#Place Review Panel

[insidecroydon]

Perry's council refuses to name its design review panellists

CROYDON IN CRISIS: Mayor decided to re-boot jo Negrini’s Place Review Panel, but after almost a year’s delay, the identities of the ‘experts’ assembled remain closely guarded secrets. By WALTER CRONXITE Missing some essential detail: will the council’s design panel help improve the borough’s built environment? “Just what are they trying to hide?” a Katharine Street source said today after the…

[primepaginequotidiani]

PRIMA PAGINA The Jerusalem Post di Oggi venerdì, 06 settembre 2024

[mostlysignssomeportents]

Copyright takedowns are a cautionary tale that few are heeding

On July 14, I'm giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! On July 20, I'm appearing in CHICAGO at Exile in Bookville.

We're living through one of those moments when millions of people become suddenly and overwhelmingly interested in fair use, one of the subtlest and worst-understood aspects of copyright law. It's not a subject you can master by skimming a Wikipedia article!

I've been talking about fair use with laypeople for more than 20 years. I've met so many people who possess the unshakable, serene confidence of the truly wrong, like the people who think fair use means you can take x words from a book, or y seconds from a song and it will always be fair, while anything more will never be.

Or the people who think that if you violate any of the four factors, your use can't be fair – or the people who think that if you fail all of the four factors, you must be infringing (people, the Supreme Court is calling and they want to tell you about the Betamax!).

You might think that you can never quote a song lyric in a book without infringing copyright, or that you must clear every musical sample. You might be rock solid certain that scraping the web to train an AI is infringing. If you hold those beliefs, you do not understand the "fact intensive" nature of fair use.

But you can learn! It's actually a really cool and interesting and gnarly subject, and it's a favorite of copyright scholars, who have really fascinating disagreements and discussions about the subject. These discussions often key off of the controversies of the moment, but inevitably they implicate earlier fights about everything from the piano roll to 2 Live Crew to antiracist retellings of Gone With the Wind.

One of the most interesting discussions of fair use you can ask for took place in 2019, when the NYU Engelberg Center on Innovation Law & Policy held a symposium called "Proving IP." One of the panels featured dueling musicologists debating the merits of the Blurred Lines case. That case marked a turning point in music copyright, with the Marvin Gaye estate successfully suing Robin Thicke and Pharrell Williams for copying the "vibe" of Gaye's "Got to Give it Up."

Naturally, this discussion featured clips from both songs as the experts – joined by some of America's top copyright scholars – delved into the legal reasoning and future consequences of the case. It would be literally impossible to discuss this case without those clips.

And that's where the problems start: as soon as the symposium was uploaded to Youtube, it was flagged and removed by Content ID, Google's $100,000,000 copyright enforcement system. This initial takedown was fully automated, which is how Content ID works: rightsholders upload audio to claim it, and then Content ID removes other videos where that audio appears (rightsholders can also specify that videos with matching clips be demonetized, or that the ad revenue from those videos be diverted to the rightsholders).

But Content ID has a safety valve: an uploader whose video has been incorrectly flagged can challenge the takedown. The case is then punted to the rightsholder, who has to manually renew or drop their claim. In the case of this symposium, the rightsholder was Universal Music Group, the largest record company in the world. UMG's personnel reviewed the video and did not drop the claim.

99.99% of the time, that's where the story would end, for many reasons. First of all, most people don't understand fair use well enough to contest the judgment of a cosmically vast, unimaginably rich monopolist who wants to censor their video. Just as importantly, though, is that Content ID is a Byzantine system that is nearly as complex as fair use, but it's an entirely private affair, created and adjudicated by another galactic-scale monopolist (Google).

Google's copyright enforcement system is a cod-legal regime with all the downsides of the law, and a few wrinkles of its own (for example, it's a system without lawyers – just corporate experts doing battle with laypeople). And a single mis-step can result in your video being deleted or your account being permanently deleted, along with every video you've ever posted. For people who make their living on audiovisual content, losing your Youtube account is an extinction-level event:

https://www.eff.org/wp/unfiltered-how-youtubes-content-id-discourages-fair-use-and-dictates-what-we-see-online

So for the average Youtuber, Content ID is a kind of Kafka-as-a-Service system that is always avoided and never investigated. But the Engelbert Center isn't your average Youtuber: they boast some of the country's top copyright experts, specializing in exactly the questions Youtube's Content ID is supposed to be adjudicating.

So naturally, they challenged the takedown – only to have UMG double down. This is par for the course with UMG: they are infamous for refusing to consider fair use in takedown requests. Their stance is so unreasonable that a court actually found them guilty of violating the DMCA's provision against fraudulent takedowns:

https://www.eff.org/cases/lenz-v-universal

But the DMCA's takedown system is part of the real law, while Content ID is a fake law, created and overseen by a tech monopolist, not a court. So the fate of the Blurred Lines discussion turned on the Engelberg Center's ability to navigate both the law and the n-dimensional topology of Content ID's takedown flowchart.

It took more than a year, but eventually, Engelberg prevailed.

Until they didn't.

If Content ID was a person, it would be baby, specifically, a baby under 18 months old – that is, before the development of "object permanence." Until our 18th month (or so), we lack the ability to reason about things we can't see – this the period when small babies find peek-a-boo amazing. Object permanence is the ability to understand things that aren't in your immediate field of vision.

Content ID has no object permanence. Despite the fact that the Engelberg Blurred Lines panel was the most involved fair use question the system was ever called upon to parse, it managed to repeatedly forget that it had decided that the panel could stay up. Over and over since that initial determination, Content ID has taken down the video of the panel, forcing Engelberg to go through the whole process again.

But that's just for starters, because Youtube isn't the only place where a copyright enforcement bot is making billions of unsupervised, unaccountable decisions about what audiovisual material you're allowed to access.

Spotify is yet another monopolist, with a justifiable reputation for being extremely hostile to artists' interests, thanks in large part to the role that UMG and the other major record labels played in designing its business rules:

https://pluralistic.net/2022/09/12/streaming-doesnt-pay/#stunt-publishing

Spotify has spent hundreds of millions of dollars trying to capture the podcasting market, in the hopes of converting one of the last truly open digital publishing systems into a product under its control:

https://pluralistic.net/2023/01/27/enshittification-resistance/#ummauerter-garten-nein

Thankfully, that campaign has failed – but millions of people have (unwisely) ditched their open podcatchers in favor of Spotify's pre-enshittified app, so everyone with a podcast now must target Spotify for distribution if they hope to reach those captive users.

Guess who has a podcast? The Engelberg Center.

Naturally, Engelberg's podcast includes the audio of that Blurred Lines panel, and that audio includes samples from both "Blurred Lines" and "Got To Give It Up."

So – naturally – UMG keeps taking down the podcast.

Spotify has its own answer to Content ID, and incredibly, it's even worse and harder to navigate than Google's pretend legal system. As Engelberg describes in its latest post, UMG and Spotify have colluded to ensure that this now-classic discussion of fair use will never be able to take advantage of fair use itself:

https://www.nyuengelberg.org/news/how-explaining-copyright-broke-the-spotify-copyright-system/

Remember, this is the best case scenario for arguing about fair use with a monopolist like UMG, Google, or Spotify. As Engelberg puts it:

The Engelberg Center had an extraordinarily high level of interest in pursuing this issue, and legal confidence in our position that would have cost an average podcaster tens of thousands of dollars to develop. That cannot be what is required to challenge the removal of a podcast episode.

Automated takedown systems are the tech industry's answer to the "notice-and-takedown" system that was invented to broker a peace between copyright law and the internet, starting with the US's 1998 Digital Millennium Copyright Act. The DMCA implements (and exceeds) a pair of 1996 UN treaties, the WIPO Copyright Treaty and the Performances and Phonograms Treaty, and most countries in the world have some version of notice-and-takedown.

Big corporate rightsholders claim that notice-and-takedown is a gift to the tech sector, one that allows tech companies to get away with copyright infringement. They want a "strict liability" regime, where any platform that allows a user to post something infringing is liable for that infringement, to the tune of $150,000 in statutory damages.

Of course, there's no way for a platform to know a priori whether something a user posts infringes on someone's copyright. There is no registry of everything that is copyrighted, and of course, fair use means that there are lots of ways to legally reproduce someone's work without their permission (or even when they object). Even if every person who ever has trained or ever will train as a copyright lawyer worked 24/7 for just one online platform to evaluate every tweet, video, audio clip and image for copyright infringement, they wouldn't be able to touch even 1% of what gets posted to that platform.

The "compromise" that the entertainment industry wants is automated takedown – a system like Content ID, where rightsholders register their copyrights and platforms block anything that matches the registry. This "filternet" proposal became law in the EU in 2019 with Article 17 of the Digital Single Market Directive:

https://www.eff.org/deeplinks/2018/09/today-europe-lost-internet-now-we-fight-back

This was the most controversial directive in EU history, and – as experts warned at the time – there is no way to implement it without violating the GDPR, Europe's privacy law, so now it's stuck in limbo:

https://www.eff.org/deeplinks/2022/05/eus-copyright-directive-still-about-filters-eus-top-court-limits-its-use

As critics pointed out during the EU debate, there are so many problems with filternets. For one thing, these copyright filters are very expensive: remember that Google has spent $100m on Content ID alone, and that only does a fraction of what filternet advocates demand. Building the filternet would cost so much that only the biggest tech monopolists could afford it, which is to say, filternets are a legal requirement to keep the tech monopolists in business and prevent smaller, better platforms from ever coming into existence.

Filternets are also incapable of telling the difference between similar files. This is especially problematic for classical musicians, who routinely find their work blocked or demonetized by Sony Music, which claims performances of all the most important classical music compositions:

https://pluralistic.net/2021/05/08/copyfraud/#beethoven-just-wrote-music

Content ID can't tell the difference between your performance of "The Goldberg Variations" and Glenn Gould's. For classical musicians, the best case scenario is to have their online wages stolen by Sony, who fraudulently claim copyright to their recordings. The worst case scenario is that their video is blocked, their channel deleted, and their names blacklisted from ever opening another account on one of the monopoly platforms.

But when it comes to free expression, the role that notice-and-takedown and filternets play in the creative industries is really a sideshow. In creating a system of no-evidence-required takedowns, with no real consequences for fraudulent takedowns, these systems are huge gift to the world's worst criminals. For example, "reputation management" companies help convicted rapists, murderers, and even war criminals purge the internet of true accounts of their crimes by claiming copyright over them:

https://pluralistic.net/2021/04/23/reputation-laundry/#dark-ops

Remember how during the covid lockdowns, scumbags marketed junk devices by claiming that they'd protect you from the virus? Their products remained online, while the detailed scientific articles warning people about the fraud were speedily removed through false copyright claims:

https://pluralistic.net/2021/10/18/labor-shortage-discourse-time/#copyfraud

Copyfraud – making false copyright claims – is an extremely safe crime to commit, and it's not just quack covid remedy peddlers and war criminals who avail themselves of it. Tech giants like Adobe do not hesitate to abuse the takedown system, even when that means exposing millions of people to spyware:

https://pluralistic.net/2021/10/13/theres-an-app-for-that/#gnash

Dirty cops play loud, copyrighted music during confrontations with the public, in the hopes that this will trigger copyright filters on services like Youtube and Instagram and block videos of their misbehavior:

https://pluralistic.net/2021/02/10/duke-sucks/#bhpd

But even if you solved all these problems with filternets and takedown, this system would still choke on fair use and other copyright exceptions. These are "fact intensive" questions that the world's top experts struggle with (as anyone who watches the Blurred Lines panel can see). There's no way we can get software to accurately determine when a use is or isn't fair.

That's a question that the entertainment industry itself is increasingly conflicted about. The Blurred Lines judgment opened the floodgates to a new kind of copyright troll – grifters who sued the record labels and their biggest stars for taking the "vibe" of songs that no one ever heard of. Musicians like Ed Sheeran have been sued for millions of dollars over these alleged infringements. These suits caused the record industry to (ahem) change its tune on fair use, insisting that fair use should be broadly interpreted to protect people who made things that were similar to existing works. The labels understood that if "vibe rights" became accepted law, they'd end up in the kind of hell that the rest of us enter when we try to post things online – where anything they produce can trigger takedowns, long legal battles, and millions in liability:

https://pluralistic.net/2022/04/08/oh-why/#two-notes-and-running

But the music industry remains deeply conflicted over fair use. Take the curious case of Katy Perry's song "Dark Horse," which attracted a multimillion-dollar suit from an obscure Christian rapper who claimed that a brief phrase in "Dark Horse" was impermissibly similar to his song "A Joyful Noise."

Perry and her publisher, Warner Chappell, lost the suit and were ordered to pay $2.8m. While they subsequently won an appeal, this definitely put the cold grue up Warner Chappell's back. They could see a long future of similar suits launched by treasure hunters hoping for a quick settlement.

But here's where it gets unbelievably weird and darkly funny. A Youtuber named Adam Neely made a wildly successful viral video about the suit, taking Perry's side and defending her song. As part of that video, Neely included a few seconds' worth of "A Joyful Noise," the song that Perry was accused of copying.

