#Primer Industry

[kirbyddd]

barkbarkbark Riichi Book I's writing is like screeching chalkboard to my game designer's, translator's, and writer's ears all at once

it's got great concepts buried in there but it's in like the most anti-comprehension packaging conceivable

[el-ffej]

IMO: Absolutely, positively spot-on. Been a software engineer from 1980 to 2016, and this just nails the tech industry economics (and phases) that I saw then, and that I see now.

Must-read. Brilliantly written and on target. Kudos and applause, OP.

If anyone wants to know why every tech company in the world right now is clamoring for AI like drowned rats scrabbling to board a ship, I decided to make a post to explain what's happening.

(Disclaimer to start: I'm a software engineer who's been employed full time since 2018. I am not a historian nor an overconfident Youtube essayist, so this post is my working knowledge of what I see around me and the logical bridges between pieces.)

Okay anyway. The explanation starts further back than what's going on now. I'm gonna start with the year 2000. The Dot Com Bubble just spectacularly burst. The model of "we get the users first, we learn how to profit off them later" went out in a no-money-having bang (remember this, it will be relevant later). A lot of money was lost. A lot of people ended up out of a job. A lot of startup companies went under. Investors left with a sour taste in their mouth and, in general, investment in the internet stayed pretty cooled for that decade. This was, in my opinion, very good for the internet as it was an era not suffocating under the grip of mega-corporation oligarchs and was, instead, filled with Club Penguin and I Can Haz Cheezburger websites.

Then around the 2010-2012 years, a few things happened. Interest rates got low, and then lower. Facebook got huge. The iPhone took off. And suddenly there was a huge new potential market of internet users and phone-havers, and the cheap money was available to start backing new tech startup companies trying to hop on this opportunity. Companies like Uber, Netflix, and Amazon either started in this time, or hit their ramp-up in these years by shifting focus to the internet and apps.

Now, every start-up tech company dreaming of being the next big thing has one thing in common: they need to start off by getting themselves massively in debt. Because before you can turn a profit you need to first spend money on employees and spend money on equipment and spend money on data centers and spend money on advertising and spend money on scale and and and

But also, everyone wants to be on the ship for The Next Big Thing that takes off to the moon.

So there is a mutual interest between new tech companies, and venture capitalists who are willing to invest $$$ into said new tech companies. Because if the venture capitalists can identify a prize pig and get in early, that money could come back to them 100-fold or 1,000-fold. In fact it hardly matters if they invest in 10 or 20 total bust projects along the way to find that unicorn.

But also, becoming profitable takes time. And that might mean being in debt for a long long time before that rocket ship takes off to make everyone onboard a gazzilionaire.

But luckily, for tech startup bros and venture capitalists, being in debt in the 2010's was cheap, and it only got cheaper between 2010 and 2020. If people could secure loans for ~3% or 4% annual interest, well then a $100,000 loan only really costs $3,000 of interest a year to keep afloat. And if inflation is higher than that or at least similar, you're still beating the system.

So from 2010 through early 2022, times were good for tech companies. Startups could take off with massive growth, showing massive potential for something, and venture capitalists would throw infinite money at them in the hopes of pegging just one winner who will take off. And supporting the struggling investments or the long-haulers remained pretty cheap to keep funding.

You hear constantly about "Such and such app has 10-bazillion users gained over the last 10 years and has never once been profitable", yet the thing keeps chugging along because the investors backing it aren't stressed about the immediate future, and are still banking on that "eventually" when it learns how to really monetize its users and turn that profit.

The pandemic in 2020 took a magnifying-glass-in-the-sun effect to this, as EVERYTHING was forcibly turned online which pumped a ton of money and workers into tech investment. Simultaneously, money got really REALLY cheap, bottoming out with historic lows for interest rates.

Then the tide changed with the massive inflation that struck late 2021. Because this all-gas no-brakes state of things was also contributing to off-the-rails inflation (along with your standard-fare greedflation and price gouging, given the extremely convenient excuses of pandemic hardships and supply chain issues). The federal reserve whipped out interest rate hikes to try to curb this huge inflation, which is like a fire extinguisher dousing and suffocating your really-cool, actively-on-fire party where everyone else is burning but you're in the pool. And then they did this more, and then more. And the financial climate followed suit. And suddenly money was not cheap anymore, and new loans became expensive, because loans that used to compound at 2% a year are now compounding at 7 or 8% which, in the language of compounding, is a HUGE difference. A $100,000 loan at a 2% interest rate, if not repaid a single cent in 10 years, accrues to $121,899. A $100,000 loan at an 8% interest rate, if not repaid a single cent in 10 years, more than doubles to $215,892.

Now it is scary and risky to throw money at "could eventually be profitable" tech companies. Now investors are watching companies burn through their current funding and, when the companies come back asking for more, investors are tightening their coin purses instead. The bill is coming due. The free money is drying up and companies are under compounding pressure to produce a profit for their waiting investors who are now done waiting.

You get enshittification. You get quality going down and price going up. You get "now that you're a captive audience here, we're forcing ads or we're forcing subscriptions on you." Don't get me wrong, the plan was ALWAYS to monetize the users. It's just that it's come earlier than expected, with way more feet-to-the-fire than these companies were expecting. ESPECIALLY with Wall Street as the other factor in funding (public) companies, where Wall Street exhibits roughly the same temperament as a baby screaming crying upset that it's soiled its own diaper (maybe that's too mean a comparison to babies), and now companies are being put through the wringer for anything LESS than infinite growth that Wall Street demands of them.

Internal to the tech industry, you get MASSIVE wide-spread layoffs. You get an industry that used to be easy to land multiple job offers shriveling up and leaving recent graduates in a desperately awful situation where no company is hiring and the market is flooded with laid-off workers trying to get back on their feet.

Because those coin-purse-clutching investors DO love virtue-signaling efforts from companies that say "See! We're not being frivolous with your money! We only spend on the essentials." And this is true even for MASSIVE, PROFITABLE companies, because those companies' value is based on the Rich Person Feeling Graph (their stock) rather than the literal profit money. A company making a genuine gazillion dollars a year still tears through layoffs and freezes hiring and removes the free batteries from the printer room (totally not speaking from experience, surely) because the investors LOVE when you cut costs and take away employee perks. The "beer on tap, ping pong table in the common area" era of tech is drying up. And we're still unionless.

Never mind that last part.

And then in early 2023, AI (more specifically, Chat-GPT which is OpenAI's Large Language Model creation) tears its way into the tech scene with a meteor's amount of momentum. Here's Microsoft's prize pig, which it invested heavily in and is galivanting around the pig-show with, to the desperate jealousy and rapture of every other tech company and investor wishing it had that pig. And for the first time since the interest rate hikes, investors have dollar signs in their eyes, both venture capital and Wall Street alike. They're willing to restart the hose of money (even with the new risk) because this feels big enough for them to take the risk.

Now all these companies, who were in varying stages of sweating as their bill came due, or wringing their hands as their stock prices tanked, see a single glorious gold-plated rocket up out of here, the likes of which haven't been seen since the free money days. It's their ticket to buy time, and buy investors, and say "see THIS is what will wring money forth, finally, we promise, just let us show you."

To be clear, AI is NOT profitable yet. It's a money-sink. Perhaps a money-black-hole. But everyone in the space is so wowed by it that there is a wide-spread and powerful conviction that it will become profitable and earn its keep. (Let's be real, half of that profit "potential" is the promise of automating away jobs of pesky employees who peskily cost money.) It's a tech-space industrial revolution that will automate away skilled jobs, and getting in on the ground floor is the absolute best thing you can do to get your pie slice's worth.

It's the thing that will win investors back. It's the thing that will get the investment money coming in again (or, get it second-hand if the company can be the PROVIDER of something needed for AI, which other companies with venture-back will pay handsomely for). It's the thing companies are terrified of missing out on, lest it leave them utterly irrelevant in a future where not having AI-integration is like not having a mobile phone app for your company or not having a website.

So I guess to reiterate on my earlier point:

Drowned rats. Swimming to the one ship in sight.

[grupo-hadeo-peru-transportes]

La Exportación de Residuos de Metales Ferrosos: Contribuyendo a la Sostenibilidad y la Economía Circular.

La exportación de residuos de metales ferrosos, específicamente hierro y acero recuperados de desechos industriales y de construcción, es una práctica que ha cobrado relevancia en el panorama global. Estos materiales, que anteriormente podrían haber sido considerados como desperdicios, ahora se reconocen como recursos valiosos que pueden ser reintroducidos en la cadena productiva, especialmente en la industria siderúrgica. Esta práctica, además de tener beneficios económicos, juega un papel fundamental en la promoción de la sostenibilidad y la economía circular.

