#[ i’m sure things have changed for the culture over the 2000 years after the war ]

[literary-illuminati]

2024 Book Review #4 – War in Human Civilization by Azar Gat

This is my first big history book of the year, and one I’ve been rather looking forward to getting to for some time now. Its claimed subject matter – the whole scope of war and violent conflict across the history of humanity – is ambitious enough to be intriguing, and it was cited and recommended by Bret Devereaux, whose writing I’m generally a huge fan of. Of course, he recommended The Bright Ages too, and that was one of my worst reads of last year – apparently something I should have learned my lesson from. This is, bluntly, not a good book – the first half is bad but at least interesting, while the remainder is only really worth reading as a time capsule of early 2000s academic writing and hegemonic politics.

The book purports to be a survey of warfare from the evolution of homo sapiens sapiens through to the (then) present, drawing together studies from several different fields to draw new conclusions and a novel synthesis that none of the authors being drawn from had ever had the context to see – which in retrospect really should have been a big enough collection of dramatically waving red flags to make me put it down then and there. It starts with a lengthy consideration of conflict in humanity’s ‘evolutionary state of nature’ – the long myriads between the evolution of the modern species and the neolithic revolution – which he holds is the environment where the habits, drives and instincts of ‘human nature’ were set and have yet to significantly diverge from. He does this by comparing conflict in other social megafauna (mostly but not entirely primates), archaeology, and analogizing from the anthropological accounts we have of fairly isolated/’untainted’ hunter gatherers in the historical record.

From there, he goes on through the different stages of human development – he takes a bit of pain at one point to disavow believing in ‘stagism’ or modernization theory, but then he discusses things entirely in terms of ‘relative time’ and makes the idea that Haida in 17th century PNW North America are pretty much comparable to pre-agriculture inhabitants of Mesopotamia, so I’m not entirely sure what he’s actually trying to disavow – and how warfare evolved in each. His central thesis is that the fundamental causes of war are essentially the same as they were for hunter-gatherer bands on the savanna, only appearing to have changed because of how they have been warped and filtered by cultural and technological evolution. This is followed with a lengthy discussion of the 19th and 20th centuries that mostly boils down to trying to defend that contention and to argue that, contrary to what the world wars would have you believe, modernity is in fact significantly more peaceful than any epoch to precede it. The book then concludes with a discussion of terrorism and WMDs that mostly serves to remind you it was written right after 9/11.

So, lets start with the good. The book’s discussion of rates of violence in the random grab-bag of premodern societies used as case studies and the archaeological evidence gathered makes a very convincing case that murder and war are hardly specific ills of civilization, and that per capita feuds and raids in non-state societies were as- or more- deadly than interstate warfare averaged out over similar periods of time (though Gat gets clumsy and takes the point rather too far at times). The description of different systems of warfare that ten to reoccur across history in similar social and technological conditions is likewise very interesting and analytically useful, even if you’re skeptical of his causal explanations for why.

If you’re interested in academic inside baseball, a fairly large chunk of the book is also just shadowboxing against unnamed interlocutors and advancing bold positions like ‘engaging in warfare can absolutely be a rational choice that does you and yours significant good, for example Genghis Khan-’, an argument which there are apparently people on the other side of.

Of course all that value requires taking Gat at his word, which leads to the book’s largest and most overwhelming problem – he’s sloppy. Reading through the book, you notice all manner of little incidental facts he’s gotten wrong or oversimplified to the point where it’s basically the same thing – my favourites are listing early modern Poland as a coherent national state, and characterizing US interventions in early 20th century Central America as attempts to impose democracy. To a degree, this is probably inevitable in a book with such a massive subject matter, but the number I (a total amateur with an undergraduate education) noticed on a casual read - and more damningly the fact that every one of them made things easier or simpler for him to fit within his thesis - means that I really can’t be sure how much to trust anything he writes.

I mentioned above that I got this off a recommendation from Bret Devereaux’s blog. Specifically, I got it from his series on the ‘Fremen Mirage’ – his term for the enduring cultural trope about the military supremacy of hard, deprived and abusive societies. Which honestly makes it really funny that this entire book indulges in that very same trope continuously. There are whole chapters devoted to thesis that ‘primitive’ and ‘barbarian’ societies possess superior military ferocity and fighting spirit to more civilized and ‘domesticated’ ones, and how this is one of the great engines of history up to the turn of the modern age. It’s not even argued for, really, just taken as a given and then used to expand on his general theories.

Speaking of – it is absolutely core to the book’s thesis that war (and interpersonal violence generally) are driven by (fundamentally) either material or reproductive concerns. ‘Reproductive’ here meaning ‘allowing men to secure access to women’, with an accompanying chapter-length aside about how war is a (possibly the most) fundamentally male activity, and any female contributions to it across the span of history are so marginal as to not require explanation or analysis in his comprehensive survey. Women thus appear purely as objects – things to be fought over and fucked – with the closest to any individual or collective agency on their part shown is a consideration that maybe the sexual revolution made western society less violent because it gave young men a way to get laid besides marriage or rape.

Speaking of – as the book moves forward in time, it goes from being deeply flawed but interesting to just, total dreck (though this also might just me being a bit more familiar with what Gat’s talking about in these sections). Given the Orientalism that just about suffuses the book it’s not, exactly, surprising that Gat takes so much more care to characterize the Soviet Union as especially brutal and inhumane that he does Nazi Germany but it is, at least, interesting. And even the section of World War 2 is more worthwhile than the chapters on decolonization and democratic peace theory that follow it.

Fundamentally this is just a book better consumed secondhand, I think – there are some interesting points, but they do not come anywhere near justifying slogging through the whole thing.

[sylvctica]

i gotta try to remember if i wrote a headcanon detailing sylvie’s fear of being forgotten… i feel like i have but … i’d have to go dig…

[penwiper]

So a couple days ago, some folks braved my long-dormant social media accounts to make sure I’d seen this tweet:

And after getting over my initial (rather emotional) response, I wanted to reply properly, and explain just why that hit me so hard.

So back around twenty years ago, the internet cosplay and costuming scene was very different from today. The older generation of sci-fi convention costumers was made up of experienced, dedicated individuals who had been honing their craft for years.  These were people who took masquerade competitions seriously, and earning your journeyman or master costuming badge was an important thing.  They had a lot of knowledge, but – here’s the important bit – a lot of them didn’t share it.  It’s not just that they weren’t internet-savvy enough to share it, or didn’t have the time to write up tutorials – no, literally if you asked how they did something or what material they used, they would refuse to tell you. Some of them came from professional backgrounds where this knowledge literally was a trade secret, others just wanted to decrease the chances of their rivals in competitions, but for whatever reason it was like getting a door slammed in your face.  Now, that’s a generalization – there were definitely some lovely and kind and helpful old-school costumers – but they tended to advise more one-on-one, and the idea of just putting detailed knowledge out there for random strangers to use wasn’t much of a thing.  And then what information did get out there was coming from people with the freedom and budget to do things like invest in all the tools and materials to create authentic leather hauberks, or build a vac-form setup to make stormtrooper armor, etc.  NOT beginner friendly, is what I’m saying.

Then, around 2000 or so, two particular things happened: anime and manga began to be widely accessible in resulting in a boom in anime conventions and cosplay culture, and a new wave of costume-filled franchises (notably the Star Wars prequels and the Lord of the Rings movies) hit the theatres.  What those brought into the convention and costuming arena was a new wave of enthusiastic fans who wanted to make costumes, and though a lot of the anime fans were much younger, some of them, and a lot of the movie franchise fans, were in their 20s and 30s, young enough to use the internet to its (then) full potential, old enough to have autonomy and a little money, and above all, overwhelmingly female.  I think that latter is particularly important because that meant they had a lifetime of dealing with gatekeepers under our belts, and we weren’t inclined to deal with yet another one.  They looked at the old dragons carefully hoarding their knowledge, keeping out anyone who might be unworthy, or (even worse) competition, and they said NO.  If secrets were going to be kept, they were going to figure things out for ourselves, and then they were going to share it with everyone.  Those old-school costumers may have done us a favor in the long run, because not knowing those old secrets meant that we had to find new methods, and we were trying – and succeeding with – materials that “serious” costumers would never have considered.   I was one of those costumers, but there were many more – I was more on the movie side of things, so JediElfQueen and PadawansGuide immediately spring to mind, but there were so many others, on YahooGroups and Livejournal and our own hand-coded webpages, analyzing and testing and experimenting and swapping ideas and sharing, sharing, sharing.  

I’m not saying that to make it sound like we were the noble knights of cosplay, riding in heroically with tutorials for all.  I’m saying that a group of people, individually and as a collective, made the conscious decision that sharing was a Good Things that would improve the community as a whole.  That wasn’t necessarily an easy decision to make, either. I know I thought long and hard before I posted that tutorial; the reaction I had gotten when I wore that armor to a con told me that I had hit on something new, something that gave me an edge, and if I didn’t share that info I could probably hang on to that edge for a year, or two, or three.  And I thought about it, and I was briefly tempted, but again, there were all of these others around me sharing what they knew, and I had seen for myself what I could do when I borrowed and adapted some of their ideas, and I felt the power of what could happen when a group of people came together and gave their creativity to the world.

And it changed the face of costuming.  People who had been intimidated by the sci-fi competition circuit suddenly found the confidence to try it themselves, and brought in their own ideas and discoveries.  And then the next wave of younger costumers took those ideas and ran, and built on them, and branched out off of them, and the wave after that had their own innovations, and suddenly here we are, with Youtube videos and Tumblr tutorials and Etsy patterns and step-by-step how-to books, and I am just so, so proud.  

So yeah, seeing appreciation for a 17-year-old technique I figured out on my dining-room table (and bless it, doesn’t that page just scream “I learned how to code on Geocities!”), and having it embraced as a springboard for newer and better things warms this fandom-old’s heart.  This is our legacy, and a legacy the current group of cosplayers is still creating, and it’s a good one.  

(Oh, and for anyone wondering: yes, I’m over 40 now, and yes, I’m still making costumes. And that armor is still in great shape after 17 years in a hot attic!)  

[mjvnivsbrvtvs]

hi! so we have established at this point that you have A Lot Of thoughts about antony and brutus. but how does caesar (julius, not the little bitch octavian) play into that? bc like. my knowledge and impression of them is very limited and mainly constructed from watching hbo rome and idk. i think it'd be fun to throw caesar in the mix. love all the art and writing on your blog btw! have a nice day.

Hey, okay! So this used to be over 30 pages long (Machiavelli and Caligula got involved and that's when things got out of hand), but through the power of friendship and two late night writing dates fueled by coffee, I’ve cut it way down to under 10. Many thanks to the people who listened to me ramble about it at length, and also to a dear friend for helping me cut this down to under ten pages!

Also, thank you! I'm glad you enjoy the stuff I make! It makes me very happy to hear that!

And quickly, a Disclaimer: I’m not an academic, I’m not a classicist, I’m not a historian, and I spend a lot of time very stressed out that I’ve tricked people into thinking I’m someone who has any kind of merit in this area. It's probably best to treat this as an abstract character analysis!

On the other hand, I love talking about dead men, so, with enthusiasm, here we go!

For this, I’m going to cut Shakespeare and HBO Rome out of the framework and focus more on a historical spin.

Caesar is a combination of a manipulator and a catalyst. A Bad Omen. The remaining wound that’s poisoning Rome.

Cassius gets a lot of the blame for Brutus’ turn to assassination, but it overlooks that Brutus was already inclined towards political ambition, as were most men involved in the political landscape of the time.

Furthermore, although Sulla had actually raised the number of praetorships available from six to eight, there were still only two consulships available. There was always the chance that death or disgrace might remove some of the competition and hence ease the bottleneck. But, otherwise, it was at the top of the ladder that the competition was particularly fierce: whereas in previous years one in three praetors would have gone on to become consul, from the 80s BC onwards the chances were one in four. For the senators who had made it this far, it mattered that they should try to achieve their consulship in the earliest year allowed to them by law. To fail in this goal once was humiliating; to fail at the polls twice would be deemed a signal disgrace for a man like Brutus.

Kathryn Tempest, Brutus the Noble Conspirator

The way Caesar offered Brutus political power the way that he did, and Brutus accepting it, locked them into the assassination outcome.

