#I love fandom history and media preservation this is the best thing ever

[time-for-crows]

Smpronpa being brought back and creators just saying “yeah lol we didn’t care it was just that guy” is so vindicating it feels like the world is healing!! Like. If you weren’t even in the smplive fandom but into mcyt at the time you probably still heard about the discourse surrounding it but it’s BACK!!! And we all love it!!!! Like we always did!!!! It was just that one guy who fucked it up!!! And caused a whole witch hunt about it!!! It may seem silly to care about this but holy shit being there in the trenches when everything happened was an experience to say the least.

[princeescaluswords]

what do you mean by 'not aesthetically pleasing'? I've seen you use it a few times for things that seem unrelated to aesthetics.

You've all heard the phrase "Beauty is in the eye of the beholder." It's so ubiquitous it's a cliché, though a very useful one. We call a pleasurable or appreciative reaction to a particular sensory input "beauty." As we grow and accumulate experiences, we begin to understand that there is a certain set of characteristics that, singularly or in combinations, we find beautiful. This is our aesthetic, and we all have one. It's very hard to define our personal aesthetic, and sometimes it can be damaging to try, like pinning a butterfly to a board, but we know it when we sense it.

As an aside, sometimes enough individuals in a society share so many aspects of their aesthetic in common that it becomes a public aesthetic. This phenomenon can be positive or negative or sometimes both at the same time. You only have to open Tumblr to see debates about public aesthetic and the campaigns to preserve or change them.

When I use that phrase 'not aesthetically pleasing' I am 99 times out of 100 referring to my personal aesthetic. It's important to me to make a distinction between my evaluation of a cultural object's quality with how it makes me feel. My favorite example of this is The Godfather. The Godfather is among the best United States films ever made. The writing is precise in its economy, insightful into humanity, and perfectly balanced between expository detail and pacing. The acting is exquisite from Al Pacino and Marlon Brando down to Abe Vigoda. The directing and cinematography is symphonic in creating tone. The setting and action is timeless while still being aware of history and the principles explored are universal without ignoring the nature of the Mafia as a product of class uprising and xenophobic oppression. There are many reason that it is consistently listed in the top ten movie rankings, but nevertheless, I hate it.

It does not sit well with my personal aesthetics. I despise the way in the movie the victims of these criminals vanish like ephemeral soap bubbles on the screen, even though I am intellectually aware that this is deliberate because it represents how the mobster justify themselves and 'this thing of ours.' I detest how the movie makes the point that the same qualities that make Michael Corleone a war hero make him an effective don. I am unsettled by how bonds of love and family transform people into heartless murderers. This isn't a rejection of darkness or unsettling images; there are few movies darker than Kubrick's and I am aesthetically pleased by his disturbing works from The Shining to Dr. Strangelove to A Clockwork Orange.

I recognize that there is a difference between the quality of a piece of media and my aesthetic reaction to it. I think it's a significant problem in United States culture -- and especially the fandom -- that this awareness seems to have been discarded. Too many people operate under the oversimplified idea that "if I like it, it's good, and if I don't like it, it's bad." Don't get me wrong, an individual can derive aesthetic pleasure from a quality piece of media, but it's not a necessary relationship.

Take my primary fandom, Teen Wolf. While as a work of art it has significant flaws -- shoddy chronology, an overindulgence in spectacle, needless casting bungles, and a recurring practice of prioritizing the emotional trauma of white male characters and white male characters alone while portraying the neglect of the emotional trauma of characters of color and women as necessary to the plot -- most of it still provokes within me aesthetic pleasure. It's why I talk about it, but I don't try to say it's on the same level as The Godfather.

There is a resistance to separating quality from aesthetic pleasure that I lay at the feet of Post-Modern thought. No, I am not a fan of Foucault or the people he inspired. By rejecting any attempt at objective measurement, we have become bound to the subjective, and it has created a toxic cultural experience. That's why I try to be clear when I voice an opinion dependent on quality or voice an opinion based on aesthetics.

[chubsonthemoon]

DOVEEEEEEEE oh gosh THANK YOU SO MUCH. This is???? The kindest most flattering thing ever AHHH I am beside myself!!

the way art and creation is part of an ongoing conversation no matter where it's happening and the way that fandom in particular is so founded on that community and the creation of that conversation in real time for the love of it--YOU!!!! YOU GET ITTTTT oh gosh exactly what you said right here!! This is exactly what I set out to capture and I'm SO happy to hear you say that.

This part especially is making me tear up >>> hosting it in the same format as that used for the long-term version of that collaborative process in a volume like the Odyssey (the conversation between the storytellers and translators and academics and historians surrounding something like a Homeric epic) I ADORE how you say "long-term" here, because YES!!! That's what these books are made for, really (although the love they get now continues to astound and humble me!)--they're for the future, and your pointing it out here is so vindicating. It also reminds me of how we even got here--how the many pieces which now make up the Odyssey were orally transmitted before they were ever written down, and what it means to take those pieces and bind them. What it truly means to bind a story--anchoring it to not only a physical location, but also to a specific point in time. Beyond annotations in the margins (MARGINALIA MY BELOVED) and just straight-up tearing it apart and Frankensteining it to something else, the story is set. It's...like a congealing, of sorts, set in something not quite as permanent as stone, but still very difficult to change.

And now with Wings--what it means to bind fanfiction of it. I've heard modern media fandom described as modern folklore in our capitalist society (wrote a bit about it here in my reply to Heather!), and idk I just think it's kinda neat how unique (or perhaps not unique at all--perhaps only unique recently, with commercial book publishing in its current form) the fic writer-fandom relationship is. We're all just sitting around a virtual fire listening to each other tell stories, and like you said!!! It's ongoing, it's collaborative, it's yes and-ing each other to make new narratives.

Layli Long Soldier once came to my university to speak, and she said something I will never forget, about how orally transmitted histories and stories are just as reliably passed down and preserved as the written word. I don't know how true that is (and there's undoubtedly Very Heated Discussions going on about it in a room somewhere), but it still really got me thinking! About what we remember and what we tell others--human memory is fickle, but are we not containers of stories also, just as much as any codex or scroll or line of code on a screen? And beyond that, we have direct access to the means and medium of telling that story (I guess...our brains? Our mouths? Our hand motions? But then that is all influenced by language which is in turn influenced by culture and individual experience and AHHH--), and we can alter it at will in a way we just can't with something physical. When we tell a story, we're also physically anchoring the intangible to the tangible; we breathe life into it, literally. What never was, is not, and never shall be--and yet we somehow make it so!

I'm not quite sure where I'm going with this--every book I bind, I think about what myself and other fanbinders doing--taking fics from the ether of the Internet and giving them a physical home in meatspace. (Reading and watching The Sandman has certainly lent a particular sadboi goth flavoring to the thought process XD) I'm three years into this fanbinding thing, and I don't have any plans of stopping. But I think even if I stop one day, I'll always be thinking, whenever I read a story, about possible methods to increase the chances a binding of it might live on, how to best represent this or that element of the story in a physical space, and with books like Wings--how to best represent a community at a certain point in time. Like, explicitly that community, with a focus on its members and their conversations, in addition to what one might be able to glean about that community from the story itself. Providing context--both for the story, and for the people surrounding the story (which are, perhaps, even the same story), if you will.

ANYWAY. I won't have the answers today or possibly ever LOLL, but thank you so much for listening to my rambles and for this incredibly generous response. On a less armchair note: OMGGGG twinning Robert Fagles translation!!! I love hearing the stories of books and this is now one of my favorites--the lard ball has me CACKLING. And it such an honor to even be mentioned in the same sentence as a specialty edition of the LOTR, thank you so much, I am crying a little T_T

Thank you as well for pointing out all the little details you noticed--you have the keenest eye and are so generous and insightful in your analyses of not just my work, but the work of others in this incredible fandom!! I'm also so mf glad we get to chat about this kind of stuff--it's so uplifting, interesting as hell, and above all just plain pure fun :3

Thank you so, so much, friend!! It means the world <333

Last Binderary book is DONE!!!! This is the incredible Maybe sprout wings, by @moorishflower.

This post is going to be a doozy, so gonna just skip straight to the cut!

INTERIOR

INTRODUCTION

I really wanted to model this bind after my own copy of the Odyssey, (which is all highlighted and bookmarked and annotated to hell from my Great Text courses in undergrad ehe, so this bind was such a fun trip down memory lane!). But beyond just the cover/general aesthetic, I also wanted to give the book a similar feel to these kinds of editions of classics--there's usually an introduction, translation notes, and other supplementary materials, right? Like, a physical manifestation of the work of many, many people, all having conversations with one another across time and space.

So that's what I did! I wrote a short introduction (I will also probably post it to my AO3/my blog as well, in the name of preservation etc. etc.) and began reaching out to folks in the fandom who I knew had created art and meta for the fic. The result? 18k words of analysis, comments, and meta, and nearly twenty pages of art!

And this is what I love most about this bind, I think! This book is the work of several people--truly a collaborative work by the fandom--all of whom I will now be shamelessly calling out below :D

CHAPTER HEADER ART

First and foremost, this book would not be what it is without the gorgeous header art by @fancy-rock-dove! Thank you so much Dove for letting include your work, and for being so supportive and kind these past few weeks about this bind <3 You in particular have contributed so much to this book (which I will be getting more into in the next section ehe), and I'm so psyched I get to hold your art and words, too!

NOTES ON THE TEXT

This section was divided into four parts: Asks and Answers, Meta, Selected Comments, and Chapter Heading Art: Process

For Asks and Answers, I trawled Heather's blog for meta she had written in response to questions and other meta about the fic. Asks came from @fancy-rock-dove, @quillingwords, @kulapti, and myself! (I THINK I got all of them--tumblr's search function is finnicky even on its best days, so so sorry if I missed something T_T) I first got hooked into reading this fic because of one of these asks, so I'm very fond of this section in particular :D

For Meta, I included two wonderful essays written by @pastrypuppy (also known as @kulapti) about Hob as an author figure and the Disrupted Fisher King narrative in MSW. Her analyses were so fascinating and I just had to include them in the book! (And thank you as well for your permission, friend!) (also hello fellow Renegade comrade 🫡)

For Selected Comments, I owe everything to (once again :3) @fancy-rock-dove, whose insights are the epitome of transformative fandom at work. I'd look for their comments after I read every chapter to see what their takes were on this or that element of the story, and every single time I would go "!!!!! I didn't even realize!!!" or "OOOOOOOH I hadn't thought of that!!" It was like being in a lecture hall and always whipping your head around when one of your classmates raised their hand, because you knew they were going to say something fascinating that you hadn't considered before.

Aside from one of my own comments, Dove's comments make up the entirety of this section (for which I owe you my life--your long-form responses to fics are a gift to this world) but GOSH was it also so much fun going through the comments section while typesetting and seeing all the keyboard smashing, yelling, and crying from the other commenters. Communal nature of storytelling and ongoing meaning-making of fanfiction, babey!

And finally for Chapter Heading Art: Process: once again Dove coming in clutch with some wonderful insights into the design of each of the chapter heading art pieces! This kind of stuff is honestly my favorite: meta about art for a fic which is, in turn, a transformation of an existing story (not even to mention that The Sandman is its own kind of fanfiction of existing mythologies and histories)--I just!! Think it's all really, really neat :'D (for more coherent/polished thoughts on this pls see my introduction asjdfkls)

ART

The art gallery!!! A million thanks to @fishfingersandscarves, @honeyseller, @jazzpsych, @doctor-rainbowfoxey, and (HI AGAIN DOVE) @fancy-rock-dove for granting me permission to include all of your beautiful pieces!

As usual for artworks in my binds, I printed each piece out on specialty photo paper to really make the colors pop, then sewed each page separately to the text block! Behold, everyone's beautiful beautiful pieces!

The art gallery also satisfies the certain "oooh shiny" part of my brain that always activates when I see pictures in a book, so am also very fond of this section :3

CONSTRUCTION

And now on to the nitty gritty stuff! I used the German Bradel binding technique again, my second time using it. Even though it's more complicated than the case bind, I really love how it gives you the full board space for the cover designs (~it's free real estate~). Keep it a secret but I kiiiiiiind of made a small goof in the last few steps (I did the turn-ins a step too early and so had to paste an extra sheet of cardstock to secure the spine to the boards, whoopsie), but it's a pretty small difference, aesthetically speaking, so it wasn't the end of the world XD

Edges are once again fake gilded, but this time I tried something new with the colors! I did two layers of acrylic paint--one watered down shade of red for the base, then one metallic gold on top of that. I really like the red/gold effect! I'll have to keep experimenting with this kind of layering:

ALSO. Y'ALL! I think I'm finally getting the hang of endbands!!! Many thanks to the folks at Renegade who hosted all the endband workshops last month--I'm still working through them, but even the few sessions I've seen have been TREMENDOUSLY helpful. I learned that tension is Very Important, as well as thread thickness, so I tried doubling my thread and keeping a Very Close Eye on how I was holding the threads while doing the beads. And behold! I still have a ways to go (and one day I would LOVE to do the fancier designs), but I'm v happy with the progress I've made so far!

And finally the covers!! ARCHIVAL MOD PODGE MY BELOVED. I printed on the same matte presentation paper that I used for the art, then did several coats of archival matte mod podge + a pass of gloss mod podge over the title strip to make it ~shiny~. Then once those had dried and I'd adhered them to the boards, I sprayed two layers of matte clear acrylic sealer (also mod podge!) to finish it off. I had some issues with the paper tearing when I handled it before it was fully dry, but luckily the blemishes were small enough that it was easy to do spot corrections with my black acrylic paint. And now I know to be more patient next time LOL

(some non-photoshoot shots that show the shine a little better!)