In court, Warner Chappell had argued that "A Joyful Noise" was not similar to Perry's "Dark Horse." But when Warner had Google remove Neely's video, they claimed that the sample from "Joyful Noise" was actually taken from "Dark Horse." Incredibly, they maintained this position through multiple appeals through the Content ID system:

https://pluralistic.net/2020/03/05/warner-chappell-copyfraud/#warnerchappell

In other words, they maintained that the song that they'd told the court was totally dissimilar to their own was so indistinguishable from their own song that they couldn't tell the difference!

Now, this question of vibes, similarity and fair use has only gotten more intense since the takedown of Neely's video. Just this week, the RIAA sued several AI companies, claiming that the songs the AI shits out are infringingly similar to tracks in their catalog:

https://www.rollingstone.com/music/music-news/record-labels-sue-music-generators-suno-and-udio-1235042056/

Even before "Blurred Lines," this was a difficult fair use question to answer, with lots of chewy nuances. Just ask George Harrison:

https://en.wikipedia.org/wiki/My_Sweet_Lord

But as the Engelberg panel's cohort of dueling musicologists and renowned copyright experts proved, this question only gets harder as time goes by. If you listen to that panel (if you can listen to that panel), you'll be hard pressed to come away with any certainty about the questions in this latest lawsuit.

The notice-and-takedown system is what's known as an "intermediary liability" rule. Platforms are "intermediaries" in that they connect end users with each other and with businesses. Ebay and Etsy and Amazon connect buyers and sellers; Facebook and Google and Tiktok connect performers, advertisers and publishers with audiences and so on.

For copyright, notice-and-takedown gives platforms a "safe harbor." A platform doesn't have to remove material after an allegation of infringement, but if they don't, they're jointly liable for any future judgment. In other words, Youtube isn't required to take down the Engelberg Blurred Lines panel, but if UMG sues Engelberg and wins a judgment, Google will also have to pay out.

During the adoption of the 1996 WIPO treaties and the 1998 US DMCA, this safe harbor rule was characterized as a balance between the rights of the public to publish online and the interest of rightsholders whose material might be infringed upon. The idea was that things that were likely to be infringing would be immediately removed once the platform received a notification, but that platforms would ignore spurious or obviously fraudulent takedowns.

That's not how it worked out. Whether it's Sony Music claiming to own your performance of "Fur Elise" or a war criminal claiming authorship over a newspaper story about his crimes, platforms nuke first and ask questions never. Why not? If they ignore a takedown and get it wrong, they suffer dire consequences ($150,000 per claim). But if they take action on a dodgy claim, there are no consequences. Of course they're just going to delete anything they're asked to delete.

This is how platforms always handle liability, and that's a lesson that we really should have internalized by now. After all, the DMCA is the second-most famous intermediary liability system for the internet – the most (in)famous is Section 230 of the Communications Decency Act.

This is a 27-word law that says that platforms are not liable for civil damages arising from their users' speech. Now, this is a US law, and in the US, there aren't many civil damages from speech to begin with. The First Amendment makes it very hard to get a libel judgment, and even when these judgments are secured, damages are typically limited to "actual damages" – generally a low sum. Most of the worst online speech is actually not illegal: hate speech, misinformation and disinformation are all covered by the First Amendment.

Notwithstanding the First Amendment, there are categories of speech that US law criminalizes: actual threats of violence, criminal harassment, and committing certain kinds of legal, medical, election or financial fraud. These are all exempted from Section 230, which only provides immunity for civil suits, not criminal acts.

What Section 230 really protects platforms from is being named to unwinnable nuisance suits by unscrupulous parties who are betting that the platforms would rather remove legal speech that they object to than go to court. A generation of copyfraudsters have proved that this is a very safe bet:

https://www.techdirt.com/2020/06/23/hello-youve-been-referred-here-because-youre-wrong-about-section-230-communications-decency-act/

In other words, if you made a #MeToo accusation, or if you were a gig worker using an online forum to organize a union, or if you were blowing the whistle on your employer's toxic waste leaks, or if you were any other under-resourced person being bullied by a wealthy, powerful person or organization, that organization could shut you up by threatening to sue the platform that hosted your speech. The platform would immediately cave. But those same rich and powerful people would have access to the lawyers and back-channels that would prevent you from doing the same to them – that's why Sony can get your Brahms recital taken down, but you can't turn around and do the same to them.

This is true of every intermediary liability system, and it's been true since the earliest days of the internet, and it keeps getting proven to be true. Six years ago, Trump signed SESTA/FOSTA, a law that allowed platforms to be held civilly liable by survivors of sex trafficking. At the time, advocates claimed that this would only affect "sexual slavery" and would not impact consensual sex-work.

But from the start, and ever since, SESTA/FOSTA has primarily targeted consensual sex-work, to the immediate, lasting, and profound detriment of sex workers:

https://hackinghustling.org/what-is-sesta-fosta/

SESTA/FOSTA killed the "bad date" forums where sex workers circulated the details of violent and unstable clients, killed the online booking sites that allowed sex workers to screen their clients, and killed the payment processors that let sex workers avoid holding unsafe amounts of cash:

https://www.eff.org/deeplinks/2022/09/fight-overturn-fosta-unconstitutional-internet-censorship-law-continues

SESTA/FOSTA made voluntary sex work more dangerous – and also made life harder for law enforcement efforts to target sex trafficking:

https://hackinghustling.org/erased-the-impact-of-fosta-sesta-2020/

Despite half a decade of SESTA/FOSTA, despite 15 years of filternets, despite a quarter century of notice-and-takedown, people continue to insist that getting rid of safe harbors will punish Big Tech and make life better for everyday internet users.

As of now, it seems likely that Section 230 will be dead by then end of 2025, even if there is nothing in place to replace it:

https://energycommerce.house.gov/posts/bipartisan-energy-and-commerce-leaders-announce-legislative-hearing-on-sunsetting-section-230

This isn't the win that some people think it is. By making platforms responsible for screening the content their users post, we create a system that only the largest tech monopolies can survive, and only then by removing or blocking anything that threatens or displeases the wealthy and powerful.

Filternets are not precision-guided takedown machines; they're indiscriminate cluster-bombs that destroy anything in the vicinity of illegal speech – including (and especially) the best-informed, most informative discussions of how these systems go wrong, and how that blocks the complaints of the powerless, the marginalized, and the abused.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/27/nuke-first/#ask-questions-never

Image: EFF https://www.eff.org/files/banner_library/yt-fu-1b.png

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[covid-safer-hotties]

With the toll of new COVID-19 infections regularly topping 1 million a day and weekly deaths creeping toward the 1,000 mark, the Centers for Disease Control and Prevention (CDC) has launched a campaign aimed not at protecting the public from this ongoing pandemic, now in its fifth year, but at washing its hands of responsibility.

CDC Director Dr. Mandy Cohen held a press conference August 23 to review the state of the COVID-19 pandemic and encourage the public to get their winter COVID-19, RSV and flu vaccines once they are made available. While bluntly acknowledging that “COVID is with us,” she tried unconvincingly to assure reporters and viewers that “we have the tools to protect ourselves.” She then added, as a way of shifting the blame, “We just need to use them!”

Dr. Cohen was silent on who was responsible for the failure of most Americans to get booster shots or otherwise protect themselves from a disease, which can be fatal for many and cause lifelong debilitation for many more.

She could have named the Democratic administration of Joe Biden and Kamala Harris, which ended the COVID-19 emergency more than a year ago and treats the pandemic as a thing of the past. She could have named Republican presidential candidate Donald Trump, the promoter of quack remedies like ivermectin and bleach, who recently welcomed into his campaign the anti-vaxxer and enemy of science and public health, Robert F. Kennedy Jr.

And if she had been equipped with a mirror—and a conscience—she could have pointed to herself and other top CDC officials, who have collaborated in the anti-scientific rampage to shut down both mitigation efforts and even elementary data collection on cases of illness, hospitalization and death.

Most importantly (and therefore least likely) she could have acknowledged that within the framework of the capitalist system, the profits of giant banks and corporations are far more important than the lives of human beings. That is the meaning of the incessant claims that schools, factories, public transportation and facilities must be kept open, to save “the economy,” despite the inevitable spread of the infection as a result.

Dr. Cohen, like her predecessors and colleagues at the top of the public health establishment, puts political pressures above science and medicine. The nearly hour-long briefing was simply political theater, where a panel of experts attempted to place the public health agency in the best light despite acknowledging the monumental number of daily infections that have seen hospitalizations and fatalities climb.

Meanwhile, schools across multiple states have announced closures—affecting thousands—just as the new academic year has begun, in response to mass infections among faculty and students.

So far this year, more than 26,000 Americans have died from acute COVID-19 complications, and more than 800 per week are being killed by a preventable infection, a figure 20 percent higher than last year this time. At the current rate, it is expected that between 50,000 to 60,000 Americans will die from COVID-19 in 2024, a rate two to three times higher than fatalities from flu. However, these do not take into consideration excess deaths, and given the complete dismantling of the reporting systems, these figures are known undercounts.

Such figures could only appear low in comparison to the colossal death toll of the first three years of the pandemic, when 352,000 died in 2020, 464,000 in 2021 and 260,000 in 2022. In 2023, 76,000 COVID-19 deaths were recorded. All these numbers are underestimates, as excess mortality figures are considerably higher. The cumulative death toll from COVID-19 is likely well over 1.4 million in the United States and approaching 30 million worldwide.

Neither did the panel address any concerns over the fact that millions continue to suffer from Long COVID, which has taken a significant toll on the health of Americans and the world over. It bears mentioning that a recent study noted that 410 million people across the world have had Long COVID with a $1 trillion impact on global GDP. Yet, no treatment for this condition exists. Without health insurance and means, issues of brain fog, chronic fatigue and sleep disturbances become part of one’s physiognomy.

Much about Dr. Cohen’s characterization of the ongoing COVID-19 pandemic is deeply flawed and should have been taken up by the press, who remained silent on the matter. First and foremost, her claim, in response to a direct question that COVID-19 “is endemic,” is completely misleading.

An infection is endemic when it is contained, not spreading uncontrolled and not causing significant impact on the society. COVID-19 is none of these. It remains a pandemic, with new waves of infections where millions are being infected daily by a virus whose mutation far outstrips the efforts of public health agencies and pharmaceutical companies to provide vaccines, medicines and mitigation practices. It continues to cause large-scale social disruption, economic loss and general hardship.

The opposition of both capitalist parties to any significant effort to fight the pandemic was on display last week. The Democratic National Convention, like its Republican counterpart in July, was a massive superspreader event, with thousands of delegates and media personnel congregating in an enclosed arena, where there was continuous cheering, shouting and singing. There are already anecdotal reports of widespread sickness in state delegations returning from Chicago.

As for the Republicans, Trump staged his appearance with Robert F. Kennedy Jr. on Friday afternoon, beaming as Kennedy announced he was folding up his independent presidential campaign and endorsing the ex-president and would-be dictator. Kennedy said he was working with Trump on staffing agencies like the CDC, NIH, FDA and USDA from the standpoint of ending the “chronic disease crisis.” By this he means, of course, ending efforts to fight diseases and letting children, the elderly, and the entire American population suffer the consequences.

Fundamentally, all large epidemics and pandemics are serious social issues that require broad-scale infection control in place to disrupt and prevent disease. And with respect to COVID-19 and all future pandemics, these require an international collaborative perspective.

In 2024 so far, 179 million people were infected in the United States, a total that is eventually expected to surpass 2023, when more than 248 million Americans, or three-quarters of the population, caught COVID-19. SARS-CoV-2 wastewater levels throughout the pandemic suggest that there have been more than 1.1 billion infections in the United States, between three and four for every person in the country.

This begs the question how are those most vulnerable, such as the elderly, immunocompromised, and those with chronic disabling medical conditions, which represent a significant portion of the population, to protect themselves from perpetual mass infection?

For the CDC director to present public health efforts as a matter of individual, personal choice is a gross falsification of reality. The policy of mass infection has been forced on the population.

As for having the tools to protect themselves, what is being offered are simply vaccines and more vaccines as a means to prevent COVID-19. As the WSWS recently noted, “Despite the limitations, the uptake of the vaccines is vital for the health of the population. The shots have a strong, proven safety record and do prevent severe disease and potentially reduce the risk of Long COVID, as studies have indicated. However, they do not prevent infections and the immunity they offer is short-lived given the constant mutation of the virus.”

The vaccines by Pfizer and Moderna carry a cost of $120 to $130 per shot. In some regions, these can be as high as $160 or even $200. However, the rescinding in March of $4.3 billion from the Department of Health and Human Services in COVID-19 supplemental funding means access to free vaccines for the 26 million uninsured and tens of millions more underinsured, essentially all from working class families, will only mean that the vaccination campaign will simply languish as it did last year when only 7 million Americans accepted the boosters within six weeks of their delivery to pharmacies.