Here is a man who’s built his entire image around honor and liberty and virtu, around being a staunch defender of morals and the republic

In these heated circumstances, Brutus composed a bitter tract On the Dictatorship of Pompey (De Dictatura Pompei), in which he staunchly opposed the idea of giving Pompey such a position of power. ‘It is better to rule no one than to be another man’s slave’, runs one of the only snippets of this composition to survive today: ‘for one can live honourably without power’, Brutus explained, ‘but to live as a slave is impossible’. In other words, Brutus believed it would be better for the Senate to have no imperial power at all than to have imperium and be subject to Pompey’s whim.

Kathryn Tempest, Brutus the Noble Conspirator

and you give him political advancement, but without the honor needed for this advancement to mean anything?

At the same time, however, Brutus had gained his position via extremely un-republican means: appointment by a dictator rather than election by the people. As the name of the famous career path, the cursus honorum, suggests, political office was perceived as an honour at Rome. But it was one which had to be bestowed by the populus Romanus in recognition of a man’s dignitas.69 In other words, a man’s ‘worth’ or ‘standing’ was only really demonstrated by his prior services to the state and his moral qualities, and that was what was needed to gain public recognition. Brutus had got it wrong. As Cicero not too subtly reminded him in the treatise he dedicated to Brutus: ‘Honour is the reward for virtue in the considered opinion of the citizenry.’ But the man who gains power (imperium) by some other circumstance, or even against the will of the people, he continues, ‘has laid his hands only on the title of honour, but it is not real honour’.70

Brutus may have secured political office, then, but he had not done so honourably; nor had he acted in a manner that would earn him a reputation for virtue or everlasting fame.

Kathryn Tempest, Brutus the Noble Conspirator

Brutus in the image that he fashioned for himself was not compatible with the way Caesar was setting him up to be a political successor, and there was really never going to be any other outcome than the one that happened.

The Brutus of Shakespeare and Plutarch’s greatest tragedy was that he was pushed into something he wouldn’t have done otherwise. The Brutus of history’s greatest tragedy was accepting Caesar’s forgiveness after the Caesar-Pompey conflict, and then selling out for political ambition, because Caesar's forgiveness is not benevolent.

Rather than have his enemies killed, he offered them mercy or clemency -- clementia in Latin. As Caesar wrote to his advisors, “Let this be our new method of conquering -- to fortify ourselves by mercy and generosity.” Caesar pardoned most of his enemies and forbore confiscating their property. He even promoted some of them to high public office.

This policy won him praise from no less a figure than Marcus Tullius Cicero, who described him in a letter to Aulus Caecina as “mild and merciful by nature.” But Caecina knew a thing or two about dictators, since he’d had to publish a flattering book about Caesar in order to win his pardon after having opposed him in the civil war. Caecina and other beneficiaries of Caesar’s unusual clemency took it in a far more ambivalent way. To begin with, most of them were, like Caesar, Roman nobles. Theirs was a culture of honor and status; asking a peer for a pardon was a serious humiliation. So Caesar’s “very power of granting favors weighed heavily on free people,” as Florus, a historian and panegyrist of Rome, wrote about two centuries after the dictator’s death. One prominent noble, in fact, ostentatiously refused Caesar’s clemency. Marcius Porcius Cato, also known as Cato the Younger, was a determined opponent of populist politics and Caesar’s most bitter foe. They had clashed years earlier over Caesar’s desire to show mercy to the Catiline conspirators; Cato argued vigorously for capital punishment and convinced the Senate to execute them. Now he preferred death to Caesar’s pardon. “I am unwilling to be under obligations to the tyrant for his illegal acts,” Cato said; he told his son, "I, who have been brought up in freedom, with the right of free speech, cannot in my old age change and learn slavery instead.

-Barry Strauss, Caesar and the Dangers of Forgiveness

something else that's a fun adjacent to the topic that's fun to think about:

The link between ‘sparing’ and ‘handing over’ is common in the ancient world.763 Paul also uses παραδίδωμι again, denoting ‘hand over, give up a person’ (Bauer et al. 2000:762).764 The verb παραδίδωμι especially occurs in connection with war (Eschner 2010b:197; Gaventa 2011:272).765 However, in Romans 8:32, Paul uses παραδίδωμι to focus on a court image (Eschner 2010b:201).766 Christina Eschner (2010b:197) convincingly argues that Paul’s use of παραδίδωμι refers to the ‘Hingabeformulierungen’ as the combination of the personal object of the handing over of a person in the violence of another person, especially the handing over of a person to an enemy.767 Moreover, Eschner (2009:676) convincingly argues that Isaiah 53 is not the pre-tradition for Romans 8:32.

Annette Potgieter, Contested Body: Metaphors of dominion in Romans 5-8

Along with the internal conflict of Pompey, the murderer of Brutus’ father, and Caesar, the figurehead for everything that goes against what Brutus stands for, Brutus accepting Caesar’s forgiveness isn’t an act of benevolence, regardless of Caesar’s intentions.

On wards, Caesar owns Brutus. Caesar benefits from having Brutus as his own, he inherits Brutus’ reputation, he inherits a better PR image in the eyes of the Roman people. On wards, nothing Brutus does is without the ugly stain of Caesar. His career is no longer his own, his life is no longer fully his own, his legacy is no longer entirely his. Brutus becomes a man divided.

And it’s not like it was an internal struggle, it was an entire spectacle. Hypocrisy is theatrical. Call yourself a man of honor and then you sell out? The people of Rome will remember that, and they’re going to make sure you know it.

After this certain men at the elections proposed for consuls the tribunes previously mentioned, and they not only privately approached Marcus Brutus and such other persons as were proud-spirited and attempted to persuade them, but also tried to incite them to action publicly. 12 1 Making the most of his having the same name as the great Brutus who overthrew the Tarquins, they scattered broadcast many pamphlets, declaring that he was not truly that man's descendant; for the older Brutus had put to death both his sons, the only ones he had, when they were mere lads, and left no offspring whatever. 2 Nevertheless, the majority pretended to accept such a relationship, in order that Brutus, as a kinsman of that famous man, might be induced to perform deeds as great. They kept continually calling upon him, shouting out "Brutus, Brutus!" and adding further "We need a Brutus." 3 Finally on the statue of the early Brutus they wrote "Would that thou wert living!" and upon the tribunal of the living Brutus (for he was praetor at the time and this is the name given to the seat on which the praetor sits in judgment) "Brutus, thou sleepest," and "Thou art not Brutus."

Cassius Dio

Brutus knew. Cassius knew. Caesar knew. You can’t escape your legacy when you’re the one who stamped it on coins.

Caesar turned Brutus into the dagger that would cut, and Brutus himself isn’t free from this injury. It’s a mutual betrayal, a mutual dooming.

By this time Caesar found himself being attacked from every side, and as he glanced around to see if he could force a way through his attackers, he saw Brutus closing in upon him with his dagger drawn. At this he let go of Casca’s hand which he had seized, muffled up his head in his robe, and yielded up his body to his murderers’ blows. Then the conspirators flung themselves upon him with such a frenzy of violence, as they hacked away with their daggers, that they even wounded one another. Brutus received a stab in the hand as he tried to play his part in the slaughter, and every one of them was drenched in blood.

Plutarch

For Antony, Caesar is a bad sign.

Brutus and Antony are fucked over by the generation they were born in, etc etc the cannibalization of Rome on itself, the Third Servile War was the match to the gasoline already on the streets of Rome, the last generation of Romans etc etc etc. They are counterparts to each other, displaced representatives of a time already gone by the time they were alive.

Rome spends its years in a state of civil war after civil war, political upheaval, and death. Neither Brutus or Antony will ever really know stability, as instability is hallmark of the times. Both of them are at something of a disadvantage, although Brutus has what Antony does not, and what Brutus has is what let’s him create his own career. Until Caesar, Brutus is owned by no one.

This is not the case for Antony.

You can track Antony’s life by who he’s attached to. Very rarely is he ever truly a man unto himself, there is always someone nearby.

In his youth, it is said, Antony gave promise of a brilliant future, but then he became a close friend of Curio and this association seems to have fallen like a blight upon his career. Curio was a man who had become wholly enslaved to the demands of pleasure, and in order to make Antony more pliable to his will, he plunged him into a life of drinking bouts, love-affairs, and reckless spending. The consequence was that Antony quickly ran up debts of an enormous size for so young a man, the sum involved being two hundred and fifty talents. Curio provided security for the whole of this amount, but his father heard of it and forbade Antony his house. Antony then attached himself for a short while to Clodius, the most notorious of all the demagogues of his time for his lawlessness and loose-living, and took part in the campaigns of violence which at that time were throwing political affairs at Rome into chaos.

Plutarch

(although, in contrast to Brutus, we rarely lose sight of Antony. As a person, we can see him with a kind of clarity, if one looks a little bit past the Augustan propaganda. He is, at all times, human.)

Antony being figuratively or literally attached to a person starts early, and continues politically. While Brutus has enough privilege to brute force his way into politics despite Cicero’s lamentation of a promising life being thrown off course, Antony will instead follow a different career path that echoes in his personal life and defines his relationships.

Whereas some young men often attached or indebted themselves to a patron or a military leader at the beginning of their political lives,

Kathryn Tempest, Brutus the Noble Conspirator

+

3. During his stay in Greece he was invited by Gabinius, a man of consular rank, to accompany the Roman force which was about to sail for Syria. Antony declined to join him in a private capacity, but when he was offered the command of the cavalry he agreed to serve in the campaign.

Plutarch

To take it a step further, it even defines how he’s perceived today looking back: it’s never just Antony, it’s always Antony and---

It can be read as someone being taken advantage of, in places, survival in others, especially in Antony's early life. Other times, it appears like Antony himself is the one who manipulates things to his favor, casting aside people and realigning himself back to an advantage.

or when he saw an opportunity for faster advancement, he was willing to place the blame on a convenient scapegoat or to disregard previous loyalties, however important they had been. His desertion of Fulvia's memory in 40, and, much later, of Lepidus, Sextus Pompey, and Octavia, produced significant political gains. This characteristic, which Caesar discovered to his cost in 47, gives the sharp edge to Antony's personality which Syme's portrait lacks, especially when he attributes Antony's actions to a 'sentiment of loyalty' or describes him as a 'frank and chivalrous soldier'. In this context, one wonders what became of Fadia.19

Kathryn E Welch , Antony, Fulvia, and the Ghost of Clodius in 47 B.C.

Caesar inherits Antony, and like Brutus, locks him in for a doomed ending.

The way Caesar writes about Antony smacks of someone viewing another person as something more akin to a dog, and it carries over until it’s bitter conclusion.

Caesar benefits from Antony immensely. The people love Antony, the military loves Antony. He’s charming, he’s self aware, he’s good at what he does. Above all of that, he has political ambitions of a similar passion as Brutus.

Antony drew some political benefit from his genial personality. Even Cicero, who from at least 49 did not like him,15 was prepared to regard some of his earlier misdemeanours as harmless.16 Bluff good humour, moderate intelligence, at least a passing interest in literature, and an ability to be the life and soul of a social gathering all contributed to make him a charming companion and to bind many important people to him. He had a lieutenant's ability to follow orders and a willingness to listen to advice, even (one might say especially) from intelligent women.17 These attributes made Antony able to handle some situations very well."1

There was a more important side to his personality, however, which contributed to his political survival. Antony was ruthless in his quest for pre-eminence

Kathryn E Welch , Antony, Fulvia, and the Ghost of Clodius in 477 B.C.

None of this matters, because after all Antony does for Caesar

Plutarch's comment that Curio brought Antony into Caesar's camp is surely mistaken.59 Anthony had been serving as Caesar's officer from perhaps as early as 53, after his return from Syria.60 He is described as legatus in late 52,61 and was later well known as Caesar's quaestor.62 It is more likely that the reverse of the statement is true, that Antony assisted in bringing Curio over to Caesar. If this were so, then he performed a signal service for Caesar, for gaining Curio meant attaching Fulvia, who provided direct access to the Clodian clientela in the city. Such valuable political connections served to increase Antony's standing with Caesar, and to set him apart from other officers in his army.63

Kathryn E Welch , Antony, Fulvia, and the Ghost of Clodius in 477 B.C.

Caesar still, for whatever reasons, fucks over Antony spectacularly with the will. Loyalty is repaid with dismissal, and it will bury the Republic for good.

It’s not enough for Caesar to screw him over just once, it becomes generational and ugly. Caesar lives on through Octavian: it becomes Octavian’s brand, his motif, propaganda wielded like a knife. Octavian, thanks to Caesar, will bring Antony to his bitter conclusion

And for my "bitter" conclusion, I’ll sign off by saying that there are actual scholars on Antony who are more well versed than I am who can go into depth about the Caesar-Octavian-Antony dynamic (and how it played out with Caligula) better than I can, and scholarship on Brutus consists mostly of looking at an outline of a man and trying to guess what the inside was like.