FINAL THOUGHTS

I had a lot of thoughts while I was binding this book--about Sandman fandom, about Dreamling fandom, about the Odyssey, about storytelling, about fanbinding, about Binderary, about Renegade, about my friends--but really what came to mind the most was gratitude!

Simply put, I'm so grateful to everyone I've met both in this fandom and throughout the years I've been active online--this is SO fun, y'all. It's so much fun to love stories together--to talk about them, to write them, and of course to bind them! I hope I've adequately conveyed that gratitude.

But of course, this book would not exist without the wonderful words of @moorishflower. Heather, thank you so, SO much for sharing your stories, thoughts, and time with us--it is always a happier, better day when I get an email notif from you and when I see you on my dash. I love your work so much, and I'm so happy I finally get to put it on my shelf! So thank you so much again, for everything <3

and OKAY THAT'S IT FROM ME FOLKS!!!!! Binderary 2023 is officially a wrap! I had SUCH a blast--will probably write up a reflection post on it uhhhh after I take a very long nap ajslkdfjslk _(:3」∠)_

all my love! <3

[youneedasoultraveller]

Is the popular headcanon that Nicky was illiterate, stupid and barbaric fitting in the stereotypes about Southern Europeans / Mediterraneans ? I’m guessing it’s from the American part of the fandom that’s choosing to not respectfully write Nicky since he is white while being virulent towards anybody that doesn’t perfected and accurately write Joe because he is MENA.

Hello!

Mind you, I am neither a psychologist, a sociologist nor a historian, so of course be aware these are my own views on the whole drama.

But to answer your question, yes, I personally think so. It definitely comes from the American side, but I have seen Northern Europeans do that too, often just parroting the same type of discourse that Anglos whip out every other day.

There is an abysmal ignorance of Medieval history – even more so when it concerns countries that are not England: there is this common misconception that Europe in the Middle Ages was this cultural backwater full of semi-barbaric people that stems unfortunately not only from trying to (correctly) reframe colonialist approaches to the historiographies of non-European populations (that is, showing the Golden Age of Islamic culture, for instance, as opposed to what were indeed less culturally advanced neighbours), but also from distortions operated by European themselves from the Renaissance onwards, culminating in the 18th century Enlightenment philosophes categorising the Middle Ages as the Dark Ages.

Now this approach has been time and time again proven to be a made-up myth. I will not go into detail to disprove each and every single one misconception about the Medieval era because entire books have been written, but just to give you an example: there was no such a thing as a ius primae noctis/droit du seigneur; people were aware that the Earth was not flat (emperors, kings, saints, etc, they were depicted holding a globe in their hands); people were taking care of their hygiene, either through the Roman baths, or natural springs, or private tubs that the wealthier strata of the population (and especially the aristocracy) owned. The Church was not super happy about them not because it wanted people to remain dirty, but because often these baths were for both men and women, and it was not that in favour of them showing off their bodies to one another. Which, you know, we also don’t do now unless you go to nudist spas. It was only during the Black Death in the 14th century that baths were slowly abandoned because they became a place of contagion, and they went into disuse (or better, they changed purpose and became something like bordellos). And, lastly, there was certainly a big chunk of the population that was illiterate, but certainly it was not the clergy, which was THE erudite class of the time. It was in monasteries and abbeys that knowledge was passed and preserved (as well as lost unfortunately often, such as the case for the largest part of classical literature).

So what does this mean? According to canon, Nicolò was an ex priest who fought in the First Crusade. This arguably means that at the very least he was a cadet son of a minor noble family (or a wealthy merchant one) who was part of the clergy. As such, historically he could have been neither illiterate nor a dirty garbage cat in his daily life.

Let’s then talk geography. Southern Europe (and France) was far, far more advanced than the North at the time and Italy remained the cultural powerhouse of the continent until the mid-17th century. Al Andalus in the Iberian Peninsula, the Italian States,  the Byzantine Empire (which called itself simply Roman Empire, whose population defined itself as Roman and cultural heirs of the Latin and Greek civilisations): these places have nothing to do with popular depictions of Medieval Europe that you mainly see from the Anglos. Like @lucyclairedelune rightfully pointed out: not everyone was England during the plague.

Also the Middle Ages lasted one thousand years. As a historical age, it’s way longer than anything we had after that. So of course habits varied, there was a clear collapse right after the fall of the Western Roman Empire, but then things develop, you know?

Anyway, back to the point in question. Everything I whipped up is not arcane knowledge: it’s simply having studied history at school and spending a few hours reading scientific articles on the internet which are not “random post written by random Anglo on Tumblr who can hardly find Genoa on a map”.

Nicolò stems from that culture. The most advanced area in Europe, possibly a high social class, certainly educated, from Genoa, THE maritime superpower of the age (with…Venice). It makes absolutely no sense that he would not be able to speak anything past Ligurian: certainly Latin (the ecclesiastical one), maybe the koine Greek spoken in Constantinople, or Sabir, or even the several Arabic languages from the Med basin stretching from al Andalus to the Levant. Because Genoa was a port, and people travel, bring languages with them, use languages to barter.

And now I am back to your question. Does this obstinacy in writing him as an illiterate beast (basically) feed into stereotypes of Mediterranean people (either from the northern or the southern shore)? It does.

It is a typically Anglo-Germanic perspective that of describing Southern (Catholic) Europeans are hot-headed, illiterate bumpinks mindlessly driven by blind anger, lusts and passions, as opposed to the rational, law-abiding smart Northern Protestants. You see it on media. I see it in my own personal life, as a Southern Italian living in Northern Europe for 10 years.

Does it sound familiar? Yes, it’s the same harmful stereotype of Yusuf as the Angry Brown Man. But done to Nicolò as the Angry Italian Man (not to mention the fact that, depending on the time of day and the daily agenda of the Anglo SJW Tumblrite, Italians can be considered either white or non-white).

Now, the times where Nicolò is shown as feral are basically when he is fighting (either in a bloody war or against Merrick’s men) or when Yusuf is in danger. Because, guess what, the man he loves is being hurt. What a fucking surprise.

Nicolò is simply being reduced to a one dimensional stereotype of the dirty dumb angry Italian, and people are simply doing this because they do not seem to accept the fact that both he and Yusuf are two wonderfully complex, flawed, fully-fledged multidimensional characters.

So I am mainly concentrating on Nicolò here because as an Italian I feel more entitled to speak about the way I see the Anglo fandom treating him and using stereotypes on him that have been consistently applied to us by the Protestant Northerners. I keep adding the religious aspect because, although I am an atheist who got debaptised from the Catholic Church, a big part of the historical treatment towards Southern has to do with religion and the contempt towards Catholic rituals and traditions (considered, once again, a sign of cultural backwardness by the enlightened North).

I do not want to impose my view of Yusuf because there are wonderful Tumblr users from MENA countries who have already written wonderful metas of the way Yusuf is being depicted by non-MENA people (in particular Americans), especially (again) @lucyclairedelune and @nizarnizarblr.

However, I just want to underline that, by only ever writing Yusuf as essentially a monodimensional character without a single flaw, this takes away Yusuf’s canon multidimensionality, the right he has to feel both positive but also negative feelings (he was hurt and angry at Booker’s betrayal, allegedly his best friend, AND HE HAD EVERY RIGHT TO BE – and I say this as a Booker fan as well).

I have not been the first to say these things, it is nothing revolutionary, and it exactly complements what the MENA tumblr users in the TOG fandom have also been trying to say. Both of us as own voices people who finally have the chance to have two characters that are fully formed and honest representations of our own cultures, without stereotypes or Anglogermanic distortions.

And the frustration mounting among all of us comes from the fact that the Anglos are, once again, not listening to us, even telling us we are wrong about our own cultures (see what has happened to Lucy and Nazir).

What is even more frustrating is that everything in this cursed fandom – unless it was in the film or comics – is just a bloody headcanon. But these people are imposing their HCs as if it were the Word of God, and attacking others – including own voices MENA and Italians – for daring to think otherwise.

I honestly don’t expect this post will make any difference because this is just a small reflection of what Americans do in real life on grander scale, which is thinking they are the centre of the world and ignoring that the rest of the world even exists regardless of their own opinions on it.

But still, sorry for the length, hope I answered your question.

[paenling]

no ones saying you cant enjoy daniil? people like him as a character but mostly Because he’s an asshole and he’s interesting. the racism and themes of colonization in patho are so blatant

nobody said “by order of Law you are forbidden from enjoying daniil dankovsky in any capacity”, but they did say “if you like daniil dankovsky you are abnormal, problematic, and you should be ashamed of yourself”, so i’d call that an implicit discouragement at the least. not very kind.

regardless, he is a very interesting asshole and we love to make fun of him! but i do not plan to stop seeing his character in an empathetic light when appropriate to do so. we’re all terribly human.

regarding “the racism and themes of colonization in patho”, we’ve gotta have a sit-down for this one because it’s long and difficult. tl;dr here.

i’ve written myself all back and forth and in every direction trying to properly pin down the way i feel about this in a way that is both logically coherent and emotionally honest, but it’s not really working. i debated even responding at all, but i do feel like there are some things worth saying so i’m just going to write a bunch of words, pick a god, and pray it makes some modicum of sense.

the short version: pathologic 2 is a flawed masterwork which i love deeply, but its attempts to be esoteric and challenging have in some ways backfired when it comes to topical discussions such as those surrounding race, which the first game didn’t give its due diligence, and the second game attempted with incomplete success despite its best efforts.

the issue is that when you have a game that is so niche and has these “elevated themes” and draws from all this kind of academic highbrow source material -- the fandom is small, but the fandom consists of people who want to analyze, pathologize, and dissect things as much as possible. so let’s do that.

first: what exactly is racist or colonialist in pathologic? i’m legitimately asking. people at home: by what mechanism does pathologic-the-game inflict racist harm on real people? the fact that the Kin are aesthetically and linguistically inspired by the real-world Buryat people (& adjacent groups) is a potential red flag, but as far as i can tell there’s never any value judgement made about either the fictionalized Kin or the real-world Buryat. the fictional culture is esoteric to the player -- intended to be that way, in fact -- but that’s not an inherently bad thing. it’s a closed practice and they’re minding their business.

does it run the risk of being insensitive with sufficiently aggressive readings? absolutely, but i don’t think that’s racist by itself. they’re just portrayed as a society of human beings (and some magical ones, if you like) that has flaws and incongruences just as the Town does. it’s not idealizing or infantilizing these people, but by no means does it go out of its way to villainize them either. there is no malice in this depiction of the Kin. 

is it the fact that characters within both pathologic 1 & 2 are racist? that the player can choose to say racist things when inhabiting those characters? no, because pathologic-the-game doesn’t endorse those things. they’re throwaway characterization lines for assholes. acknowledging that racism exists does not make a media racist. see more here.

however, i find it’s very important to take a moment and divorce the racial discussions in a game like pathologic 2 from the very specific experiences of irl western (particularly american) racism. it’s understandable for such a large chunk of the english-speaking audience to read it that way; it makes sense, but that doesn’t mean it’s correct. although it acknowledges the relevant history to some extent, on account of being set in 1915, pathologic 2 is not intended to be a commentary about race, and especially not current events, and especially especially not current events in america. it’s therefore unfair, in my opinion, to attempt to diagnose it with any concrete ideology or apply its messages to an american racial paradigm.

it definitely still deals with race, but it always, to me, seemed to come back around the exploitation of race as an ultimately arbitrary division of human beings, and the story always strove to be about human beings far more than it was ever about race. does it approach this topic perfectly? no, but it’s clearly making an effort. should we be aware of where it fails to do right by the topic? yes, definitely, but we should also be charitable in our interpretations of what the writers were actually aiming for, rather than reactionarily deeming them unacceptable and leaving it at that. do we really think the writers for pathologic 2 sat down and said “we’re going to go out of our way to be horrible racists today”? i don’t.

IPL’s writing team is a talented lot, and dybowski as lead writer has the kinds of big ideas that elevate a game to a work of art, particularly because he’s not afraid to get personal. on that front, some discussion is inescapable as pathologic 2 deals in a lot of racial and cultural strife, because it’s clearly something near to the his heart, but as i understand it was never really meant to be a narrative “about” race, at least not exclusively so, and especially not in the same sense as the issue is understood by the average American gamer. society isn't a monolith and the contexts are gonna change massively between different cultures who have had, historically, much different relationships with these concepts.

these themes are “so blatant” in pathologic 2 because clearly, on some level, IPL wanted to start a discussion. I think it’s obvious that they wanted to make the audience uncomfortable with the choices they were faced with and the characters they had to inhabit -- invoke a little ostranenie, as it were, and force an emotional breaking point. in the end the game started a conversation and i think that’s something that was done in earnest, despite its moments of obvious clumsiness. 

regarding colonialism, this is another thing that the game is just Not About. we see the effects and consequences of colonialism demonstrated in the world of pathologic, and it’s something we’re certainly asked to think about from time to time, but the actual plot/narrative of the game is not about overcoming or confronting explicitly colonialist constructs, etc. i personally regard this as a bit of a missed opportunity, but it’s just not what IPL was going for.

instead they have a huge focus, as discussed somewhat in response to this ask, on the broader idea of powerful people trying to create a “utopia” at the mortal cost of those they disempower, which is almost always topical as far as i’m concerned, and also very Russian.

i think there was some interview where it was said that the second game was much more about “a mechanism that transforms human nature” than the costs of utopia, but it’s still a persistent enough theme to be worth talking about both as an abstraction of colonialism as well as in its more-likely intended context through the lens of wealth inequality, environmental destruction & government corruption as universal human issues faced by the marginalized classes. i think both are important and intelligent readings of the text, and both are worth discussion.

both endings of pathologic 2 involve sacrifice in the name of an “ideal world” where it’s impossible to ever be fully satisfied. in the Diurnal Ending, Artemy is tormented over the fate of the Kin and the euthanasia of his dying god and all her miracles, but he needs to have faith that the children he’s protected will grow up better than their parents and create a world where he and his culture will be immortalized in love. in the Nocturnal Ending, he’s horrified because in preserving the miracle-bound legacy of his people as a collective, he’s un-personed himself to the individuals he loves, but he needs to have faith that the uniqueness and magic of the resurrected Earth was precious enough to be worth that sacrifice. neither ending is fair. it’s not fair that he can’t have both, but that’s the idea. because that “utopia” everyone’s been chasing is an idol that distracts from the important work of being a human being and doing your best in a flawed world. 

because pathologic’s themes as a series are so very “Russian turn-of-the-century” and draw a ton of stylistic and topical inspiration from the theatre and literature of that era, i don’t doubt that it’s also inherited some of its inspirational literature’s missteps. however, because the game’s intertextuality is so incredibly dense it’s difficult to construct a super cohesive picture of its actual messaging. a lot of its references and themes will absolutely go over your head if you enter unprepared -- this was true for me, and it ended up taking several passes and a bunch of research to even begin appreciating the breadth of its influences.

