writing. Here I do not feel like it was well disguised at all. Time constraints or author’s choice; it is not a bad placement or use of character. Just not my preferred. 

If you have made it this far, thank you.

In short this story is cute and an easy summer read. It has all the charm of a child’s cartoon show. (Netflix, if you’re listening, this would be an excellent addition to your animated line of shows. I’d love to see it in the vein of the animated short for Doomfist’s reveal.) The dynamic of these over the top characters are perfect for the small screen. The brightly colored and exquisite atmosphere of Numani deserves center stage. 

Even with the heavy use of in-game dialogue and voice interactions rather than new developments, this story was worth the read. Not the masterpiece or lore rich epic I’m hoping for. Stylistically cute. A shout out to fans, but not a gateway to non-fans. If you read this book, you must have prior knowledge of the characters and setting from the game and character releases. 

All that said, I do hope there are more stories. The listing of The Hero of Numabi as Overwatch #1 gives me hope. I would love to see more lore rich stories that can stand alone without relying heavily on game play, where every other sentence seems like it is borrowed from the game.

Efi and Orisa may seem like periphery characters now, but they hold promise to boost the Overwatch world. 

Side note: I love the original Overwatch cast. But reading this story has made me want to see more Lucio in the future. Lucio feels like he could be the leader Overwatch needs and deserves in order to bring it back into respectful prominence.