At the end of the day, Caesar was the instigator, active manipulator, and catalyst for the final act of the Republic.

I hope that this was at least entertaining to read!

[therealabbyham]

Racism in modern media.

A lot of controversy over the depiction of people of color (POC) in modern media has arisen. With both the Black Lives Matter and Stop Asian Hate movements that have happened in the last year, both new and old shows and movies have been brought forward as examples of what is not okay. Now, with some research, I'd like to go through these examples and go through what has made them controversial.

"Stock characters and slapstick tropes have always existed in theatre, from Shakespearean comedies to even something as seemingly benign as the Disney Channel show “The Suite Life of Zack and Cody” (remember Esteban?). But ethnic stock characters have been tricky to write in an increasingly politically correct 21st century, despite their appearances in such Broadway classics as “West Side Story” and “The King and I." (The Muse at Dreyfoos)

”Song of the South (Disney film) - By far one of the most controversial and well-known instances of controversy. So much so that Disney never sold the movie on DVD and will not be putting it on Disney plus. Disney's most recent effort to erase the racism from their history (also see: the crows in Dumbo and the original draft of Fantasia), was to go farther in changing Splash Mountain. Originally they had gotten rid of the characters on the ride (who were all characters from the movie), now, however, they are changing the ride altogether, changing it into a Princess and the Frog-inspired ride. "Song of the South’s African American characters are treated warmly, particularly Uncle Remus, who is Johnny’s best friend and confidant, a charismatic storyteller, and, most importantly, the film’s conduit to the animated world of Br’er Rabbit... The problem isn’t necessarily what Song of the South depicts, but what it chooses not to depict. Although Harris’ Uncle Remus stories were set in Georgia after the Civil War, the film adaptation never makes it clear when the story is taking place... If you’re not a scholar or an Uncle Remus expert, it’s very easy to assume that the film is set before the Civil War, and that Remus and Aunt Tempy (Hattie McDaniel) are slaves — and that they are completely fine with that." (Quotes from Screencrush) "By stripping out any concrete details of time and place, Disney essentially turned the plantation system into a ludicrous utopia where blacks and whites live in harmony — a harmony where the only thing that’s clear is that the blacks are inferior and servile to the whites, but are content to work the fields anyway." "Several of Remus’ stories are about Br’er Rabbit wanting to run away from his problems; the moral, inevitably, is that you can’t avoid trouble and there’s no place like home. These lessons are particularly important to Johnny because he doesn’t like life on the plantation initially and wants to run away to live with his father in Atlanta. But when coupled with the African American characters’ oddly cheerful attitude about their social status, the movie seems to be arguing on behalf of complacency. Don’t leave the plantation, don’t try to better yourself. Just go with the flow."

Thoroughly Modern Millie (Broadway show) - The show is about a young girl named Millie who moved from a small town to NYC, and the show is known for having "the subplot and the peddling of outdated Chinese stereotypes". (A lot of this will be in quotes from the previous link). Although "the play is set in the 1920s... the script was written in 2000, based on source material from the 1967 film of the same name" On Playbill, another study is done, "As much as the 2002 Tony-winning Best Musical is a love story about making it in the big city, the show’s major subplot centers on “white slavery.”" An argument could be made that “To actually have real Chinese guys singing and speaking in their own language and meaning it, and to link their immigrant story to the same story as Millie ... and come to America because of the American Dream, all these people who come to New York to reinvent themselves and be modern—I think is exactly what the Chinese guys are all about." (This is irrelevant if the characters are not played by someone who's Chinese). With accurate casting then it might be "another opportunity to cast shade on racist attitudes and assumptions about us [the Chinese] and what we know and how smart we are and what we’re capable of..." However it still "can be racist if you do it racist. This show can be done racist but it doesn’t have to and actually, it can actually be anti-racist." Personally, I think if the line you walk is so fine and covered in eggshells, it may not be worth it (but of course, it's an opinion, even if it's widely accepted). Even Ashley Park, who wanted to be Millie, thought “It’s one of the characters that I’ve loved, always, but I always figured I’d never play it just because of the race stuff that’s in [the show].” because she's Korean-American.

Emily in Paris (Netflix show) - Speaking of Ashley Parks, let's talk about Emily in Paris, one of Netflix's most controversial and most hated shows. To put it simply, the show (which I have not seen) is about an American girl who moves to Paris. Yep. That simple. In a video by Friendly Space Ninja (who's French), he says "I've been insulted by this show, more than once... Emily in Paris has a huge racism problem... and it also comes up as arrogant." He goes on to say, "When people say Emily in Paris portrays French culture in a very insulting way, they're not exaggerating." "The French in this show think Americans are the greatest and they aspire to be more like them and as a French person myself... Yeah no that's not accurate." "During the entire show, Emily tries to teach the French that doing things the American way is the right way." (I highly recommend watching this video if you don't mind the swear words, it has good points, that's why I'm just using quotes). "Emily in Paris only has two characters of color... these two characters of color are made of degrading cliches..." "All of the racist things [Mindy, a POC character,] says were written by a white writer." "The other non-white character is this guy... He's one of Emily's co-workers and he's gay... and I had to read he was gay online... and his entire point of existence in this show is to be the most stereotypical gay man the writers could come up with... all he does is stand in the background and act sassy... The writers are so dismissive with him I'm pretty sure the only reason they made him black is so they could kill two birds with one stone." "Emily in Paris has two actors of color and both of them feel like an afterthought." My thoughts: Don't watch this show. It has a season two coming out, don't watch it, even if you want to see how bad it is. There will be someone online who will tell you why it's bad and you'll save time reading or watching their review instead of giving Netflix a reason for a season three.

Anyways, those are just a few (obvious) examples of how racism isn't okay, even if it isn't inherently meant to be racist. Song of the South was meant to be a heart-warming movie full of stories about morals, but it's been banned and basically erased from Disney history because it comes off as being pro-slave. Millie was meant to be a commentary on Asain stereotypes while lifting up Asain actors so they were given more opportunities, yet most schools have banned it. And Emily in Paris, despite its connections that got it nominated for awards, was such a dumpster fire, a good review is near impossible to find.

[ferusaurelius]

Day Two

For @the-wip-project #100DaysOfWriting challenge.

Prompt:  

For your current WIP: (do you have many WIPs? I have so many WIPs. So I mean current as of right this moment, the project you’re thinking about right now.) What motivates you to write this specific story? What makes this story special for you? Is there a special twist/trope/setting you want to explore? What got you started on this particular story?

I answered a bit of this in Day One but have some more meta for how and why I picked no-Reapers (and other tidbits and world details) for my “Air Needing Light” Mass Effect-based universe.

Ferus, why no-Reapers?

I immediately loved the world of Mass Effect and the whole visual phrasing of going off to retrieve an artifact where humanity was the galaxy’s quintessential new kid on the block. I thought that was great! And then Nihlus Kryik ended up dying in the prologue and we ended up with deep space eldritch horror monsters. Not sure if I should admit this, but that’s about the moment I went: oh, so it’s that kind of story.

I knew from that moment, early in my first playthrough of the first game, that I was going to just have to grin and bear it through the eldritch abominations being the big bad behind the scenes, whatever the game implied up front about Saren, the geth, and whatever else was going on in this universe.

It ended up feeling very flavor-of-the-week episodic with whatever villainous obstacle du jour we were going to encounter on each mission. In retrospect, I’m surprised I caught as much of the story as I did? I loved ME1 for the atmosphere and the background world, but I knew it wasn’t going to tell the stories I was most interested in.

The Reapers, in that sense, are just the primary plot element of ME1 that never worked for me.

While I can appreciate some excellent takes and rewrites in the fandom that have done great things with the Reapers, I wanted to go in a different direction.

Okay, so no-Reapers. What’s the central thesis of your plot?

I want to write something about the political tensions between the human Systems Alliance and the batarian Hegemony in the Skyllian Verge. That’s it, that’s the reason!

Batarians were criminally underutilized and ignored. Historically, they made contact with Citadel space 1000 years before the turians and 2000 years before humanity, and if you didn’t read the codex entries you’d never know it.

Wait, I thought Air Needing Light was about the First Contact War?

I’ve got roughly a trilogy planned. Every fic is designed to be standalone with some easter eggs present for anyone who reads all three.

There’s just enough background changes that I need to rewrite from the First Contact War, which gave me an opportunity to do something a little different with Saren’s character and throw him into a great political game. Nihlus also becomes a more central figure, as does his backstory. 

The first fic is setting up Saren’s military background. While there are allusions to later plot points which will crop up in this fic, you won’t have to read it if you just want to skip to the other two.

The second fic is setting up a very different galactic situation and environment before Eden Prime. The focus is on a few critical events in the Skyllian Verge and the motivations for Saren recruiting Nihlus to the Spectres. Batarians and Nihlus’s mercenary background play more of a role. This is going to be the ‘turian mercenary / batarian culture’ fic.

All of this setup then serves as the backdrop for the third fic, covering a very different Eden Prime and Normandy SR-1 crew. Assuming I get there? I’ll be happy if I just finish the first two. The third fic would be the icing on the cake. 

The third fic and outline breaks far enough from canon that I’d have to decide where to go after I finished it? So it’s just a different take on what I’d have liked to build into during ME1.

So what about all those one-shots? Got any more?

Funny story. I’ve got four one-shots in WIP. I think? Maybe more.

YOU WHAT.

Yeah, sorry, I’ve got a lot of ideas, I swear!

When are you posting next and what will it be?

Your guess is as good as mine. I’d like to think the next chapter(s) of Air Needing Light will finish up first, but if I have a really good day on a one-shot, that’ll get posted, instead. 

I have to roll with what I feel like working on, or the drafting and revising would never end.

I’ve been working on chapter (2+) of Air Needing Light for months at this point, but the bright side is that the rest of it shouldn’t be as complicated as I get over this hurdle. I’m also introducing the last primary member of the cast of characters! 

There’s a chance my next update for this story will be two or three chapters long...

[gryphonablaze]

hello and welcome to gryphon’s crackshit crossover corner

I’ve already talked about my theory that httyd is set in the very distant, post-apocalyptic future. that theory was originally inspired by ‘what if httyd and horizon zero dawn crossover?’ My brain said things and for some fuckforsaken reason I listened. 

TL:DR I can smash together a crossover of so many different fandoms and media. It’s stupid. I’m crazy. I love it. This is what ADHD makes me think about when I zone out 

Anyway, first thing; the portal games could cross over with virtually anything. Portal-lands (borderlands). Portal age of wonderbeasts. How to Portal Your Dragon. Portal and the Princesses of Power. Portal: Zero Dawn. Portalverwatch. Portales of Arcadia. Fuck, if I really wanted, I could make the portal series crossover with Star Wars. This is because the time gap between portal one and two is spectacularly, deliciously difficult to pinpoint. If I shuffle it around, I could align the times during which action and dramatic events occur to line up with Chell finally escaping the facility. She walks through the wheat field and immediately encounters a megabunny, or a herd of grazers and striders. Or she trips on a rusted null sector carcass. Or her first night on the surface she’s staring at the moon and the star-filled sky, until she hears a slowly mounting screech and a flash of lightning. Or after a couple days she encounters a migration of creatures with stone skin, because they’re going to New Jersey and wanted to stop in Michigan to visit the great lakes, I guess. Or a couple weeks in to her new life, there’s a bright flash in the sky, and now she’s glowing? And has weird glowing tattoos on her arm? And can set things on fire? Or a year or two after she escapes, a spaceship? touches down? and out comes a catgirl, a lady with prehensile hair, a weird tall white guy, but not, like, a typical white guy, his skin is literally snow white, and someone who appears to be (???) normally human????? With portal, anything is possible. Bonus points that technically any and all fanfiction, AUs, the like etc. of portal are canon, thanks to cave literally reaching through the multiverse, thereby making all of those alternative realities possible. 

So if I wanted, I could stick portal in anything. Like how salt can be used in virtually every cuisine. 