As for other tools in their toolbox, Cohen refers to anti-viral treatments like Paxlovid, which are regularly being denied to patients by their physicians or when they actually are given a prescription, face the daunting price tag of $1,300 to $2,400 per course because their insurance denies them coverage. Meanwhile, repurposed medications like Metformin, a drug that treats diabetes, which has shown anti-viral properties and shown in randomized trials to reduce COVID-19 viral loads and decrease risk of Long COVID, remain unmentioned. In particular, this raises the question of why there are so few tools in the toolbox, and why some are being removed, such as the ability to wear N95 masks in public.

The arrest of an 18-year-old New York man in Nassau County on Tuesday who was wearing a black ski mask utilizing the recently passed mask-ban legislation will only embolden police departments and threaten the public who face possible detentions and arrest simply on charges of police suspicion.

At the Democratic National Convention, guidance was issued forbidding mask wearing by attendees unless “it was necessary due to a disability” and this at the discretion of security.

[yurimother]

Star Student X Delinquent Yuri Romance Manga 'I Can't Say No to the Lonely Girl' Licensed in English

On Saturday, Kodansha USA announced at its Anime Expo 2023 panel that it has licensed Kashikaze's I Can't Say No to the Lonely Girl (Lonely Girl ni Sakaraenai) for English publication. The first volume of the school romance Yuri manga will be released in the spring of 2024.

I Can't Say No to the Lonely Girl follows Ayaka Sakurai, a star student gifted in both academics and athletics. However, she gets nervous about exams, so has to settle for a lesser high school than she intended.

When her homeroom teacher recognizes Ayaka's struggle, she offers her a recommendation letter that could get her into any school of her choice, on one condition. She has to convince the delinquent girl, Sora Honda, to come to school. Thus the goody-goody Sakurai is thrust into a web of blackmail that might just lead to romance!

I Can't Say No to the Lonely Girl was serialized in Comic Yuri Hime from 2019 until its conclusion in October 2022. Ichijinsha publishes six collected volumes of the manga in Japanese.

The manga received positive reviews from audiences and critics. Erica Friedman awarded the first Japanese volume an 8/10 score on Okazu, and the series won 12th place overall in Yuri Navi's fifth Yuri Manga Sousenkyo in 2021.

Kashikaze is a Japanese Yuri artist. She has contributed to multiple Yuri anthologies, including Canelé: Soeur, Shibuya Gyaru, and Chocolat: Shkaijin Yuri Anthology. She also released a side story doujinshi focusing on the side characters from I Can't Say No to the Lonely Girl.

Look forward to the release of the first volume of I Can't Say No to the Lonely Girl in the Spring of 2024.

Source: Kodansha USA Website, Kodansha Comics Twitter

[endiness]

okay, i have gone through probably 50+ s2 interviews of hc researching this so far and i have to say that at this point i really don't see how he wasn't deliberately trying to manipulate the fanbase and the media against the writers and the show to get them onto his side. (and also, like, a very specific, extremely toxic section of the fandom at that.) (it's the sexist incel gamerbros. i'm talking about them.)

"I wanted to represent as much of a book-accurate Geralt as possible and a lot of the fans did as well, and so I campaigned really hard to make sure that he was more verbose, he sounded more intellectual, his choice of words was more thought out and that his approach to Cirilla and everyone else wasn’t antagonistic. Because it initially came across as he was just grumpy all the time with everyone and everything and I really wanted to show this three-dimensional character […] It’s gonna be tough to do the stuff which is as brilliant as Sapkowski’s writing, but it’s something I’m always gonna campaign for and it’s hopefully fit into the vision of the show."

there are so many interviews (ie virtually every interview out of 50+ with the exception of maybe, like, 3) where hc says the exact same thing about how he just cares so much about book accuracy, specifically where geralt's characterization is concerned, and that he really started to push for a more book accurate geralt in s2 and wanted him to be more verbose and intelligent and show that he isn't just a one dimensional character who just grunts and says hmm all the time like in s1 — and at no point does he ever take any responsibility for how that was due to his acting choices in the first place because he would cut his lines.

he also just straight up lies about the situation because the writers originally wrote geralt as being more verbose and book accurate in s1 but then changed the way they were writing him due to the acting choices he made. and yet he acts like that was never the case and that geralt was never originally written that way and he pushes this idea that a book accurate geralt went against lauren's vision. even though, once again, that was the original vision and it only changed due to him.

and on the extremely rare occasion (i'm talking, like, maybe 2 con panels here) that he ever takes any kind of responsibility for his role in all of that, he still waffles about and tries to present this image that he wasn't really cutting that many lines and they weren't really that important anyway and it didn't really matter:

"I didn't even cut that much. Just little bits when someone says how they feel, I thought if Geralt says nothing, and maybe the well-known grunts or hmms and sometimes the occasional f-word, people can take from that what they will."

even though that can't be true as confirmed by joey:

"Henry likes to cut his lines, 'cause he's lazy. No, he literally just likes to cut them. He likes to do more up here [frames his face with his hands] and just with face and hmms and grunts. There's a lot of hmms, and so I often have to take a lot of his lines and turn it into a lot of my stuff so that the plot happens."

and even hc himself confirms this and what joey said in a s1 interview:

"All the grunts, I either added or I didn't say anything and just grunted instead. It was often up to the other actors to go, 'I think he's not gonna say anything now.'"

i also have to point out that hc directly links his push for a more book accurate geralt to reading comments on reddit as i think that's very relevant to what section of the fandom exactly that he's pandering to and why he's been so vocal about it while lying about the role he played in everything and what actually happened:

"I’m on all the Reddit forums. I’m reading all the reviews. I’m literally trying to get everyone’s information. Some of it is not useful, and other criticisms are incredibly useful. I take it all in, and I look forward to bringing it even closer and closer to Sapkowski’s writing. I think any of those criticisms, they often lie in things like I was saying—we don’t have the advantage of a long involved conversation or dialogue with Geralt, so they are criticisms which I think I was prepared for. So for me, it’s about seeing that, understanding it, and working out how I can do my job better within the framework provided, [how to] appease and make those people feel comfortable that I do actually understand this character—and love this character just as much as they do."

"As a source for information, it's really helpful for me to see what everyone's saying, what everyone's thinking, and to see how much my thinking falls in line with whichever side of that spectrum it is and whether I'm doing the wrong thing, for example, by campaigning hard for the book Geralt to exist or whether I'm doing the right thing."

and just another important thing to point out imo: virtually the only times hc ever takes any responsibility in any capacity whatsoever for his own role in the show not adhering to the books (which even then he barely does and it's still always with a lot of excuses), it's only ever at con panels — which are far less likely to get picked up by news outlets and seen by a broader audience — and not in formal interview settings. (except for, i think, one interview he gave early on when s2 first went on hiatus. but even then, it still has the same problems that the con panels have where he comes up with a lot of excuses that don't match what happened.)

then there's an interview hc gave where he went on about how he added some book dialogue into a scene and he made it out to be like it was some kind of rebellion against the writers and he didn't consult them as he was just going to do what he wanted, consequences be damned:

"I did not feel like having long discussion about whether I could add this bit somewhere. So I just did it, said the words in front of the camera, and was ready to face the consequences."

and meanwhile what actually happened was that lauren eventually let hc have free reign and rewrite a scene that he was unhappy with. which, y'know. kinda fucking weird to present what happened in the way he did.

and then there's him pushing this narrative that the female characters — namely yennefer and ciri — were given more depth and focus than geralt and the male characters as if that came at their expense and all of which is somehow due to lauren's women-centric vision of the show as if that's somehow opposed to how the books themselves are:

"On season two, I wanted to bring as much of 'Book' Geralt into the show that Lauren's vision and that the plot would allow. That's a tricky thing to do, because the plot, as Lauren has said, is very centred around bringing women into the centre of The Witcher."

"In Season 1, there wasn't really much of an opportunity for expansive dialogue which Geralt is known for — in the books, he's often known to monologue — because we had two original origin stories which were the center point of the show."

"Lauren’s vision was more of an ensemble piece than the first Witcher books. It’s driven a lot more by the characters of Yennefer and Cirilla."

"I wanted to make sure we really explored as much as showrunner's vision could allow. She has her own plan, so I’ve got to toe that line between book Geralt and Lauren’s vision."

"I wanted to try and bring as much of the book’s Geralt into Season 2 as possible, and as much as the vision, the plot and storylines would allow. The toughest part for me was finding that balance between the showrunners’ vision and my love for the books, and trying to bring that Geralt to the showrunners’ vision."

"It’s important for me to have the character be three-dimensional and it’s tricky to do, as I was saying earlier, because there’s a certain vision and there’s a certain set, storyline and plot. And so, it was about me trying to find Geralt’s place within that."

"There’s only so much space to provide the same character from the books within the showrunner’s vision. But, I did my best to provide a bit more of a three-dimensional character with a bit more emotionality."

"It's important to me that the men in the story are three dimensional as well."

like, first off — and not to continually reiterate this but — that's not true. in s1, geralt was originally written as being just as verbose and intellectual as he was in the books and that only changed due to hc cutting his lines and we know that joey often had to take his lines, too. so there was, in fact, always plenty of time for geralt to be book accurate and for yennefer and ciri to have their own focus. these things were never mutually exclusive and it's definitely some kinda take to imply otherwise.

secondly, while it is true that geralt is the main character of the short stories, ciri is the main character of the main series starting from blood of elves, the book that s2 adapted. and despite claims otherwise, her pov has always had the most focus — yes, even more than geralt (sans baptism of fire, obvs.) and it's not like ciri is the only female pov, either, or that there aren't other important female characters that make up the series. there's yennefer, triss, milva, philippa, fringilla, nimue, condwiramurs, kenna — and that's just off the top of my head. there are plenty more where that came from. women and their stories have always played a central role in the books. nothing about that goes against them or is unique to lauren's vision.

and just with boe in particular, like. triss's pov is either focused on more than geralt's or at least about as much as his depending on how you want to break things down. and with dandelion following very close behind them, too! like, ciri may be the main character of the main series and geralt may be the main character of the short stories and their povs are the most focused on overall, but the books are still very much an ensemble piece made up of a collage of many, many povs to paint a full picture of the universe. and, yeah, the women make up a huge part of that. so the show focusing on ciri and yennefer and the women — and, yes, the men as well because it does actually do that! — is um, still book accurate. so y'know, why the fuck is he presenting this idea that's somehow not the case.

in general, hc emphasizes in a lot of interviews how much he fought for "male characters to be three dimensional." which yeah, given the context of everything else, is some suspicious kinda phrasing because it gives this undertone that the show wasn't writing three dimensional male characters in the first place as opposed to the women and that it's only due to his efforts that anything changed.

also, i have to highlight this quote of him talking about the three dimensionality of men because ~curious that he omits women from the list of people real menTM can be loving and caring toward:

"I believe that real men are very sensitive. They are very capable of doing things which can be violent, if possible, or necessary. But at the same time, they are incredibly capable of love and caring amongst men and towards children and family and all sorts."

and then there's the way hc talks about changing things which comes across as so suspicious, too, imo. especially when there is every other cast member to compare him to. because the way the rest of the cast has talked about this is that they all very consistently say that the whole process is very collaborative and that lauren is very much willing to hear them out about their thoughts and concerns and that it really feels like a team effort and that everyone is working together. and meanwhile the vibes that hc gives off is either "me vs the world (ie the writers)" or "but there's nothing that i can really do to change anything and it's all on the writers~" either way, his attitude very much comes off like all bad decisions are the writers' fault but meanwhile any good decision was due to him and him alone (or maybe the rest of the cast, but definitely not the writers.) like, weird af to play it off that way especially since every other cast member didn't seem to have any problems and they all gave credit where credit was due ie to lauren and the writers.

in conclusion, it'd be one thing if hc had just taken the l and admitted that he is the one who fucked up geralt's characterization in s1 and so he sought to rectify that in s2. but yeah, he doesn't really do that. instead he lies over, like, 50 times to create this narrative of him pushing for book accuracy as if that's somehow in opposition to lauren and the writers and as if they didn't originally write geralt book accurately in the first place and as if he played no role in the lack of book accuracy at all. and then that there's also him pushing this subtle (or not so subtle) narrative about how the women were taking a more central role as opposed to the men and that's somehow unlike the books and something purely due to lauren's vision, too? even though women have always played a central role in the books to the point where ciri is the main character of the main series? and that he's directly linked this narrative he's pushing to reading comments on reddit? (and that he also has a history, since s1, of trying to cater to game stans?) yeah, i just don't see how this doesn't add up to him trying to manipulate the media and audience — especially the worst parts of the fanbase — against the writers and the show and onto his side.

(also just one last thing i'd like to note as i find it super weird that when hc was asked about giving freya any advice, he immediately shut down the notion that he would ever do anything like that and he would never offer her any unsolicited advice and he would only ever give her any if she came to him first. like, there are literally s1 and s2 interviews where freya talks about hc giving her advice. i mean, maybe she did come to him in the first place, idk. but the immediacy in which he shut down the idea that he would ever do anything like that as if offering someone younger than you advice and being a mentor to them is wrong… weird. sus, even. like, why are you scrambling to cover your ass for something that's not even bad and, also, why are you lying about it by omission in the very least.)