La exportación de estos residuos metálicos ferrosos ofrece una serie de ventajas tanto para el país exportador como para la industria que los recibe. En primer lugar, permite la utilización eficiente de recursos. En lugar de extraer nuevas materias primas de la naturaleza, la reutilización de metales ferrosos reciclados disminuye la demanda de minería y, por lo tanto, reduce el impacto ambiental asociado a la extracción y procesamiento de minerales.

Desde Arequipa para el Mundo

[bikiniarmorbattledamage]

Silent Hill 2 is the greatest game I don't think I can unconditionally recommend to people. Because it is amazing, but its also about trauma, guilt, abuse (of adults and children) and how unhealed, festering harm perpetuates itself onto innocent bystanders. A play-through of it is a rough ride emotionally.

It also features this adorable little scamp with the excellent points.

Now, if you're at all familiar with Silent Hill 2 you're probably very well informed on what this particular meme relates to. But if you're not, and you want a primer - Dead Domain has created a video pointing out the absurdity of this particular fiasco.

This was, of course, followed up when trailer seasons came around and Naughty Dog released a trailer than seemed to depict a woman who didn't care for gender conformity, and CD Projekt trailer that indicates, let me check my notes... Ciri's appearance has changed slightly as she's grown older - also she's probably going to be the protagonist of the next game, as all variations of The Witcher always build to. This has lead to some truly amazing fan art, and also the greatest possible observation by @dyingnome

And this isn't a surprise to anyone who follows these conversations, I think it's worth talking about because certain events globally have emboldened these types (who always seem to be gulible enough to pay for a blue tick on X nee Twitter) - leading to them trying to shout out all other conversation on the medium. We are, in fact, at the point where they're admitting they are Nazis who don't play games.

Truly we have never had more confirmation that the people who aggressively campaign for a standard of cartoonishly over-sexualized as the baseline for female characters do so not out of a love of gaming, but rather because of overwhelming indifference to a medium they don't participate in.

@verilybitchie has recently just released an essay that focuses initially on disappointment with current trans, particularly non-binary, options in games, but also covers how we got there in terms of certain genres of games having been historically unwilling to to let go the male gaze.

This, of course, is not an excuse for the self-identifying Nazis etc, but goes a long way in explaining why your more normal friends might have a confused reaction, and highlights the kinds of issues in the industry that are still unaddressed.

Also, in case you're the sort of person who needs to hear it from a middle-aged or older white man:

-wincenworks

DeadDomain's YouTube | All dyingnome's links | VerilyBitchie's YouTube

[mostlysignssomeportents]

A profoundly stupid case about video game cheating could transform adblocking into a copyright infringement

I'm coming to DEFCON! On Aug 9, I'm emceeing the EFF POKER TOURNAMENT (noon at the Horseshoe Poker Room), and appearing on the BRICKED AND ABANDONED panel (5PM, LVCC - L1 - HW1–11–01). On Aug 10, I'm giving a keynote called "DISENSHITTIFY OR DIE! How hackers can seize the means of computation and build a new, good internet that is hardened against our asshole bosses' insatiable horniness for enshittification" (noon, LVCC - L1 - HW1–11–01).

Here's a weird consequence of our societal shift from capitalism (where riches come from profits) to feudalism (where riches come from rents): increasingly, your rights to your actual property (the physical stuff you own) are trumped by corporations' metaphorical "intellectual property" claims.

That's a lot to unpack! Let's start with a quick primer on profits and rents. Capitalists invest money in buying equipment, then they pay workers wages to use that equipment to produce goods and services. Profit is the sum a capitalist takes home from this arrangement: money made from paying workers to do productive things.

Now, rents: "rent" is the money a rentier makes by owning a "factor of production": something the capitalist needs in order to make profits. Capitalists risk their capital to get profits, but rents are heavily insulated from risk.

For example: a coffee shop owner buys espresso machines, hires baristas, and rents a storefront. If they do well, the landlord can raise their rent, denying them profits and increasing rents. But! If a great new cafe opens across the street and the coffee shop owner goes broke, the landlord is in great shape, because they now have a vacant storefront they can rent, and they can charge extra for a prime location across the street from the hottest new coffee shop in town.

The "moral philosophers" that today's self-described capitalists claim to worship – Adam Smith, David Ricardo – hated rents. For them, profits were the moral way to get rich, because when capitalists chase profits, they necessarily chase the production of things that people want.

When rentiers chase rents, they do so at the expense of profits. Every dollar a capitalist pays in rent – licenses for IP, rent for a building, etc – is a dollar that can't be extracted in profit, and then reinvested in the production of more goods and services that society desires.

The "free markets" of Adam Smith weren't free from regulation, they were free from rents.

The moral philosophers' hatred of rents was really a hatred of feudalism. The industrial revolution wasn't merely (or even primarily) the triumph of new machines: rather, it was the triumph of profits over rent. For the industrial revolution to succeed, the feudal arrangement had to end. Capitalism is incompatible with hereditary lords receiving guaranteed rents from hereditary serfs who are legally obliged to work for them. Capitalism triumphed over feudalism when the serfs were turned off of the land (becoming the "free labor" who went to work in the textile mills) and the land itself was given over to sheep grazing (providing the wool for those same mills).

But that doesn't mean that the industrial revolution invented profits. Profits were to be found in feudal societies, wherever a wealthy person increased their wealth by investing in machines and hiring workers to use them. The thing that made feudalism feudal was how conflicts between rents and profits cashed out. For so long as the legal system elevated the claims of rentiers over the claims of capitalists, the society was feudal. Once the legal system gave priority to profit over rent, it became capitalist.

Capitalists hate capitalism. The engine of capitalism is insecurity. The successful capitalist is like the fastest gun in the old west: there's always a young gun out there looking to "disrupt" their fortune with a new invention, product, or organizational strategy that "creatively destroys" the successful businesses of the day and replaces them with new ones:

https://locusmag.com/2024/03/cory-doctorow-capitalists-hate-capitalism/

That's a hard way to live, with your every success serving as a blinking KICK ME sign visible to every ambitious person in the world. Precarity makes people miserable and nuts:

https://pluralistic.net/2024/04/19/make-them-afraid/#fear-is-their-mind-killer

So capitalists universally aspire to become rentiers and investors seek out companies that have a plan to extract rent. This is why Warren Buffett is so priapatic for companies with "moats and walls" – legal privileges and market structures that protect the business from competition and disruption:

https://finance.yahoo.com/news/warren-buffett-explains-moat-principle-164442359.html

Feudal rents were mostly derived from land, but even in the feudal era, the king was known to reward loyal lickspittles with rents over ideas. The "patents royal" were the legally protected right to decide who could make or do certain things: for example, you might have a patent royal over the production of silver ribbon, and anyone who wanted to make a silver ribbon would have to pay for your permission. If you chose to grant that permission exclusively to one manufacturer, then no one else could make it, and you could charge a license fee to the manufacturer that accounted for nearly all their profit.

Today, rentiers are also interested in land. Bill Gates is the country's number one landowner, and in many towns, private equity landlords are snappinig up every single family home that hits the market and converting it to a badly maintained slum:

https://pluralistic.net/2024/05/22/koteswar-jay-gajavelli/#if-you-ever-go-to-houston

But the 21st Century's defining source of rent is "IP" – a controversial term that I use here to mean, "Any law or policy that allows a company to exert legal control over its competitors, critics and customers":

https://locusmag.com/2020/09/cory-doctorow-ip/

IP is in irreconcilable conflict with real property rights. Think of HP selling you a printer and wanting to decide which ink you use, or John Deere selling you a tractor and wanting to tell you who can fix it. Or, for that matter, Apple selling you a phone and dictating which software you are allowed to install on it.

Think of Unity, a company that makes tools for video-game makers, demanding a royalty from every game that is eventually sold, calling this "shared success":

https://pluralistic.net/2023/10/03/not-feeling-lucky/#fundamental-laws-of-economics

Every time one of these conflicts ends with IP's triumph over real property rights, that is a notch in favor of calling the world we live in now "technofeudalist" rather than "technocapitalist":

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Once you start to think of "IP" as "laws that let me control how other people use their real property," a lot of the seemingly incoherent fights over IP snap into place. This also goes a long way to explaining how otherwise sensible people can agree on expansions of IP to achieve some short-term goal, irrespective of the spillover harms from such a move. Hard cases make bad law, and hard IP cases make terrible law.