But oh, my dear brain did not stop there. This is a crackshit crossover corner, after all.  If I fuck around enough, I could frankenstein together almost all of these. The events in HZD take place approximately one thousand years after the apocalypse, which occurred mid-2000s. As in 2050s-60s, not 2005. Kipo Age of Wonderbeasts takes place about 200 years after their mutepocalypse (also it took me an embarrassingly long time to realize that ‘mute’ was shortened from ‘mutants’ and has nothing to do with their ability to speak), and we’re not sure when that happened. We could hazard a guess that Gaia was able to rebuild the world and some of humanity after Faro’s fuckup, but maybe went a liiiiiiiittle too far with the Artemis sub-probgram, and the mutepocalypse happens almost immediately. Oopsies. World goes on for 200 years post mutepocalypse, events of the series of Kipo Age of Wonderbeasts occur. Anknown amount of years later Hades decide’s that’s enough and wipes Gaia’s slate clean for her to start over again. She gives it another shot, but this time limits the amount of historical information that she gave to the humans that she released. Might’ve been a bit inaccurate, because do you know just how much human media insisted that vikings had horned helmets? (Could also explain why somehow Tuffnut knows some spanish). Whatever. This time she tries dragons. Things are actually going pretty well for a couple hundred years, Gaia always thought the ancient mythological tales of winged fire-breathers were cool, why not try it out? Until--are you kidding? The dragons disappear to hide underground? From the humans? Seriously? Wow. Wooooow. All that effort, wasted. Hades decides it’s time to try again. This time? Screw it. Robot megafauna. Hades can’t eat that. Around half a millenia later, Hades gains sentience, goes about trying to commit genocide, events of the HZD game occur. For fanfic funsies, Chell could wake up literally any time in there, because why not add another layer? These all coexist in the same space-time. Same universe, same timeline, but unfortunately not at the same time. Oof. -----> This crackshit combines Horizon Zero Dawn, Kipo Age of Wonderbeasts, and How to Train Your Dragon. (*portal optional)

Or how about somehow, some way, the whole prehistoric ‘peopling of the earth’ (deadass the name of a textbook chapter) was more like accidental colonization of the earth? The rest of the six galaxies moved on and kind of forgot about them, so Borderlands doesn’t necessarily have to be in the distant future of earth’s timeline. Some millenia ago, the Destroyer was going around, doing its thing. The Eridians didn’t like that, so they found a planet with natural capabilities they could take advantage of, asked some sirens for help, and turned it into a superweapon. After all, as typhon says, most Eridian things run on crystals. And sirens’ powers are often elemental--who’s to say the runestones on Etheria aren’t their collaborative work? Along the way they probably make an enemy because of course they do, so why not give the Heart a test run @ Horde Prime? Until Mara rebels, and yeets Etheria and its moons (and presumably star) into Despondos. Well, fuck. Horde Prime mentions ‘one thousand years’ of waiting, but when traveling through space, time can get fucky. Anyway, Now they have to come up with an alternative way to eliminate the Destroyer. It might take a few millenia of hopping around, leaving their mark on various planets, but eventually they come up with the idea of creating a cage, creating pandora... After all, the architecture of the First One’s ruins in SPOP and the various Eridian Ruins in the borderlands series aren’t super different. It’s reasonably possible that their stylistic design choices changed over time--whose hasn’t? Gothic architecture wasn’t hanging around from the dawn of human time. Anyway, we know that since they began building Pandora, the Eridians knew what it would entail. So when Nyriad killed them to power the Machine in the Pyre of the Stars, it’s not like they hadn’t prepared to die. The guardians, their own creations, have heath bars made entirely of shields, implying that they are beings not of flesh but of energy. And who wouldn’t want to at least attempt to preserve their culture, at least a shred of it? Many statues that are presumably in the Eridian’s likeness have only two arms, but some have more. And what energy-based lifeforms (from tales of arcadia) have a majority population with two arms, but a select special few with four? What is their planet called? AkiRIDIAN 5. It is implied that not even Nekrotafeyo, the Eridian’s home planet, is technically the place of their origination, so it’s not all that out of the question for them to make (and possibly fail at) a couple of planets they could put their extra-sentient lifeforms on. ‘Alright, We are called Eridians. This is the fifth planet we made for you. Have fun, we have to go die.’ How often is history not warped by time? Particularly the pronunciation of things? And of course if they’re starting over with a completely new place and no template to work off of, the architecture they come up with is not at al likely to resemble that of their progenitors. Also note that Luug and other Akiridian creatures seen, like those weird ass energy bugs, look fucking weird. You know what else looks fucking weird? The fauna of Nekrotafeyo. In this version, Mara’s story in She-Ra and the Princesses of Power is the very distant early history of the Eridians, before even Nyriad, who is presumed to be very long-lived. The ancient history that the Eridians themselves left behind is in turn the prehistory of the people of Akiridian 5. And again, if u want, portal. That said, the end of SPOP S5, the end of BL3 (currently the latest borderlands game), and the end of the Tales of Arcadia series could not only exist in the same spacetime, but also at the same time. ---->This crackshit combines She ra, Borderlands, and Tales of Arcadia. (*portal optional)

[swanqiu]

A STUDY IN CHARACTER LAYERS.

——— slight mentions of: drugs, death

LAYER  001 :   THE  OUTSIDE.

NAME.   zhang qiu / “cho chang”.

EYE COLOR.   light brown.

HAIR STYLE / COLOR.  black, although more of a dark brown in most lights. she usually wears it down, if not in a neat bun at the office or a nice plait during matches.

HEIGHT.   5′3″

CLOTHING  STYLE.   black jeans! athletic shorts! small pieces of statement jewelry! turtlenecks! sleeveless tops with lacy straps! rayon blouses with 3/4 sleeves! tapered slim-fit pantsuits! shoes with some height that also pair with many different outfits! muggle hoodies supporting the local rugby and football teams! she “borrows” her partner’s tees and sweaters and casual wear, so lol add those to the list. she’s big on practicality and comfort over flair and height of fashion, but she does like keeping up with trends and coordinating her outfits to reflect that.

BEST  PHYSICAL  FEATURE.   her smile! it’s absolutely very cliche, but when she smiles and her nose does that crinkly thing and her eyes get all starry, it’s very unfair how powerful it is. alternatively, she also has a great ass, so there’s that.

LAYER  002 :   THE  INSIDE.

FEARS.   losing people she loves. having someone d*e during a healing procedure and her mind just shutting down during it.

GUILTY  PLEASURE.   parfaits! going for a late night fly! being on top!!!

BIGGEST  PET  PEEVE.   people who sneeze/cough without covering their mouth and nose. people in the magical community who somehow think muggles are “less developed” or “behind” without magic, when they’re the ones who haven’t even moved beyond printed news and radios to circulate current events and pop culture tbh.

AMBITIONS  FOR  THE  FUTURE.   to successfully campaign for a british seat at the international confederation of wizards (delegate timeline); to patent a line of at-home salves and develop at least one healing spell by the end of her residency (healer timeline); to just be the best mom and partner possible, honestly! (divorced verse)

LAYER  003 :   THOUGHTS.

FIRST  THOUGHTS  WAKING  UP.   huh. 6 AM already?

THINKS  ABOUT  MOST.   how other people are doing.

THINKS  ABOUT  BEFORE  BED.   any of the interactions she might have had that day.

WHAT  THEY  THINK  THEIR  BEST  QUALITY  IS.   her ability to depend on herself. her sociability. her commitment to fight for what’s right.

LAYER  004 :   WHAT’S  BETTER ?

SINGLE  OR  GROUP  DATES.   single (unless you’re harry potter and have to meet up with hermione later in the day). group dates are sometimes useful for gauging potential partners’ ability to crack on with her friends, though.

TO  BE  LOVED  OR  RESPECTED.   loved. respected. both?

BEAUTY  OR  BRAINS.   brains— for herself and for a potential partner. BUT i can’t lie, if we’re being really honest here, i’m absolutely tempted by the idea of cho being with a heart-of-gold jock whose sole purposes in life are to get gains, look good, and love cho. cho x himbo king is canon btw; the muggle she marries is a *checks notes* brickhouse rugby player who rescues animals on the side and doesn’t know the first thing about how getting sick works but will gladly and fondly listen to her explain everything from antibodies to the common cold to why wearing a mask helps.

DOGS  OR  CATS.   both.

LAYER  005 :   DO  THEY…

LIE.   not really, and never with bad intentions. as she gets older, she learns to use it more for self-preservation.

BELIEVE  IN  THEMSELVES.   yes.

BELIEVE  IN  LOVE.   yes. always.

WANT  SOMEONE.   no. in her divorced verse, the answer strays more toward yes.

LAYER  006 :   HAVE  THEY  EVER…

BEEN  ON  STAGE.   yes. ravenclaw common room parties are a whole event. terry boot may or may not have the negatives of the one time she sang karaoke to abba’s “dancing queen” on roger davies’s 17th birthday.

DONE  DRUGS.   yes. her muggle psychiatrist recommended medical mar*juana to cope with the very rare night terrors. she tried it for a little while, and it worked, but she ultimately prefers the calming potions made by healer pye. she used sleeping draughts for a little while after the war (who didn’t), but she hasn’t used them since.

GOTTEN  DRUNK.   lmao yes. me, ess the mun, cupping my hands around my mouth: baby girl’s a light weight, y’all!

CHANGED  WHO  THEY  WERE  TO  FIT  IN.   no. part of the reason we read about her experiencing ostracization at school (through harry’s pov) was because she didn’t waver in her defense of marietta and was quite open with her emotions (although she ended up having to repress a large part of her grief and anger anyway). she’s very firm about sticking to her resolutions and not bending who she is in order to do that. (that might get slightly lost in romantic relationships, though.) in her moved-to-the-muggle-world verse, she definitely changes her external habits and way of living to blend in, but it’s not so much a change of her character or her person.

LAYER  007 :   FAVORITES.

FAVORITE COLOR.   beige. light purples. dark greens.

FAVORITE  ANIMAL.   swans.

FAVORITE  MOVIE.   the princess bride (1986). in the mood for love (2000). miss congeniality (2000). remember the titans (2000). 2000 was clearly a big year for her and movies.

FAVORITE  GAME.   lmao as if it would be anything other than quidditch! i’m not exactly sure how fans keep up with the sport if they’re not watching in-person, but when league cup season rolls around, the television is on, the radio is tuned, the newspaper articles about game highlights and star players are read, the plumpton tutshill jersey is ritualistically worn...

LAYER  008 :   SLEEP.

HEAVY  OR  LIGHT  SLEEPER.   light sleeper.

WHAT  SIDE  OF  THE  BED  DO  THEY  SLEEP  ON.   the right side— when she shares a bed with someone, it’s more comfortable for her to cuddle up to them if they’re on her left. in her divorced verse, she sleeps on whatever part of the bed the kids didn’t claim in the middle of the night.

WHAT  DO  THEY  WEAR  TO  BED.   old quidditch stuff— she has one or two ravenclaw scrimmage jerseys that are so old the house insignia’s already faded away. she also has endless tutshill tornadoes shirseys and tees that she’s worn and washed so often that the fabric’s become so soft now and is definitely susceptible to hem stitches unraveling. her favorite sleepwear combo is a pair of cotton boyshorts and to go braless under one of her oversized tutshill tees. comfortable— and as flattering and as easy access as possible, for those nights.

WEIRD  THINGS  THEY  DO  IN  THEIR  SLEEP.   she mumbles a lot sometimes.

LAYER  009 :   LOVE.

BIG  DECLARATIONS  OR  SMALL.   small, from her end, but she’s extremely appreciative (and only a little embarrassed) of big declarations toward her.

OPEN  OR  CLOSED  OFF.   open, although she wisely exercises caution with some people and thus becomes more closed off.

LOVE  AT  FIRST  SIGHT  OR  SLOW  BURN.   slow burn! this is also me, ess, exposing myself for my love of a good slow burn.

ONE  TRUE  LOVE  OR  A  STRING.   a string, but maybe it leads to comfortably settling into that true love. she definitely doesn’t believe that there is only and exactly one love out there for each person. that myth is a terrible and disheartening way to go about life, frankly.

LAYER  010 :   FINISH  THE  SENTENCE.

I  LOVE.   "...that things do get better. my friends. the people i consider my family. my children (added for divorced verse).”

I  FEEL.   "...insignificant, in the grand scheme of things. content with where i am, usually. but mostly, i tend to feel everything, unfortunately all at once.”

I  HIDE.   “...the parts of my feelings that lead into anger.”

I  MISS.   "...the simpler days. hogwarts days, honestly.”