(i’d argue this is ultimately a good thing; i would never have gone and picked up Camus or Strugatsky, or even known who Antonin Artaud was at all if i hadn’t gone in with pathologic! my understanding is still woefully incomplete and it’s probably going to take me a lot more effort to get properly fluent in the ideology of the story, but that’s the joy of it, i think. :) i’m very lucky to be able to pursue it in this way.)

anyway yes, pathologic 2 is definitely very flawed in a lot of places, particularly when it tries to tackle race, but i’m happy to see it for better and for worse. the game attempts to discuss several adjacent issues and stumbles as it does so, but insinuating it to be in some way “pro-racist” or “pro-colonialist” or whatever else feels kind of disingenuous to me. they’re clearly trying, however imperfectly, to do something intriguing and meaningful and empathetic with their story.

even all this will probably amount to a very disjointed and incomplete explanation of how pathologic & its messaging makes me feel, but what i want -- as a broader approach, not just for pathologic -- is for people to be willing to interpret things charitably. 

sometimes things are made just to be cruel, and those things should be condemned, but not everything is like that. it’s not only possible but necessary to be able to acknowledge flaws or mistakes and still be kind. persecuting something straight away removes any opportunity to examine it and learn from it, and pathologic happens to be ripe with learning experiences. 

it’s all about being okay with ugliness, working through difficult nuances with grace, and the strength of the human spirit, and it’s a story about love first and foremost, and i guess we sort of need that right now. it gave me some of its love, so i’m giving it some of my patience.

[sahrayliathefaelia]

on destiel, fandom, stories, and love

i initially discovered supernatural in september 2011, almost a decade ago. there wasn’t a whole lot in the way of queer representation then, and much of what did exist was sorely lacking. all i personally had at that point was glee, which would unfortunately become notorious for its complex queerphobia despite its verifiable rainbow of explicitly queer characters. so when i learned about supernatural and the mountains of homoerotic subtext that purportedly existed between two of its main characters on a quite literally cosmic level, i mainlined that shit so fast you would’ve thought i was actively dying of thirst. i started watching supernatural EXCLUSIVELY because of seeing destiel all over my dash. i clung to dean and cas--as individual queer characters and as a queer romantic relationship--like a life preserver. i didn't realize it fully then, but i was watching queer media history in the making. dean: a deeply traumatized, emotionally repressed, and faithless bisexual man with a heart of gold on fire; and cas: an immensely powerful, impossibly naive, eldritch gay angel without a soul but with ice blue grace in his veins, would genuinely fall in love with each other in the most epic of slow burn romances, against ALL fucking odds, defying narrative constraints both in-fiction and in the real world. i had never seen a love story (and it WAS a love story) told like theirs before, much less an inherently queer love story, unfolding over the course of more than a decade of television.

and this was entirely by accident! i cannot stress enough that the people making supernatural never ever intended for destiel to actually happen; they just kind of tripped and fell into it through a series of increasingly unfathomable circumstances, including the writer’s guild of america strike and misha collins’ general existence. once the supernatural creators realized that this baton had dropped from the sky and into their hands and they actually started trying to run with it, they ended up writing a truly UNBELIEVABLE amount of text and subtext between dean and cas that oops, became so intrinsically interwoven with the larger narrative, it stopped being queerbaiting and unintentionally veered into queercoding before barrelling straight into: oh shit, i guess we’re actually doing this thing now. yes, supernatural inadvertently stumbled into the greatest love story ever told by pure fucking chance. and boy howdy, their sheer ineptitude in handling this story with the care and nuance it so richly deserved was astoundingly astronomical.

we were viciously and maliciously queerbaited with destiel for TWELVE ENTIRE YEARS, straight up fuckin gaslit for more than a decade by the proverbial powers that be, who told us time and time again that we were somehow delusional for deigning to read dean and cas’ relationship as romantic, when THEY were the ones repeatedly writing their dynamic with undeniably romantic overtones DIRECTLY IN THE TEXT. i was deep in the supernatural fandom for just over two years, but i eventually jumped ship in october 2013, a handful of episodes into season 9 airing, because by that point i KNEW i was bisexual, and i KNEW that queer fans of supernatural who saw destiel for what it was were being deliberately lied to and manipulated, and i’d had enough. up until november 5th, 20 fucking 20, i hadn't been anywhere NEAR supernatural. if i were to time travel to october 2013 and tell my 21-year-old self that in ten years 1) destiel would become canon the same night that donald fuckening trump would be voted out of office as president of the united states of america, and 2) i would become so hyperfixated on supernatural again in the ensuing months that i would experience an unprecedented creativity renaissance and be more active in fandom than ever before, i would’ve punched me in the fucking face. the fact that i’m writing this post at all is utterly bonkers. and yet, here we are.

it’s hilariously astounding to me how the supernatural bigwigs are STILL doing their damndest to gaslight fans into believing that destiel never existed, placing literal actual fucking gag orders on their actors which prevent them from being able to talk about their characters or destiel in any meaningful way that acknowledges what happened in their own show. THEIR OWN FUCKING SHOW. when like. they did that. THEY did. them. they planned, wrote, filmed, and aired that. fucking.

ANYWAY.

twelve years later, destiel is canon. homophobically, but like, it happened. and no matter how vehemently the powers that be are trying to sweep it under the rug, it HAPPENED.

the best, most beautiful thing to take away from all of this, is that destiel (and everything else that was great about supernatural) has always transcended the limitations of the established narrative and created its own unique narrative, and that narrative has always belonged to supernatural fans, particularly so now that the show is over. destiel belongs to us. we know that dean and cas are very much alive and well and happy together, and so are the rest of their family and friends, as they all deserved to be. we’ve come together to take charge of the narrative and tell the story of supernatural as it was meant to be told: with love. because, at its core, that is what supernatural is truly about. after all, love is stronger than death.

[recentanimenews]

ESSAY: Berserk's Journey of Acceptance Over 30 Years of Fandom

  My descent into anime fandom began in the '90s, and just as watching Neon Genesis Evangelion caused my first revelation that cartoons could be art, reading Berserk gave me the same realization about comics. The news of Kentaro Miura’s death, who passed on May 6, has been emotionally complicated for me, as it's the first time a celebrity's death has hit truly close to home. In addition to being the lynchpin for several important personal revelations, Berserk is one of the longest-lasting works I’ve followed and that I must suddenly bid farewell to after existing alongside it for two-thirds of my life.

  Berserk is a monolith not only for anime and manga, but also fantasy literature, video games, you name it. It might be one of the single most influential works of the ‘80s — on a level similar to Blade Runner — to a degree where it’s difficult to imagine what the world might look like without it, and the generations of creators the series inspired.

  Although not the first, Guts is the prototypical large sword anime boy: Final Fantasy VII's Cloud Strife, Siegfried/Nightmare from Soulcalibur, and Black Clover's Asta are all links in the same chain, with other series like Dark Souls and Claymore taking clear inspiration from Berserk. But even deeper than that, the three-character dynamic between Guts, Griffith, and Casca, the monster designs, the grotesque violence, Miura’s image of hell — all of them can be spotted in countless pieces of media across the globe.

  Despite this, it just doesn’t seem like people talk about it very much. For over 20 years, Berserk has stood among the critical pantheon for both anime and manga, but it doesn’t spur conversations in the same way as Neon Genesis Evangelion, Akira, or Dragon Ball Z still do today. Its graphic depictions certainly represent a barrier to entry much higher than even the aforementioned company. 

    Seeing the internet exude sympathy and fond reminiscing about Berserk was immensely validating and has been my single most therapeutic experience online. Moreso, it reminded me that the fans have always been there. And even looking into it, Berserk is the single best-selling property in the 35-year history of Dark Horse. My feeling is that Berserk just has something about it that reaches deep into you and gets stuck there.

  I recall introducing one of my housemates to Berserk a few years ago — a person with all the intelligence and personal drive to both work on cancer research at Stanford while pursuing his own MD and maintaining a level of physical fitness that was frankly unreasonable for the hours that he kept. He was NOT in any way analytical about the media he consumed, but watching him sitting on the floor turning all his considerable willpower and intellect toward delivering an off-the-cuff treatise on how Berserk had so deeply touched him was a sight in itself to behold. His thoughts on the series' portrayal of sex as fundamentally violent leading up to Guts and Casca’s first moment of intimacy in the Golden Age movies was one of the most beautiful sentiments I’d ever heard in reaction to a piece of fiction.

  I don’t think I’d ever heard him provide anything but a surface-level take on a piece of media before or since. He was a pretty forthright guy, but the way he just cut into himself and let his feelings pour out onto the floor left me awestruck. The process of reading Berserk can strike emotional chords within you that are tough to untangle. I’ve been writing analysis and experiential pieces related to anime and manga for almost ten years — and interacting with Berserk’s world for almost 30 years — and writing may just be yet another attempt for me to pull my own twisted-up feelings about it apart. 

  Berserk is one of the most deeply personal works I’ve ever read, both for myself and in my perception of Miura's works. The series' transformation in the past 30 years artistically and thematically is so singular it's difficult to find another work that comes close. The author of Hajime no Ippo, who was among the first to see Berserk as Miura presented him with some early drafts working as his assistant, claimed that the design for Guts and Puck had come from a mess of ideas Miura had been working on since his early school days.

  写真は三浦建太郎君が寄稿してくれた鷹村です。 今かなり感傷的になっています。 思い出話をさせて下さい。 僕��初めての週刊連載でスタッフが一人もいなくて困っていたら手伝いにきてくれました。 彼が18で僕が19です。 某大学の芸術学部の学生で講義明けにスケッチブックを片手に来てくれました。 pic.twitter.com/hT1JCWBTKu

— 森川ジョージ (@WANPOWANWAN) May 20, 2021

  Miura claimed two of his big influences were Go Nagai’s Violence Jack and Tetsuo Hara and Buronson’s Fist of the North Star. Miura wears these influences on his sleeve, discovering the early concepts that had percolated in his mind just felt right. The beginning of Berserk, despite its amazing visual power, feels like it sprang from a very juvenile concept: Guts is a hypermasculine lone traveler breaking his body against nightmarish creatures in his single-minded pursuit of revenge, rigidly independent and distrustful of others due to his dark past.

  Uncompromising, rugged, independent, a really big sword ... Guts is a romantic ideal of masculinity on a quest to personally serve justice against the one who wronged him. Almost nefarious in the manner in which his character checked these boxes, especially when it came to his grim stoicism, unblinkingly facing his struggle against literal cosmic forces. Never doubting himself, never trusting others, never weeping for what he had lost.

    Miura said he sketched out most of the backstory when the manga began publication, so I have to assume the larger strokes of the Golden Arc were pretty well figured out from the outset, but I’m less sure if he had fully realized where he wanted to take the story to where we are now. After the introductory mini-arcs of demon-slaying, Berserk encounters Griffith and the story draws us back to a massive flashback arc. We see the same Guts living as a lone mercenary who Griffith persuades to join the Band of the Hawk to help realize his ambitions of rising above the circumstances of his birth to join the nobility.

  We discover the horrific abuses of Guts’ adoptive father and eventually learn that Guts, Griffith, and Casca are all victims of sexual violence. The story develops into a sprawling semi-historical epic featuring politics and war, but the real narrative is in the growing companionship between Guts and the members of the band. Directionless and traumatized by his childhood, Guts slowly finds a purpose helping Griffith realize his dream and the courage to allow others to grow close to him. 

  Miura mentioned that many Band of the Hawk members were based on his early friend groups. Although he was always sparse with details about his personal life, he has spoken about how many of them referred to themselves as aspiring manga authors and how he felt an intense sense of competition, admitting that among them he may have been the only one seriously working toward that goal, desperately keeping ahead in his perceived race against them. It’s intriguing thinking about how much of this angst may have made it to the pages, as it's almost impossible not to imagine Miura put quite a bit of himself in Guts. 

  Perhaps this is why it feels so real and makes The Eclipse — the quintessential anime betrayal at the hands of Griffith — all the more heartbreaking. The raw violence and macabre imagery certainly helped. While Miura owed Hellraiser’s Cenobites much in the designs of the God Hand, his macabre portrayal of the Band of the Hawk’s eradication within the literal bowels of hell, the massive hand, the black sun, the Skull Knight, and even Miura’s page compositions have been endlessly referenced, copied, and outright plagiarized since.