Five years ago, some anti-fascist counterdemonstrators hit on the clever idea of blaring top 40 music during neo-Nazi marches, on the theory that this would prevent Nazis from uploading videos of their marches to Youtube and other platforms, whose filters would block any footage that included copyrighted music:

https://memex.craphound.com/2019/07/23/clever-hack-that-will-end-badly-playing-copyrighted-music-during-nazis-rallies-so-they-cant-be-posted-to-youtube/

Thankfully, this didn't work, but not for lack of trying. And it might still work, if calls for beefing up video copyright filters are heeded. Cops all over the place are already blaring Taylor Swift songs and Disney tunes to prevent their interactions with the public from being uploaded:

https://pluralistic.net/2022/04/07/moral-hazard-of-filternets/#dmas

The same thinking that causes progressives to recklessly argue in favor of upload filters also causes them to demand that web scraping be treated as a copyright crime. They think they're creating a world where AI companies can't rip off their creation to train a model; they're actually creating a world where the Internet Archive can't capture JD Vance's embarrassing old podcast appearances or newspaper editorial boards' advocacy for positions they now recant:

https://pluralistic.net/2023/09/17/how-to-think-about-scraping/

It's not that Nazi marches are good, or that scraping can't be bad – it's just that advocating for the use of IP to address either is a cure that's not just worse than the disease – it's also not a cure.

A problem can be real, and still not be solvable with IP. I have enormous sympathy for gamers who rail against cheaters who use aftermarket hacks to improve their aim, see through buildings, or command other unfair advantages.

If you want to tell a stranger how they must configure their PC or console, IP ("any law that lets you control your competitors, critics or customers") is an obvious answer. But – as with other attempts to solve real problems with IP – this is a cure that is both worse than the disease, and also not a cure after all.

Back in 2002, Blizzard sued some hobbyists over a program called "bnetd." Bnetd was a program that provided a game-server you could connect to with the Blizzard games that you'd bought. It was created as an alternative to Battlenet, Blizzard's notoriously unreliable game-server software that left gamers frustrated and furious due to frequent outages:

https://www.eff.org/cases/blizzard-v-bnetd

To the public, Blizzard made several arguments against bnetd. They claimed that it encouraged piracy, because – unlike the official Battlenet servers – it didn't check whether the copies of Blizzard software that connected to it had a valid license key. Gamers didn't really care about that, but they did respond to another argument: that bnetd lacked the anti-cheat checking of Battlenet.

But that wasn't what Blizzard took to the court: in court, they argued that the hobbyists who made bnetd violated copyright law. Specifically, Section 1201 of the Digital Millennium Copyright Act, which bans "circumvention of access controls to copyrighted works." Basically, Blizzard argued that bnetd's authors violated the law because they used debuggers to examine the software they'd paid for, while it ran on their own computers, to figure out how to make a game server of their own.

Blizzard didn't sue bnetd's authors for pirating Blizzard software (they didn't – they'd paid for their copies). They didn't sue them for abetting other gamers' piracy. They certainly didn't sue them for making a cheat-friendly game-server.

Blizzard sued them for analyzing software they'd paid for, while it was running on their own computers.

Imagine if Walmart – one of the biggest book-retailers in America – had a policy that said that you could only shelve the books you bought at Walmart on shelves that you also bought at Walmart. Now imagine that Walmart successfully argued that measuring the books you bought from them and using those measurements to create your own compatible book-case violated their IP rights!

This is an outrageous triumph of IP rights over real property rights, and yet gamers vocally backed Blizzard in the early noughts, because gamers hate cheaters and because IP law is (correctly) understood as "the law that lets a company tell you how you can use your own real, physical property." Hard cases make bad law, hard IP cases make batshit law.

It's more than 20 years since bnetd, and cheating continues to serve as a Trojan horse to smuggle in batshit new IP laws. In Germany, Sony is suing the cheat-device maker Datel:

https://torrentfreak.com/sonys-ancient-lawsuit-vs-cheat-device-heads-in-right-direction-sonys-defeat-240705/

Sony argues that the Datel device – which rewrites the contents of a player's device's RAM, at the direction of that player – infringes copyright. Sony claims that the values that its programs write to your device's RAM chips are copyrighted works that it has created, and that altering that copyrighted work makes an unauthorized derivative work, which infringes its copyright.

Yes, this is batshit, and thankfully, Sony has been thwarted in court to date, but it is steaming ahead to the EU's highest court. If it succeeds, then it will open up every tool that modifies your computer at your direction to this kind of claim.

How bad can it be? Well, get this: the German publishing giant Axel Springer (owned by a monomaniacal Trumpist and Israel hardliner who has ordered journalists in his US news outlets to go easy on both) is suing Eyeo, makers of Adblock Plus, on the grounds that changing HTML to block an ad creates a "derivative work" of Axel Springer's web-pages:

https://torrentfreak.com/ad-blocking-infringes-copyright-ancient-sony-cheat-lawsuit-may-prove-pivotal-240729/

Axel Springer's filings cite the Sony/Datel case, using it to argue that their IP rights trump your property rights, and that you can only configure your web-browser, running on your computer, which you own, in ways that it approves of.

Axel Springer's war on browsers is a particularly pernicious maneuver, because browsers are the best example we have of internet software that serves as a "user agent." "User agent" is an old-timey engineering synonym for "browser" that reflects the browser's role: to go out onto the web on your behalf and bring back things for you, which it displays in the way you prefer:

https://pluralistic.net/2024/05/07/treacherous-computing/#rewilding-the-internet

Want to block flickering GIFs to forestall photosensitive epileptic servers? Ask your user agent to find and delete them. Want to shift colors into a gamut that accounts for your color-blindness? Ask your user-agent:

https://dankaminsky.com/2010/12/15/dankam/

Want to goose the font size and contrast so you can read the sadistic grey-on-white type that young designers use in the mistaken belief that black-on-white type is "hard on the eyes"? That's what Reader Mode is for:

https://frankgroeneveld.nl/2021/08/24/most-underused-browser-feature/

The foundation of any good digital relationship is a device that works for you, not for the people who own the servers you connect to. Even if they don't plan on screwing you over by directing your user agent to attack you on their behalf right now, the very existence of a facility in your technology that causes it to betray you, by design, is a moral hazard that inevitably results in your victimization:

https://pluralistic.net/2023/08/02/self-incrimination/#wei-bai-bai

"IP" ("a law that lets me control how you use your own property") is a tempting solution to every problem, but ultimately, IP ends up magnifying the power of the already powerful, in contests where your only hope of victory is having a user agent whose only loyalty is to you.

The monotonic, dangerous expansion of IP reflects the growing victory of rents over profits – income from owning things, rather than income from doing things. Everyday people may argue for IP in the belief that it will solve their immediate problems – with AI, or Nazis, or in-game cheats – but ultimately, the expansion of a law that limits how you can use your property (including your capital) to uses that don't threaten neofeudalists will doom you to technoserfdom.

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/2024/07/29/faithful-user-agents/#hard-cases-make-bad-copyright-law

[nyancrimew]

i finally got invited back on the it could happen here podcast, this time actually with robert around as well!!

it's a cool 30 minute primer on stalkerware and what we can do against it!

[witnesstheabsurd]

[ Between Sky and Earth - Between the petrified cities of The Earth, the base reality, and the caustic, blinding freedom of The Sky, the virtual reality, the cyberspace absolute that governs all existence. Between Sky and Earth, a thousand heavens are at war. ]

ANNOUNCING THE KICKSTARTER FOR MY NEXT ARTBOOK!

CLICK HERE

My name is Francine Bridge - also known online as Witnesstheabsurd. I've worked as a freelance illustrator in the games, music and fashion industries, most recently having worked as Art Director on the upcoming "Slave Zero X" . I've also published two artbooks - the Occult Supergiant Primer and Ars Goetia, both of which were funded via Kickstarter. It's been several years since my last, and i'm excited to announce my next self-published artbook - "One Thousand Heavens: A Cyberspace Bestiary".

It's planned to be an 80-page artbook featuring paintings of cyberspace Avatars and the Pilots that control them - an assortment of monsters and cyberpunk weirdos battling for control over the Throne, a mysterious entity that will permit one Pilot to become God and redefine existence. I'm launching a new Kickstarter campaign to raise funds for printing a 300 copy run and also funding the completion of the book itself!

Backers will be able to reserve one of these copies for themselves in physical and PDF format - after the KS ends, they will never be sold at this price again, and only a limited number will be printed for this first run! Shipping anywhere in the world!

Tumblr was where I got my start and everything I have flowed from the support I received on this site - it means so much to be here again, able to share my work with you all. To anyone who chooses to pledge, to share, or even look at this art i've made - thank you so much, from the bottom of my heart.

LINK HERE

[neuroticbookworm]

Engagement of QL Fandom in Indian Queer Media

I was tagged by @lurkingshan and invited to respond to an ask she received from @impala124 that noted the absence of India in the Asian queer media spaces and discussions, and questioned the reasons behind it. @starryalpacasstuff has also responded to it in a great post (check out the reblog additions for a treasure trove of Indian queer media recs), discussing, among many things, Korea’s culture export aiding their queer media ventures, access to Indian queer media, and the quality of Indian queer media. @twig-tea’s addition discussed the ease of access of Thai BLs via YouTube and how it prompted Korea and Japan to re-enter the genre.