[sayruq]

A special State Department panel recommended months ago that Secretary of State Antony Blinken disqualify multiple Israeli military and police units from receiving U.S. aid after reviewing allegations that they committed serious human rights abuses. But Blinken has failed to act on the proposal in the face of growing international criticism of the Israeli military’s conduct in Gaza, according to current and former State Department officials. The incidents under review mostly took place in the West Bank and occurred before Hamas’ Oct. 7 attack on Israel. They include reports of extrajudicial killings by the Israeli Border Police; an incident in which a battalion gagged, handcuffed and left an elderly Palestinian American man for dead; and an allegation that interrogators tortured and raped a teenager who had been accused of throwing rocks and Molotov cocktails. Recommendations for action against Israeli units were sent to Blinken in December, according to one person familiar with the memo. “They’ve been sitting in his briefcase since then,” another official said.

[suzuran777]

Analyzing some of the very first BL visual novels

First of all, I've talked about most of these topics during my Citrus con panel on Augustus 24th, so for those who missed it or who wanted a list of all the visual novels mentioned during the panel, those are also mentioned in this blog post! Japanese BL visual novels have been something I’ve been interested in since 2010-2011, and even these days many people in English speaking fanbases are familiar with games like DRAMAtical Murder and the other Nitro + Chiral titles. I've played many older titles which I've previously reviewed on this blog, and in this post I will be looking at some of the very first BL visual novels and how the industry has changed throughout the years.

Before the very first "official" BL visual novels were released, some visual novels already existed in which a male protagonist had romantic or sexual scenes together with one of the other male characters. Some examples of this are games like Sotsugyou Ryokou (1996) and Ko-Ko-Ro (1998). Most of the other love interests in these games were girls, so they were not promoted as “boys’ love” games.

The oldest visual novel I could find that was promoted as a game which focuses on love between boys, is a game called Sei Valentine Gakuen, released by a company called B.M. in early 1999. This is a game in which you can name the protagonist, and none of the characters are voiced. While checking their old website through Waybackmachine, it seemed like the game had a lot of game-breaking bugs which they attempted to patch out, however the website quickly shut down within what seems like only a year (or maybe a few years) after its release date. Since there's not a lot of information about this game available online, I was surprised that someone bought the game second-hand and made a youtube video about it, so I recommend checking that out! You can watch it here. Despite being promoted as a game that focuses on love between boys it seems like there’s not really romance in the game, so I am curious why they marketed the game in this way.

Next is a game called BOYxBOY, released a few months after Sei Valentine Gakuen in April 1999. This is one of the games I actually got to play myself, and I was surprised to see this game was released by King Records (the record label) as I didn’t know they used to publish games, let alone BL games. The protagonist has a face and a name this time, but even though all the other characters are voiced, they decided to leave the main character unvoiced for some reason. This game does have romance elements, like confession scenes, but it's still quite minimal. There’s only one character who actually gets a kiss scene for example. This game did get a fandisc a year later, but it seems to be more of a collection of extra materials and minigames rather than something that really adds something to the story of the game.

Another BL visual novel that was released around this time in July 1999 is a game called Graduation (or Sotsugyou) by Joinac, which as the title suggests, focuses on the protagonist spending time with people at his school right before his graduation. This one actually got translated, so it's probably the first BL visual novel to ever get an (official) English translation. Unlike most other games from this time, this one can still be easily accessed too, as a digital version is available for purchase on DLsite.

Entering the 2000s, game developer AliceSoft created their own BL game brand called AliceBlue and released their first BL game called Kakurezuki in 2000. Even though AliceSoft released 18+ rated titles in the past, this first BL title was actually also all-ages. Some reviews mentioned that they don’t really consider the game BL at all, pointing out the lack of romance, and I can definitely see where they’re coming from. Pretty much all the other games I mentioned so far take place in a modern-day school setting, however this game is more of a historical fantasy game (although the plot still only focuses on the protagonist and his daily interactions with those around him).

A lot of the games during this time period still highly resembled the typical dating sim-style game, which was quite popular in the mid/late 1990s. This kind of gameplay means that usually, the player decides what the character is going to do that day, for example, what subjects he takes in school, which club he joins and which locations he visits. In games like Kakurezuki, it’s a bit different you decide what magic skills you want to strengthen that day. This kind of gameplay kind of limits what kind of story the writers can explore, as the plot mostly focuses on the main character’s everyday life and their interactions with other characters, and eventually also became something that’s not commonly used in BL visual novels anymore.

Later that year, in August 2000, one of the most well-known early BL visual novels was released. This was Sukisho (short for Suki na Mono wa Suki Dakara Shouganai) by Platinum Label. The company promoted this game as the “first 18+ boys love game” though Graduation also seems to be rated 18+ on DLsite. Sukisho gained a big fanbase, as many fans really liked the art (drawn by Tsutae Yuzu) and the characters. Even though the plot still focused on boys going to school, some characters do have a darker backstory. The company even created official forums where fans could discuss the plot of the game and fan theories. Some other boards also encouraged fan meetups at local conventions in Japan. It ended up getting 3 different sequels, a PlayStation 2 port, an anime adaptation, and various drama CDs and novels. These days a lot of BL visual novels get drama CDs, but back then this game really got a lot of extra content compared to other games. Like many others, I personally discovered this game through the anime many years ago, but I played the visual novel later as it has also been fan translated and was quite accessible back then.

Another visual novel that stood out, and which also got an anime adaptation, is Angel's Feather (2003). Unlike the rather confusing anime plot, which adds a new character that isn’t in the game, I think the plot of the visual novel is actually much better. Initially it does seem like another game about high school boys, but in reality it’s more of an RPG game that focuses on the characters learning more about the world they’re living in, and their own magic abilities. I think just like Sukisho’s artstyle, compared to many other games that were released at the time, the art of this game quite unique. The artist is Yamamoto Kazue, who worked on many visual novels, and is still active nowadays. This game also got a sequel and drama CDs, but sadly the third game they were working on was never released. The studio was also working on a completely new game called White Shadow, however this one also remains unreleased to this day. If you want to read a little bit more information about this game and other unreleased titles, I wrote a blog post about that too here!

The inclusion of RPG elements I briefly mentioned just now in visual novels was not something only Angel’s Feather did. For example, some of these other screenshots are from Ouji-sama Lv1, Teikoku Sensenki, and Apocripha/0. The gameplay varied from a simple battle system to complicated dungeons and hard to beat enemies, depending on the game. One downside of this is that it’s quite a time-consuming process if you want to see all kinds of different endings, as these parts of the game were usually unskippable. Gradually, this is also something that slowly became less common in BL visual novels.

Generally, a lot of older games were quite difficult to replay as most games only had a limited number of save slots, and sometimes there would be no preview images next to the save files either, so it was quite difficult to remember which save file you were supposed to load. Some of the oldest BL visual novels also don’t have a skip button, which means you have to play through all of the dialogue again if you want to see a different ending. The pictures below are my screenshots from Angel's Feather and Kannagi no Tori, a game that was released in 2001. Luckily both of these games do have a skip button, but there were never enough save slots!

Other than changes in gameplay and artstyles, something that has also changed quite a lot are the dynamics between characters in adult scenes. In most BL visual novels, the protagonist is either a top or a bottom, and this doesn’t really change throughout the whole game. For example, if the official website mentions that the protag is a bottom, that means he’s a bottom with every single one of the love interests. Something I noticed while playing older games is that this order wasn’t always fixed. In games like Laughter Land and Kannagi no Tori for example, the game would often let the player decide. A game that was released a bit later which also has this option is PIL/SLASH’s game Shingakkou -Noli me tangere. In every route, no matter what character, you make the decision. I think it’s kind of fun when the game gives you choices like this, although I’m not sure if they will ever bring it back.

Terminology and target audience When I talk about these games I use “BL game” and “BL visual novel” as these are easily understood when communicating with an English-speaking audience. However in Japanese these games are usually only called “BL game” or "AVG" which just stands for adventure game. In the early 2000s some official websites around this time would refer to these BL visual novels as ''boys games'' to distinguish them from a genre called “girl’s games” or galge, which are games that would typically target a male audience. Even though the term “yaoi” was becoming less common, some developers would also call them “yaoi games” on their website, as you can see in some of the screenshots below . It’s not like the term “visual novel” is something completely unknown to them, but it’s also not a term I ever see them using to promote their games.

As for the target audience, similar to a lot of BL manga, the target audience for many of these BL visual novels was also women. A lot of websites stated that these were games “made by girls for girls”. However, it’s better to not generalize the whole genre as something exclusively targeted towards women, as some games like Hotaru (released by Tarutaru in December 2000) and its sequels were specifically advertised as games "made by gay men for gay men". One of the games I mentioned earlier, Graduation, was also made by a doujin group that calls themselves the Gay Artist Support, and like the name suggests, they support gay artists and alleys. Therefore it can be concluded that even during this time period, it wasn't just women creating and reading BL.

Marketing and sales Some might be wondering; how did people discover these games back then? Around the year 2001, multiple websites were created by fans that kept track of new BL game developers, as well as any updates provided by the companies that were already established back then. A lot of these websites also gave fans the option to chat with each other in their forums. Some examples of these websites are BOY'S STREET and Boyslove Kenkyuujo (which translates to BoysLove research institute). They kept track of both commercial and doujin game releases. Companies and doujin creators would both sell their games at events like Comiket, Super Comic City and J-Garden too, where they would promote their games and chat with fans. Their games would also be sold at stores like Animate and Toranoana, which is not too different than how creators sell their BL games nowadays, as both of these stores still exist. A lot of BL game creators in the early 2000s were quite close to each other and collaborated. For example, some doujin groups like Anubis Label, Ritz, Moon Parrot and more created their own magazine called B-GAME, which featured information about their new doujin games, corporate games, survey results, game reviews and more. The picture below (on the right) is a picture I found on the website of doujin group Moon Parrot, promoting and selling their game Kuro no Tsuki at Super Comic City. Of course official BL game magazines also existed, but I think I will make a separate blog post about that (update: you can read it here!).

Well-known developers throughout the years Next I made a list of some BL game creators that established their brands in the early or mid 2000s, and who continue to be active nowadays. I will mention some newer games as well. There's way too many BL visual novels to include all of them, so I apologize if I missed some that were quite influential!

Langmaor/Tennenouji: The first game Langmaor released was a game called Enzai in 2002, illustrated by Yura. This game focuses on a boy whose name is Guys, who gets sent to prison as a result of a false accusation. In one interview, Yura mentioned that she was almost afraid that the plot of the game would be “too dark”, as the main character experiences a lot of abuse, but she concluded that at least the game would be unique. In 2004 Langmaor released Teikoku Sensenki, and a year later they released Zettai Fukujuu Meirei (or more well-known as Absolute Obedience). This game had a kind of unique system which focused on not one, but two protagonists. The final game this brand released was a game called Laughter Land (2006. The illustrations of this game were drawn by Yuzuki Ichi who had previously worked on Kannagi no Tori. Yura was also part of doujin group called Tennenouj, which already released their first BL game in 2000 called Sei Crain Gakuen, a BL game that you could play by opening HTML files in your browser. They released their second BL game in 2006, which was Miracle No-ton, a game about a notebook that could grand the protagonist’s wishes (horny wishes only though!). In 2009, Luckydog1 was released, which ended up becoming one of the most popular and well-known games in Japanese speaking BL visual novel fanbases. The game is about the protagonist Giancarlo, who’s a low-ranking member of the mafia and currently in prison, who receives the task to free 4 important members of the mafia from prison. Some BL gamemagazines like Cool-B have an annual popularity poll, and for years, LuckyDog 1 and its characters ended up in first place. On BL information websites like ChilChil it continues to be the highest rated BL visual novel to this day. Two years ago, Tennenouji also released the game Friendly Lab, of which the mobile version is still being updated, so even nowadays they are still very active.

Nitro + CHiRAL: Or just called “NITRO CHiRal” these days. They released their first game, Togainu no Chi, in 2005. In the early interviews the director stated that they wanted to create something different, as a lot of visual novels around this time focused on schoolboys and modern-day settings. So instead, they wrote a story that takes place in a futuristic version of Japan, devastated by a Third World War. Only a year later in 2006, they released their second game, Lamento -BEYOND THE VOID- which also takes place in a fictional world. Even though the characters look similar to humans, they call themselves Ribika and have cat-like characteristics. The characters in this game are struggling to survive, as a mysterious force called “The Void” is slowly destroying their world. Because of their unique stories and beautiful illustrations, Nitro Chiral quickly gained a big fanbase in Japan too. In some articles published in Cool-B magazine, they mentioned that they were taking even bigger risks with their next game, as the plot would be anything but happy. This was about their third game, sweet pool. Despite that, I think fans already expected dark and serious stories from the company, so it was still well-received. Before releasing DRAMAtical Murder, they released two more visual novels called Itsuwari no Alkanet and World’s end Nightmare, though these were only available on Chiral Mobile, an app that could only be downloaded on certain Japanese phones. These days these games are considered lost media, but I wrote a blog post about what I could find about them some years ago. Afterwards they released their more well-known games DRAMAtical Murder in 2012 and Slow Damage in 2021.