    The events were tragic in any context and I have heard many deeply personal experiences others drew from The Eclipse sympathizing with Guts, Casca, or even Griffith’s spiral driven by his perceived rejection by Guts. Mine were most closely aligned with the tragedy of Guts having overcome such painful circumstances to not only reject his own self enforced solitude, but to fearlessly express his affection for his loved ones. 

  The Golden Age was a methodical destruction of Guts’ self-destructive methods of preservation ruined in a single selfish act by his most trusted friend, leaving him once again alone and afraid of growing close to those around him. It ripped the romance of Guts’ mission and eventually took the story down a course I never expected. Berserk wasn’t a story of revenge but one of recovery.

  Guess that’s enough beating around the bush, as I should talk about how this shift affected me personally. When I was young, when I began reading Berserk I found Guts’ unflagging stoicism to be really cool, not just aesthetically but in how I understood guys were supposed to be. I was slow to make friends during school and my rapidly gentrifying neighborhood had my friends' parents moving away faster than I could find new ones. At some point I think I became too afraid of putting myself out there anymore, risking rejection when even acceptance was so fleeting. It began to feel easier just to resign myself to solitude and pretend my circumstances were beyond my own power to correct.

  Unfortunately, I became the stereotypical kid who ate alone during lunch break. Under the invisible expectations demanding I not display weakness, my loneliness was compounded by shame for feeling loneliness. My only recourse was to reveal none of those feelings and pretend the whole thing didn't bother me at all. Needless to say my attempts to cope probably fooled no one and only made things even worse, but I really didn’t know of any better way to handle my situation. I felt bad, I felt even worse about feeling bad and had been provided with zero tools to cope, much less even admit that I had a problem at all.

  The arcs following the Golden Age completely changed my perspective. Guts had tragically, yet understandably, cut himself off from others to save himself from experiencing that trauma again and, in effect, denied himself any opportunity to allow himself to be happy again. As he began to meet other characters that attached themselves to him, between Rickert and Erica spending months waiting worried for his return, and even the slimmest hope to rescuing Casca began to seed itself into the story, I could only see Guts as a fool pursuing a grim and hopeless task rather than appreciating everything that he had managed to hold onto. 

  The same attributes that made Guts so compelling in the opening chapters were revealed as his true enemy. Griffith had committed an unforgivable act but Guts’ journey for revenge was one of self-inflicted pain and fear. The romanticism was gone.

  Farnese’s inclusion in the Conviction arc was a revelation. Among the many brilliant aspects of her character, I identified with her simply for how she acted as a stand-in for myself as the reader: Plagued by self-doubt and fear, desperate to maintain her own stoic and uncompromising image, and resentful of her place in the world. She sees Guts’ fearlessness in the face of cosmic horror and believes she might be able to learn his confidence.

    But in following Guts, Farnese instead finds a teacher in Casca. In taking care of her, Farnese develops a connection and is able to experience genuine sympathy that develops into a sense of responsibility. Caring for Casca allows Farnese to develop the courage she was lacking not out of reckless self-abandon but compassion.

  I can’t exactly credit Berserk with turning my life around, but I feel that it genuinely helped crystallize within me a sense of growing doubts about my maladjusted high school days. My growing awareness of Guts' undeniable role in his own suffering forced me to admit my own role in mine and created a determination to take action to fix it rather than pretending enough stoicism might actually result in some sort of solution.

  I visited the Berserk subreddit from time to time and always enjoyed the group's penchant for referring to all the members of the board as “fellow strugglers,” owing both to Skull Knight’s label for Guts and their own tongue-in-cheek humor at waiting through extended hiatuses. Only in retrospect did it feel truly fitting to me. Trying to avoid the pitfalls of Guts’ path is a constant struggle. Today I’m blessed with many good friends but still feel primal pangs of fear holding me back nearly every time I meet someone, the idea of telling others how much they mean to me or even sharing my thoughts and feelings about something I care about deeply as if each action will expose me to attack.

  It’s taken time to pull myself away from the behaviors that were so deeply ingrained and it’s a journey where I’m not sure the work will ever be truly done, but witnessing Guts’ own slow progress has been a constant source of reassurance. My sense of admiration for Miura’s epic tale of a man allowing himself to let go after suffering such devastating circumstances brought my own humble problems and their way out into focus.

    Over the years I, and many others, have been forced to come to terms with the fact that Berserk would likely never finish. The pattern of long, unexplained hiatuses and the solemn recognition that any of them could be the last is a familiar one. The double-edged sword of manga largely being works created by a single individual is that there is rarely anyone in a position to pick up the torch when the creator calls it quits. Takehiko Inoue’s Vagabond, Ai Yazawa’s Nana, and likely Yoshihiro Togashi’s Hunter X Hunter all frozen in indefinite hiatus, the publishers respectfully holding the door open should the creators ever decide to return, leaving it in a liminal space with no sense of conclusion for the fans except what we can make for ourselves.

  The reason for Miura’s hiatuses was unclear. Fans liked to joke that he would take long breaks to play The Idolmaster, but Miura was also infamous for taking “breaks” spent minutely illustrating panels to his exacting artistic standard, creating a tumultuous release schedule during the wars featuring thousands of tiny soldiers all dressed in period-appropriate armor. If his health was becoming an issue, it’s uncommon that news would be shared with fans for most authors, much less one as private as Miura.

  Even without delays, the story Miura was building just seemed to be getting too big. The scale continued to grow, his narrative ambition swelling even faster after 20 years of publication, the depth and breadth of his universe constantly expanding. The fan-dubbed “Millennium Falcon Arc” was massive, changing the landscape of Berserk from a low fantasy plagued by roaming demons to a high fantasy where godlike beings of sanity-defying size battled for control of the world. How could Guts even meet Griffith again? What might Casca want to do when her sanity returned? What are the origins of the Skull Knight? And would he do battle with the God Hand? There was too much left to happen and Miura’s art only grew more and more elaborate. It would take decades to resolve all this.

  But it didn’t need to. I imagine we’ll never get a precise picture of the final years of Miura’s life leading up to his tragic passing. In the final chapters he released, it felt as if he had directed the story to some conclusion. The unfinished Fantasia arc finds Guts and his newfound band finding a way to finally restore Casca’s sanity and — although there is still unmistakably a boundary separating them — both seem resolute in finding a way to mend their shared wounds together.

  One of the final chapters features Guts drinking around the campfire with the two other men of his group, Serpico and Roderick, as he entrusts the recovery of Casca to Schierke and Farnese. It's a scene that, in the original Band of the Hawk, would have found Guts brooding as his fellows engage in bluster. The tone of this conversation, however, is completely different. The three commiserate over how much has changed and the strength each has found in the companionship of the others. After everything that has happened, Guts declares that he is grateful. 

  The suicidal dedication to his quest for vengeance and dispassionate pragmatism that defined Guts in the earliest chapters is gone. Although they first appeared to be a source of strength as the Black Swordsman, he has learned that they rose from the fear of losing his friends again, from letting others close enough to harm him, and from having no other purpose without others. Whether or not Guts and Griffith were to ever meet again, Guts has rediscovered the strength to no longer carry his burdens alone. 

  All that has happened is all there will ever be. We too must be grateful.

      Peter Fobian is an Associate Manager of Social Video at Crunchyroll, writer for Anime Academy and Anime in America, and an editor at Anime Feminist. You can follow him on Twitter @PeterFobian.

By: Peter Fobian

[gunterfan1992]

Episode Review: ‘BMO’ (Distant Lands, Ep. 1)

Airdate: June 25, 2020

Story by: Anthony Burch, Adam Muto, Hanna K. Nyström, Jack Pendarvis, and Kate Tsang

Storyboarded by: Hanna K Nyström, Iggy Craig, Laura Knetzger, Anna Syvertsson, & Adam Muto

Directed by: Miki Brewster (supervising), Sandra Lee (art)

I just watched a new episode of Adventure Time...

That, dear readers, is a sentence that—after the airing of “Come Along with Me”—I never thought I’d get to write again! And believe me, it feels great to be proved wrong in this instance.

In October of last year, we were all treated to the news that four new Adventure Time specials—collectively identified as Distant Lands—would be airing in the next year or so. For months, the Adventure Time fandom has waited with bated breath for these specials to drop. Would these episodes be good? Would they live up to the series that came before? Would they undo the emotional satisfaction of the Adventure Time finale? These were the questions. And now, the first special—entitled “BMO”—is here. Does it live up to expectations, proving that Adventure Time always bounces back? Or is it toast-bread for sure? Read on to hear my thoughts!

Beginning in media res, "BMO" opens with the titular character on its way to Mars to terraform Mars. After running into an errant service droid named Olive, BMO is transported to a fantastical space station known as the "Drift." It is here that BMO becomes acquainted with a humanoid rabbit named Y5, and together, the two help reveal the insidious plotting of the station's capitalist overlord, Hugo, and his henchman Mr. M (who, it must be noted, is almost certainly Finn’s father, Martin, up to one of his many schemes). After much mayhem, hilarity, and poignancy, the special ends with BMO traveling back to Earth and meeting up with Finn and Jake for the first time—revealing that this entire special was a prequel to the main series, explaining how BMO first met up with his good friends in Ooo.

The first thing I'd like to comment on is the fact that many of the show's former crew members returned to work on this special. In addition to Adam Muto (Adventure Time's hard-working executive producer), this special saw the return of: storyboard artists Hanna K Nyström, Laura Knetzger, and Anna Syvertsson; storyline writer Jack Pendarvis; character designers Andy Ristaino and Benjamin Anders; art director Sandra Lee; and composer Tim Kiefer. I was actually quite surprised (and delighted!) that so many of the show's old guard returned to help out. And while this special also saw several new creative voices helping out (including folks like former OK KO! storyboard artist Iggy Craig, former Steven Universe board artist Miki Brewster, and writer Kate Tsang), the overall product was recognizably Adventure Time. I must admit, this was my biggest worry going into Distant Lands; without folks like Tom Herpich, Kent Osborne, or Cole Sanchez, would this feel like the show I know and love? I’m happy to say that the answer is yes!

BMO really is in fine form in this episode—from their singing the "Potatoes (More Exciting Than Tomatoes)" ditty in space all the way to their hitching a ride to Earth on a space lard. (Indeed, the sheer number of humorous remarks the little robot gets makes me think that many of the shows writers were saving up goofy one-liners following the show’s cancellation, just in case.) I’m quite pleased with how the episode handled the character, and, in truth, somewhat relieved. Initially, I was worried whether the character would be able to coherently anchor an hour long special, given BMO’s unpredictable and somewhat unreliable nature (see: “Ketchup”). Would 45 minutes of BMO’s seemingly boundless goofiness work? Thankfully, the other characters in this special do an excellent job counterpoising the lovable robot’s more, shall we say, unorthodox personality features (Y5 perhaps said it best when she noted that BMO tends to “expend energy for no apparent purpose”). The end result feels remarkably balanced, with BMO’s chaotic, goofball energy complimenting the very real plight of the Drift’s residents.

Speaking of other characters, Y5 served as a workable straight man, whose half-heartedly pragmatic personality contrasts nicely with BMO’s boundless and wacky optimism. I must give the writers and producers credit: it was extremely risky for them to feature a brand new character as one of the main players (rather than one of the show’s many beloved side characters), but for the most part, they stuck the landing. I think much of this success is due to Y5’s voice actress, Glory Curda, whose performance really breathes live into the character, giving her an earnest believability. That said, the fast-paced nature of this special precluded me from developing the strongest emotional connection to the character, and as such, Y5′s “my parents don’t appreciate me” subplot did not resonate with me as strongly as, say, “It Came from the Nightosphere” did. (But then again, not every character can be Marceline!)

Strictly in terms of story structure, "BMO" is not exactly groundbreaking, and the special follows the standard "buddy movie" formula fairly closely (You know, the structure that goes: "Two individuals from different walks of life are forced to work together. Despite a rocky start, they begin to function as a team. Alas, they are split up, but reunite just in the nick of time to save the world"). But unlike Grace Z. Li of Vulture, who wrote that the special plays out "expectedly" and as such "is simply unimaginative in its structure," I cannot say that the standard plot structure torpedoes "BMO"—it simply gives the special a solid story frame that supports the characters while also providing an opportunity for the show to drop some timely social commentary.

Adventure Time has never been one to shy away from such commentary, but I do not know if it has ever been more overt than in “BMO.” As Alexander Sowa of CBR puts it, Hugo—the alien-human overlord of the Drift—is a “futurist reminiscent of Steve Jobs or Elon Musk” who long ago used a spaceship to escape Earth during the final days of the Mushroom War. After “biohacking” his DNA with the genetic material of the grey aliens who flit around the Oooniverse’s infinite cosmos, Hugo and his ilk founded an Amazon-esque empire in the Drift, inculcating its inhabitants with a love for rampant commercialism. As a villain, Hugo really is the wombo combo: a selfish capitalist hell-bent on stealing riches, colonizing new lands, exploiting conquered peoples, and then leaving when the situation looks bleak. It is not hard to see Hugo and his followers as stand-ins for the leaders of today, who refuse to acknowledge the reality of thinks like climate change or income inequality—problems that, if left unchecked, will lead to cataclysmic societal collapse. It is a bleak topic for Adventure Time to meditate on, but at least the episode ends on a positive note, with BMO's actions proving that with the right leader(s) and enough people working together, otherwise powerless individuals can topple oppressive regimes and begin to right the wrongs that have been made by the bourgeoisie (if you’ll allow me to invoke the ol’ Marxist term). Now, "BMO" admits that such reformation is one that will require many sacrifices, but nevertheless, the special does emphatically assert that it is possible. And in the hellscape that is 2020, this is a message of hope that so many need to hear.