My thoughts on Indian queer media are complicated and involve several detours to understand Indian media culture, its economic power, and how it navigates international viewership. For context, I am an Indian cinephile who grew up watching a wide variety of Indian media in terms of both language and genre. I naturally transitioned into watching Western content as globalization of the 2010s brought HBO and Comedy Central to Indian screens, and later sought out queer media, Asian media and Asian queer media on the internet.

Indian Media Industry - A Primer

I know there are a lot of countries right now that produce QL media, so I am gonna mainly consider Thailand, Japan, and Korea, the three countries most prolific with ql, for the purpose of this discussion. All of these countries, while regionally diverse, have managed to considerably homogenize in language and culture over the course of history and colonization. India, on the other hand, is still significantly and distinctly diverse in language, culture, religion, food, media styles, social norms, and on and on. India has 22 official languages and thousands of regional ones that are used in various capacities everyday. This diversity is then reflected in the media produced by India, with multiple powerhouse film industries dominating box offices simultaneously. Bollywood is the biggest one and obviously well known internationally, but Tamil, Telugu, Malayalam, Kannada, Punjabi, Bengali-language film industries are successful in their own right and consistently produce box office hits and self-sustain in the larger Indian media landscape. This makes domestic media highly regional in India. Even today, in the age of social media, it takes a box office success to the tune of hundreds of millions of rupees for a film to break out of its domestic audience and cross over into other Indian states.

This diversity has also led to the different industries developing media styles unique to them. I watched this video a while ago of a creator documenting his experience of dipping toes into Indian Cinema for the first time, and he ends up covering three movies from three different industries, because the pathos of each of them is so fundamentally different yet effective in their own ways. This diversity also applies to the television industry, both traditional cable TV soaps, and the modern shows made for streaming sites. And all of this, *waves hands*, presents a set of challenges like no other country faces for both Indian queer creators and Indian queer media audiences.

The Challenges for Creators

Since the Indian media industry is not a big monolith and is made up of multiple film industries, queer creators who are trying to get their foot in the door will face a unique uphill battle in whichever regional industry they’re trying to break into. And trying to research, learn, and understand each and every single one of them will take me and my non-existent research team years, so the simpler thing to do would be listing the factors that have worked for other countries to foster their media industries to produce QL content, and discuss if India could replicate them. The list goes like this:

Japan’s rich history in yaoi

Thailand’s use of BL as a soft power to promote tourism

Korea’s culture export via kpop and other media

While India does have religious mythology that discusses sex, gender and queerness, it is often subtext with a lot of intersectionality. Does Ardhanarishvara represent fluid gender, or a symbol of harmony, or both? The debates are endless. Japan’s yaoi roots are as deep as they are explicit. And this rich history could be why the Japanese domestic audience is open to queer media even when the country is still conservative.

Thailand’s rise as a major player in the QL industry is remarkable, but there is a case to be made that the country’s media industry was directly and indirectly boosted by the government’s interest in establishing revenue from tourism, and exporting culture to international audiences via food and media. While the revenue from tourism in India is substantial, the Indian economy is not built on it. And the Indian media industry is thriving and regularly makes bank with their already established content models, so the producers have a pretty low incentive to deviate and fund queer media.

I bet every coin I own that not a single one of us on this hellsite have successfully eluded the allure of Korean media in our lives. The Korean media industry is a well-calibrated machine that shall and will target every single human into funneling their time, attention and money into the Korean culture and economy. And I think queer creators looking to make queer content in Korea would’ve had good incubation in an industry that was looking to make as much content as possible. And once again, while Indian movies have significant international box office collections, that is not where the Indian media industry, and just India in general, makes its money. The priorities are just not the same. And to be perfectly honest, India is nowhere near the level of Korea at producing and exporting television shows to international audiences.

All of this is a long winded way of saying that the conditions required to foster a QL industry in India are not the same as what we have seen work so far from the other major players. And sadly no one has really figured out the winning formula yet.

These are just a few reasons, and I haven’t even discussed nepotism and how painful class mobility is in India, making it even harder for new queer creators to break into the industry. There’s a reason why movies with queer representation like Badhaai Do, Shubh Mangal Zyada Saavdhan, Ek Ladki Ko Dekha Toh Aisa Laga, and Kapoor & Sons all feature characters in the upper middle class or above. Hell, they’re even played by actors whose portfolio is already filled with daring and experimental roles, or by first- or second-gen nepo babies who would literally have nothing to lose from the potential backlash for playing a queer character. Poor, queer characters in Indian media have never been a part of a fluffy romance as far as I know. They are reserved for the gritty dramas where intersectionality of queerness, poverty, class and caste could be examined.

The Challenges for the Audience

And once again, all of this, *aggressively waves hands*, makes things harder for even the domestic audience to engage with Indian queer media, let alone international audiences. Kathaal - The Core, a 2023 Malayalam movie about a queer man in his fifties coming out of the closet and contesting in his village body elections, was a box office success in Kerala, and I can tell y’all with complete certainty that not many people outside of Kerala would’ve even heard of it. And this was not some small indie venture – in fact, the lead characters were played by Mammootty and Jyothika, who are both absolute legends in their own right in the South Indian film industry.

Super Deluxe was a 2019 Tamil-language black comedy film that tells four interwoven stories that run in parallel, and one of the stories is about a trans woman who, pre-transition, was married and had a son. She returns to her family as her post-transition self after years of disappearance, and the film engages in conversation around sex and gender, through the innocent questions of her young son. The movie is gorgeously made, and outrageously sharp and witty in its commentary on society’s views on sex, morality, religion and family. And once again, I don’t think it is well-known outside of the domestic and international award-circuit audiences it was promoted to (last I checked, it was available to domestic audiences on Netflix).

Sometimes, even the domestic audience might miss the queer representation in their regional media when it is indie enough to not get aggressively promoted. The Hindi-language anthology movie from Netflix, Ajeeb Daastaans (2021), featured a story where two women from different caste and social class meet at the workplace (the sapphic story, Geeli Pucchi, starts at 1:17:05, if anyone wants to check it out). It served biting commentary on the intersectionality of queerness, misogyny, caste and class. And once again, I’ve never found a person with whom I could discuss it with (other than my mom, with whom I watched it).

And sometimes, even when a massive show with queer representation is well promoted and well received by critics, it still manages to fly under the radar in Indian queer fandom spaces. Amazon Prime India spent a lot of coin on the show Made in Heaven (2019) – and it was worth it. The show follows the lives of two wedding planners, Tara and Karan. Karan is closeted (except to his close friends) for most of the show, but after he makes some powerful enemies in his line of work, he gets publicly outed, which puts him on the path of dealing with his family’s shades of acceptance, queer rights activism, and reconciling with an old friend. The car scene in episode 9 made me cry, and yet I’ve never read a word about this show from Indian QL fan blogs here on Tumblr.

Following every film and TV show that releases in one language, across all modes and platforms, and keeping an eye out for queer representation is hard enough. Doing it in multiple languages is downright impossible. And then personal preferences come into play. Personally, I enjoy nearly all genres of media, but I am primarily an angst monster, so I seek out and watch sad shit on the regular. All four examples I’ve listed in this section are good queer representations, but they are deeply sad, rage-inducing, heartbreaking and realistic. If one wanted to watch an Indian queer romance that’s inside the bubble, I’m not sure if they can even find one – I have certainly not come across any. Even the queer Bollywood movies designed for a box office run, paying homage to iconic Bollywood romance sequences, were still outside the bubble. When a niche audience like the QL fandom collides with a complex media-churning machine like the Indian media industry that is fundamentally not designed to cater to them, all we get is a lot of puzzled looks and question marks.

A Thought Experiment On The Future Of Indian QLs

Now that I have established the challenges, I want to engage in a little thought experiment – if we were to receive a steady stream of Indian QL content, what would it look like, and how can the fandom engage with it?

If we are looking for content from a stable production entity for Indian queer media, like Thailand’s GMMTV, Japan’s MBS Drama Shower, and Korea’s Strongberry, we would be waiting for a long time, at the very least a decade or two. What we could get are small indie queer shows like Romil and Jugal, squirreled away in a streaming platform exclusive to India and only accessible internationally via VPN. Another example is the list of sapphic shows @twig-tea shared with us a while ago, here. These are gonna be low budget, probably-not-great-quality shows reminiscent of early GMMTV.

Another variety of QL content we could get are the Bollywood queer romance films and TV shows. They will be cheesy and tropey and romantic, and might interact with the bubble, but probably mostly from the safety of an upper middle class setting. This means they would eventually run out of fresh perspectives they could tune into in their limited scope and the stories might turn stale and repetitive (I’m deriving this from the general state of things in the Indian media landscape over the last couple years). International access might be a little easier than the previous case, but not as easy as going to YouTube and hitting play.

The third and final variety are the gritty dramas with heavy social, cultural, religious, gender and class commentary that Indian cinema industry has always made, and has upgraded in the recent years to include queerness. Once again, the access will be hard, but if we are looking for queer stories that also show the audience what it is like being queer in India, beyond the glitz, the glam and the colors of pre-packaged Indian experience often sold to the West, this is where we will find it. Most of it will be sad, but we are a sad bunch who constantly make sad shit, so it will be on brand for us.