Pil/Slash: This is a BL visual novel developer that is well known for writing dark stories, with themes like abuse, noncon, physical and emotional torture. Though of course this is not too uncommon in BL visual novels, as all of the developers I’ve previously mentioned include themes like that in their games too.Their first game, Masquerade ~Jigoku Gakuen SO/DO/MU~, was released in 2006, followed by Koibito Yuugi a year later. In 2011, one of their most well-known titles, Shingakkou –Noli me tangere- was released. This game is about protagonist Michael who’s enrolled in a seminary. However, his school life is anything but peaceful, as his family gets murdered and he also discovers a secret society of devil worshippers in his very own school. At the moment this is the second highest rated BL game on ChilChil, after Luckydog1. After this they released Pigeon Blood in 2014, which was also a horror-themed game, and Paradise a few years later, which was quite popular in Japan too. In 2021 they released their newest game, Dystopia no Ou. This game focuses on protagonist Kiriku who dreams about becoming a rock star. Initially, this seems quite different than PIL/SLASH's previous games, but I promise the story still gets pretty dark. The writer credited for Paradise and Dystopia no Ou is Kyuuyouzawa Lychee, who's also the creator of doujin game group LOVE&DESTROY and games like CAGE OPEN and CAGE CLOSE.

Spray: This company’s first game was Saikyou Darling, released in 2001, but I think they are probably more well-known for their Gakuen Heaven series. The first Gakuen Heaven game was released in 2002, but since then they have released a few newer versions of the game, console versions and a second game. This is another one of these games that people might know because it has an anime and manga series. Spray has released quite a few different games like Soshite Bokura Wa, Piyotan, STEAL! and more recently Tsumi naru Rasen no Ori, but I think other than Gakuen Heaven their most well-known title is probably Kichiku Megane, released in 2007. This game focuses on protagonist Katsuya, a salesman who seems to be failing at everything in life. Just before he’s fired from his job, he receives a mysterious pair of glasses from someone. Whenever he wears these glasses, his personality completely changes. He suddenly becomes very skilled at everything, but also very sadistic. In recent years fans have started organizing fan events for this game at local conventions again, so it’s interesting to see how popular it still is.

Holicworks: Also known as LoveDelivery, as that’s the name they used to release some of their very first games, like Tsukigami (2007) and Beniiro Tenjou Ayakashi (2008). Their most well-known title Taisho Mebiusline, released in 2012. This game is a historical fantasy game which takes place during the end of the Taisho period, in 1923. The protagonist, Kyouichirou, moves to Tokyo in order to go to university. However, he runs into trouble soon after his arrival, as the Imperial Military becomes interested in his ability to see spirits. The writer of this game, Nakajo Rosa, is often praised for the historical research she did in order to write this game. The story covers all kinds of political issues, international affairs and military activity, and combines it with religious themes such as Shintoism. This also means that even for Japanese speakers, the game can be a bit difficult to read, as it tends to use difficult words and kanji. However, I think with a bit of research it’s not impossible. They also released games like Tokyo Onmyouji, Tokyo 24ku, and more recently Tokyo Satsujinki Gakkou no Kaidan, though the only game that has an English translation is Tokyo Onmyouji, which takes place in a more modern-day setting, but still focuses on supernatural themes like ghosts and spirits.

Karin Entertainment: Another developer that has been around for a long time, who released their first BL game series called Bois in 2002. Afterwards in 2004, they released the game Animamundi Owarinaki Yami no Butou~ (Animamundi: Dark Alchemist), which I’m not sure if I should be calling BL game as there are also a few female love interests. The games they released after this aren’t BL games, but instead they created a new branch called Karin Chatnoir Omega, which released the game Omertà ~Chinmoku no Okite~ in 2011. In this game the mafia controls the government, and the protagonist J.J. is a hitman who’s taking all kinds of assassination jobs. In 2016 they also released the game Omega Vampire, which is the first omegaverse BL visual novel.

Parade: This is a game developer known for creating games in which the protagonist is exclusively a top, or seme, which is also something that was not super common in the past. In a lot of other games almost all of the love interests are younger guys, so I think it was interesting to see at least two of the other main characters in NO THANK YOU!!! were over the age of 35. Even though most Parade games have a lot of 18+ content, like NO THANK YOU!!! and their second game Room No. 9, one should not underestimate the plot, as the writing is really good. My favorite game is probably their latest game, which is Lkyt., a historical fantasy game and my personal favorite.

CORE: This is the BL branch of a company called Orbit, and their most well-known game is Messiah, which was released in 2006. Though their first game was a game called Ever Loyalty in 2001, followed by Fanatica in 2004. Most of CORE's games only have 1 or 2 characters the protagonist can end up together with, although sometimes other characters in the game also have their own bad endings. In Fanatica, the protagonist only has one true love interest, but a lot of the other main characters are also paired up with each other, so even if they don't have their own route, you do get to see different scenes with them. Even though CORE released their last game in 2008, which is the Messiah fandisc Messiah ~ Paranoia Paradox. It was announced that they are actually working on a new BL project called Tokyo Gentou/Tokyo Phantasmagoria, under the new name Procyon.

Adelta: Not really 2000s as their first game was released quite some time later, but I think still important because they've gotten quite popular in recent years. This is a doujin game group created by Kurosawa Rinko. The first games this group worked on were Cocoon and Cocoon Black Noise, released in 2014. The game they’re probably most known for is Koshotengai no Hashihime (Hashihime of the old Book Town). This game is quite well known for its references to literature and real writers, and the story also takes place during the Taisho period. Originally it was advertised as a time-loop murder mystery. In 2020 Uuultra C was released, which is a completely different kind of game that takes place during the Showa period and focuses on heroes you’d typically see in a Super Sentai Series, or Tokusatsu movies in which the characters fight kaiju. Adelta is currently working on their newest game, Ooe.

Conclusion Of course there are many more BL visual novels which left a big impact on people, even less serious games like Gakuen Handsome which still get referenced a lot to this day. Another well-known title is Mada Koubou's Hadaka Shitsuji, which was mostly created by artist and writer Togo Mito. It kind of difficult to determine how many BL visual novels currently exist, but BL information website ChilChil currently lists 345 titles in this database. This does however include fandiscs and games that aren't technically BL games, and also doesn't include all doujin games ever released.

The early 2000s was a good time for BL visual novel fans and a lot of developers were making BL games back then, which also meant that there would be many new games to play. These days the number of active developers has significantly decreased, so most of the time you get about 1 or 2 big releases every year. Of course, there are still doujin groups and individual creators who make their own games, but the number of commercial releases is pretty small nowadays.

Some games that were released earlier this year however, are Tokyo Satsujinki Gakkou no Kaidan and Haiiro no Arcadia. I am personally also looking forward to the release of Adelta's new game Ooe, and Procyon's Tokyo Gentou/Tokyo Phantasmagoria, so I recommend checking those out when they're released!

[your-name-is-jim]

TOS fans, you may want to read this comic series!

Sooo I recently read this series of comics called Star Trek: Year Five, published in 2019-2021 by IDW Publishing; I heard it was good, but I didn't expect it to be that good!

If you haven't read it, I suggest to check it out! (it's also not hard to find it if you get what I mean)

The art overall is great and, more importantly, the characters act like themselves and there are several references to their canon backgrounds, past and future experiences! What I absolutely loved was also seeing a lot of "old faces" from TOS show, as well as mentions of events from the series and the movies.

As the title suggests, the story takes place during the last year of Kirk's five-year mission on the Enterprise. I'd like to tell you more, but I enjoyed the surprise of a lot of things I didn't expect, so first of all I'll post a few pics without major spoilers from the first 11 issues (there are 25, so you still have a lot to discover!):

I especially love how Bones and Sulu are drawn, they really look like them! Scotty and Uhura too, but that depends on the artist. Speaking of them, if you like a little Scotty/Uhura, this series has something good about it!

The joke about Kirk thinking there's something strange with the way the Klingons look now cracked me up. LOL

Also, I'm not sure Chapel would call McCoy "Bones", but she is very right in that panel. :)

The last panel is classical James T. Kirk's ass appreciation lol

Sulu has a love story with an alien who doesn't understand human genders and uses they/them pronouns. As someone who headcanons TOS Sulu as attracted to any gender, that was great to see :D

I'm also posting this "end-of-the-episode" panel because it's just perfection. TOS in a nutshell. Aww, look at Kirk and Spock just looking at each other! <3

I must say, you may be a little disappointed if you expect to see many moments with Kirk and Spock together, BUT the scenes they have together are really good! I won't say anything more, just read until the end and you'll see! :D

By the way, this series has a Valentine's Day extra, which is the only part where Kirk has a love interest (a female original character). Yeah, you heard me: in the main story, Kirk doesn't have new romances with anyone; Sulu is the one who gets all the action! ;)

The Valentine's Day issue is not linked to anything else and I don't think Kirk's female love interest is mentioned outside that story, so you can easily skip it if it's not for you. However, even if I can't say I'm especially happy with that story, I personally found something interesting there, for example this:

I think I saw this out of context once, but I didn't know where it was from, so sorry I'm just going to lose my mind thinking about ladies or GENTLEMEN in Kirk's life and Kirk not correcting her about his sexual preferences. Anyway, I might make a separate post someday about this special from a Kirk/Spock shipper's perspective, because I do have a lot of thoughts about it :)

So, if you haven't read Star Trek: Year Five, I hope I convinced you to check it out! I hadn't been lucky with other Star Trek comics before, so I had almost lost hope to find something good… and then here it was! Something that made me feel like it was really written with a lot of love for The Original Series! I really needed it!

If you decide to give it a try, I'd love to see your thoughts and see your favorite parts! I hope you enjoyed this little review. :)

[nostalgebraist]

Steve DeCanio, an ex-Berkeley activist now doing graduate work at M.I.T., is a good example of a legion of young radicals who know they have lost their influence but have no clear idea how to get it back again. “The alliance between hippies and political radicals is bound to break up,” he said in a recent letter. “There’s just too big a jump from the slogan of ‘Flower Power’ to the deadly realm of politics. Something has to give, and drugs are too ready-made as opiates of the people for the bastards (the police) to fail to take advantage of it.” Decanio spent three months in various Bay Area jails as a result of his civil rights activities and now he is lying low for a while, waiting for an opening. “I’m spending an amazing amount of time studying,” he wrote. “It’s mainly because I’m scared; three months on the bottom of humanity’s trash heap got to me worse than it’s healthy to admit. The country is going to hell, the left is going to pot, but not me. I still want to figure out a way to win.”

Re-reading Hunter S. Thompson's 1967 article about Haight-Ashbury, I thought: "huh, this guy sounds like he's going places. I wonder whether he ever did 'figure out a way to win'?"

So I web searched his name, and ... huh!

My current research interests include Artificial Intelligence, philosophy of the social sciences, and the economics of climate change. Several years ago I examined the consequences of computational limits for economics and social theory in Limits of Economic and Social Knowledge (Palgrave Macmillan, 2013).  Over the course of my academic career I have worked in the fields of global environmental protection, the theory of the firm, and economic history.  I have written about both the contributions and misuse of economics for long-run policy issues such as climate change and stratospheric ozone layer protection.  An earlier book, Economic Models of Climate Change: A Critique (Palgrave Macmillan, 2003), discussed the problems with conventional general equilibrium models applied to climate policy. From 1986 to 1987 I served as Senior Staff Economist at the President’s Council of Economic Advisers. I have been a member of the United Nations Environment Programme’s Economic Options Panel, which reviewed the economic aspects of the Montreal Protocol on Substances that Deplete the Ozone Layer, and I served as Co-Chair of the Montreal Protocol’s Agricultural Economics Task Force of the Technical and Economics Assessment Panel. I participated in the Intergovernmental Panel on Climate Change that shared the 2007 Nobel Peace Prize, and was a recipient of the Leontief Prize for Advancing the Frontiers of Economic Thought in 2007. In 1996 I was honored with a Stratospheric Ozone Protection Award, and in 2007 a “Best of the Best” Stratospheric Ozone Protection Award from the U.S. Environmental Protection Agency. I served as Director of the UCSB Washington Program from 2004 to 2009.

I don't know whether this successful academic career would count as "winning" by his own 1967 standards. But it was a pleasant surprise to find anything noteworthy about the guy at all, given that he was quoted as a non-public figure in a >50-year-old article.

[demonslayedher]

Today I went to the Zenshuuchuu-ten (Total Concentration Exhibition) for the Swordsmith Village and Hashira Training arcs today!

This is basically a chance for Ufotable to be like, "remember that cool thing we did?" and for we the fans to be like, "yup, sure do, that's why we're here."

It's not quite as extensive as other KnY events I've been to, and it doesn't particularly provide any new information, but it's fun to see some glimpses of the process from animation cells to finished clips. There's always a handful of fun displays to interact with, scrolls of character designs, and nice panels to display screenshots, especially centered around character arcs and impactful moments.