In addition to social depth, there's quite a bit of existential nuance to this episode, too. Perhaps the most striking scene in the entire special is the scene wherein BMO is torn apart and—for all intents and purposes—dies. It is a chilling scene made all the more haunting by the return of BMO's rainbow personae (last seen in season seven's "The More You Moe, the Moe You Know"), who urge BMO to accept death ("Now your job is to be dead") and recognize that the robot has failed in its mission to be a true hero. (As pointed out to me on Reddit, the scene stylistically echoes an eerie bit of dialogue from Portal 2, wherein GLaDOS tells you: “I have a sort of black-box quick-save feature: In the event of a catastrophic failure, the last two minutes of my life are preserved for analysis. I was ... forced ... to relive you killing me. Again and again. Forever." Talk about horrific!) Thankfully—in the spirit of the hero's journey—BMO bounces back from the brink of oblivion, proving that even in the bleakest of moments, all of us can be heroes.

Or something like that.

All in all, “BMO” was an enjoyable romp that dropped us back into a magical world we all love. While I wouldn’t say that the special was mind-blowing, it succeeded in its mission of telling a new story in a new place, while focusing on a character whom Adventure Time fans care deeply about.

Here’s looking to “Obsidian!”

Mushroom War Evidence: When it comes to the Mushroom War mythos, this episode was full of a lot of little details. CGO’s monologue reveals that, indeed, Earth was ravage by numerous nuclear weapons; what is more, it seems that some sort of doomsday weapon vaporized part of the Earth, leaving that gaping scar in the planet that has for so long fascinated the show’s mythology-junkies. It is also explicitly state that Hugo and his ilk were humans who fled Earth during the Mushroom War to escape certain destruction.

Final Grade:

Also, while I have your attention: Book update! As some of you might already know, over the last year and a half, I’ve been working on a book all about the history and production of Adventure Time! It’s been an absolute blast, and I’ve been lucky enough to talk to quite a few of the folks who worked on the show (including people like Tom Herpich, Jack Pendarvis, Pat McHale, and Rebecca Sugar). I’m in the final stages of type-setting, and should hopefully have the book ready to go within the next few weeks. Here’s a sneak peek of cover (please ignore the faint InDesign lines; they won’t be in the finished product):

Originally, I was going to publish this work through McFarland and Company, but then Cartoon Network got all pissy (long story short: I reached out to Rebecca Sugar and Adam Muto, got in contact with both of ‘em, and asked some questions about Bubbline. Rebecca responded and and confirmed that Bubbline was intended to be canon when she boarded “What Was Missing” but structural homophobia prevented it from being explicitly declared as such. This revelation made CN PR reeeeeaaally uncomfortable and they threatened to sic the lawyers), so I’m now going to be publishing through the University of Kansas Libraries. The good news is that the work will be free to download, and easily accessible! Yay! That said, if you want a hard copy of the book, I’ll post details about that in a bit. Anyway, keep your eyes peeled!

[olderthannetfic]

My first proper fandom! I got into it in 1994, just after the Christmas hiatus in first season. I was 13 and deeply earnest.

(Yes, this means I had a bunch of meta fights on alt.tv.x-files. Some things never change!)

I discovered the concept of fic and a lot of very dirty Mulder/Scully stories via usenet. Somewhere in there, I discovered slash, though it was such a non-event that I honestly can’t remember it. Discovering fic, however, was like the heavens opened and a lightning bolt hit me in the head.

(Ironically, this is the exact opposite of how these two experiences are described in most fandom history stuff.)

The X-Files was like Highlander: plenty of geeks liked it right away, but it took the introduction of a slashable side character to make the m/m part of the fandom explode. That character was Ratboy. Now that many years and innovations in spellcheck have passed, I can call him by his actual name, Krycek.

(No, really, we called him “ratboy” on usenet because we couldn’t spell for shit.)

Escapade had X-Files in the program every year from 1995 to 2003 and only once thereafter. This was a huge fandom in its day but its m/m ships lack the staying power of some of the other big slash fandoms of the 90s. If I had to guess why, I’d say that the enduring X-Files fandom is more interested in Scully than in Krycek or the other possible m/m ships for Mulder.

For context, AO3, bastion of oldschool slash, has 8,251 works for Mulder/Scully, but only 1,869 for Mulder/Krycek.

The X-Files holds a unique place in fandom history:

First, it coined the term ‘shipping’.

Second, it started its own big fanfic archive prior to the founding of Fanfiction.net. Gossamer is still up today, giving us a level of access to 90s fics that isn’t found in almost any other fandom. (Though I hear a lot of the slash fic was in more private places?) Many fandoms produce reams of gen casefic at their height, only for it to completely disappear because it hasn’t attracted the same desire to preserve as often-attacked slash fic has. Not so for The X-Files!

I can tell you that babby’s first fanfic (well, that I remember) was:

Mason - Willis, Cordelia & Company

Rated PG | 68K | Category X | Archived 95-06-15 Spoilers: None Keywords: None. Summary: Mulder and Scully are assigned to protect a four year-old who has special powers.

That “K” doesn’t mean it’s 68,000 words. No, in ye olden tiems, this meant it was 68 kilobytes. The story is actually only about 11k words, and you can still read it today.

Let’s hear it for fandom archivists!

The big question for slash fans was always whether to take a turn in the het side of things or to find a guy to pair Mulder up with.

Krycek was the obvious choice, whether written as his canon villainous self or with more of the woobie vibe he had while pretending to be good. As the series progressed, there started to be more Mulder/Skinner shippers. That ship was one of the first places in fandom I remember seeing a lot of enemas and fisting as well as daddy kink and attempts at realistic BDSM.

Escapade panels included:

1995 - no description

1996 - To Slash or Not To Slash (With a juicy M/F partnership on screen, is slash a cop out?)

1997 - Find Mulder a Mate (Fox Mulder. Pouter extraordinaire. Wears red Speedos and trusts -- almost -- no one. LONELY. Where to find him a mate? In his beloved yet female partner? In his acerbic yet balding boss? In his one-armed enemy? In the world of crossovers? YOU decide.)

1998 - The Men (and Woman) in Mulder's Life (Can he ever truly love? Or does he have too much on his mind to even consider dating anyone?)

1999 - Mulder: Character or Caricature? (Sixth season finds The X-Files, itself, mocking Mulder's strange, if endearing habits. So, what does that say about him? Has overexposure sent a true original into the dreaded realms of media caricature, or is there still hope for him? )

2000 - Alex Krycek: Psycho Extraordinaire, or Simply Misunderstood?

2001 - Who Does Chris Carter Think This Krycek Person Is, Anyhow? (This is a time when we look at the show and think, "Wait. Chris Carter doesn't understand the concept of 'canon'," What's up, Chris? Even ignoring the (obvious) slash elements, you're wasting a valuable character here.)

2002 - XF: History Of (Or why Chris Carter should be shot in the head. Sorting out the show's scattered and contradictory history, both of human/alien relations and of characters like Krycek, Skinner, the Mulders, and the Spenders. Starting point: best theories from canon.)

2003 - Is the truth still out there? (Is XF fandom 'really' dead? Has Scully done the autopsy? Or did CC mess up canon so badly that there is nothing left for us to work with (except some great characters, some of whom might be dead)?)

2016 - Reopening the X-Files. We have more canon! Do we care? And what have we seen so far? Discuss the new season and its promises and pitfalls.

X-Files on Fanlore

X-Files on AO3

X-Files on FFN

The Gossamer Archive

[three-links]

What's your opinion on frozen changed to if I may ask

First off, I forget messages were a thing, so very sorry. This message is probably 10 months old by now, but I’ll answer anyway.

After six straight years of consuming 2D Frozen fanart and anime, I’ve come to dislike Frozen’s 3D look. Yeah it looks pretty, but I don’t care for the character models like I used too. The story is still alright, but it was always just a Disney kids movie. I’ve since watched/read countless anime/manga stories that were better. I’ve generally avoided American media/entertainment these last few years too. Basically my perceptions changed because of what I have been consuming. It did not help some of the best Frozen fanart was done by Japanese and Korean fanartists using an anime/manga style.

I’ve also come to realize most of of my like for the movie was the soundtrack/music (I honestly wouldn’t have liked the movie if it was not for the soundtrack and sound directing) and participating in the fandom. Discussing and speculating about lore and world building was more entertaining than the actual movie. Then there was the shipping of course and the crazy headcanons and throwing characters into different settings, etc.

Aside from the music, Disney would never be able to satisfy me with the other items, especially the shipping. When the Frozen II preview dropped, I was afraid the direction Disney was taking with the lore and worldbuilding was not what I wanted. I haven’t seen it yet, but my concerns were well founded from what I heard. In reality, I think I just wanted things to be left alone to preserve the feeling of nostalgia of my participation in the fandom (As you can probably tell from this blog, I had a lot of fun speculating about the developmental history of Elsa’s character). I think I set myself up for failure for hoping for something far more than what Disney could ever deliver. But that was the price of living in the moment back then.

Speaking of shipping, my perceptions of shipping have also changed. I won’t get into it unless someone asks, but I basically can’t stand the Western world of shipping, yuri shipping specifically (but that’s the only kind I do). And I’m kind of burned out on fanfics and tired of overly long stories never coming to completion. Obviously I’m going to prefer anime/manga-style fanart after all these years, but I also find the few translated, generally short-story,non-h doujinsto be much more worthwhile.

Long story short, Frozen was a good story backed up by an amazing OST, but the real gem was the fandom and community.  That community is mostly gone now and my tastes have changed enough that the fandom no longer interests me. The spark that initially drove me into the fandom is no longer there. Most importantly though, the Elsa I fell in love with was the 2D caricature created by the fandom.

Lastly Disney itself has soured my opinion of Frozen. That company is pure evil and should have been broken up a decade ago.

[migleefulmoments]

Debunking ahead: Tinhats historically believe Darren was FreePavarotti (mleigh69*tumblr*com/post/126280604185/why-do-people-think-darren-is-free-pavarotti). He isn't. Dominic Tracy (nee Barnes) stated the account was owned by a fan in Boston (www*masslive*com/television/2011/03/glee_exclusive_dominic_barnes*html) which was followed-up by an interview with with said Boston fan who owns it (www*masslive*com/television/2011/03/glee_exclusive_mr_boston_speak*html). As usual, tinhats bleat it was PR.

Ooohhh I love this....this is tooo delicious.   

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akf-ighting asked:Why do people think Darren is Free Pavarotti?

@mleight69: 

There are quite a few reasons - some screen captured - others not

but all seem to lead to the same conclusion - despite PR attempts to “prove” it otherwise

the truth is hard to hide when it doesn’t want to be hidden

This was a fun exchange that pav jumped in on:

THIS ONE IS A PERSONAL FAVORITE:

if the above doesn’t scream Darren’s voice to you - nothing will.

And there was a third tweet from a female friend (can’t recall who) who told him to watch which account he was tweeting from and called him “birdbrain”

This was an interesting post:

on December 10th, there were three consecutive tweets. I have all three in my phone saved. 11:10: @DarrenCriss I was gonna hop in the shower but then I decided to do jumping jacks in there instead. and then at 11:15: @DarrenCriss I was gonna hop in a cab but I realized there was no room in there for it. Plus I had nowhere to go. Sorry cab driver please let me out. and THEN, at 11:21: @FreePavarotti I was gonna hop to it but decided to walk instead. 3 MPH. So, basically, Darren mixed up accounts. (Tweets from FreePavarotti generally have #FreePav at the end.) The tweet was promptly deleted, so very few people have proof that it happened, but I do. it proved that Darren runs @FreePavarotti. LINK

I have seen screencaps of the tweet that Pav sent out the night of Chris’ 21st bad when they were on tour

Pav was drunk - or acting drunk - both are possible - the tweet was deleted

like the others that pointed too specifically to who was in charge of the account

I believe it is both Chris and Darren - but mostly Darren

The timing of events and information known - a lot not possible without some inside info

Many are in Darren’s playful and mischievous voice (with a possible assist from Chris at many)

And honestly - WHY would anyone work so hard to cover up something that was just a random fan having fun?!   LINK

Another incidence of PR overkill - that only proves the opposite to be true -they seem to have mastered this maneuver - don’t you think?!

Free pav continues to favorite things time and again

and frequently they are INTERESTING choices for sure!

Choose for yourself - but coincidences are only coincidences SO MANY TIMES

time will tell

************************************************************************

(X)

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'Glee' exclusive: Mr. Boston speaks about FreePavarotti Twitter 

 Updated Mar 25, 2019; Posted Mar 31, 2011 Comment0sharesBy

Samantha Stephens, The Republican

Who would have thought that a bird could cause such a commotion?Pavarotti might have only appeared on a couple episodes of Glee but Kurt Hummel's (Chris Colfer) pet warbler stole the attention and devotion of thousands of Glee fans.

With a popular Twitter account, which currently has 9,483 followers, Pavarotti kept fans entertained with witty status updates about his caretaker, the Warblers, Kurt's budding relationship with Blaine (Darren Criss), and his own budding romance with Warbler Luke Edgemon.

As the account became popular, speculation over who ran the account swept the internet. Most fans agreed that it had to be a member of the Glee cast. But disparities on whether the account was operated by a Warbler, Darren Criss, or a joint-effort was a topic of debate for many.

When I started what I referred to as my “Wild Warbler Week”, in which I had the pleasure of chatting with three of the Warbler boys, I decided to try to get to the bottom of this mystery.

I was prepared to listen to the standard "he's a bird!" reply that had always been given when anyone attempted to solve this conundrum. But, lo and behold, I received the information on the first attempt thanks to Dominic Barnes.

We may never know the mysterious Mr. Boston’s true identity, he refused to answer any personal questions, but he offered an exclusive interview in which he revealed some of the magic (or should I say glitter?) behind the famous Twitter account.