And all of these different varieties of content are gonna need to be picked up and promoted by the Indian folks in the QL fandom who are tuned into these regional industries. India not being a cultural monolith that is easy to package and ship is precisely why we have all these beautiful and crazy and sometimes even contradictory styles of media that are offered for us to explore. And therefore, the fandom engagement on Indian QL content would also vastly differ from the fandom engagement for Japan, Thailand and Korea. A dedicated fandom captain might not emerge, but rather, a collective group of folks tuning into and promoting finds from their regional industries would be the way to go. In addition, if this content is not available in English, we would need fan subbers to provide translation expertise to even make it accessible, something we see often for Japanese media on Tumblr.

I know from observation that watching media in a different regional language could sometimes be as foreign to Indian audiences as watching media from other countries. The language, traditions, mannerisms, social mores and food would all be different from region to region, but I guess it would be a good litmus test to observe how well the fandom acclimates to a culture that is so eye-wateringly diverse and not as constantly promoted to them.

When I was texting @waitmyturtles discussing how we can approach answering this question (remember when this all started with a question, some two thousand-ish words ago? Yes, that question), at a point in our conversation I exclaimed "Ugh, everything in India is too complicated!" This long-ass post of mine is in no way the complete account of why things are the way they are in the Indian queer media landscape. But all I know for sure is that it’s not simple. And I really do not want anything related to India to be simple, because being unbearably frustrating and complicated is not a bug, but a feature of India. The road to Indian QLs is unique, but I will do my best to check the paths and share and recommend them to my friends whenever possible. And I invite my fellow Indian QL fans to do the same.

[zivazivc]

What kind of nu metal music fits Les's band?

First of all I gotta clarify that I sent this ask myself because I accidentally lost the original through constant editing and drafting. I realize I could just make a regular text post but I'm quirky like that, and a question is a nice little attention grabber for those who are interested.

Anyway...

It's hard to point at one song and say this is their sound, because A: I'm picky, B: the band's style changes over time, and C: I don't know what I'm doing lmao

This answer is very long uhh I don't seem to be able to form short responses, mi scusi 😅

Back at home the brothers' music and then also the first year on the road with Flea the band sounds like the albums Music and especially Grassroots by 311. (Grassroots is such a banger of an album, I listen to it all the time, really recommend.)

Hed's the main influence on the band's sound because he's the main vocalist, songwriter and overall the most invested in the band succeeding (Les's main concern is making ends meet, and Flea is just enjoying the ride lol). At the start Hed and Les have had basically no contact with Rock Trolls so even though they're both more metal/punk than regular rock, their "rock side" is softer at this point. Hed also grew up with hip hop because of his peers so there's a lot of rapping in his lyrics. And he also incorporates reggae into his style a lot because of his favorite uncle, Kymani (one of the guys who live with Ish) who is a Reggae Troll. Hed is pretty much a sponge when it comes to music, much like Floyd. The closest I can come to describing his genre is a fusion of Rap Metal and Reggae Rock which are both already fusion genres jskksdjsk

(The band 311 has two singers and oddly they both sound like Hed and Les to me. SA Martinez (the higher of the two voices) sounds 100%, exactly like how I've imagined Hed's voice in my head. For Les I have a different voice claim because Les's personal style of music is much different from the band, but Nick Hexum (the lead vocalist here) is still in the second place when it comes to voice alone. Imagine my enthusiastic surprise finding voices for both brothers in the same band 😄)

examples from the two albums:

...

While driving around and performing small gigs they come in contact with the alternative and nu metal scene and meet a lot of Rock Trolls (mostly various Metal Trolls) and other mixed trolls, and in the following couple of years their sound gradually becomes heavier (Hed rediscovers screamo lol) and they go from rock to metal.

A year into their "touring" is also around the time Hed meets and starts dating Liv and gets her to join the band. Liv's genre has the heaviest sound of all of them (Industrial/EBM), which influences Hed and the band too. And with Liv on the drums, Hed takes over DJ-ing and is also able to put more focus on the vocals, which also makes Les step down and only sing backing vocals with the rest of the band if needed.

The band in this era sounds like the album Revolution by Insolence and to some degree Introduction to Mayhem by Primer 55.

examples from the albums:

...

Two years into the bands existence is when Floyd runs into them. At first he's more just standing there, observing their practices and performances warily, because he's had bad experiences with Rock Trolls in his one year alone and metal music still kinda freaks him out at this point. But he soon starts joining in in melodic parts and then it progresses into him singing longer and longer segments because he has the strongest vocals of everyone. And once he saves enough of his earnings for a guitar he starts playing the rhythm guitar too. (The guitar he took with him when he left the Troll Tree got stolen before he met the band.)

I guess I should clarify: Flea is the lead guitarist, Les is the bassist, and Liv and Hed switch on the drums and DJ-ing depending on the track. At one point they also get a keyboard.

It's also not that long before Hed and Floyd start actively writing songs together, sharing each others notes, and they start to split the singing parts more evenly. Hed even teaches Floyd screamo techniques, because he thinks Floyd has a great voice for them (He is correct, Floyd has a mean scream 😁).

During this time the band still pretty much sounds like Revolution by Insolence but with more melodic singing parts from Floyd (and screaming/shouting lmao). I think Verge of Umbra is another good band to compare, it sounds more clean and Floydy but still Hedy. (Man, I should write scientific research papers skjdkjf)

↑↑↑ song with the lyrics from the drawing at the top

From here on out I'm a bit unsure how the band's sound develops, but I'm pretty sure Floyd would unintentionally infect them with a mild case of radio friendliness (Pop trolls can't help their in your face nature lmao 😞). So for now I'm stopping here...

This took me days of searching and writing so I would appreciate to hear any thoughts you have if you've come this far and given some of the songs a listen. :)

[emrowene]

Webserials and Why You Should Read Them

Welcome to a short primer on webserials! The concept behind them is pretty simple: webserials, also called webnovels or webfiction, are serialized online novels. If you read long fanfics OR webcomics, you're probably already familiar with the concept. Authors release new chapters on a fixed basis, usually one chapter a week (but sometimes more, sometimes less).

You can find webserials in several places: on big platforms like tapas and royalroad, on individual authors' websites or patreons, or on newsletter platforms like substack.

So now we know what webserials are, but why should we support them?

Because webserials are fun. Because webserial authors are sharing amazing works online for free! Because the publishing industry is disproportionately hard to get into for queer and marginalized folks, and those are the people writing webserials.

To climb a little higher onto my soapbox, I believe webserials are the future of accessible and diverse publishing. There's been more and more discussion about the problems with traditional publishing: how publishers are turning it into a "fast fashion" industry, spitting out books while overall book quality decreases. Regardless of whether you believe that, it's true that the industry prioritizes "marketability" over anything else. Experimental books, passion projects, books that have a lot of heart but no pithy "tropes" -- they stand little chance in the world of traditional publishing, and self-publishing is incredibly inaccessible for most of us. It's expensive, but more than that, it takes an incredible amount of time and effort. It's a business, and at the end of the day, some of just want to share the stories we love with people we hope will love them too. And that's the beauty of webserials!

One complaint I've seen about webserials is that "you never know what the quality will be like" - and I've seen this from people who regularly read fanfiction! Like fanfiction writers, we have our beta readers, we have our editors, we pour our hearts into developing our stories. So give us a try!!

Some recs and places to get started under the cut:

My webserials:

Fractured Magic - A queer epic fantasy series about a broken hero’s hunt for redemption and an elven prince’s quest to rescue his kidnapped king. The two estranged friends are racing against time - and dead gods - to achieve their goals. Will they make up and work together before it’s too late? (This story is currently ongoing)

The Case Files of Sheridan Bell - An old-school detective mystery set in Tamarley, a fantastical city with magical murders and doors to other worlds. Basically (queer, autistic) Sherlock Holmes but with more faeries. The first mystery is complete; the second will be published soon!

Some other webserials I follow/followed from start to finish:

What Manner of Man by @stjohnstarling - a queer gothic romance novel about a priest and a vampire.

The Warthog Report by @warthogreporter- this substack contains a selection of nonfiction writing, misc. fiction writings, and Battles Beneath The Stars, a serialized story about a tournament in a fantasy world, styled like a fighting game script/walkthrough.

Kiss it Better by DogshitJay - A (definitely 18+) queer adult romance about the messy endings and messier beginnings of love.

Warrior of Hearts by Beau Van Dalen - a queer slice of life romance following an online friendship that blossoms into something more. (Beau has lots of other great webserials as well!)

More places to look:

Tapas (Community novels page)

Royalroad (mostly known for its litrpg scene, but you can find other novels and genres here as well!)

The ao3 "Original Works" tag!