I  WISH.   "...i could have had more time. to do things. to be with people. to enjoy certain moments. sorry— a bit vague, huh?”

tagged by: @gramenviride​ ( 💕 )​ tagging: lol i’ve already tagged a lot of you in these dash games/character studies and likely blew up your notifications over the last week; this turned out pretty long and might use more brain power than usual, so i’m gonna go with a general call for anyone that sees this and wants to fill this out to please do it! and tag me if you do! 

[nerdy-bits]

Ghost of Tsushima and PlayStation Prestige Storytelling

There is an unspoken, yet constantly spoken, expectation that exists in the game industry that demands that games change over time. That they evolve. Yet, it is an expectation that is demanded hypocritically, or perhaps misguidedly. 

When I started writing about games I remember holding a firm stance that Call of Duty was actually garbage, because it was all just recycled gameplay with minimal facelift year-to-year. There is this unspoken standard in games, it seems, that demands a distinguishable improvement over time. Yet, it never seems to quantify its own qualifications. What does that improvement entail? Surely graphical and mechanical improvements, yes? Do those expectations also include things like gameplay evolution? Does Last of Us II need to feel different than its predecessor or is it possible to just build on the framework that its priors have already laid?

None of these questions seem to have answers. At least I have never seen anyone take the time to sit down and build a more specific set of guidelines with which one can view a game’s…”uniqueness”? See, I even struggle to find the right word for the concept as a whole. 

So let me start over, if not for you than for myself. 

When I sat behind my desk to start playing Ghost of Tsushima, I was immediately confronted by a feeling of familiarity. I knew how to play this game already. Combat was simple, light and heavy attack, parry, counter-attack. It all felt very Assassin’s Creed 2, or perhaps even Arkham Asylum. Truthfully, I haven’t played the game in close to three months, but the mechanics are so easy to pick up that I have no doubt it would be a breeze to return. 

Ghost of Tsushima, for the last AAA exclusive release on the PS4, is largely a summary of the genre for the last generation and a half. It’s both extremely appropriate and - in a sort of way - unavoidably disappointing. See, Sony has realized its version of what we call Prestige Television. Allow me the short diversion to explain myself. 

In 200, 2008, and 2010 AMC discovered that it could deliver a version of television that bordered on the production value of film, but also allowed its storytellers the ability to tell a story over ten or twelve hours. Mad Men, Breaking Bad, and The Walking Dead all established that television need not only be a procedural drama focused on serialized formulaity. They established that building a prolonged narrative arc could pay off, and draw record viewership in the process. Were they the first to do this? No, of course not. The Sopranos, The Wire, and before them the likes of Hill Street Blues, or Wiseguy. But see, the difference between the latter examples there and the former, is the accessibility. Hill Street Blues airing on NBC and Wiseguy on CBS. The Sopranos and The Wire continued the tradition of stellar television but on a far more exclusive stage. HBO wasn’t and still isn’t in most households. Then, at some point in the late 2000s, cable television stepped to the plate, and prestige television reemerged, and this time it propagated outward in every direction. Now nearly every network wants its own prestige show. 

But what does any of this have to do with the Ghost of Tsushima and PlayStation? I think that Sucker Punch is another studio swallowed up by this generation of Playstation Prestige Storytelling. If swallowed up sounds a bit negative, that is on purpose. Last of Us started something, and after seven years of AAA exclusives focused on telling mature stories, Tsushima feels like the perfect bookend to this generation. A generation of exclusives full of prestige storytelling but not particularly full of unique or revolutionary gameplay experiences.

Look at both Last of Us titles, God of War, Uncharted, and Horizon Zero Dawn. It’s hard to find better single player experiences over the last 8 years. Each game is well written, expertly acted, and smartly directed. I deeply enjoyed each one. But over time it was hard to not realize one similarity: PlayStation exclusives don’t really push any boundaries outside of delivering highly manicured story and stunning visuals. 

The toughest part about writing this is making clear that my opinion, despite sounding critical, isn’t. I own my PS4 for these titles. I lap them up hungrily. I feel I’ve just recognized what they are for me. Beyond a way to stay relevant, they act as a window into some of the best writing in the industry. 

Ghost of Tsushima is a beautiful game complimented by an equally beautiful story. That story resides in the most refined version of recycled gameplay mechanics I have ever seen. And what’s more? It absolutely works. Tsushima is the summation of open world games for the last decade. It does very little new, but everything it does, it does markedly better than its predecessors. Arguably its most unique feature is its navigational breeze. Removing the non-diegetic quest marker and dotted-line trail for a more diegetic system that draws the breeze to guide you. The flourish of foliage is stunning almost always, and by hour three I had forgotten that it was a mechanic completely, and felt it more as a system of the world’s design. 

But the combat is Arkham, the exploration is Assassin’s Creed, and the stealth is Assassin’s Creed and Splinter Cell. But the cutscenes. The attention to detail in exposition and composition is deliberate and masterful. In the opening moments Jin finds his family katana in a dark room. After a flashback, showing you his first moments learning under Lord Shimura, he unsheaths the blade over his head. The high moon shining through the torn walls casting a brilliant silver glare on across the folded steel. He positions the blade in a Jodan Kasumi stance, flaring the light of the moon across his face. This extremely good shit is painted across every scene in this game. 

As much as I found myself quietly laughing at the novelty of a game made of a generation of parts, it wasn’t long before I absolutely didn’t care anymore. 

That’s the trick. The conceit. Prestige television ostensibly didn’t change what film had been doing for decades. Rather it took that formula and drew it out, carried it over to a different medium, and used viewers’ desire for a good story to leverage their attention. God of War takes the Dark Souls formula for combat and boils it down, hones, and tunes it to its purposes. Uncharted is Tomb Raider with a heaping spoonful of Indiana Jones. Last of Us is almost literally apocalyptic Uncharted. Bloodborne is, well, Lovecraftian Dark Souls. You see the point. PlayStation’s story based exclusives, have built upon what has come before to hone something truly special for each of its games. Just not unique.

Podcasting and writing about games independently means you play a lot of games to stay relevant. A lot of games. I end up putting at least a dozen hours into most releases. When I like a game it generally means mainlining it to make way for the next game. I put 110 hours into Valhalla in the month and a half since it has been out. Playing that much means that when games are similar it can start to drag on you. It almost impacted my enjoyment of Ghost of Tsushima. 

I started extremely critical of Tsushima’s willingness to borrow. I thought it cheap and lacking imagination. The story even immediately impacted me as a bit of a general take on very mainstream ideas of Japanese culture. I saw the combat and, though thoroughly enjoying it, kept reminding myself that it is just recycled mechanics. The first five hours of the game I tried so hard to convince myself that Ghost of Tsushima was too much of a copycat to be enjoyed. I’m honestly not even sure what it was that changed my mind. All I know is, around hour six, I realized what was really going on under the hood of Tsushima, and I fell in love with the notion of paying homage to what has come before. And that brings me closer to my point.

Ghost of Tsushima is Assassin’s Creed 2 made better. Logical visual update afforded by the passage of time aside, it’s combat is smoother, systems more diagetic, design more nuanced. It’s the culmination of a generation of games striving to be more. But it’s not the end of that pursuit. While Tsushima is incredible it’s not perfect. There are small flaws. Some persistent, some one off. 

But it’s another step forward. In the journey of PlayStation Prestige Storytelling it is a logical step. An investigation of further leaning on established systems as an avenue for improvement. Expect future titles to do the same. We are definitely getting a second Tsushima game. Count on that. We also know we’re getting another God of War. 

PlayStation exclusives refined themselves this generation. They are heightened storytelling experiences with a tremendous amount of good writing, jaw dropping visuals, and reimagined mechanics. Have they been a consistent wellspring of innovation? No. But then neither has prestige television. It’s a familiar system, twisted and turned, made to look fresh. And it’s perfect, and learning. 

@LubWub ~Caleb

[dropintomanga]

Being Both Chinese and Otaku

I’m sure many of you may know this, but I’m a 1st generation Chinese-American. My first exposure to anime was back in the early 1990s’ through Cantonese-dubbed episodes of Dragon Ball Z. It’s been quite a ride since then. However, because I’m 1st-generation Chinese-American, my parents are both 1950s’-born immigrants from Guangzhou, China. They knew people and relatives that went through a period of time in China (the 2nd Sino-Japanese War) when the Japanese invaded the country. Even decades later, tensions between China and Japan still exist and Chinese otaku are caught in the middle of this.

I caught this 2019 Foreign Policy article “Super Patriotic Anime Youth Wars!” on one of my feed readers recently. It talked about how the Chinese government is worried about the influence of Japanese pop culture on many Chinese youth. They believe that foreign media in general will cause dissension. China has gone on to start their anime/manga stuff in order to gain some kind of control over Chinese otaku youth. Bilibili, a Chinese anime streaming service that has gotten a lot of attention over the past few years, was formed to help promote the Chinese government’s views.

I began to think about my own otaku journey and how someone else similar to me living in America feels.

Years ago, I wrote an article for an anime site about being a Chinese otaku. I forgot what I entirely wrote (link is now dead), but I remember I talked about a story that my mother once told me. It was about one of my aunts who literally ran away from Japanese soldiers during the 2nd Sino-Japanese War. My mom said that when my aunt was a young child in the early 1940s’, she carried one of her friends and searching for a hiding place with their caretaker while Japanese soldiers were looking to capture them. The soldiers yelled all kinds of profanities similar to how some anime characters say them. My aunt is still around, but has never talked about those experiences to me and I have never once talked to her about my love of Japanese pop culture.

Back in the mid-2000s’ when the anime boom was happening, my dad once said to me that he thinks anime may corrupt Chinese youth and that we wouldn’t understand the horrible things they did to China. After reading that Foreign Policy article on China/Japan tensions affecting otaku, I see that a good amount of Chinese folks, who grew up in China pre-1990, have utter dislike over otaku culture. The 2D world is full of imaginative ideas that aren’t easily controlled. What’s funny is that my parents didn’t mind me getting involved with all things Japanese. They knew it was what kept my mind occupied from depression. They knew I would probably hate them for taking Japanese pop culture away from me.

It’s hard enough being an otaku. But it’s harder when you’re an otaku and also have to deal with cultural tensions between two countries (one of which represents your nationality) that don’t like each other very much. I know China is a lot more receptive towards anime and manga compared to the United States, but the government will try to censor/ban anything with messages that sound overly rebellious against authority figures (i.e. Attack on Titan is the biggest example). It’s also very hard to businesses to ignore China because of its super-large population and the money potential.

I see a lot of Chinese youth in my area watching anime and reading manga on the train. I see them hanging around in places like Kinokuniya. That’s not going to change. I do feel that we all have our mental blind spots. I want the older Chinese generations to understand that some aspects of modern Japanese culture aren’t guilty of association for past war crimes and I want my generation and future Chinese generations to realize that Japan isn’t always some kind of great 2D holy land. It’s so easy to get caught up in the passions of whatever it is you love or hate. Follow your heart and gut is not always good advice when it comes to nuanced situations that involve complicated relationships. That thinking becomes a bit too biased for its own good.

As someone who’s been told “It’s all in the past. Get over it.”, I kind of relate to the pain that the older Chinese adults feel when they get ignored. They can’t keep up with how fast the present and future can go. My parents went through a lot to get to America. We can’t ignore the past. There’s too many untold stories that need to be told for a better future. Plus there has to be better acceptance of how random the future is. We may have a future where Japanese pop culture isn’t popular in China anymore due to politics. We may not as well. Trying to place so much control on things you can’t control leaves someone prone to endless frustration. I would love an emphasis on focusing on what someone can do now in the present moment.

I think sometimes we’re not taught to have these kinds of conversations because they make us feel emotionally vulnerable. And that’s terrifying to a lot of people. We want to look strong because that’s how we’re supposed to get through life and its obstacles according to the powers in place.

However, I do worry about China (and quite frankly, Japan as well) that focus on manipulating otaku fandom. I know that Japan’s history is awful and their tendency to not apologize for past war crimes is unnerving. I feel that otaku are being portrayed as a “dumb” kind of geekdom that only cares about getting what they want. That makes us prone to outside manipulation by people (i.e. governments) who say they care, but they don’t. That makes us no different from someone who loves to shop for brand-name clothes/shoes/etc. It’s natural to be recognized by a greater majority of people though as we have been picked on for so long. Maybe we’re getting external validation from the wrong types of people out of some desperation.