When did you start the account? Where did the idea come from? The account began on December 1, 2010. It was the day after Pavarotti appeared on the show, I think. I started watching Glee when the Warblers first appeared, which was a couple weeks prior. I've done joke Twitters before in a different context, and it was a lot of fun. The initial idea was to start a campaign to "free Pavarotti", hence the username, while retweeting information about the Beelzebubs and bullying, to keep it in context. When I started tweeting, though, doing the character seemed like a more fun, accessible way to put that stuff out there.

Where did you get the ideas for the status updates? Do you have a favorite status or one that is particularly memorable? I had two different characters in mind for Pavarotti; one was the actor, an actual bird on set, totally infatuated with his own success and enamored with his fellow Warblers. He's the one who actually acts like a bird. The other was the bird in the show. That Pavarotti was meant to be a little more like a miniature Kurt; he overplays the "gay", gets excited about hanging out with Blaine, loves to sing to himself, and pretends to be well-educated about things like fashion, history, and music, while in reality he's just tossing his sassy feathers around, saying please, look at me, don't let me get lost, I'm bright yellow, I want to be important! Ha ha.

The other factor in updating the Twitter was relevancy; What's a hot topic in the world (Libya; Japan)?, Is there something I can do to stick with the gay/bullying theme (Trevor Project; transgender boy actor bird; It Gets Better)?, and What's up with my caretakers and how can I redirect some followers to them (Warblers; Bubs; Glee)?

I don't think I have a favorite. There are over 800 tweets on the account, you know! Every time I got to say "I'm not Someone Famous, because I'm a bird," that was awesome. Bird puns, too. Bird titles. Bird anything, really.

Did you ever expect it to become such a phenomenon within the Glee fandom? Not in a million years! I didn't even expect it to catch the eye of people in the show - and while I made some fun tweets, Pavarotti's popularity is due entirely to the Warblers & co. If it weren't for some of the guys being great sports, playing along, and pretending that Pavarotti was the real bird they worked with, this conversation we're having would be even more absurd. The Darren Criss conspiracy theory is also to blame.

Could you elaborate on the Darren Criss conspiracy for people who might not be familiar with it? I once dueled a tiger upon the harsh wastelands of Kentucky, but as soon as I managed to subdue this creature, it tweeted that I was actually Darren Criss to the World Wide Web. Its approximately three and a half million followers were fooled instantly and a thousand of them became personally invested. In order to preserve my secret identity and continue to oppose Professor Zoom and Magneto in their dastardly schemes, I played along until the time was rife to take revenge.

You said you had two ideas for how to maintain the Pavarotti Twitter, how did you decide between the two ideas? I used both Pavarotti - the bird and the actor. Some people picked up on this right away. It's not necessary in order to read it, though. The plan to use it as a "freedom campaign" was nixed almost immediately, because doing the character tweets was too much fun. And also because I couldn't come up with a neat little logo to save my life.

A huge part of the Twitter account was dedicated to the relationship between Luke Edgemon and Pavarotti. How did that get started and will you and Luke remain in touch? Luke was the first Warbler to tweet at FreePavarotti as though he were the real deal - he said "Pleasure working with you today!" and that was the beginning of my credibility. The romantic tweets just happened. Truly the age-old story of a canary and a boy falling in love. We will! At least, I hope so. We still text through private messages.

Pav had a lot of status updates about "Klaine" - do you think he's smiling from Bird Heaven now that they're finally (unofficially) together? What are your personal opinions on that storyline? I think Pavarotti loved both of the boys, as well as the rest of the Warblers. He did his best to chirp it up with Kurt, and Blaine was a real pal. I don't think he would have much of an opinion on the relationship itself, aside from what it does to Blaine and the Pips' set-list. Personally, it's important to have a gay relationship on primetime T.V., even if it's as silly as any other hookup on Glee. The "Brittana" excites me more, to be honest! People need to see that - LGBT intolerance is heading the way of dodo birds, shell suits, and separate drinking fountains, so we better darn well get a more and more positive presence in the media with each passing day.

Who has a stronger love: Pav and Luke or Kurt and Blaine? Love is the most powerful force in the universe; it's not a spectator sport. Be careful with that!

You mentioned one of the themes you wanted to touch upon with the Pav account was the bullying issue. What are your thoughts about the Kurt/Karofsky storyline and the possibility for Karosky's redemption? I'm not really qualified to talk about this! But here goes: I do like to think that anyone can find redemption, especially somebody who's lost and lashing out like Karofsky. The locker room kiss scene turns my stomach, and getting Kurt out of that entire environment was definitely the right thing to do. I'm sure Karofsky will "see the light", for lack of a better term. It's been set since that Superbowl number. I just don't know how much divine vengeance is too much - his remorse alone isn't really enough to make up for what he's done, but taking a crowbar to the guy's head would be overkill! Glee will, with any luck, find a happy medium and a happy ending for him. He and guys like him could use a little hope.

How difficult has it been to keep the secret, especially when so many people assumed the account was run by a Warbler or member of the cast? A fair number of folks on the human plane have known about the account from the start. I'm grateful that none of them have spoiled the fun. I   experience a mixture of guilt and glee when accused of being a member of the cast; I figured if anybody in the inner sanctum of Glee minded, I'd get in trouble, or someone would clear the air, so I'm guessing anybody on Glee who's heard of me gets just as much satisfaction out of toying with the emotions of Twitter as I do. Splendid. I don't need these five minutes of fame attached to my face; having this game on the internet was fun enough.

What did you think the reaction would be when it was revealed that you weren't a member of the Glee cast? I was surprised that the Warblers were surprised - I thought they were all just playing along! I figured Darren Criss would laugh to himself. You know, everybody's different - I knew some people would be disappointed, some people would be really amused, and some would still insist I'm a member of the cast.

Do you keep in touch with anyone from the cast of Glee? I could just tell you "no," but that's not very mysterious. I have a feeling folks would be skeptical, too. How about...my buddies are my secret, and the poor cast of Glee and I can continue to try to live our lives as ordinary people, connection or no connection.

Were you a fan of the show before you started the Twitter? If so, what was your favorite episode or cover? Nope! I'd never seen it before the Warblers appeared. But since then I've ended up with the box set of the first season, and I've seen some of it. I loved the episode with the mattress commercial. I like Teenage Dream a lot. I also liked Forget You and Vogue.

Who is your favorite Glee character? Puck. He appeals to my sensibilities. He's a cool dude with a lot to prove. He gets some great lines. He's just great. He can be both a bully and a kicked puppy.

When and how did you find out that Pav was going to die in "Original Songs"? I found out when people started tweeting me asking if it was true. That's how I learned a lot of things; I don't read the news blogs, and I don't really talk to people on the inside - well, I wouldn't be so rude as to ask for deets on spoilers all the time if I did, although I shot off a couple of excited messages to Warblers when I discovered "my" days were numbered. I toyed with the hearts of my followers, and as soon as I was informed that the death was actually going to happen, I began to plot my own demise.

On Glee, Kurt assumes Pavarotti dies from a stroke. Is that what really happened? How did you decide what the final tweet would be? Pavarotti either died of a stroke or of a glitter overdose. There was no time for an autopsy, in between singing and making out, so the world may never know. I had the final few days' worth of tweets saved on my phone weeks in advance. Pavarotti died while chirping out a tune; that's the way he wanted to live, so that's the way he had to go. The song seemed relevant.

Do you approve of the bedazzled coffin Pav was laid to rest in? It's beautiful. A glittery little box for his glittery little spirit.

There was about a week between Pav's death and the funeral. Where was he hanging out in the meantime? Kurt probably kept him in a well-decorated mini-fridge. Or maybe they used a slingshot to send him out into space at relativistic speed, so that he'd land back on Earth without decaying too much.Assuming that's where Pav is, what's Bird Heaven like?I'm not dead or a bird, so I couldn't tell you!

Are you or will you troll again? I'm glad that someone detailed for me exactly what the parameters of trolling are last night.I have had other Twitter accounts in the past; none taken as seriously as this one, and nowhere near the follower account this one generated. I have a new joke character Twitter account going, with a smaller following and a more casually fun tweeting schedule. It has been mistaken as an official Twitter in its franchise once or twice, too, but that impression was almost immediately dispelled by the followers and context. I don't plan on ever publicly linking them to each other, or my future endeavors.

Is the new Twitter account Glee, Darren Criss, or Starkid related? How many licks does it take to get to the Tootsie Roll center of a Tootsie Pop? (X)

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So there you go...another cc trope, forever stricken from the masterpost!  

[sineala]

Iron Man: And Call My Killer... MODOK!

So if you're a Marvel Comics fan of any stripe, you're probably aware that Marvel has a longtime history of publishing what they call "prose novels" and what literally any other publisher would just call "novels." You know. Books with only words in them. As opposed to "graphic novels," which is I guess why Marvel needs to make the distinction.

You're probably also aware that a lot of these prose novels are, well... bad. Some of the current ones, the original ones with new stories, have been getting good reviews -- I've heard good things about the Black Widow and Squirrel Girl books -- but a lot of them are just things like "novelizations of Civil War" and those ones are not great. (The MCU Iron Man 1 novelization was pretty good, but I would say that that was one of the few exceptions, and that only because Peter David both can actually write and has also written comic books.)

But a few weeks ago @blossomsinthemist told me that there had been a line of paperback Marvel prose novels way way back in the late seventies, and I was immediately interested for two reasons. One, if it's not novelizing an existing story arc, it's less likely to be terrible. And two, I really like late-seventies Marvel comics. So if I get to read a brand-new (to me) late-seventies story, I'm going to be pretty excited.

(If you're looking for these for yourself, prices vary, because people seem to be really into just having them for collection value, but if you don't care about condition and are patient you can get them for $5 to $10 or so.)

Anyway. I'm starting here with the Iron Man one, And Call My Killer... MODOK! It's from 1979 and is by William Rotsler, who also appears to have written the Doctor Strange novel in this series, and according to Wikipedia, he won four Hugos for Best Fan Artist, though most of his prose work appears to have been SF novelizations, and, uh, he was involved in the making of over two dozen pornographic films? Thanks, Wikipedia!

Right. Okay. The actual book. We are talking about the actual book. So the plot, as you can guess from the title, involves a lot of AIM and MODOK -- and because this is vintage 1970s Iron Man, also a lot of Happy, Pepper and SHIELD. SHIELD here is a lot of Nick Fury and a lot -- hi, again, 1970s -- of Jasper Sitwell. (If you're only familiar with the MCU, 616 Jasper Sitwell is, like, the ultimate Boy Scout SHIELD agent, a giant nerdy stickler for protocol.) Basically, AIM is scheming to get the armor, and the basic plot itself is kind of fun in that respect -- Tony scheming right back, decoy fake plans, a fake auction of the armor, and of course Tony and Happy captured by AIM. There's the requisite fight with an armored villain, of course, and what feels like a very perfunctory showdown with MODOK. (It's not a long novel.)

But since we're in fandom, we're not reading these things for the actual plot content, and so I am happy to say that on a characterization level, if this is the Tony Stark characterization you like in this era of comics, this book is going to make you happy. Because he really is, just... peak, classic Tony Stark. This is established very early on, in what is actually my favorite section of the book. Tony addresses a roomful of students about ecology, and his plans for SI and for the future, and about how he's not actually in it for the money and he just wants to do the right thing and save the world and so on and so forth and he wants to hire some of these kids to help everyone and build space colonies and so on. Similarly, when we first see Tony at SI, there's a paragraph about how he knows his employees' names and values them as people and it's very much classic Tony characterization. I love it.

In terms of canon, I'm not quite sure if this is relying on any particular recent developments in canon. Pepper and Happy are still together, and there's a throwaway line, in the list of Things That Have Happened To Tony's Heart, about how he's had several surgeries and a new heart and at this point in his life he has to wear the chestplate some of the time but not all of the time. I think that whole "weak heart" era is the Michael O'Brien/second Guardsman stuff, but I'm not exactly sure; this is not an era of canon I'm 100% up on in order. That may be a little too early for this, as well. Sorry; I'm not the best at this part of this game.

There is, of course, some identity porn, since what would an Iron Man story be without some good identity porn? There's a section early on where Tony explains why he would never reveal his secret identity. (Literally, he wishes he could "come out of the closet," and, yes, they do put that phrase in quotation marks.) His rationale is that the media would never let him alone, and also there are "Iron Man groupies, publicity seekers, and other assorted crazies" who would make his life miserable.

The weird thing is, then he goes on a date with what seems to be an Iron Man groupie. Pepper sets him up on a date with a woman who is a bellydancer and auto mechanic trying to break into acting. (The even weirder thing is that she seems to be named after a woman the author has coauthored several novels with. I, uh... I hope she knew first?) Anyway, they go on a date and she starts asking him about what Iron Man is like. Now, in a book where the plot appears to be that the bad guys want Tony's armor, I would be a little suspicious of people who were curious about Iron Man. But apparently this woman is on the level and just really likes gossip about famous people, and then at the end of the book when Tony talks about maybe going on another date he seems excited to "give her an opportunity to know Tony Stark." Although, really, she seems to still think Iron Man is cooler, so I don't see this working out well.

(Also, in the course of the plot, he does end up unmasking in front of MODOK, and as cover he comes up with the excuse that he isn't the only Iron Man and that there are a group of them. Which, y'know, historically, isn't even untrue, for a certain view of Tony's behavior -- there have actually been multiple people in the suit before now. So I kind of like Tony's quick thinking there. Amusingly, as he's bluffing his way through this, one of the fake Iron Men he names is Captain America, which honestly I think would make a hell of a fanfiction plot.)

Another weird thing: since this is right before Demon in a Bottle, Tony still drinks. It's not even an issue. And obviously it's meant to show something about his affluent lifestyle (and how he considers alcohol a necessary part of that lifestyle) but it's interesting reading this in retrospect and thinking about all the character development that Tony is basically about to undergo but hasn't yet.