[theinstagrahame]

It's a bad day, and I've been dragging my heels on this. But, I got a bunch of neat new TTRPG stuff in October, so here's what landed in my mailbox.

Break!! - A few years ago, I stumbled on some art on Twitter. It was fun, it was vibrant, and it felt inviting. I wanted to know more, looked into the artist, and discovered it was spot art for an upcoming RPG called Break!! So, I kept an eye on it. The book is beautiful, well laid-out, and really cool, so maybe one good thing came from Twitter*.

The Electric State - Tales from the Loop and Things from the Flood have been pretty high on my "To Play" lists for years. A follow-up, set in a similar (or the same?) world was kind of an instant pickup. Not as interested in the movie, but the game seems pretty rad.

The Geologist's Primer - I picked up the Herbalist's Primer when it came out, and was really impressed with the quality and care that went into it, so when I saw "That but for rocks" was in the works, I was definitely already in. Also excited for the follow up "Mushrooms next time".

Starkhollow Hall - I accidentally fell into a Gothic Fiction kick over Spooky Month, so the timing of this was perfect. I don't know a ton about the GUMSHOE system, but I do feel like what I know about it makes it a perfect fit for the genre. Gothic heroines (and I guess heroes) are at their best when they know there's a dangerous mystery at the heart of what's happening around them, and go looking for it anyway.

Forsaken - Kyle Tam is, honestly, a designer to watch. I picked this up because it was part of an Afterthought Committee project, which is a team I've also really enjoyed work from (my game Water Landing is built off of their game Cast Away). Does a better job of establishing a sort of grimdark/Soulsbourne vibe than some stuff that explicitly tries to.

Iron Edda Reforged - The pitch for this caught me immediately: Cyberpunk Norse Mythology. Tracy Barnett is another Designer to Watch, and I really like all of their stuff--haven't played the original Iron Edda, but have heard it on Party of One and really dug it. Was really hyped to see this come into being.

Electrum Archive v2 - I went through a Weird Sci-Fi phase this year, and the original Electrum Archive was an early pick for it. I really loved the world, the way each class worked differently, and the magic/currency/MacGuffin that it used. Obviously I wanted more, because the second book is here.

Alice is Missing - Silent Falls - My friends and I have been talking about the prospect of another Alice is Missing game since playing the first one about two years ago. It was a really memorable experience, partly due to the game's really compelling design, and to some of the in-moment decisions we made (I played the facilitator character, who starts the game having returned after a long absence, and another player immediately got pissed at them for sorta abandoning the group. it created an interesting play dynamic for the whole session)

Kill Him Faster - I picked up a previous Kovidae Games book as a lark: a collection of exercise-based RPGs. I nearly ignored their other stuff, but this had a pretty compelling pitch: What if time-travel was invented mostly so people could speedrun murdering Hitler. Since Eat the Reich came out, I've thought a bit about Hitler Revenge Fantasy as a genre, and honestly, I'm kinda into it. He was a loser, and deserves to be reduced to a video game villain and killed over and over again; so, yeah. Let's kill him faster next time.

Splat (issue 5) - I'm not usually one for essays and interviews, but this is a zine featuring and by some folks I really like and respect, and this one is packed with thoughts about the state of the indie TTRPG scene and industry from a diverse and immensely talented group. It's honestly a must-read.

(Already getting a few things for the next edition, but also feeling too garbage after the Clusterfuck Election to think about doing anything else today...)

---

footnote: * Technically, two good things came from Twitter. I also once expressed sorrow that I'd missed out on a limited T-shirt from a web comic artist that said "Sorry, Glenn, the only Beck I listen to has two turntables and a microphone", and the creator saw it and had an extra in my size.

[fatehbaz]

imperialism and science reading list

edited: by popular demand, now with much longer list of books

Of course Katherine McKittrick and Kathryn Yusoff.

People like Achille Mbembe, Pratik Chakrabarti, Rohan Deb Roy, Lizabeth Paravisini-Gebert, and Elizabeth Povinelli have written some “classics” and they track the history/historiography of US/European scientific institutions and their origins in extraction, plantations, race/slavery, etc.

Two articles I’d recommend as a summary/primer:

Zaheer Baber. “The Plants of Empire: Botanic Gardens, Colonial Power and Botanical Knowledge.” Journal of Contemporary Asia. May 2016.

Kathryn Yusoff. “The Inhumanities.” Annals of the American Association of Geographers. 2020.

Then probably:

Irene Peano, Marta Macedo, and Colette Le Petitcorps. “Introduction: Viewing Plantations at the Intersection of Political Ecologies and Multiple Space-Times.” Global Plantations in the Modern World: Sovereignties, Ecologies, Afterlives. 2023.

Sharae Deckard. “Paradise Discourse, Imperialism, and Globalization: Exploiting Eden.” 2010. (Chornological overview of development of knowledge/institutions in relationship with race, slavery, profit as European empires encountered new lands and peoples.)

Gregg Mitman. “Forgotten Paths of Empire: Ecology, Disease, and Commerce in the Making of Liberia’s Plantation Economy.” Environmental History. 2017, (Interesting case study. US corporations were building fruit plantations in Latin America and rubber plantations in West Africa during the 1920s. Medical doctors, researchers, and academics made a strong alliance these corporations to advance their careers and solidify their institutions. By 1914, the director of Harvard’s Department of Tropical Medicine was also simultaneously the director of the Laboratories of the Hospitals of the United Fruit Company, which infamously and brutally occupied Central America. This same Harvard doctor was also a shareholder in rubber plantations, and had a close personal relationship with the Firestone Tire and Rubber Company, which occupied West Africa.)

Elizabeth DeLoughrey. “Globalizing the Routes of Breadfruit and Other Bounties.”  2008. (Case study of how British wealth and industrial development built on botany. Examines Joseph Banks; Kew Gardens; breadfruit; British fear of labor revolts; and the simultaneous colonizing of the Caribbean and the South Pacific.)

Elizabeth DeLoughrey. “Satellite Planetarity and the Ends of the Earth.” 2014. (Indigenous knowledge systems; “nuclear colonialism”; US empire in the Pacific; space/satellites; the twentieth and twenty-first centuries.)

Fahim Amir. “Cloudy Swords.” e-flux Journal #115, February 2021. (”Pest control”; termites; mosquitoes; fear of malaria and other diseases during German colonization of Africa and US occupations of Panama and the wider Caribbean; origins of some US institutions and the evolution of these institutions into colonial, nationalist, and then NGO forms over twentieth century.)

Some of the earlier generalist classic books that explicitly looked at science as a weapon of empires:

Schiebinger’s Plants and Empire: Colonial Bioprospecting in the Atlantic World; Delbourgo’s and Dew’s Science and Empire in the Atlantic World; the anthology Colonial Botany: Science, Commerce, and Politics in the Early Modern World; Canzares-Esquerra’s Nature, Empire, and Nation: Explorations of the History of Science in the Iberian World.

One of the quintessential case studies of science in the service of empire is the British pursuit of quinine and the inoculation of their soldiers and colonial administrators to safeguard against malaria in Africa, India, and Southeast Asia at the height of their power. But there are so many other exemplary cases: Britain trying to domesticate and transplant breadfruit from the South Pacific to the Caribbean to feed laborers to prevent slave uprisings during the age of the Haitian Revolution. British colonial administrators smuggling knowledge of tea cultivation out of China in order to set up tea plantations in Assam. Eugenics, race science, biological essentialism, etc. in the early twentieth century. With my interests, my little corner of exposure/experience has to do mostly with conceptions of space/place; interspecies/multispecies relationships; borderlands and frontiers; Caribbean; Latin America; islands. So, a lot of these recs are focused there. But someone else would have better recs, especially depending on your interests. For example, Chakrabarti writes about history of medicine/healthcare. Paravisini-Gebert about extinction and Caribbean relationship to animals/landscape. Deb Roy focuses on insects and colonial administration in South Asia. Some scholars focus on the historiography and chronological trajectory of “modernity” or “botany” or “universities/academia,”, while some focus on Early Modern Spain or Victorian Britain or twentieth-century United States by region. With so much to cover, that’s why I’d recommend the articles above, since they’re kinda like overviews.Generally I read more from articles, essays, and anthologies, rather than full-length books.

Some other nice articles:

(On my blog, I’ve got excerpts from all of these articles/essays, if you want to search for or read them.)

Katherine McKittrick. “Dear April: The Aesthetics of Black Miscellanea.” Antipode. First published September 2021.

Katherine McKittrick. “Plantation Futures.” Small Axe. 2013.

Antonio Lafuente and Nuria Valverde. “Linnaean Botany and Spanish Imperial Biopolitics.” A chapter in: Colonial Botany: Science, Commerce, and Politics in the Early Modern World. 2004.