As a Chinese-American today, I don’t like China very much even though I do enjoy and respect some aspects of their culture. I’ve been there a couple of times, but I don’t feel compelled to go back compared to Hong Kong. I also can’t imagine myself living in Japan despite my fascination with the culture. I’m not sure if the country’s the right place for me as someone living with mental illness. I do see that there’s a good number of Chinese fans that have managed to find their own truths on how to handle cultural tension.

In any case, don’t let significant and mainstream in-group interference on all sides cloud all of your decision-making. Sometimes, the best kind of advice to get is from someone who doesn’t know you personally or is a part of your inner circle, but can relate to your situation and feelings. We will always have doubts and they deserve some validation. 

I think the beautiful thing about otaku fandom being more widespread due to the internet is that it allows us to connect with diverse strangers of all kinds that are genuinely good to be around. For so long, we’re taught to avoid strangers growing up because they are either suspicious or not worth talking to. However, it’s those same strangers that can lead us to new paths and friendships outside of bubbles that can stagnate us. Those paths can help us make sense of our own past and current situations as well or at least come to terms with them.

I can tell you that a lot of Japanese series I followed have helped me go back  to analyze and confront troubling aspects about my life in a way that matters. Maybe that’s why I manage to deal with many tensions including the Chinese/otaku dynamic instead of being just a passive consumer like most fans. I partake in a kind of “personal nostalgia” that’s more about your own growth and willingness to take on the bad stuff compared to collective nostalgia, which leads to hardcore nationalism/tribalism. I want you all to do the same when possible.

Life is strange to begin with. Maybe just embracing that notion will allow us to appreciate the diversity of all that surrounds it.

Shout-outs to anyone who is a Chinese otaku and managing cultural tensions in their own way. It’s hard work and as long as you’re not intentionally hurting people, you’re doing alright.

[hms-chill]

RWRB Study Guide, Chapter 8

Hi y’all! I’m going through Casey McQuiston’s Red, White & Royal Blue and defining/explaining references! Feel free to follow along, or block the tag #rwrbStudyGuide if you’re not interested!

James I (203): James I/VI (First of England, Sixth of Scotland) is known for both translating the Bible and being just... so, so incredibly gay. The book mentions that he promoted a dumb jock to gentleman of the bedchamber, but it leaves out that 13-year-old James would just make out with dudes in public, and that the dumb jock (George Villers) was James’s third serious adult relationship. His friends introduced him to George because his last boyfriend was bad for the kingdom. 

George Eliot (205): Mary Anne Evans wrote under the pen name George Eliot to escape the stereotype that women could only write romances. She wrote seven novels, of which Middlemarch is the most famous, known for their realism and psychological insight.

Daniel Defoe (205): A pioneer of the English novel, Defoe wrote Robinson Crusoe as well as a series of divisive political pamphlets and tracts.

Jonathan Swift (205): Irish political writer most famous for A Modest Proposal, a satirical piece that suggests cannibalism of infants as a more humane response to the British treatment of Ireland than letting them grow to starve in adulthood.

Dickens... “woman who languishes away in a crumbling mansion wearing her wedding gown” (205): Charles Dickens wrote stories concerned with the lower classes. This quote in particular refers to Miss Havisham from Great Expectations, who was left at the altar and refused to take off her wedding dress or even put away the food set out for the wedding.

Sense and Sensibility (205): This is probably Austen’s second most popular novel (after Pride and Prejudice); it follows the four Dashwood women in their move to a new home following the death of Mr. Dashwood. Like most of Austen’s novels, the opinionated narrator follows the women through a series of romantic mishaps, culminating in a happy ending.

Green American Money (206): Fun fact, British money is blue and orange and purple and all sorts of fun colors! It also all looks different, because (at least in Scotland) four banks are allowed to print pound notes, so there are four different designs all in circulation.

Sean Hannity (206): A conservative American political commentator.

Harvard rowing (206): Rowing is like... the bougiest of sports.

Pleiad (206): In Greek mythology, the pleiades were the daughters of the titan Atlas who became stars following his entrapment under the earth. They are remembered for their beauty and loyalty. Myths of the missing pleiad explain why only six of the seven stars are visible to the naked eye. According to some sources, the missing pleiad is Merope, who was shamed out of the sky for her relationship with a mortal.

Minute Maid Park (206): The baseball stadium associated with the Houston Astros baseball team; it seats just over 41,000.

Politico (207): An American political opinion news source.

Drop-kick Murphys (208): An American Celtic punk band. (listen here and here)

The Klan (209): The Ku Klux Klan, an incredibly racist organization that has been responsible for the lynching of thousands of people of color.

Kim Nam-June (210): Kim Nam-Joon, known as RM or Rap Monster, is the leader and rapper of the K-pop group BTS.

Milwaukee (211): The largest city in and main cultural center of Wisconsin, which is a “swing state”, meaning that it could go either way politically in a national election.

Seth Meyers (211): An American talk show host and comedian whose creatively titled show, Late Night with Seth Meyers, is liberal-leaning. He hosts celebrities and often chats about politics or the news.

Clear Crystal Quartz (211): Apparently the most “iconic” crystal, it is believed to be able to help with clarity and the achievement of goals.

Wimbledon (213): The oldest tennis tournament in the world, considered by many to be the most prestigious.

Royal Box (213): The royal box at Wimbledon is a section of the best seats, reserved for royalty and specially invited celebrity/politically powerful guests.

David Beckham (213): A former professional soccer player and current fashion icon known for being hot and wearing nice suits.

McQueen (214): Alexander McQueen was an openly gay British fashion designer who rose from a lower class background to become one of the most famous designers in the world. Though he died in 2010, his brand continues to be known for unconventional fashion shows and theatrical imagery. 

Dashikis (215): A colorful, ornate piece of clothing somewhere between a shirt and a tunic originally from West Africa.

Orangery (218): A very large greenhouse or conservatory designed for growing orange trees.

Woman at her Toilet (218): This painting shows a woman in her bedroom putting on her socks with a little dog next to her; you can see it here.

Baroque bed* (218): Baroque art was designed to show off a monarch’s power; it is incredibly extravagant (Versailles is pretty much the iconic Baroque thing; you can see more about it here).

The Killers (219): An American rock band formed in the early 2000s and known for having donated over $1 million to charity (they did “Mr. Brightside”). (listen here and here). According to McQuinston’s twitter, the song Henry plays is “When You Were Young”, which you can listen to here.

Dred Scott (219): In the 1857 Dred Scott v. Sandford case, the US supreme court ruled that the constitution did not extend to or protect Black folks. 

Nina Simone (219): An American singer/songwriter/political activist whose music spanned a variety of genres and whose activism focused largely on the civil rights movement and was largely influenced by her “friend” Lorraine Hansberry, a Black lesbian playwright. (You know Hozier’s “Nina Cried Power”? She’s Nina) (listen here and here)

Otis Redding (219): Considered one of the greatest singers in American pop music and was one of the foundational soul artists in the US. (listen here and here)

Brahms (219): A German composer known for sticking to more classical forms of music while his contemporaries often leaned toward more dramatic or opulent styles. (listen here and here)

Wagner** (219): A German composer who wrote both the music and the librettos for his operas; his works tend to be very complex, and he has been credited with beginning modern music. (listen here and here)

Romantic (219): Artistically, the Romantic movement was a direct response to industrialization that called for a return to and celebration of nature. Queerness was very much a part of this movement, as it was seen as a return to or celebration of one’s natural state (think Byron).

War of the Romantics (219): A music history term used to describe the split between conservative composers like Brahms who wanted to stick with the Baroque, opulent styles of the past century and radical progressive composers like Liszt, who favored newer styles that blended music with narrative and morals.

Liszt (219): A Hungarian composer known for a diverse body of work and his position as the leader of the radical progressive group in the War of the Romantics. (listen here and here)

Alexander Scriabin (219): Russian composer known for his atonal or dissonant music. (listen to the piece Henry mentions here)

Elton John’s “Your Song” (219): A song written before Elton John came out, but with his queerness in mind. In a 2013 interview, John referred to it as “a perfect song”, and that the lyrics (written by Bernie Taupin) got even better as he got older and sang it more. (listen here)

Consecrated (220): made holy.

DNC (221): The Democratic national conference, when members of the Democratic (liberal) party get together to prepare for a presidential race.

College Republicans of Vanderbilt University (221): Vanderbilt University is a private (and therefore more expensive) school in Nashville, Tennessee. Its location in the South and its price tag would both mark it as being more conservative.

Cage match (221): A type of wrestling match that takes place inside a steel cage; the most common way of winning is by escaping the cage, usually by climbing over the top.

Paul Ryan (222): A conservative retired politician and former Speaker of the House.

The Second Amendment (222): The second amendment grants Americans the right to bear arms (have guns).

Salon (222): An American news and opinion website with a politically liberal editorial stance.

Air Force One (222): the president’s plane

“My Canadian girlfriend” (223): A running joke that someone (often a high schooler) whose partner goes to another school or lives somewhere else is made up.

Five Guys (225): Five Guys Burger and Fries is a popular fast food burger chain across the US.

Vampire Weekend (225): An American indie rock band.

The general (226): the general election in November, when Americans would vote for their president

Plainclothes (226): out of uniform

The Beekman (226): A very fancy hotel in Lower Manhattan, near the Brooklyn Bridge.

NATO (233): the North Atlantic Treaty Organization; an intergovernmental military alliance between 29 North American and European countries.

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*every time I read this, I flinch just a little bit. Baroque architecture is just... so much, and the concept of a Baroque bed when beds/bedrooms are supposed to be simple to help you rest... It’s just so much and I hate it with all of my being. I’m sorry if you like Baroque furniture, but especially for Henry, who dreams of a simple life where he can just write and be anonymous... It’s a big yikes.

** Literally no one asked, but his stuff is just... it’s so boring? Like I’m sure it’s great to fall asleep to or calm down to, but I tried to listen to it while I wrote this and I just couldn’t. Liszt is better, but he’s no Mozart. Also? Mozart wrote BOPS. ONLY. “The Birdcatcher’s Song” slaps and no one can change my mind on that.

----

If there’s anything I missed or that you’d like more on, please let me know! And if you’d like to/are able, please consider buying me a ko-fi? I know not everyone can, and that’s fine, but these things take a lot of time/work and I’d really appreciate it!

—–-

Chapter 1 // Chapter 7 // Chapter 9

[paceypeternathanslawyer]

Top 10 Favorite TV Shows (In A Row):

The Dick Van Dyke Show (The Dick Van Dyke Show has earned the number 1 spot in my heart through years of love and loyalty. Growing up you learn about shows through your family, it’s only natural. Especially with me because we didn’t have cable much of the time. So the only way I could really learn about TV shows was through them. TDVDS was the first show that I considered to be “my show,” it was sorta my identity for a lot of years. Yes, I learned about it through my family, but the first time I remember watching it was on my own. My sister Ingrid had it on VHS tape, and I just remember rummaging through her VHS’ and deciding to watch it one day. One thing’s for sure…. my love for that show outpaced everyone in my family. It was also one of the first shows that I came to consider myself an expert on. It’s a show that is everything to me, and if you get me started I could talk about it for about 24 hours straight. If you want a big list of why TDVDS is such an iconic show. I have a whole post about that)

Get Smart (Another show that has earned it’s spot and that will never change despite whatever hyperfixation I have at any given time. Don’t even talk to me about the 2008 movie adaptation of Get Smart. It’s not even worthy to lick the TV shows boots!!!! Get Smart is a show that I have memories of since I was like 8 years old. It’s such a happy show for me, though I would say that about all of my top 10 favorite shows. This show had such a genius concept. It came at a time when spy shows and movies were all the rage. It took that genre and just flipped it on it’s head. It was kinda like a parody of James Bond and stuff like that. Get Smart has shaped popular culture so much…. and so much more than people realize. So many popular words or terms that are in out lingo and dictionaries were created in Get Smart)

I Love Lucy (I Love Lucy is a show that has been a part of my life…. forever. I literally don’t think there was a time when I Love Lucy wasn’t in my life. It was probably playing in the hospital room while I was being birthed. My dad was obsessed with this show. He was so obsessed that when he was in California with my mom, on vacation. They went to Beverly Hills and my dad wanted to knock on Lucille Ball’s door and say “hi” (this was in the 80s), but my mom was too mortified at the thought. So he snuck into her backyard and took a picture of her garbage can. Yep… that’s my dad for you. I think that picture is still in a picture book of his!! He was a huge collector, he collected a shit ton of stuff before giving most of it away in the early 2000s, cause our family was moving to a much smaller house. One of my first memories of any show or movie was I Love Lucy. It was in 2003, when I was 6 nearly 7. We had recently moved to a condo, and the house was still in disarray and we as a family sat on the floor watching I Love Lucy. I remember the episode…. it was called “First Stop” and it was about the Ricardo’s and the Mertz’s trip to California and they stop at a shady diner off of a highway. The diner owner tricks them into staying in a cabin that he rents out (long story, you’ll have to watch the ep to see how that happens :) ) Either way, they are in this cabin that is feet away from a train track and every time a train goes past, Ricky and Lucy’s bed moves all the way to the other side of the room. It was so funny and I peed my pants… no joke…. i’m embarrased to admit it but it’s true. But hey I was 6 years old, I give myself a pass for that ;) )