So, yeah, in terms of characterization, this is an interesting look at Tony Stark basically preserved in one of the more-well-regarded eras for him, so on that basis I think it's worth reading. Which is not to say that there aren't some downsides, and since this book is mainstream fiction from the 70s, I bet you can guess what the main one is: namely, there is a certain amount of casual sexism and racism. The first scene takes place on a college campus and there is a lot of, uh, dwelling on co-eds and their short skirts. There is also a retelling of Tony's origin story, and you probably already know that ToS #39 is racist as hell (especially if you have seen non-recolored versions in which Wong Chu is literally yellow in the art) but the prose retelling here manages to add in some racist epithets (many characters are referred to as "the Oriental") which is... disappointing. Neither of these things are really unexpected for a book from 1979. But, you know, there they are. Heads up.

It also makes some weird narrative choices. One is that it has a surprising number of extended flashbacks in which dialogue is taken directly from the comics. I understand that back in the day before trade paperbacks and Marvel Unlimited and back issues whenever you want them, you the Iron Man fan might not have been aware of a lot of Tony's history. So I get why you would want to spend some time going over the events of Tales of Suspense #39. And, okay, Happy is a pretty important character in the plot, so I get why you'd want a lot about their first meeting in Tales of Suspense #45. But then there's a whole flashback devoted to the whole body-horror extravaganza of how MODOK came to be, and that one... that one was just kind of weird, especially because Tony didn't even figure into it.

And that leads me to my final complaint about weird narrative choices, which is the author has chosen to write this book in 3rd person omniscient point of view. I mean, it's a valid POV choice, sure. But it's a little jarring coming from fandom, where we are all basically 3rd limited forever and ever (like, honestly, I'm not even sure I'd know how to write 3rd omni if I tried!), and it's even weirder to read Tony in the middle of one of his inspiring speeches while a female student is thinking about how sexy he is even if he is an "older man." Yeah.

Also, the narration calls him Tony when he's out of the suit and Iron Man when he's in the suit. Consistently. Even when he's thinking about himself. I am pretty sure fandom never does this, and it is weird as hell.

So, overall, I have to say that despite some reservations, I really enjoyed this, and if this is an era of Iron Man canon that you enjoy, you will probably like this if you can get your hands on it, because it's a lot like reading an Iron Man comic from 1979, and the plot shenanigans are amusing. I mean, it's not the best-written book ever, but it is a lot of fun, especially in terms of Tony's characterization.

[your-evil-overlord]

So with the recent tumblr purge this blog is basically done for, which makes me pretty sad. This has been a serious blow to any artists out there on tumblr. I have spent countless hours, days, weeks of time here writing both regular RP and smut RP in the past, and now I might watch it all disintegrate before I can ever properly back it up. Tumblr’s formatting has always been REALLY poor for backing up RP, so you can imagine my sadness about this. It’s December, peak holiday season for many of us, and Vampy and I have to travel to see family during the death date of tumblr’s mature content. I just don’t have the time to save everything on all of our accounts. I can try my best, but things will likely disappear under my nose before I can recover it.

Over the last few years I’ve been really concerned with lost media. It’s a huge problem our generation is facing. Things can be deleted in an instant and gone forever. VHS tapes with vintage television shows and commercials are in the garbage. Some of the only recordings of media are in a landfill, being unappreciated. At what point do we step up? At what point is archiving fandom content a violation of the artists personal content or a violation of copyright, versus a preservation of media? People really need to discuss lost media more often. We’re losing fandom history here, right now, and what can we do about it? People are scrambling to keep their things together in a sea of misflagging by tumblr’s automated system and there’s not much info on what can be done about it. It’s very frustrating.

All tumblr had to do was listen. We tried getting the CP banned, we tried getting the actual fucking nazis off of here, and what do we get? Over seven years of blogging and art and general content, flagged and to eventually be deleted. I’ve had to ask people to backup the account of an artist that is deceased, okay? Where the actual fuck do we draw the line?

Either way, my main account is @thatfilthyanimal so if this one goes up in smoke somehow, find me there. It’s been lovely RPing here for the time I did, and you all made some pretty dark times in my life awesome. Thank you. <3

[thegreymoon]

Sorry, You didn't really say or do anything to make me think that you are Asian. I thought that I read sth in your lj where u said that you were and just run with it. It was a long time ago and I must have misread. Also, you don't really post a lot political stuff, it is more like I notice it more because when I visit your page I skip all Merlin related stuff and am interested in the rest so again my fault. As for my ise of imaginary- yeah, it was passive agressive, altough not intentionally so

… my bad. I rarely engage in political conversations online because it never ends well, especially when my views clash with 90% of tumblr users so I am used to combative tone and it was unnecessary.. As for SJW I am not sure if that is dissmissive term as it discribes the “movement” well? I am not native speaker and am aware that it can be used as derogative term, but was also convinced that it is used by people on the left if political spectrum. I asked you why you are mainy interesetd in USA because I was working under the assumption that u are Asian it seemed to me weird that a person coming from China/Japan etc would be championing social justice in USA when it not that big of a problem(or at all IMO) whie ignoring very real problems in their own country. But since you are not Asian and you post political stuff rarely you are right it is a silly discussion. The fault is completely on my side. I am allergic to these kind of stuff and you are one of my favourite writers so I exaggerated. Once again sorry.

As for the rest of your response: I also come from relatively poor country that was screwed over by both Britain and USA and many other countries, and I don’t agree with many of their policies (or most) but I don’t hate them and believe that as much as people like to say they start wars for the oil etc it is not really true. There are many political and global players and everyone single country is motivated by greed it is only that not every country can exercise their power.  

Relatively they are not the worst, it is just that since USA tries to paint themselves as heroes they are held to different, much higher standards than other countries. To sum it up, I am not defending their foreign policies, they have done a lot of wrong and are shortseighted but I still think that are better than other superpowers that will soon take over like China or maybe India. Also, I don;t understand why would you include global warming in your answer?why do you believe it is their fault

I am trying to leave as “green” as I can, I am a vegetarian and I believe we should do everything to preserve environment, but I wouldnt want my country to sign any deals concerning CO2 emission as long as other countries do not do the same. Otherwise, they would just cripple their economy and not help the world? As for Trump(if you are still interested) I find him the epitome of self-important, conceited stereotypical american but still so much better than alternative and despite distaste. would still vote for him. Because he at least apppears to be anti globalist and has a much higher moral ground than Hillary. what are his SPECIFIC actions that you find so abhorrent? Anyway, what I alluded to in my message was not politics of USA but the social justcie issues, like support BLM or me to movement(I am not sure if you posted enything regarding that, so srry if I presume wrongly) which I find are absolutely not based on facts and despite that people still perpetuate that, and if u don’t agree you are racist and sexist. No arguments whatsoever. It is also silly to me when I see the posts about the West being this cesspool of sexism while honour killings or FGM is nearly a non issue on social media or racism when considering the West is still the least racist place in the world when you compare it to China/India/SA or any other place. So, I find the social media effort to be misdirected and controlled by emotions. Even the indigineous people issued you mentioned. Americans get so much shit for their history, while pretty much every single country that exist was created by conquering or displacement of the previous population(u just have to go far enough down the history). So, yeah wht happend to Indigenous people and dissappearance of their whole civilization is a great tragedy but not the first and unfortunately not the last in human history. Why are we hearing about it but not about Anuit people or Persian or Byzantians? it is so imbalanced. Ok, anyway, sorry for the rant it shouldn’t be directed at you and tumblr is definitely not the place for it. Sorry if I offended to you. As I said I love your writing, “DC” is my all time favourite fic, and because I creepely once read through all of your lj(including asks and responses) I(like an internet creep and stalker)liked you and thought you seemed smart, well balanced and knowledgeable so I guess I felt entitled to to make the ask. Wish you all the best in life. 

No worries, I’m sorry I came off so aggressive in my answer. I did actually live and work in China for a while during my LJ days and it’s entirely possible I may have tagged myself as being there on my fandom profiles at the time. It was a happy period for me and I talked about it a lot to anyone who had the patience to listen, so it’s very plausible that you have read something about it on my LJ! I’m very sorry if it was misleading, but I was only ever an expat there!

I used to be a lot more open about my real name and real-life dealings in fandom communities, but that almost backfired spectacularly, so I locked down a lot of stuff because it could do me quite a bit of damage. 

OK, I concede your point that if you remove the Merlin stuff, a lot of what is left on my Tumblr is going to be either me reblogging cats or raging about social injustices (oops) 😅

I’d just like to make it clear that I absolutely do not hate either the USA, the UK or any other country in the world. Like I said, people are people, and disgusting policies are disgusting policies and every single country is guilty of them. It’s just that some have a bigger impact and are more visible. My own country is a source of so much shame and anger for me, it far outweighs anything the UK and the USA could have ever done because it’s personal, but our nonsense is just not something that I come across when casually scrolling through Tumblr, so I don’t reblog it. It’s possible to love a nation and its people and still be critical of the evil they have done. 

Also, let me just clarify that I’m bothered by all injustices and human rights violations everywhere, but usually there isn’t a post about them when I’m scrolling at 2 am at night that I can reblog. The USA is just… low hanging fruit, and let’s face it, from where I stand, hating on their president, the white supremacists, the Nazis, fundamental Christians, racists and the Republicans in general after what they have turned into is not hating on the USA, but rather cheering on the sane part of the country to get rid of this toxic waste ASAP. The same goes for Brexiteers in the UK and I am so, so sad for all the people that are going to suffer because of it. 

Of course, I’m aware that China and Japan have issues and human rights violations that are mind-boggling, but again, they just don’t appear on my dash very often, or at least not in English or from a source I can easily fact-check. The Japanese and Chinese stuff I follow is mostly art, nature and pictures of pretty clothes. My knowledge of either of these countries is very superficial compared to Western countries, which impact me directly, so it really isn’t my place to appoint myself as a champion of human rights in the Far East when my own country and continent are a growing dumpster fire that cannot be contained.  

On the subject of global warming, I’m not blaming the USA (entirely, because they, of course, played their part, but so did the rest of humanity). I’m enraged by their governing body’s rhetoric as of late, the denial of climate change, every single action that Trump took since taking office (such as withdrawing from the Paris climate agreement), him making ignorant, snide remarks in the middle of the polar vortex just days ago while people were suffering, deliberately sabotaging scientists and spreading dangerous, false information when each and every single country should be all-hands-on-deck if we want to avert a disaster of global proportions (especially with all the signs pointing to us being too late already). Nobody is suggesting that the USA should unilaterally reduce carbon emissions, all countries in the world must do it and develop the technology to make it feasible to convert to clean energy. And yes, the USA, China and other giants have to lead the way because they are the ones with the power! My poor, tiny country is not the one that can impact anything, so yes, the USA is absolutely more responsible to lead the way forward, but instead of at least moving in the right direction, Trump is deliberately lying and sabotaging all effort because he likes the money he gets from Big Oil companies, and he’s giving a platform to religious nutcases for votes, who think that there won’t be a global disaster of epic proportions in the near future because God promised Noah he would never again flood the entire Earth in the Old Testament. It’s not even the outright evil that is bothering me the most right now, but the mind-numbing stupidity. 

I have nothing but loathing for both of the Clintons. They have caused so much destruction in my country and I do not want good things for either of them, ever. I will never pretend that Hillary Clinton is anything even resembling a good person because you do not reach that level of power by having a conscience, but at the very least, she is not a rapist and paedophile that the general public knows of (which is more than we can say for her husband, btw). Trump has no moral high ground whatsoever, IMO. He has done everything imaginable, from scamming charities (this was proven in court) to raping minors (see Epstein). He has no redeemable human characteristics and is not even intelligent enough to pretend that he does, which is at least one thing that Hillary has going for her. I’m not going to sit here and list all the reasons why Trump is abhorrent because a) it cannot fit in a Tumblr post b) I would be sitting here for years. 

I will also not engage in discussion about whether or not BLM is a valid movement, ever. I don’t understand what you mean when you say it isn’t based on ‘facts’. Which, facts are in doubt, exactly? It’s based on multigenerational, still ongoing trauma and persecution of an entire race of people! I’m neither black nor an American, but I believe African-American people when they talk about the terror they experience on a daily basis in their own country. I have eyes and I have ears, I know plenty of white people and have insight into how they think because I too am white and have been raised with similar bullshit. I have lived in Africa for years and seen things with my own eyes. I will never not take the side of black people when they protest racism anywhere and I will never not believe them when they talk about police brutality, race-based violence and systemic racism in countries built on slavery. 

Of course, I’m not saying racism doesn’t exist in other places and in other forms, but talking about one does not negate the other. 

Also, I don’t understand the point you’re trying to make about the West not being sexist because other places have it worse? I’m sure I misunderstood this, so forgive me if that is the case. FGM is terrible, yes, but that in no way invalidates other types of gender violence that still ruins the lives of countless women. Just because the women in, say, Saudi Arabia have it worse, that doesn’t mean that the women here or in the USA should not talk about issues that directly affect them (and, btw, I have absolutely been outraged about Saudi Arabia and FGM and shared posts about both). All are bad! This is not a competition. 

On the topic of you saying that America gets so much shit for its history, which you think is unjust, I have to mention that European settlers killed up to 95% of Native Americans in some areas in relatively recent history. Just days ago, I was reading an article about how they killed so many people, it actually changed the global climate! This is genocide on such a massive scale, my brain can’t even comprehend it, and yet here we are today, with Columbus Day and Thanksgiving as holidays while the surviving Native Americans suffer all kinds of indignity and discrimination, so no, I don’t think we are talking about it enough and I feel that America deserves all the shit it gets for its history. IMO, it is not getting enough shit! The fact that there are other issues out there that need to be talked about too and are being silenced does not in any way take away from any of this. 