This time it was roughly as follows:

1. A room with large screen shots of Muzan the Upper Moons that appear in time with lines from the show and twangs of a biwa

2. A small room with a small swordsmithing game that they hurry everyone through. You need to strike the sword with just the right amount of force to get a ball into the middle of three slots, which I did, so I got handed a little piece of paper which is my certification as a master. I mentioned this to a friend afterword and her response was "of course you did."

3. A room in two parts dedicated to Muichiro's arc in SSV, with a hazy curtain you pass through sort of like Muichiro gaining his memories, and a model of his sword backlit in turquoise

4. A room dedicated to Mitsuri's arc in SSV, including a model of her sword which curves all the way across the room, and a little Mitsuri whom you could challenge to arm wrestling. She beat me pretty easily.

5. A Genya room of screenshots, and models of both his short little sword and his gun. Forgot to mention that their lines were playing overheard in each room!

6. A Gyokko and Hantengu room. A Gyokko only appeared over a model of the vase if you took a photo with flash, and there was a little Hantengu figure to look for, and if you found it, they'd give you a piece of origami paper on your way out of the gallery (pretty much everybody found it, but it was tiny).

8. The dedicated to Nezuko's mastery was not in-your-face triumph, but instead had a TV screen playing the Nezuko tribute music video version of her song, with the lyrics as scattered across the grey walls as the stream-of-consciousness lyrics.

9. Right after that, the staff ushers you in to the Hashira meeting, as though you were late.

Next to the meeting taking place, there is a model of Tanjiro's new old sword.

8. After that is a room dedicated to Giyuu's back story. I liked the design of the hanging screenshots in this one. Although the overall image is "water" because of the blue, the water design with light cast on the floor, and water droplet sounds mixed in with Giyuu's lines, the half-and-half effect was perhaps not intentional, but it was there. When you turn back to look through this room, the hanging screenshots--memories of Sabito and Tsutako--are all black.

9. The rest is a room dedicated to the different stages of Hashira training, with 3-D displays like riceballs, paper airplanes, pancakes with honeycomb and a ribbon, a board with ropes and sword cut marks (yikes), scuffed wooden swords, and a boulder you could push on. Along the tops of these displays were some eyeballs scoping everything out...

10. After that they put you in a theater room with three wide screens and headphones. At the last Zenshuuchuuten they did a reedit of the Akaza and Rengoku fight across three screens, so I figured this would have has plunging into the Infinity Fortress. After a preview review of Hashira Training highlights and Muzan's walk, yup, sure enough things got explosive and they plunged us in via the big screen, including some extra disorientation by zooming really closely in on some moving shots, or having multiple things happen at once across the screens.

11. Then they funnel you into a place with a TV playing the announcement for the Infinity Castle movies. No new content or news.

12. After that, these things tend to have a bright and happy Kimetsu Academy room! You could take photos, but there was a chalkboard with the voice actors have let their signatures and messages for the fans. I appreciated how they seemed to reflect their characters in their comments and handwriting, to some extent (certainly not Matsuoka (Inosuke) or none of it would be legible, but Hayami (Shinobu) has very legible, handwriting, and Hanae (Tanjiro) has comments like "I hope you'll feel like GUWAAA and GAAAAA!"). You could not take photos of the signatures, but you could take a photo of Mitsuri's art and figment of her imagination who says disparaging things to her (despite how she wants her art to make the world happy?? Oh, the irony):

13. The gallery concludes with a hall eyecatch illustrations, and a hall of Ufotable staff art paying homage to their favorite characters and scenes. Always treat seeing things in Ufotable style, but with individual craft and taste!

14. After that, you buy things. This is where they get ya.

Kind of thankfully, it's late enough in the exhibition's run that they've already run out of a lot of the smaller items I was intrigued by, so I behaved myself. I got the t-shirts I was planning on (I love the simplicity of them so so much, and really had to resist getting the paper airplane one too), a Daki ribbon item leftover from the last exhibition (though what I really wanted was Daki shoelaces), and an official pamphlet of the event. My friend got a couple Osaka-only badges,but since she got doubles of Zenitsuup the Umeda Sky Building, she gave one to me.

I really love that "nanikore" ("what the...?") design. It's so simple, and if you don’t know KnY, you might think they're just silly little circus dudes. But people who know will be like, "!!!" and their day will be a little brighter for having seen it.

Gonna do a quick self-reblog now with some extra photos!

[moonpetrichors-blog]

My Mistake

Tags: Miguel x Spidey!Reader, Oneshot, Crush Blush, Gn!Reader, Close Proximity, Mad Miguel Just Bc 🤘😔

Warnings: None

When assisting Miguel with his leadership duties, you lend an extra hand with the boring computer work. But what happens when you slip and fall into his lap by accident?

Sorry for being so dead on tumblr LMFAO but like everyone else I watched ATSV and had sudden inspiration and also like. yk. miguel is FINE AF.

* ˚ ✦ 844 Words • Read below the cut    

╭┈─────── ೄྀ࿐ ˊˎ-╰┈➤ ❝ [14/06/23] ❞

As you entered Miguel's headquarters, you tore off the oppressive mask from your face. Although Miguel seemed somewhat icy as an individual, he hadn't thrown you out of the spider society yet for visiting him so frequently, so you took advantage of every opportunity you had to spend time with him. You greeted him heartily from the lower platform, but he was unwilling to turn or respond. Ever the charmer, that one.

You fired one of your webs at a wall to elevate yourself onto his platform. “What’cha working on?”

Miguel appeared to be cranky as he sifted through various anomaly alerts and classified them accordingly on his hologram monitor. He felt irritated by the tedious aspect of his job; it was difficult to find the time to do everything at once while simultaneously fulfilling his leadership duties and being Spiderman 2099. Miguel eventually stirred from his work as he detected your footsteps behind him, although his agitated look remained fixed.

You frowned at him. “What’s the matter?”

It's not surprising that Miguel's temperament deteriorated when you asked him this. What wasn’t wrong? He became belligerent and almost pouty at this.

He resumed swiping across his touchscreen device. “Nothing. Don’t you have somewhere to be?”

Miguel was fully aware that you had already fulfilled your daily responsibilities, yet he was merely inventing excuses to avoid having to explain himself or ask for your aid. You leant on one of the tables besides you, entertained by his brusque response.

You ignored the last half of his sentence. “It’s clearly not nothing. Seriously, what’s up? If you need help you can just ask.”

He sighed exasperatedly, and pinched the bridge of his nose. “I don’t need help.”

You had been gesticulating then, gazing at him incredulously. “You’re a bad liar.”

He subsequently focused on you, his head whipping in your direction in aggravation. “Fine! I need assistance with sorting through the anomaly alerts and pinpointing locations.”

You mock gasped, placing your hand over the spider emblem on your suit. “No way! The Miguel is asking me for help? Who are you?”

You chuckled as you stroked his shoulder. “Of course I’ll help.”

He merely grumbled in response. Oh, how you loved teasing this man.

...

God, this was so boring.

As much as you loved to annoy Miguel, you had not anticipated that the remainder of your day would be devoted to quietly reviewing and flicking through the informational screens in his frigid headquarters. Your lower back was suffering from sitting in your chair for so long, so you stood up to straighten out your posture and get a better look at the hologram panels.

Standing for an extended period of time became exhausting as well. You were unaware that the chair you'd sat in previously had rolled away from you slightly, causing you to stumble with a curse when you moved backwards to sit down again. Miguel's reaction time was swift, as he promptly stood behind you, prepared to catch you from tripping.

He felt your back hit his chest. “Ay!”

You were both hurled to the cold, unforgiving floor, hurting faintly from the impact. At the very least, you had Miguel to break the fall (seriously, his musculature was like a cushion). You hadn't noticed that you'd landed on him, his calloused hands anchored around your waist, you sprawled crosswise his powerful thighs. Given your close proximity, the apples of your cheeks flushed ruby.

You had a hard time looking him in the eye. “Sorry, I’m really clumsy...”

Miguel's glare bore down on you with menacing precision, scowling at your blunder. However, that expression was swiftly wiped off his face as he noted your reddened cheeks, and he couldn't help but smirk at you with a bit of sarcasm laced in his voice.

He traced his talons across your sides, through your suit in a teasing fashion. “Ten cuidado, Y/N. How are you clumsy and a spider person?”

You felt like you couldn’t breathe from how close Miguel was, and you could practically smell the lavender and sandalwood shampoo he used. He smelled woody and fresh, and the moment you inhaled his scent, you felt like you were going to faint.

You whispered breathlessly. “You smell nice.”

Miguel’s own cheeks tinged a slight pink, surprised by your sudden compliment. “...Thank you?”

Miguel seemed to be unimpressed, but deep down, he felt touched by your praise and tucked it away in his thoughts like a secret for safekeeping. He'd never admit it, but despite his soft glower, he quite liked seeing you on his lap...

Bonus!

Lyla emerged out of nowhere, searching for Miguel. Her gaze was drawn to you both on the floor right away.

She looked at you both on the floor, with mock disgust. “Someone moved on fast-”

Lyla ducked when Miguel tossed you off his lap, racing to get a piece of hardware to launch at the AI. You winced as Miguel shouted a string of incomprehensible curse words in Spanish at her.

Maybe helping him out was a bad idea...

[mostlysignssomeportents]

Richard R John’s “Network Nation”

THIS SATURDAY (July 20), I'm appearing in CHICAGO at Exile in Bookville.

The telegraph and the telephone have a special place in the history and future of competition and Big Tech. After all, they were the original tech monopolists. Every discussion of tech and monopoly takes place in their shadow.

Back in 2010, Tim Wu published The Master Switch, his bestselling, wildly influential history of "The Bell System" and the struggle to de-monopolize America from its first telecoms barons:

https://memex.craphound.com/2010/11/01/the-master-switch-tim-net-neutrality-wu-explains-whats-at-stake-in-the-battle-for-net-freedom/

Wu is a brilliant writer and theoretician. Best known for coining the term "Net Neutrality," Wu went on to serve in both the Obama and Biden administrations as a tech trustbuster. He accomplished much in those years. Most notably, Wu wrote the 2021 executive order on competition, laying out a 72-point program for using existing powers vested in the administrative agencies to break up corporate power and get the monopolist's boot off Americans' necks:

https://www.eff.org/de/deeplinks/2021/08/party-its-1979-og-antitrust-back-baby

The Competition EO is basically a checklist, and Biden's agency heads have been racing down it, ticking off box after box on or ahead of schedule, making meaningful technical changes in how companies are allowed to operate, each one designed to make material improvements to the lives of Americans.

A decade and a half after its initial publication, Wu's Master Switch is still considered a canonical account of how the phone monopoly was built – and dismantled.

But somewhat lost in the shadow of The Master Switch is another book, written by the accomplished telecoms historian Richard R John: "Network Nation: Inventing American Telecommunications," published a year after The Master Switch:

https://www.hup.harvard.edu/books/9780674088139

Network Nation flew under my radar until earlier this year, when I found myself speaking at an antitrust conference where both John and Wu were also on the bill:

https://www.youtube.com/watch?v=2VNivXjrU3A

During John's panel – "Case Studies: AT&T & IBM" – he took a good-natured dig at Wu's book, claiming that Wu, not being an historian, had been taken in by AT&T's own self-serving lies about its history. Wu – also on the panel – didn't dispute it, either. That was enough to prick my interest. I ordered a copy of Network Nation and put it on my suitcase during my vacation earlier this month.

Network Nation is an extremely important, brilliantly researched, deep history of America's love/hate affair with not just the telephone, but also the telegraph. It is unmistakably as history book, one that aims at a definitive takedown of various neat stories about the history of American telecommunications. As Wu writes in his New Republic review of John's book:

Generally he describes the failure of competition not so much as a failure of a theory, but rather as the more concrete failure of the men running the competitors, many of whom turned out to be incompetent or unlucky. His story is more like a blow-by-blow account of why Germany lost World War II than a grand theory of why democracy is better than fascism.

https://newrepublic.com/article/88640/review-network-nation-richard-john-tim-wu

In other words, John thinks that the monopolies that emerged in the telegraph and then the telephone weren't down to grand forces that made them inevitable, but rather, to the errors made by regulators and the successful gambits of the telecoms barons. At many junctures, things could have gone another way.

So this is a very complicated story, one that uses a series of contrasts to make the point that history is contingent and owes much to a mix of random chance and the actions of flawed human beings, and not merely great economic or historical laws. For example, John contrasts the telegraph with the telephone, posing them against one another as a kind of natural experiment in different business strategies and regulatory responses.

The telegraph's early promoters, including Samuel Morse (as in "Morse code") believed that the natural way to roll out telegraph was via selling the patents to the federal government and having an agency like the post office operate it. There was a widespread view that the post office as a paragon of excellent technical management and a necessity for knitting together the large American nation. Moreover, everyone could see that when the post office partnered with private sector tech companies (like the railroads that became essential to the postal system), the private sector inevitably figured out how to gouge the American public, leading regulators to ever-more extreme measures to rein in the ripoffs.