I Dream Of Jeannie (I Dream Of Jeannie is a show that I learned about relatively late in life. I was 12 when my sisters and myself watched the first episode. It really became a show that was mine and my sister Ingrid’s show. We used to watch every episode together from start to finish and we were both huge fans of Tony and Jeannie’s relationship. Tony and Jeannie were one of my first ships)

Stranger Things (STRANGER THINGS!!!!! This show took me completely by surprise and it has now earned the 5th spot, that will never change! I have never been hyperfixated on a show for this long. It has been my hyperfixation for over 3 years now. Before I started watching Stranger Things, I thought I knew all I needed to know about it. I knew it was a sci-fi/horror show that revolved around kids. I had heard the cultural noise surrounding it and I respected that, but as someone who doesn’t consider herself a “nerd”, I had no real interest in it. It was one of those shows that I acceded I would eventually watch, maybe in 20 years, but it was so low on my priority list. In fact, my opinion of sci-fi or quote un quote nerd shows/movies really hasn’t changed despite my love of ST. I still have no interest in Star Wars, Star Trek, Doctor Who, Lord Of The Rings, Harry Potter, or any other show like that. I have no interest in action for action’s sake. I can’t watch a light saber dual and get excited about that. In order to care about an action scene I need to first care about the characters. It wasn’t until Jan 2017, that I decided to give in and watch and i’ve never looked back. It’s one of the best decision i’ve ever made. I’m telling you, if there is anyone out there who hasn’t watched ST yet and doesn’t think they would like the show. Please give it a try…. I thought the same thing as you before I watched it. It’s so much more than just sci fi and horror. It’s also a drama with big comedic elements, it’s a relationship show. It’s horror but it’s not overly scary (and this is coming from a scaredy cat), it’s sci fi but it doesn’t lean on that too much, it’s not overly gloomy and the cinematography is so beautiful, it’s fun and exciting, it’s got a really interesting conspiracy storyline running through it. Believe me, it’s worth a try!!)

Gilmore Girls (Gilmore Girls is a show that became mine and my sister Greta’s show. She’s on Tumblr (though not as active) so if you see this Greta… thankyou for my undying love with this show :) It’s all your fault ;). GG came at a time in my life where I was really kind of averse to watching any new shows. I had my favorite shows and that was fine with me. But Greta wanted to watch this show with me, and we hadn’t really bonded too much because I was in school and she was working and there was an 8 year age difference between us. So I really credit GG with bringing us closer. We really bonded with our love of this show. Though I think she only watched it with me cause she thought that Jared Padalecki being in it would help me get into Supernatural…. i’m onto you Greta, i’m onto your tricks ;) The year was 2011, the month was October and I was 15 years old (the same age as Rory when the show started) and my life has never been the same (I think i’m being overly dramatic at this point) :)

New Girl (New Girl is a show that my sister Millie got me into in 2016. She just kept showing me clips of it until I gave in and watched it. For anyone looking for a quality comedy to watch, ya’ll should watch this. It’s damn hilarious!!!)

Community (I watched Community for the first time around 2012. I watched episodes here or there when my siblings would have it on. But I didn’t start watching it from beginning to end until about 2015. I regret not watching it all sooner because Community is a genius show, and is grossly underrated. I think it’s the first show that had a big grass roots fan base that saved it from being cancelled year after year. It seemed like every year Community was in danger of being cancelled by NBC, but the fans would go ballistic and kick up a storm during every hiatus. It was really one of the first, if not the first time that fans would picket and riot online and their attempts to bring the show back did not go unnoticed by NBC. The show would go on to have 5 seasons on NBC, and then it had a 6th season on Yahoo. Now every time a show is cancelled people kick up a storm online and make their attempts go viral, but Community was really the first of that. Community fans are freakin tenacious)

Psych (There are 7 people in my family including my parents and everyone of us is fans of Psych. Psych came out in 2006 and was on until 2014. It’s a show that a family where the oldest was born in 1953 and the youngest was born in 1996, can all agree and love the show. My brother Johnny was the first, I remember he used to walk around and sing the theme song thus annoying me constantly. Then my brother made my sister Greta a fan, and then my sister Ingrid became a fan, around that time my sister Millie became a fan. Next Greta watched Psych with my mom and my mom became obsessed to the point where it’s one of her favorite shows ever and Shawn and Gus are two of her favorite TV characters ever. She has watched it all the way through about 7 times. Then my mom and myself watched it together from start to finish, and I became a huge fan. I can safely say that is the only time my mom has ever gotten me into a show. I love her so much, but she is not a big TV viewer, she’s more into books and such. Which makes her love for Psych even more unique and surprising. Then Greta and my mom watched it together again about 2 years ago and my dad joined in and found himself becoming a fan of it. That’s also not including my 2 brother in laws and my sister in law who are all huge fans of it. And my sister in law initially hated it…. until she found herself becoming a huge fan as well. This all speaks to Psych’s amazing power. It’s so funny and an all around amazingly done show.)

Remington Steele (Remington Steele is a show that my mom and dad watched together with a group of friends when it was first airing in the 80s, so I learned about it through them. It’s such a fun show!!!!!!! It has a really fun concept as well. If there is any Psych fans who are reading this post, you should all watch this show. A writer of Remington Steele was also a writer on Psych and RS is referenced on Psych multiple times. Totally worth everyone’s time, it’s my favorite 80s show)

[srwestvikwrites]

Privilege is the Haven of Thorns

I wrote this post the week George Floyd was murdered. I was angry, and tired, and confused, and increasingly more apprehensive in my capacity as a person and as a writer as I was drawn in to the immense whirlpool of the zeitgeist gripping the internet and society. 

It was such a complicated and emotional time. I was wracked with guilt at not going to the BLM protest in Madrid because we had just opened up into Phase 2 of the desescalada and I was scared of COVID. I was furious at the denial of individuals in my home country of Singapore who refused to believe that just because our race riots were in 1964 and not 2020 that it meant we had no more issues of systemic discrimination or privilege to challenge. I was exasperated and uneasy and inspired at having been drawn into a massive shitshow about race that rocked the Tolkien fandom within the same timeframe.

All of this made me question my place and my purpose as an author writing a story like Haven of Thorns. It doesn’t dwell on these issues, but it draws on them, in the same way that my life doesn’t linger on the colonisation of my home country or the country of my ancestors (India) and yet is irrevocably shaped by this history. 

Haven of Thorns was always going to be a story taking place in the strange rivers of colonial legacy. It is a story of drowned histories and ghosts that reside in the very stones of a city and demons that linger inside people who were happy enough to let them back in. All of it is pushed along by the current of time, where history is not stagnant but forces change. It is about war, and it is about subtle discrimination, and it is about what we choose to do when we’re so hung up on our independence story that we refuse to acknowledge the rot in our roots.

I’m reproducing the post as I wrote it all those weeks ago, even though there are better ways I could have expressed my thoughts, and indeed some of these thoughts have new nuances now as I have drafted pivotal scenes in the story. There are other things I’d rather have focused on. The haven of thorns is more than mere privilege now. And perhaps one day I’ll expand on that.

But for now, this is a historical record of what I was thinking as it was all going down and I was trying to decide what sort of story I wanted to tell in the world I lived in as the person I am.

_________________________________________________

I’m not going to be coy about the metaphor anymore. This book was always going to be highly political. It has just become even more political. I cannot begin to describe how apt and how heartbreaking it is to be drafting my novel right now.

Some context should perhaps be given as to the kinds of politics that are informing this story. I began outlining the earliest iterations of Haven of Thorns at the height of the European migration crisis. While migration itself is not a main theme of the story – and where it does feature, it’s from a rather inverted historical power dynamic – the backlash against it was always present in the telling of the tale. The rise of the European right terrified me. I had never experienced open racism before until one incident when I moved to Norway in late 2015, where I was lucky enough to have an ally at the time, though I never learned her name. I have seen far too many swastikas misappropriated from their holiness to represent hatred, spraypainted on neighbourhood walls in Trondheim, London, and Madrid.

For many years, I likened racism and xenophobia and white supremacy to a contagion, even to possession (which may have been down to the title of this book I read during high school). My view on this has changed, now. For those raised into these ideas, sure, the demon metaphor may still apply. But for many, these corrupted values take root and fester because we allow them to.

The old first draft of Haven of Thorns was begun in the first week of November, 2016. I feel I have no need to elaborate on why this timing is significant. Globally, the sense of the triumph of ignorance and vitriol was palpable. Over the next few years, partially because I became more active on social media and partially because of the degree I was studying for, every day required exposure to injustices very often predicated on culture, ethnicity, language, and/or race.

Then in 2019 Singapore commemorated the bicentennial – our 200 year anniversary of being colonised. And once again I was confronted with the bizarre lack of acknowledgment of how blatantly race relations had been directed and segmented by the British, and how whatever the government line says, we have not bounced back from the wounds that gouged in our society. I interned at an NGO dealing with race relations, and it only illuminated what we’d rather cover up – the value judgements we make of people based off their skin colour, the god(s) the pray to, or the language they speak. When COVID-19 reared its head Singapore was lauded for their response, until it hit the migrant worker dormitories. That was a powder keg waiting to explode. And it is false and unjust to pretend that the conditions they are living in do not have their own origins in the petulant protests of those who unfairly profiled and characterised the workers and robbed them of better conditions, resulting in the tragedy that has taken place now.

Even climate justice and its link to ethnicity began to seep into the story, particularly during the early 2020 fires in Australia and how severely the Aboriginal peoples were affected.

As I write this post Minneapolis is up in arms, and Americans are out in the thousands across the country protesting for justice for George Floyd and the countless other black Americans who have been victims of the system and of police violence.

Growing from childhood to adulthood in the 2000s-2010s has meant growing up in a time when discussions about race, ethnicity, culture, and the legacies of our most backward perceptions and prejudiced notions have come to the forefront, both of activism and of violent action taken against others. How could I not be impacted, for example, by the horror of the massacre in Norway on 22 July? How could I not have felt the shadow of the War on Terror through the rampant Islamophobia in the media and in society?

The extent to which all these disparate ideas of politics and power and race and xenophobia and colonialism actually manifest in Haven of Thorns isn’t perhaps measurable in the amount I’ve discussed them here. But the core of this book is that the haven is privilege, and thorns are both the barrier of our ignorance and the spears upon which we sacrifice those who challenge it.  White privilege in the West. Chinese privilege in Singapore. Yes I fucking said it. To refuse to see that is privilege, in and of itself. One can feel hurt, to be associated with the violent ways these ideas manifest. Or, one can choose to acknowledge that feeling implicated by despicable acts is perhaps the spark to challenge one’s own biases.

This story is about breaking that thorn barrier and letting in the light, in all its unbridled blinding glory, to burn away the festering hatred we’ve allowed to take root in our flesh.

In the end an important theme in Haven of Thorns – perhaps the most important – is the power structures and prejudices that prevail when colonisation has ended, along with its associated forms of exploitation, and a state becomes self-governing. It’s about who remains in power, why they remain there, and what it means for those who do not have an equal share in that power. I’m not just talking about physical force. I’m talking about value judgments that disenfranchise people based on their inherent qualities. Things like language, religion, or skin colour. Having a voice and having the power to exercise and sustain what you advocate for are all very different things, and this is why these stories cannot be apolitical. A person’s life, their right to life, and their rights to liberty and equality should not be a matter of politics – and yet they are. Because politics is about power. And power is far too often exercised unjustly.

Blaming the old oppressor only works up to a point. At some stage, a country has to face what it has done and continues to do to itself, and whether they are going to choose to make collective, powerful, and perhaps jarring value changes for the sake of basic human rights and justice. After all, prejudice is learned. It can be unlearned.