Anyway, let’s not argue about which country is The Worst™ and which human rights issues are more worthwhile than others because that is pointless. We already agree that all governments are corrupt, that evil happened and is still happening all over the world and that all human rights issues are important. I firmly believe that if they were to be evaluated by a psychiatrist, 99% of all high-ranking politicians would be diagnosed with serious clusters of antisocial personality disorders. Most of them would do anything and the only thing stopping them is whether or not they can get away with it. The remaining 1% cannot really do much and keep both their conscience and political power intact. 

In any case, the last thing I want in life is to get into Tumblr discourse with LJ people, so how about we just put this behind us? Let’s agree to disagree on who is worse, Trump or Hillary, because that is a pointless disagreement, especially since neither of us is an American and this is getting out of hand. I feel like we are actually miscommunicating and talking about different things. We seem to be arguing different points, so all of it is coming off worse for both of us than it really should be. Also, I wish you hadn’t sent me this ask anonymously, because I now have no way of responding to you except publically, and Tumblr is seriously not a good place for this. 

On a happier note, I’m very glad that you enjoyed DC! I’m very sorry for the extremely long hiatus! Unfortunately, I’ve been going through things that stopped me from writing for a long time. I hope that one day I can still come back and finish that story, in spite of everything! Have a good day/night! :)

*hugs*

[squeeprojectsllc]

On participating in creator/fan relationships in real time: Joe Bob Briggs Last Drive-In Marathon.

Long time beloved late night genre movie host, Joe Bob Briggs returned to streaming TV via Shudder for the first time in 17 years.

 I’m an OG fan of his earlier shows Drive-In Theater and Monstervision as well as his books Joe Bob Goes to the Drive In and Joe Bob Goes Back to the Drive In and Profoundly Disturbing: Shocking Movies that Changed History  They are all wonderful but parts of Profoundly Disturbing stick with me to this day and whenever I stay at a hotel which is fairly regular with my comic con schedule, I change the Do Not Disturb signs with a sharpie as an homage to his work. 

When I heard the news that he’d return for a 24 hour+ one time streaming marathon screening of 13 horror films I went into full on #FangirlFlail mode. I could see on twitter other fans were beyond excited, too.

There were awesome new shirts from Fright Rags and I bought one immediately.  It got here the day of the NiteHawk event he was hosting so like the dork I am, I wore it to meet him. That’’s the thing about fandom, sometimes you can’t keep your cool. You just need to fully embrace your passion even when you feel embarrassed by it. #fangirlshame #fighttheshame

We'd made casual arrangements for me to interview him. Although I didn't get the opportunity for the interview, I did get to hang out with him and the Shudder team for a snack and to discuss the upcoming marathon, the industry and horror films with them. I won't lie, that was freaking amazing. 

 The Shudder team was super excited about the opportunity to bring Joe Bob back to TV. I interviewed Shudder Curator, Sam Zimmerman about the upcoming event.

That video can be seen at https://youtu.be/tz_JKuyi2Bg

As the fans geared up for the marathon we shared our squee on social media platforms; and made plans to collectively gather on twitter, facebook, slack channel. (which I will never figure out), twitch and other platforms. Many of us posted videos and photos of how we’d be watching. 

I made a vlog post about how I’d be watching https://www.instagram.com/p/BlMSxr_HxhZ/?taken-by=squeefilmmaker

Joe Bob had written n his regular column in TakiMag about what he called “The Loneliness of the Cord Cutter” Published a few days before the event.

“What we do there is we experience the movie as a group and then we discuss the movie as equals because we’ve all had the same emotional experience. I suppose, if we asked Camille Paglia or some other academic, they would tell us it’s some form of pagan worship.No one ever talks about this. If you ask the specialty theater managers, they’ll tell you about the brilliance of the 35-millimeter film image (true), the awesomeness of the sound system (true), or the various ways the film has been reconstructed, preserved, enhanced, or changed by the director. None of these things matter. What’s essential is the crowd—and it doesn’t matter whether it’s five people or five thousand. What matters is the agreement that “We will tell each other stories and we will feel that rush of knowing who we are and where we are and why we are here.”

Please read the full article here so the writers get paid fairly. They deserve it.

http://takimag.com/article/the_loneliness_of_the_cord_cutter_joe_bob_briggs/print#ixzz5LqJZV9kW

Then the internet failed us. Most of us  couldn't access the stream on any of our  devices. Fans posted various responses on social media. We were frustrated but we were here for Joe Bob and Shudder was doing their best to try to make it work.  Fans posted funny tweets abut it. Fans rooted for Joe Bob and Shudder. We weren't  going anywhere.

Fans started joking that Joe Bob Briggs broke the internet. We were kind of thrilled. The hashtag started trending. Now from a fan’s perspective this was wonderful. We weren't happy that we were missing the event we’d been longing for since #Monstervision got cancelled but there was tribal joy spreading.

I think that we felt that we were alone in our passion for Joe Bob and his work.

Then we discovered we were legion. Yes, we are the weirdos, mister. The Drive-in Mutants, the Monster Kids, the horror geeks. This was one of the best examples of a community of fans who didn't even know we existed coming together that I’ve ever experienced. And I’m multi-fandemic, participating in dozens of fandoms and this response was outstanding,

One of my twitter friends got access to it somewhere in the midst of Sleepaway Camp and offered to share it via Skype with me. Another fan got it going and shared the stream on Twitch with many fans. He was given a 24 hour ban from Twitch but became a hero to the other fans.

“One fan, known only as Cthlhu on Twitter, saw fit to help out the horror community as best he could by broadcasting the highly sought-out special on his Twitch stream. As a result, many fans were able to see the broadcast they’d been waiting for since the year 2000. Twitch, however, didn’t find the solution particularly heartwarming, as they suspended the user for 24 hours. Cthlhu didn’t seem to mind. (Please read the full article below so the writers get paid fairly)

https://www.inquisitr.com/4986333/horror-icon-joe-bob-briggs-comes-to-defense-of-fan-on-twitter-after-overwhelming-shudder-premiere/

I finally got the stream up on my laptop  around 1 am and watched till about 5 am and it was everything I’d hoped for. By the time I got up the next day, Shudder had posted all the films that had aired up that point on their site separately so we could all catch up.

Then the man himself posted in his column 

“You don’t write, perform, shoot, edit and broadcast a 24-hour show and then feel good about nobody being able to see it. You start out with a fear of disappointing the audience—I have the greatest fans in the universe, and I love them, and they’ve saved my ass a thousand times, and so preventing them from seeing the opening title card is sort of my ultimate nightmare.” Please read the full article so the writer gets paid fairly by using the link below.  http://takimag.com/article/breaking_the_internet_joe_bob_briggs/print#ixzz5LqLVQ1hh

“But, Joe Bob, people will eventually see it, the important thing is that you broke the Internet.”

“If that’s the important thing, it shouldn’t be the important thing. Not everyone can hang around for two days monitoring their devices. The casually interested observer, who might have been barely intrigued enough to sample the show, was gone after 15 minutes and never came back. “Breaking the Internet” is not a happy thing for those of us who believe communication is better than gossip.”

Please read the full article by using the link so the writer gets paid fairly

http://takimag.com/article/breaking_the_internet_joe_bob_briggs/print#ixzz5LqL7ZT3Q

I absolutely understand Joe Bob’s disappointment. Any creator wants their hard work to be enjoyed, appreciated and successful. As a filmmaker and someone who’s worked in media for over 20 years, I get it. It was rough. On a much much smaller scale of course I’ve had panic attacks as I watched the tech person struggle to get my film screening during a panel. It’s an awful feeling.

But as a professional fan, it was an absolutely amazing experience. Now I know dozens of other weirdos that are just like me and I bet if Joe Bob wants to return to do any kind  of short or long term hosting, we’ll all be there with him.

Update: Announced only moments after I posted this! 

Now recite The Drive-In Oath along with the rest of us Mutants.

[rayshippouuchiha]

Alright, I’ve gotten more than one ask by this point regarding how I feel about Black Panther so i’m going to attempt to articulate how I feel without too much in the way of plot/spoilers:

I want to preface this by saying that I am, in fact, a white woman.

And, as a white woman who tries every day not to be a White Woman(TM), I feel like Black Panther is one of the most important movies I’ve ever seen.

And here’s why:

Black Panther is more than just another super hero movie.

It’s a Black super hero movie.

I know this sounds obvious to most of us but is a distinction that far too many people either don’t really understand or they do and they use it as the basis of dismissing the film altogether.

Going to see this film opening night was an experience like no other.  There were men and women and children in traditional dress, in headwraps and braids, in long flowing skirts and beautifully vibrant patterns.

It was stunning before the theater even allowed us to sit.

As for the movie itself, visually the film is stunning.  The scenery, the cinematography, the command of colors and visual effects.  All of it culminates into a film that’s a love story to rich, vibrant hues and seamless story telling.

It is also unprecedentedly black.

The heroes are black, the main villain is black, the side characters, with two exceptions, are all black.

And they are unapologetic about their blackness.  As they should be but is, unfortunately, often not the case in films.

Wakanda is a country of wonder, a utopia created, ruled, and preserved by black people and it shows.

From the examples of different hair styles to clothes to jewelry and everything in between.  From the languages that are spoken to architecture that is shown.  From breathtakingly beautiful examples of traditional and native dress to white characters being called things like “colonizer”.

Black Panther makes no attempts to gloss over issues like racism and slavery, makes no attempts to smooth any of it over like so many other films tend to do.

This is a film that writes a love letter to the beauty and strength and danger of being black in a world with a history of systemic racism and oppression for people of color.  But, at the same time, the audience isn’t forced to watch black characters be demeaned on screen for their blackness to drive that point home.

And it is something that we all needed to see.

The characters are well rounded, 3 dimensional in a breathtaking way.  They cry, they laugh, they get angry.  Never once are they made out to be anything other than human.  Never once does this film rely on the many stereotypes that have become all too prevalent where black characters are concerned.

King T’Challa, who is warm and honorable and wants so desperately to do right by his people.  A man who loved his father, who loves his sister and his mother and his country openly and gloriously.

M’Baku, who is no longer referred to by anything so insulting as “The Man Ape” and is a leader, a fierce fighter, someone who wants the best for his people, even if, in the end, it means stepping aside and/or admitting defeat.

Zuri, the mentor, the surrogate uncle, the spiritual leader who loved his King and his people and lived with the guilt of what had happened but didn’t let it stop him when the moment mattered.

W’Kabi who has a hurt and anger in him that pushes his decisions, but it’s a hurt and anger that was/is rooted, first and foremost, in love.  Who also knows when and where to stop that hurt/anger from ruling him.

Even Eric Killmonger, the villain, who is called a monster on screen is still heartrendingly human in all the ways that matter.  In ways that black men, and black male villains specifically, are not normally allowed to be on screen.

They are all rounded characters with clear and valid motivations.

They are fleshed out in ways that white viewers often take for granted.

And that’s only the men.

The women, oh the women.

Every single woman was beautiful and strong in their own way.

There’s the dignified grace, beauty, and vibranium spined strength of Queen Ramonda.

The honorable, fierce, but still loving General Okoye who loves her country and her people with an unshakable pride.  Who led the Dora with grace and pride and skill.

The proud and caring Nakia who looks at the world and sees all of the good she and her country could be doing.

The joyful, blazingly brilliant Princess Shuri who is the technological powerhouse of the world’s most advanced country.  Who is young and happy and unapologetic about either.  Who teases her brother and is willing to fight and die for her people as well.

All of these women are beautiful and glorious and they are never once sexualized or shamed for who they are.

These characters, this world Black Panther has brought to the screen, is vibrant and beautiful and so so important.

And now I want to talk to white creators in fandom.

If you’re not prepared to put the work into doing these character and this world justice, then don’t use them in your art/fic/etc.

Because it’s all too easy to fall into certain cliches when writing/drawing that would be extremely insulting both to the characters and fans.

I advise that all white/non-PoC author/artists go about writing/drawing/etc. anything concerning Wakanda in general with the utmost delicacy.

Because this movie deserved respect, these characters deserve respect, the PoC who are finally being represented on screen deserve respect.  A respect that they all too often do not receive in day to day life.

So, it might not seem like much to you but showing respect here, with this, does mean a lot to others.

If you can’t do this, if you can’t do your utmost to provide this respect in your work or are not willing to listen when someone points out any kind of unintentional disrespect that makes its way into your work, then I have some advice for you:

Take a step back and ask yourself why.  

And then pick a different fandom to work with.

Pick a different movie to work with.

Pick different characters to work with.

There are a million and one films/tv shows/etc that you can choose from to try your ideas with.  Don’t pick this one.  Don’t pick these characters.

These characters aren’t ours.  We have untold numbers of white characters and white driven media to play with.  Go there, use those.

Don’t bring any whitewashing, colonial thinking or ideals into this section of fandom.  Do your best to not bring them into any fandom anywhere.  Recognize your privilege and use it to advance the narrative, to open fandom to others, not to create a wall that keeps others marginalized and excluded.

Be a part of the solution, not the problem.  Even if you feel like this movie isn’t that big of a deal remember that your opinion isn’t the one that matters.

Black Panther is important.  Black Panther matters.  Respect that.

Lastly I just want to say that I am delighted to have gotten to see such a marvelous film, to witness these characters come to life.  To see the sheer joy they’ve brought to men, women, and children the world over.

It’s long over due and I hope it’s only the beginning.  I hope this catapults more black and PoC driven films/media/art right to the forefront of society where it deserves to be.

Where it always should have been.