Kathleen Susan Murphy. “A Slaving Surgeon’s Collection: The Pursuit of Natural History through the British Slave Trade to Spanish America.” 2019. And also: “The Slave Trade and Natural Science.” In: Oxford Bibliographies in Atlantic History. 2016.

Timothy J. Yamamura. “Fictions of Science, American Orientalism, and the Alien/Asian of Percival Lowell.” 2017.

Elizabeth Bentley. “Between Extinction and Dispossession: A Rhetorical Historiography of the Last Palestinian Crocodile (1870-1935).” 2021.

Pratik Chakrabarti. “Gondwana and the Politics of Deep Past.” Past & Present 242:1. 2019.

Jonathan Saha. “Colonizing elephants: animal agency, undead capital and imperial science in British Burma.” BJHS Themes. British Society for the History of Science. 2017.

Zoe Chadwick. “Perilous plants, botanical monsters, and (reverse) imperialism in fin-de-siecle literature.” The Victorianist: BAVS Postgraduates. 2017.

Dante Furioso: “Sanitary Imperialism.” Jeremy Lee Wolin: “The Finest Immigration Station in the World.” Serubiri Moses. “A Useful Landscape.” Andrew Herscher and Ana Maria Leon. “At the Border of Decolonization.” All from e-flux.

William Voinot-Baron. “Inescapable Temporalities: Chinook Salmon and the Non-Sovereignty of Co-Management in Southwest Alaska.” 2019.

Rohan Deb Roy. “White ants, empire, and entomo-politics in South Asia.” The Historical Journal. 2 October 2019.  

Rohan Deb Roy. “Introduction: Nonhuman Empires.” Comparative Studies of South Asia, Africa and the Middle East 35 (1). May 2015.

Lawrence H. Kessler. “Entomology and Empire: Settler Colonial Science  and the Campaign for Hawaiian Annexation.” Arcadia (Spring 2017).

Sasha Litvintseva and Beny Wagner. “Monster as Medium: Experiments in Perception in Early Modern Science and Film.” e-flux. March 2021.

Lesley Green. “The Changing of the Gods of Reason: Cecil John Rhodes, Karoo Fracking, and the Decolonizing of the Anthropocene.” e-flux Journal Issue #65. May 2015.

Martin Mahony. “The Enemy is Nature: Military Machines and Technological Bricolage in Britain’s ‘Great Agricultural Experiment.’“ Environment and Society Portal, Arcadia. Spring 2021. 

Anna Boswell. “Anamorphic Ecology, or the Return of the Possum.” 2018. And; “Climates of Change: A Tuatara’s-Eye View.”2020. And: “Settler Sanctuaries and the Stoat-Free State." 2017.

Katherine Arnold. “Hydnora Africana: The ‘Hieroglyphic Key’ to Plant Parasitism.” Journal of the History of Ideas - JHI Blog - Dispatches from the Archives. 21 July 2021.

Helen F. Wilson. “Contact zones: Multispecies scholarship through Imperial Eyes.” Environment and Planning. July 2019.

Tom Brooking and Eric Pawson. “Silences of Grass: Retrieving the Role of Pasture Plants in the Development of New Zealand and the British Empire.” The Journal of Imperial and Commonwealth History. August 2007.

Kirsten Greer. “Zoogeography and imperial defence: Tracing the contours of the Neactic region in  the temperate North Atlantic, 1838-1880s.” Geoforum Volume 65. October 2015. And: “Geopolitics and the Avian Imperial Archive: The Zoogeography of Region-Making in the Nineteenth-Century British Mediterranean.” Annals of the Association of American Geographers. 2013,

Marco Chivalan Carrillo and Silvia Posocco. “Against Extraction in Guatemala: Multispecies Strategies in Vampiric Times.” International Journal of Postcolonial Studies. April 2020.

Laura Rademaker. “60,000 years is not forever: ‘time revolutions’ and Indigenous pasts.” Postcolonial Studies. September 2021.

Paulo Tavares. “The Geological Imperative: On the Political Ecology of the Amazon’s Deep History.” Architecture in the Anthropocene. Edited by Etienne Turpin. 2013.

Kathryn Yusoff. “Geologic Realism: On the Beach of Geologic Time.” Social Text. 2019. And: “The Anthropocene and Geographies of Geopower.” Handbook on the Geographies of Power. 2018. And: “Climates of sight: Mistaken visbilities, mirages and ‘seeing beyond’ in Antarctica.” In: High Places: Cultural Geographies of Mountains, Ice and Science. 2008. And:“Geosocial Formations and the Anthropocene.” 2017. And: “An Interview with Elizabeth Grosz: Geopower, Inhumanism and the Biopolitical.” 2017.

Mara Dicenta. “The Beavercene: Eradication and Settler-Colonialism in Tierra del Fuego.” Arcadia. Spring 2020.

And then here are some books:

Frontiers of Science: Imperialism and Natural Knowledge in the Gulf South Borderlands, 1500-1850 (Cameron B. Strang); Plants and Empire: Colonial Bioprospecting in the Atlantic World (Londa Schiebinger, 2004);

Africa as a Living Laboratory: Empire, Development, and the Problem of Scientific Knowledge, 1870-1950 (Helen Tilley, 2011); Colonizing Animals: Interspecies Empire in Myanmar (Jonathan Saha); Fluid Geographies: Water, Science and Settler Colonialism in New Mexico (K. Maria D. Lane, 2024);  Geopolitics, Culture, and the Scientific Imaginary in Latin America (Edited by del Pilar Blanco and Page, 2020)

Red Coats and Wild Birds: How Military Ornithologists and Migrant Birds Shaped Empire (Kirsten A. Greer); The Black Geographic: Praxis, Resistance, Futurity (Hawthorne and Lewis, 2022); Fugitive Science: Empiricism and Freedom in Early African American Culture (Britt Rusert, 2017)

The Empirical Empire: Spanish Colonial Rule and the Politics of Knowledge (Arndt Brendecke, 2016); In the Museum of Man: Race, Anthropology, and Empire in France, 1850-1960 (Alice Conklin, 2013); Unfreezing the Arctic: Science, Colonialism, and the Transformation of Inuit Lands (Andrew Stuhl)

Anglo-European Science and the Rhetoric of Empire: Malaria, Opium, and British Rule in India, 1756-1895 (Paul Winther); Peoples on Parade: Exhibitions, Empire, and Anthropology in Nineteenth-Century Britain (Sadiah Qureshi, 2011); Practical Matter: Newton’s Science in the Service of Industry and Empire, 1687-1851 (Margaret Jacob and Larry Stewart)

Pasteur’s Empire: Bacteriology and Politics in France, Its Colonies, and the World (Aro Velmet, 2022); Medicine and Empire, 1600-1960 (Pratik Chakrabarti, 2014); Colonial Geography: Race and Space in German East Africa, 1884-1905 (Matthew Unangst, 2022);

The Nature of German Imperialism: Conservation and the Politics of Wildlife in Colonial East Africa (Bernhard Gissibl, 2019); Curious Encounters: Voyaging, Collecting, and Making Knowledge in the Long Eighteenth Century (Edited by Adriana Craciun and Mary Terrall, 2019)

The Ends of Paradise: Race, Extraction, and the Struggle for Black Life in Honduras (Chirstopher A. Loperena, 2022); Mining Language: Racial Thinking, Indigenous Knowledge, and Colonial Metallurgy in the Early Modern Iberian World (Allison Bigelow, 2020); The Herds Shot Round the World: Native Breeds and the British Empire, 1800-1900 (Rebecca J.H. Woods); American Tropics: The Caribbean Roots of Biodiversity Science (Megan Raby, 2017); Producing Mayaland: Colonial Legacies, Urbanization, and the Unfolding of Global Capitalism (Claudia Fonseca Alfaro, 2023); Unnsettling Utopia: The Making and Unmaking of French India (Jessica Namakkal, 2021)

Domingos Alvares, African Healing, and the Intellectual History of the Atlantic World (James Sweet, 2011); A Temperate Empire: Making Climate Change in Early America (Anya Zilberstein, 2016); Educating the Empire: American Teachers and Contested Colonization in the Philippines (Sarah Steinbock-Pratt, 2019); Soundings and Crossings: Doing Science at Sea, 1800-1970 (Edited by Anderson, Rozwadowski, et al, 2016)

Possessing Polynesians: The Science of Settler Colonial Whiteness in Hawai’i and Oceania (Maile Arvin); Overcoming Niagara: Canals, Commerce, and Tourism in the Niagara-Great Lakes Borderland Region, 1792-1837 (Janet Dorothy Larkin, 2018); A Great and Rising Nation: Naval Exploration and Global Empire in the Early US Republic (Michael A. Verney, 2022)

Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment (Daniela Cleichmar, 2012); Tea Environments and Plantation Culture: Imperial Disarray in Eastern India (Arnab Dey, 2022); Drugs on the Page: Pharmacopoeias and Healing Knowledge in the Early Modern Atlantic World (Edited by Crawford and Gabriel, 2019)