The telegraph skated close to federalization on several occasions, but kept getting snatched back from the brink, ending up instead as a privately operated system that primarily served deep-pocketed business customers. This meant that telegraph companies were forever jostling to get the right to string wires along railroad tracks and public roads, creating a "political economy" that tried to balance out highway regulators and rail barons (or play them off against each other).

But the leaders of the telegraph companies were largely uninterested in "popularizing" the telegraph – that is, figuring out how ordinary people could use telegraphs in place of the hand-written letters that were the dominant form of long-distance communications at the time. By turning their backs on "popularization," telegraph companies largely freed themselves from municipal oversight, because they didn't need to get permission to string wires into every home in every major city.

When the telephone emerged, its inventors and investors initially conceived of it as a tool for business as well. But while the telegraph had ushered in a boom in instantaneous, long-distance communications (for example, by joining ports and distant cities where financiers bought and sold the ports' cargo), the telephone proved far more popular as a way of linking businesses within a city limits. Brokers and financiers and businesses that were only a few blocks from one another found the telephone to be vastly superior to the system of dispatching young boys to race around urban downtowns with slips bearing messages.

So from the start, the phone was much more bound up in city politics, and that only deepened with popularization, as phones worked their ways into the homes of affluent families and local merchants like druggists, who offered free phone calls to customers as a way of bringing trade through the door. That created a great number of local phone carriers, who had to fend off Bell's federally enforced patents and aldermen and city councilors who solicited bribes and favors.

To make things even more complex, municipal phone companies had to fight with other sectors that wanted to fill the skies over urban streets with their own wires: streetcar lines and electrical lines. The unregulated, breakneck race to install overhead wires led to an epidemic of electrocutions and fires, and also degraded service, with rival wires interfering with phone calls.

City politicians eventually demanded that lines be buried, creating another source of woe for telephone operators, who had to contend with private or quasi-private operators who acquired a monopoly over the "subways" – tunnels where all these wires eventually ended up.

The telegraph system and the telephone system were very different, but both tended to monopoly, often from opposite directions. Regulations that created some competition in telegraphs extinguished competition when applied to telephones. For example, Canada federalized the regulation of telephones, with the perverse effect that everyday telephone users in cities like Toronto had much less chance of influencing telephone service than Chicagoans, whose phone carrier had to keep local politicians happy.

Nominally, the Canadian Members of Parliament who oversaw Toronto's phone network were big leaguers who understood prudent regulation and were insulated from the daily corruption of municipal politics. And Chicago's aldermen were pretty goddamned corrupt. But Bell starved Toronto of phone network upgrades for years, while Chicago's gladhanding political bosses forced Chicago's phone company to build and build, until Chicago had more phone lines than all of France. Canadian MPs might have been more remote from rough-and-tumble politics, but that made them much less responsive to a random Torontonian's bitter complaint about their inability to get a phone installed.

As the Toronto/Chicago story illustrates, the fact that there were so many different approaches to phone service tried in the US and Canada gives John more opportunities to contrast different business-strategies and regulations. Again, we see how there was never one rule that governments could have used if they wanted to ensure that telecoms were well-run, widely accessible, and reasonably priced. Instead, it was always "horses for courses" – different rules to counter different circumstances and gambits from telecoms operators.

As John traces through the decades during which the telegraph and telephone were established in America, he draws heavily on primary sources to trace the ebb and flow of public and elite sentiment towards public ownership, regulation, and trustbusting. In John's hands, we see some of the most spectacular failures as more than a mismatch of regulatory strategy to corporate gambit – but rather as a mismatch of political will and corporate gambit. If a company's power would be best reined in by public ownership, but the political vogue is for regulation, then lawmakers end up trying to make rules for a company they should simply be buying giving to the post office to buy.

This makes John's history into a history of the Gilded Age and trustbusters. Notorious vulture capitalists like Jay Gould shocked the American conscience by declaring that businesses had no allegiance to the public good, and were put on this Earth to make as much money as possible no matter what the consequences. Gould repeated "raided" Western Union, acquiring shares and forcing the company to buy him out at a premium to end his harassment of the board and the company's managers.

By the time the feds were ready to buy out Western Union, Gould was a massive shareholder, meaning that any buyout of the telegraph would make Gould infinitely wealthier, at public expense, in a move that would have been electoral poison for the lawmakers who presided over it. In this highly contingent way, Western Union lived on as a private company.

Americans – including prominent businesspeople who would be considered "conservatives" by today's standards, were deeply divided on the question of monopoly. The big, successful networks of national telegraph lines and urban telephone lines were marvels, and it was easy to see how they benefited from coordinated management. Monopolists and their apologists weaponized this public excitement about telecoms to defend their monopolies, insisting that their achievement owed its existence to the absence of "wasteful competition."

The economics of monopoly were still nascent. Ideas like "network effects" (where the value of a service increases as it adds users) were still controversial, and the bottlenecks posed by telephone switching and human operators meant that the cost of adding new subscribers sometimes went up as the networks grew, in a weird diseconomy of scale.

Patent rights were controversial, especially patents related to natural phenomena like magnetism and electricity, which were viewed as "natural forces" and not "inventions." Business leaders and rabble-rousers alike decried patents as a federal grant of privilege, leading to monopoly and its ills.

Telecoms monopolists – telephone and telegraph alike – had different ways to address this sentiment at different times (for example, the Bell System's much-vaunted commitment to "universal service" was part of a campaign to normalize the idea of federally protected, privately owned monopolies).

Most striking about this book were the parallels to contemporary fights over Big Tech trustbusting, in our new Gilded Age. Many of the apologies offered for Western Union or AT&T's monopoly could have been uttered by the Renfields who carry water for Facebook, Apple and Google. John's book is a powerful and engrossing reminder that variations on these fights have occurred in the not-so-distant past, and that there's much we can learn from them.

Wu isn't wrong to say that John is engaging with a lot of minutae, and that this makes Network Nation a far less breezy read than Master Switch. I get the impression that John is writing first for other historians, and writers of popular history like Wu, in a bid to create the definitive record of all the complexity that is elided when we create tidy narratives of telecoms monopolies, and tech monopolies in general. Bringing Network Nation on my vacation as a beach-read wasn't the best choice – it demands a lot of serious attention. But it amply rewards that attention, too, and makes an indelible mark on the reader.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/18/the-bell-system/#were-the-phone-company-we-dont-have-to-care

[cocogum]

The Great Wave - Chapter 3 Review

‼️ SPOILERS FOR THE CHAPTER ‼️

Warning(s): extreme use of foul language.

Aurora is not pregnant.

I don’t believe it for a second, that cow is lying through her teeth. I already mentioned in the second chapter review that she just couldn’t be pregnant because there are three major reasons that easily disprove her claim.

First, it’s the amount of time that passed by. It has been a few months since Season 4 and the manga, around four months to be exact. And yet, Aurora’s stomach appears to be completely flat. How is this possible? Shouldn't there be a visible bump by now?

Second, season 3’s artbook already confirmed that Aurora was a manipulative woman and wanted to reflect it with her design (by having her hair covering one of her eyes) so who’s to say she’s telling the truth right now??

Third, @kilfeur pointed out in this post that if she was pregnant, Armand would not have allowed her to fly high up in the cloudy sky to gain knowledge about the Eliatrope goddess' eliaculus. Armand was already worried about Aurora when she went up, and the thought of her flying high while carrying their future child would have made him refuse the idea entirely, as he feared it could put their unborn child in danger.

So yeah, this skank is clearly lying her ass off just to manipulate the sadidas so that they could take her side. She’s so fucking petty omg I cannot deal with her. And her father is even worse my god wipe that ugly ass smile off your face you fatass.

This man clearly wants power that’s outside his kingdom. He just wants more even if it doesn’t belong to him and it painfully shows because he won’t stop making this fart face.

But it’s okay because as soon as Amalia opens her mouth, he immediately stops looking like a dumbass and immediately FROWNS because he knows she’s spitting FACTS.

And this is the only reason why I loved this moment. Amalia literally put him in his place and shut him up.

Amalia on the first panel: “What right do you return after you have shamelessly abandoned us? The osamodas kingdom, the nations of Bonta, Brakmar, Amakna, Astrub…”

Amalia on the second panel: “We asked you to come help us!”

Amalia on the third panel: “BUT NO ONE CAME! It was the future of the world that was at stake, not just the Sadida Kingdom!!!”

LIKE YES GIRL YES FUCKING DESTROY THIS OLD WASTE OF SPACE!!!

She literally dragged him on the fucking floor with all these facts omg I can’t she’s such a queen I love her so much. 💖💖

But then, instead of just taking it all like a good boy, this old bag of furry bones only had one thing to say and it was:

Osamodas blue cow king: “You give honor to your egocentrism, Amalia…”

Bruh what.

What are you talking about, you crusty old bat?

She drops so many facts and events that happened and this guy’s only comeback is “you’re being selfish 🥺😡”. Like what the fuck was even that???

Dude if you’ve got nothing to say, then don’t say anything but don’t just blurt out the first thing that comes out of your mouth??? Like what??

This is the equivalent of a detective who presented all the proofs that you committed the crime and the only thing you have to say is “your mama”.

Then, as if things couldn’t get any worse for this guy, he says:

Osamodas blue cow king: “My soldiers would have beat these creatures just as efficiently as yours.”

Oh yeah, where were they then, you fucking liar??? The worst part about this is that you didn’t even try hiding the fact that you would’ve been ‘ready’ but you’re so dumb you have no idea how brain-dead that makes you sound right now. You’re saying you could’ve sent your men BUT YOU DIDN’T DO SHIT. WHAT’S WORSE IS THAT YOU KNEW THE SADIDAS NEEDED HELP CUZ UR STUPID DAUGHTER FLED TO GO BACK TO YOU.

Also didn’t you once claim that Armand’s army was weaker than yours but then all of a sudden you’re now saying that your army could’ve beat the necromes like theirs did???

(oh oop- Armand don’t kill him yet 😭)

Bitch doesn’t even know what he’s talking about anymore. I doubt he even knows wtf he’s saying half the time.

Are you dumb???? Are you actually suffering from constipation????

You’re implying that you were free to help and that you knew they needed help. YOU’RE INDIRECTLY SAYING THAT YOU KNEW AND DIDN’T HELP DESPITE HAVING THE TIME TO DO SO.

While the old fart is yapping, Yugo’s face is just so 🫤😑 I’ve been staring at this panel for 2 minutes now and I love how fucking out of it he looks while listening to the cow 😭 Actually, I’m not even sure if he’s listening, I think he’s just hearing him from one ear but it all goes out on the other side. He looks like a god who’s about to squash an annoying ass ant lol

He’s literally like “is this bitch fr?”

Like Yugo is 100% confident to say that the osamodas king had no idea what the hell he was talking about when he thought his troops and he would’ve been able to fight off the necromes.

Yugo: “You have absolutely no idea what we saved you from!”

Yugo’s making that face cuz he knows the king has no clue what he’s barking about. (Also can’t Yugo just use his wakfu sensing abilities to check if Aurora is actually carrying another twelvian?? Or is he not able to do that because an unborn child does not have wakfu yet?) Little blue bro doesn’t know what necromes even are cuz Yugo never told him about them so how the hell was he supposed to know if his men would’ve stood a chance???? No seriously is this cow okay? Why is he talking? Is he talking just for the sake of talking?? Is he that self-conscious that he’ll make up lies on the spot just to protect his image??? The cow king doesn’t even know that the necromes had a leader. Yugo and Amalia are dealing with a fucking grown-ass child omg.

Osamodas blond cow: “I left because I made the promise to my dear Armand.”

This is a lie. Armand never heard of any promise. An analysis conducted by @geekgirles even indicated otherwise, supporting that the claim made by Aurora was fake. According to the analysis, Aurora was more inclined towards her family than her new life with Armand, and the claim that he made any promises to her was baseless. If you wish to read the detailed analysis conducted by @geekgirles on this matter, you can find all of it in this post.

I’ll now explain to you, in my own words, why her bullshit is hot donkey ass. Keep in mind that the whole reason why she left was to protect “the child” aka “the future heir”. As I said before, Aurora couldn’t have promised Armand anything because he knew she still held a bit too much on her osamodas family. From what we’ve seen, Aurora had the time to go back to the Osamodas kingdom to check up on them because of the eliaculus in the skies, had sided with her osamodas family during the meeting with the eliatrope goddess, had tried to marry off Amalia to one of her brothers and cousin, deliberately brought some of her relatives to Armand’s coronation to….stand around, and even keeps her father around in the Sadida kingdom when he should either be ruling his own kingdom or go back to his cave. Armand is not a moron. He knows that she constantly brings her own family to a place that doesn’t need them. So when he’s about to sacrifice his life unbeknownst to Amalia, he tells her this:

“The future is yours.”

Armand had passed the torch to Amalia.

It's worth noting that this is a crucial moment because he chooses not to pass the leadership to his own wife, Aurora. This decision is based on the fact that Aurora is heavily influenced by her family and is unable to make independent choices. At the same time, he also chooses not to give it to someone else who is just as important.