Cooling the Tropics: Ice, Indigeneity, and Hawaiian Refreshment (Hi’ilei Kawehipuaakahaopulani Hobart, 2022); In Asian Waters: Oceanic Worlds from Yemen to Yokkohama (Eric Tagliacozzo); Yellow Fever, Race, and Ecology in Nineteenth-Century New Orleans (Urmi Engineer Willoughby, 2017); Turning Land into Capital: Development and Dispossession in the Mekong Region (Edited by Hirsch, et al, 2022); Mining the Borderlands: Industry, Capital, and the Emergence of Engineers in the Southwest Territories, 1855-1910 (Sarah E.M. Grossman, 2018)

Knowing Manchuria: Environments, the Senses, and Natural Knowledge on an Asian Borderland (Ruth Rogaski); Colonial Fantasies, Imperial Realities: Race Science and the Making of Polishness on the Fringes of the German Empire, 1840-1920 (Lenny A. Urena Valerio); Against the Map: The Politics of Geography in Eighteenth-Century Britain (Adam Sills, 2021)

Under Osman’s Tree: The Ottoman Empire, Egypt, and Environmental History (Alan Mikhail, 2017); Imperial Nature: Joseph Hooker and the Practices of Victorian Science (Jim Endersby); Proving Grounds: Militarized Landscapes, Weapons Testing, and the Environmental Impact of U.S. Bases (Edited by Edwin Martini, 2015)

Colonial Botany: Science, Commerce, and Politics in the Early Modern World (Multiple authors, 2007); Space in the Tropics: From Convicts to Rockets in French Guiana (Peter Redfield); Seeds of Empire: Cotton, Slavery, and the Transformation of the Texas Borderlands, 1800-1850 (Andrew Togert, 2015); Dust Bowls of Empire: Imperialism, Environmental Politics, and the Injustice of ‘Green’ Capitalism (Hannah Holleman, 2016); Postnormal Conservation: Botanic Gardens and the Reordering of Biodiversity Governance (Katja Grotzner Neves, 2019)

Botanical Entanglements: Women, Natural Science, and the Arts in Eighteenth-Century England (Anna K. Sagal, 2022); The Platypus and the Mermaid and Other Figments of the Classifying Imagination (Harriet Ritvo); Rubber and the Making of Vietnam: An Ecological History, 1897-1975 (Michitake Aso); A Billion Black Anthropocenes or None (Kathryn Yusoff, 2018); Staple Security: Bread and Wheat in Egypt (Jessica Barnes, 2023); No Wood, No Kingdom: Political Ecology in the English Atlantic (Keith Pluymers); Planting Empire, Cultivating Subjects: British Malaya, 1768-1941 (Lynn Hollen Lees, 2017); Fish, Law, and Colonialism: The Legal Capture of Salmon in British Columbia (Douglas C. Harris, 2001); Everywhen: Australia and the Language of Deep Time (Edited by Ann McGrath, Laura Rademaker, and Jakelin Troy)

Subject Matter: Technology, the Body, and Science on the Anglo-American Frontier, 1500-1676 (Joyce Chaplin, 2001); Mapping the Amazon: The Making and Unmaking of French India (Jessica Namakkal, 2021)

American Lucifers: The Dark History of Artificial Light, 1750-1865 (Jeremy Zallen); Ruling Minds: Psychology in the British Empire (Erik Linstrum, 2016); Lakes and Empires in Macedonian History: Contesting the Water (James Pettifer and Mirancda Vickers, 2021); Inscriptions of Nature: Geology and the Naturalization of Antiquity (Pratik Chakrabarti); Seeds of Control: Japan’s Empire of Forestry in Colonial Korea (David Fedman)

Do Glaciers Listen?: Local Knowledge, Colonial Encounters, and Social Imagination (Julie Cruikshank); The Fishmeal Revolution: The Industrialization of the Humboldt Current Ecosystem (Kristin A. Wintersteen, 2021); The Earth on Show: Fossils and the Poetics of Popular Science, 1802-1856 (Ralph O’Connor); An Imperial Disaster: The Bengal Cyclone of 1876 (Benjamin Kingsbury, 2018); Geographies of City Science: Urban Life and Origin Debates in Late Victorian Dublin (Tanya O’Sullivan, 2019)

American Hegemony and the Postwar Reconstruction of Science in Europe (John Krige, 2006); Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule (Ann Laura Stoler, 2002); Rivers of the Sultan: The Tigris and Euphrates in the Ottoman Empire (Faisal H. Husain, 2021)

The Sanitation of Brazil: Nation, State, and Public Health, 1889-1930 (Gilberto Hochman, 2016); The Imperial Security State: British Colonial Knowledge and Empire-Building in Asia (James Hevia); Japan’s Empire of Birds: Aristocrats, Anglo-Americans, and Transwar Ornithology (Annika A. Culver, 2022)

Moral Ecology of a Forest: The Nature Industry and Maya Post-Conservation (Jose E. Martinez, 2021); Sound Relations: Native Ways of Doing Music History in Alaska (Jessica Bissette Perea, 2021); Citizens and Rulers of the World: The American Child and the Cartographic Pedagogies of Empire (Mashid Mayar); Anthropology and Antihumanism in Imperial Germany (Andrew Zimmerman, 2001)

The Botany of Empire in the Long Eighteenth Century (Multiple authors, 2016); The Nature of Slavery: Environment and Plantation Labor in the Anglo-Atlantic World (Katherine Johnston, 2022); Seeking the American Tropics: South Florida’s Early Naturalists (James A. Kushlan, 2020)

The Colonial Life of Pharmaceuticals: Medicines and Modernity in Vietnam (Laurence Monnais); Quinoa: Food Politics and Agrarian Life in the Andean Highlands (Linda J. Seligmann, 2023) ; Critical Animal Geographies: Politics, intersections and hierarchies in a multispecies world (Edited by Kathryn Gillespie and Rosemary-Claire Collard, 2017); Spawning Modern Fish: Transnational Comparison in the Making of Japanese Salmon (Heather Ann Swanson, 2022); Imperial Visions: Nationalist Imagination and Geographical Expansion in the Russian Far East, 1840-1865 (Mark Bassin, 2000); The Usufructuary Ethos: Power, Politics, and Environment in the Long Eighteenth Century (Erin Drew, 2022)

Intimate Eating: Racialized Spaces and Radical Futures (Anita Mannur, 2022); On the Frontiers of the Indian Ocean World: A History of Lake Tanganyika, 1830-1890 (Philip Gooding, 2022); All Things Harmless, Useful, and Ornamental: Environmental Transformation Through Species Acclimitization, from Colonial Australia to the World (Pete Minard, 2019)

Visions of Nature: How Landscape Photography Shaped Setller Colonialism (Jarrod Hore, 2022); Timber and Forestry in Qing China: Sustaining the Market (Meng Zhang, 2021); The World and All the Things upon It: Native Hawaiian Geographies of Exploration (David A. Chang);

Deep Cut: Science, Power, and the Unbuilt Interoceanic Canal (Christine Keiner); Writing the New World: The Politics of Natural History in the Early Spanish Empire (Mauro Jose Caraccioli); Two Years below the Horn: Operation Tabarin, Field Science, and Antarctic Sovereignty, 1944-1946 (Andrew Taylor, 2017); Mapping Water in Dominica: Enslavement and Environment under Colonialism (Mark W. Hauser, 2021)

To Master the Boundless Sea: The US Navy, the Marine Environment, and the Cartography of Empire (Jason Smith, 2018); Fir and Empire: The Transformation of Forests in Early Modern China (Ian Matthew Miller, 2020); Breeds of Empire: The ‘Invention’ of the Horse in Southeast Asia and Southern Africa 1500-1950 (Sandra Swart and Greg Bankoff, 2007)

Science on the Roof of the World: Empire and the Remaking of the Himalaya (Lachlan Fleetwood, 2022); Cattle Colonialism: An Environmental History of the Conquest of California and Hawai’i (John Ryan Fisher, 2017); Imperial Creatures: Humans and Other Animals in Colonial Singapore, 1819-1942 (Timothy P. Barnard, 2019)

An Ecology of Knowledges: Fear, Love, and Technoscience in Guatemalan Forest Conservation (Micha Rahder, 2020); Empire and Ecology in the Bengal Delta: The Making of Calcutta (Debjani Bhattacharyya, 2018);  Imperial Bodies in London: Empire, Mobility, and the Making of British Medicine, 1880-1914 (Kristen Hussey, 2021)

Biotic Borders: Transpacific Plant and Insect Migration and the Rise of Anti-Asian Racism in America, 1890-1950 (Jeannie N. Shinozuka); Coral Empire: Underwater Oceans, Colonial Tropics, Visual Modernity (Ann Elias, 2019); Hunting Africa: British Sport, African Knowledge and the Nature of Empire (Angela Thompsell, 2015)