And that is the imaginary baby that Aurora is carrying.

Remember that the baby doesn't exist, and that's an important fact to keep in mind. Armand, who still loves Aurora, doesn't trust her enough to give her the leading role, or any role for that matter, especially not one that involves a child they could potentially have together. Instead, he gave the role to his sister. Aurora knows this and is fully aware that her promise to him was never even a thing. In Armand’s mind, it wouldn't have mattered if she ran away because he never intended to give her a part of the kingdom’s responsibilities in the first place, even though her getting away like that would have hurt his heart.

And Aurora is over here saying that her dad will help her lead the sadidas while she’s pregnant, girl sit your ass down no one called for you. Hoe thought she was in the same group as freaking warriors, shut up. You clearly want your father to rule for a much longer time literally wtf.

Osamodas blond cow: “During my pregnancy, my father will help me lead the kingdom…and I also count on him to train the future heir.”

It's concerning that her explanation might make sense to the sadidas. I'm not sure how she managed it, but that skank made it sound like her father would automatically assist her in ruling the Sadida Kingdom (despite them being Osamodas) since she would be pregnant and without aid due to Armand's demise. And after her baby would be born, her father would train him under his guidance to make him become strong and successful. She made it sound like a simple plan with no problems attached to it. She hasn’t even mentioned if the “baby” was an osamodas or a sadida. She only mentioned the gender, that the baby was a male (in French, when she calls the unborn child “the heir” she says it by using male pronouns).

Hey, Aurora what happens when your lie doesn’t work anymore because your stomach will still stay flat after eight months? You’re gonna tell the people that you swallowed the baby or something? That it fell down? What happens when you can’t keep up with your lie anymore?? Huh? Ever thought about that, you dumb bitch?

I have an idea, Amalia: how about you throw Aurora to the other side of the world and then try to get yourself pregnant by using Yugo so that you can also have a better reason to stay? Or better yet, you can tell her to prove her pregnancy because again, HER STOMACH IS FLATTER THAN A WASHBOARD AFTER ALL THESE MONTHS. Make her suffer from her lie and try to make her work hard for it.

You know when a dog lifts his tail and head up while he’s walking away from something cuz it shows just how sassy and confident they are? I see no difference with this crappy blue cow ‘family’ except that it ain’t cute when they do it.

They just ignored everything Amalia and Yugo said, looked the other way from every proof and situation that they were currently in, and only brought out Aurora’s pregnancy as a trashy uno reverse card, then decided to dip out before blurting out that they were gonna wait NEXT TO ARMAND’S FUCKING TREE GRAVE SO AMALIA CAN PREPARE HER STUFF TO LEAVE.

Osamodas blonde cow: “We are going to pray at Armand’s grave tree, while you make your arrangements.”

The fucking nerve to say that.

I don’t give a shit if she’s crying while saying it, this bitch is supposed to be a professional manipulator.

She and her family have no shame whatsoever. They genuinely thought they did something there. The only thing they had as “leverage” against Amalia and Yugo was Aurora’s stupid “pregnancy”. And even if she was actually carrying Armand’s kid (for whatever reason), her reason would still be shit cuz Armand already declared in his final hour that Amalia was going to take his role.

Osamodas blond cow: “Your presence here is no longer desired, sister-in-law. Just do what you’ve always done…Go explore the world!”

Like-

Who are you???

Blond cow had the audacity to exist.

Not only do we know that the royal osamodas family are liars and manipulators, but we also now know that they’re complete dumbasses for even wanting to rule the Sadida kingdom of all kingdoms. The Sadida kingdom is not built like theirs. The Sadida culture and its customs are extremely different and very much the opposite of the Osamodas since these two races are polar opposites. The Sadidas care about plant life while the Osamodas care about wildlife. It would be extremely hard for the osamodas to fully accept a culture that preaches everything that opposes what they preach. Not only that, but the Sadida kingdom is the literal embodiment of nature. If anything tries to hit its source no matter how big or small, then there would be dire consequences to the entire ecosystem of the world. The Tree of Life is such a big deal in fact that Armand even nicknames it “the lungs of this world”.

And to protect it, you not only need to be one with nature, but that also means you need a SADIDA to guard it which is a person that can literally SPEAK FOR THE TREES. Aurora you NEED Amalia, not only because she’s a Sadida, but because she’s also a royal AND has the strongest connection to the tree more than any other sadidas. You’re not just ruling a kingdom, you’re taking care of the world’s core.

And Aurora’s father doesn’t seem to understand that very important detail. When Armand reveals to him that the sadida kingdom keeps getting targeted at all times because it represents the lungs of the world, this fucking dumbass cow thinks that it’s because the sadidas are weak and can’t protect their own home which is why it keeps getting attacked.

Aurora’s father is such an idiot that he doesn’t even understand why the kingdom is so precious when he’s just been TOLD THE ANSWER DIRECTLY IN FRONT OF HIS FUCKING FACE.

At this point, even a iop would get it. BECAUSE THE PERCEDAL FAMILY ACTUALLY UNDERSTOOD THE ASSIGNMENT-

This is why imagining an osamodas ruling the Sadida kingdom is a literal death sentence. Because an osamodas, someone who only takes care of beasts, shouldn’t be able to properly take care of the sacred tree that links every single living plant in the world. For fuck sake, Aurora, why do you think they call it “the Tree of LIFE”?????

If the Tree of Life doesn’t have a proper guardian (aka A FUCKING SADIDA), then it dies. And if it dies, that means the ecosystem dies. Aurora, you dumb blond, let me explain it in osamodas language: if every green that you see outside disappears, that means that your stupid animals won’t be able to properly eat, shit, reproduce, drink, breathe, and live. And yes, Aurora that last one also means that they won’t have a surface to walk on, aka death.

You don’t have a brain because you keep listening to your egocentric manipulative fat father every time he opens his mouth and you keep making constipated decisions without thinking about the later outcomes because you think you’re in control of the situation.

The only thing you can do, and I’m being generous here by giving you a “talent”, is to shut the fuck up and sit there looking pretty. You did a good job doing that in Season 4 and I want you to do that again. And while you’re at it, go make me a sandwi-

Not only does Aurora need Amalia, the sadida who has the strongest link to the Tree of Life, but the Osamodas king also needs Yugo. I’m not sure why these blue people didn’t catch the fact that there’s a gigantic ass necrome dragon that’s only been PARALYZED and is currently standing in the fucking Sadida Kingdom’s backyard. The dragon is very easy to spot and the only reason why Yugo still keeps the eliatrope dofus on him at all times is to prepare himself for when the dragon gets out of this state. Because yes, Armand did beat him, but he didn’t kill him. Again, you are not able to kill a necrome. If the royal Osamodas family somehow takes hold of the Sadida kingdom, how the fuck are they gonna beat a fucking dragon, one of the most powerful fucking entities of this world who also had been necrofied to NEVER FUCKING DIE??? The osamodas cow king never saw a necrome, never beat a necrome, doesn’t know how it became a necrome, and doesn’t know where it comes from. Since he doesn’t know shit about the necromes, how is he gonna be able to fight a fucking necrome DRAGON?????

Sweeties, do you get it now?

Staying in the Sadida kingdom isn’t for power-hungry clowns. Staying in the Sadida kingdom means that you’ve gambled with your life more than once and you know the taste of adventure and combat. Staying there means knowing that your life can be taken away from you by either the enemies who try to take the literal lungs of the world, or the paralyzed undead dragon who can wake up at any time if he simply wanted to.

You bozos NEED Yugo and Amalia to the point where you can’t even be the ones to stay there, let alone own the place. You can’t stay there because there is so much to keep guard of, to be aware of, and to be ready for. The sadidas have practiced this dance for centuries now and they’ll keep doing it even harder because of an additional menace that is living on their grounds, the dragon being that very threat. Now, not only do the sadidas have to be vigilant of the outside, but they also have to be vigilant of the inside.

So yeah, the royal osamodas are a goofy ass family and I hate the circus.

(i love how the French commentaries on Allskreen and the Krosmoz app are clowning this family lol everyone understood the assignment)

[amuseoffyre]

Have had a couple of days and a rewatch and some mulling to put together my thoughts:

The good:

the writing - I've talked at length about the use of metaphor, symbolism, allegory and the like to add meat and substance to the narrative

the continuity tied in to S1 and the foreshadowing coming full circle, plus running themes continuing

the music is flawless throughout - both the soundtrack with songs and the original score and the way old motifs are used to add parallels and depth to scenes

the acting across the board has been staggeringly good. Especially for Taika, Rhys and Con. I can see why so many reviews had been raving about it.

the bits of set-up for S3 that have been planted if/when they get it

new characters who are an absolute delight

Family Trauma the TV show - intense to watch but cathartic af

Badass ladies and the soft boys who love them

Auntie.

The bad:

too much story and not enough time to tell it

sacrificing a lot of crew-related stuff - I know this is primarily the Ed and Stede story, but we're told that Olu was always talking about Zheng, but we never even got a single line of it. Buttons' disappearance gets one sus line. We gloss over the probation and why Ed is back in his leathers literally the next day. Again, I know, time constraints, but it does feel weaker for it.

speedrunning so much that it's taken several rewatches to catch everything that's going on - yes, it can work as a narrative device, but not all the time

still not over Zheng falling for Ricky's gift. Do not trust the aristocratic white dude, especially not when you've been blackmailing him. And I know there's some logical sense to her being so used to being able to manipulate desperate people on the fringes with both carrot and stick, but it feels like severe underestimation on her part about how ruthless and cruel and petty Ricky could be. He's not like the pirates - he has the power and privilege and it feels like she ignored that.

whatever that Teal Oranges pivot was so Jim could have a girlfriend, especially since they didn't have time/space to actually develop the Olu/Zheng and Jim/Archie stuff. Archie was barely a scrape of characterisation because of time constraints.

The ... Forbs Boding

Izzy - it falls under the typical archetype of Loss of a Role Model especially given all Ed's dad issues, which I thought we were beyond, but then it also fits with the running motif of the show of change, death and rebirth. We've had confirmation of the existence of a place between life and death plus a character who was beaten to death coming back from it and a seawitch turning up at the grave. I can see why it was done as it has been foreshadowed since "the only retirement we get is death" but after all his growth in S2, having Ricky be the one to get the jump on him is... hm. I feel like they had him and Ricky talking and Ricky causing his death for a reason. Feels like there's set-up for S3 planted and ready. My Forbs, they are A-Boding. ffs, they Obi-Wanned him right after he did a speech about "our spirit will last beyond your whole fucking empire". Strike me down and I will become more powerful than you can possibly imagine vibes.

The way trauma is/isn't being dealt with - I feel like there's stuff there that is set up for S3 as well, because we've seen how Stede is still bottling all his stuff and hasn't dealt with any of it, while Ed has done some processing and started to make peace with himself over it. Stede still has his mental lockbox and while he tries to pretend it isn't there, it still informs so many of his decisions.

All the Star Wars vibes - I've always been convinced this was the Empire Strikes Back season and now, they have all the pieces in play for the Return of the Jedi arc: Stede and Ed are together and recovering but will have a role to play, Izzy is in carbonite with a seawitch control panel, their allies are out there getting pieces in place, and the Imperial figurehead villain who showed up in S2 is still out there and convinced he holds all the power. And I just realised that this means that if they use Hornigold, he's the equivalent of Boba Fett - Bounty Hunter for the Empire XD

On the whole, I am content with it and am already having thoughts about the potential for S3, but I find it incredibly frustrating knowing how much more it could have been with the budget/time they wanted and didn't get.

[ohnoitstbskyen]

Hi Mr. Skyen!! I've adored following your passion for One Piece through the chapter panel reviews, its clear how much you know about the topic.

I was wondering if you've ever read Bleach, and if so, what thoughts you have on its artwork/paneling? And if you haven't read it, its a series that comes highly recommended!

Hrm. I mean, I read Bleach up until... basically until the Arrancar got introduced and Orihime got kidnapped and then I tapped out, the Shonen Battle Manga loop of the story just lost me completely. Most of my affection for and knowledge of Bleach is focused around its scrappier early chapters, back when the story was more of a monster-a-week ghostbusting magical girl story.

Early Bleach had a real ambition towards a kind of stylized mixture of traditional art styles with early 2000s graphic design styles, especially

The idea seems to have been embodying the clash between the old-fashioned and supernatural (shinigami, death, the afterlife, etc) against a youthful, irreverent, energetic "cool" attitude, which is a big part of its visual charm.

At its worst, the paneling can sometimes get... rather dense and scratchy, with way too many zoom lines and details and dense text boxes and the art style all over the place,

But also Tite's penchant for the graphic comes WAY the hell through when he wants to create action

As the series goes on, it smoothes and smoothes more and more as Tite's style gets more and more sleek, and more and more focused on playing with negative space and, in my opinion, starts running in circles both aesthetically and narratively.

But the paneling also gets better and clearer, the action gets more cleanly told, there are improvements, and nobody can match Tite near the end of Bleach for sheer stylized graphical muscle

I respect the hell out of Bleach's art, even if I really, really don't care for where it went as a story.