While this tale focuses on the legacy of colonisation, these same principles lie behind the abuse of authority and the untended wounds of what has happened to the black community in America for centuries, itself founded upon ideas of racial superiority. The police brutality coupled with endorsement from the highest offices in the land is a horrific ugliness – but worse, is those who choose not to see it for what it is. Those who tweet #alllivesmatter. Those who say they don’t see colour. Those who question why race has to be dragged into everything. To quote Moses in Dreamworks’s The Prince of Egypt: “I did not see because I did not wish to see.” This is privilege. This is us inviting contagion into our societies and refusing to mask up and letting it kill us from the inside out. But unlike a contagion, this is discriminatory. That is the essence of it. The differential treatment is the point. If you question why people are burning and looting, why they aren’t being “peaceful”, why they don’t comply (they do – it doesn’t work, as anyone who watched the clip of the CNN reporter would know), why they are so angry – then you are in the haven of thorns. You just refuse to acknowledge it, because the only light seeping into your little puddle is filtered, screened, and you’d rather ignore the shadows cast by the thorns.

So many of the choices in Haven of Thorns hinge upon deciding whether to preserve or whether to overturn these vicious cycles of hatred. It’s so painful to see these struggles continue to be mirrored in the real world, happening to real communities at this very moment. Part of me wants to stop writing this, because I cannot begin to capture the true agony of what is happening, no matter how much I empathise. But another part of me knows that I am in a position of great privilege, and perhaps it is time I put my voice to something that truly matters. Add another line to the anthem that advocates for these deep-set value changes that we need to make on a domestic and an international scale.

In the first very first chapter of this story, the royal palace burns. It may just as well have been a police station.

[letterboxd]

How I Letterboxd #3: Dave Vis

If you are one of the thousands of Letterboxd completists attempting to log every film on our official top 250, you have Dave Vis to thank for keeping that list current. He tells us why he adopted ownership of the list, how he felt when Parasite “dethroned” The Godfather, the curious case of A Dog’s Will, and several Dutch filmmakers worthy of discovery.

You wear your tenure proudly on your profile (“Member since 12/11/2011”). How did you come across Letterboxd way back then? I joined in the beta days when I got an invitation in November 2011 from a good friend who knew I was into film. Up to this date, I have no idea how she got a beta invitation for a movie geek website from New Zealand, but I’m happy she did!

Here’s the $49 question: How do you Letterboxd? I joined because I found it useful to keep track of everything I watched. At that point, I was probably still ticking off films from IMDb’s Top 250, and Letterboxd was a cool way to make other lists and see how I was progressing. When I started using the site more often, I also got to follow more users and enjoyed reading their takes on films. I don’t follow a lot of people, just a few that I know in real life and some other early adopters of the site whose opinions of film I got to value.

Talk us through your profile favorites. What spoke to you about these four films? The pragmatic reason for these four is that they were the last films I watched that got full marks from me. So the four favorites on my profile keep changing as I come across more films that I think deserve five stars. About the current ones: Jaws, of course, is an absolute classic, maybe even Spielberg’s greatest. How he creates that much tension with minimal exposition is masterful. Blade Runner 2049 baffled me, especially on an aesthetic level. I love how the story slowly unravels in probably one of the best world-building efforts of the last couple of years. The Lord of the Rings: The Fellowship of the Ring doesn’t need much explanation, I think. Peter Jackson did what was generally thought impossible and in a way that had me walking out of the cinema in awe of the spectacle and production design. Last but not least, Nausicaä of the Valley of the Wind. I’m a huge fan of the Studio Ghibli films and this one, [as well as] being the studio’s unofficial first, is probably my favorite. You can just tell that they worked years to get Hayao Miyazaki’s life’s work to the big screen.

Let’s get down to brass tacks: for the past six and a half years, you’ve been running the Official Letterboxd Top 250, one of our most popular and important lists. What prompted you to start the list? Did you think you’d be keeping it going this long? At least part of the credit goes to someone else on Letterboxd, because even my list is a cloned one! A great deal of thanks goes to a member called The Caker Baker, who sadly isn’t part of the community anymore, for having the idea of doing this list even before me. On the exact day Letterboxd introduced a sorting option by average rating on the Films page, he created the first top 250 list.

I decided to clone that list [Dave has archived it here], because I wanted to filter out the documentaries, shorts and miniseries. As long as I am interested in film and won’t have completed the list, I do see myself keeping it. I feel the overall quality of the list is outstanding and for my taste and film-watching experience it’s probably the best combination of blockbuster hits, timeless Hollywood classics, non-English spoken gems, and some pretty obscure entries.

What’s involved in keeping the top 250 up-to-date? What’s the hardest thing about it? Have you ever found the responsibility a burden—your ankle chained to Letterboxd each week? (We’re grateful!) These days it isn’t much of a bother at all, actually. I’m still so grateful for you guys introducing the ability to sort lists by average rating when editing them a while back. That was a huge relief, I can tell you! And apart from the odd comment when I’m a bit late on my weekly update or when I’m on a well-deserved holiday (yes, even the ankle chain comes off once in a while), I don’t feel like it’s a burden at all.

Let’s unpack it a bit. What are the best films you’ve discovered because of the list? Shoutout to my choices: A Special Day, Harakiri and The Man Who Sleeps. Harakiri is an excellent choice! If it wasn’t for Letterboxd’s top list, I would probably not even know about it today, although it also cracked IMDb’s top 250 last year. What a beautiful film. If I have to name two other, one would be The Cranes Are Flying. I’ve rarely seen a film about war being depicted so beautifully. The other is It’s Such a Beautiful Day, the animation by Don Hertzfeldt about a stick figure you get to care deeply about in a time span of just over an hour. Very different films that, without Letterboxd, the chances are next to zero that I would have checked either of them out. Joining a Kickstarter to finance my own Blu-ray edition of the latter was special too.

Béla Tarr’s 1994 masterpiece ‘Sátántangó’.

So, what’s your percentage-seen of the top 250? Which films rank highest on your list of shame? Are there any that you don’t think you’ll ever watch? At this moment I’m at 175 of 250, so 70 percent. I rarely consider films as being on a ‘list of shame’, but as I scroll through the unseen ones, there are a few that stand out. La Dolce Vita and Sátántangó [Editor’s note: recently re-released in 4K, nudge nudge] are ones that I feel I should have watched by now. Both are magnum opuses from legendary foreign filmmakers. Don’t really know why I haven’t though, but all in good time. Any that I think I’ll never watch? There’s not much I wouldn’t watch, but some are just so daunting in their runtime, that I’m not sure if I will ever feel up to the task (yes, La Flor, I’m looking at you). Probably also the reason I never popped Sátántangó in.

Has the way Letterboxd’s membership has changed and grown affected what’s in the top 250 in any interesting or unexpected ways? That’s not a very easy question to answer, because different people will be surprised about different things. However, you do see a trend—surprising or not—of traditional western cinema classics giving way to more non-English language films doing well on the list. Asian and Brazilian films have skyrocketed to great heights, often at the expense of western classics. Films that are traditionally doing great at IMDb, such as Pulp Fiction or The Good, The Bad and The Ugly, were in Letterboxd’s top ten for a long time, but have both dropped out of the top twenty. Beloved classics among film critics such as Citizen Kane, Sunrise: A Song of Two Humans and Casablanca aren’t even in the top 100 anymore.

We now have a top ten with three Japanese films, one Taiwanese, one Russian, one Brazilian and a South Korean film at the very top. The only English spoken films left there are the two Godfathers and 12 Angry Men. I do tend to suspect that the growing community causes more diversity while also fuelling the more traditional moviegoers to broaden their interests. I personally think that’s a great development.

How did you feel when Parasite overtook The Godfather to become Letterboxd’s highest-rated film of all time? Do you think it’ll ever sink at this point? To say I was surprised is quite the understatement. For something to even come close to The Godfather’s record borders on sacrilege, let alone dethroning it. What you usually see is that new movies with overly positive reviews enter the list’s higher ranks with a bang, but when they are introduced to a bigger crowd, they slowly descend. For example, fellow acclaimed Best Picture nominees 12 Years A Slave, Her, Call Me By Your Name and Roma all peaked in the top twenty and only Call Me By Your Name is still in the list, at number 232 for now.

In these days of ready availability it is extremely hard to create something that has such a large following. That’s why this takeover by Parasite is so extraordinary. Seeing it rise day-by-day—even after the masses took it in—was something I didn’t think possible. I, for one, am very slow to watch new films, so when I got to watch it, it was already in first position. Safe to say my expectation level was through the roof, which probably wasn’t really fair. While I thought it was an excellent film, I personally wouldn’t rank it among my favorites. However, it’s not only the highest-ranked film on Letterboxd, but also the most popular one [a measure of the amount of activity for a film, regardless of rating]! So don’t expect to see it sink lower any time soon.

The top 250 is home to the largest comment section on the platform. Congrats! What’s monitoring that mammoth thread like? Thank you! Although that’s hardly an achievement on my part. I have to be honest, I don’t read everything in the comments section anymore. I try to keep up as much as possible, in order to respond to people who have an actual question. However, when I sign in in the morning and see dozens of new notifications, most probably about A Dog’s Will being in the top ten or about recency bias or about objective quality versus subjective quality, I let it pass me by every so often.

What is your take on A Dog’s Will’s rise to Letterboxd stardom? (At the time of writing, the 2000 Brazilian film from director Guel Arraes holds the number eight spot in the top 250.) Ah, there it is: the elephant in the room… My honest answer is a politically correct one, but also the truth: I haven’t seen it yet, so it’s impossible to pass judgment. However, from the comments section on the top 250, it seems clear that there are two camps: the Brazilians, who adore the film and continually claim the importance it in their cultural heritage. And there’s the other group, mostly non-Brazilians of course, who think it’s a fine film at best, but in their opinion not deserving of a top-ten spot. I’m quite impartial: if the statistics say that it is one of the best-rated films of the Letterboxd community, why would it not deserve to be there? I am curious though if more non-Brazilians will see it and if so, if that will have a significant effect on its rating. We can only wait and see.

Are there any films you’re surprised to have stayed in the list for so long? Conversely, what are some films that we’ll be surprised to hear have never made the list? If I have to name one film that I’m surprised about, it’s one I haven’t seen yet: Paddington 2. Every time I scroll past it, I find myself asking: “wow, this one still in?” It’s probably because I haven’t seen it, but it always strikes me as an odd one. I really have to seek it out some time. Some films that might shock people never having made it… Well, if you look at IMDb’s list for reference, you could say it’s shocking that a film like Forrest Gump never made it onto the list, but that might not be as much of a shock to Letterboxd members. Other popular crowd pleasers that never made it include E.T. the Extra-Terrestrial, Gladiator, all of Disney’s non-Pixar animated classics, and one of the films that also sparked my interest in movies, The Usual Suspects.

Dave has not seen ‘Paddington 2’.

I’ve actually been working hard on completing the list during quarantine and I finished it yesterday. Has anyone else gotten to 100 percent yet or am I the first? I have no idea, to be honest! There will probably be others who have, but I wouldn’t be able to name one. I suspect Jakk might have reached 100 percent at some point.

My completist streak will need a new avenue. What are your next most essential top lists? If you ever feel up for a challenge, I recommend Top10er’s 1001 Greatest Movies of All Time. He combined the average ratings of critics and users from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results with general film data from several services. I have no idea how, but it’s a terrific list. Also, the directors’ favorites lists that are on Letterboxd are awesome. Edgar Wright’s 1,000 favorites and Guillermo del Toro’s recommendations are especially worth your while.

The top 250 list is the tip of the iceberg for the lists on your account. What is it you enjoy about keeping ranked lists? It’s a compulsion. I just really enjoy making lists, ranking films by certain directors, franchises or studios. Not really useful, mostly just fun to do! And I’m not the only one, it seems. Although, of course, lists like the Letterboxd Top 250 will always be an inspiration for finding well-rated films I haven’t seen yet.

Which films got you hooked on cinema? I do have a few titles that were important in terms of my film-watching development. Films like Terminator 2: Judgment Day and Jurassic Park came out when I was an early teenager and those were the ones luring me to the cinema to see and experience things you just couldn’t in the real world, both with groundbreaking special effects—I’m a sucker for those. Not much later, titles like The Shawshank Redemption and Pulp Fiction were popular and that’s probably around the time that IMDb’s list got my attention. That top 250 gets a lot of criticism, but the overall quality is fine and for me it was the perfect step in broadening my film-watching.

So, for a long time I watched a lot of films on that list and went to the cinema for your usual blockbusters, probably until Letterboxd arrived. That’s when I started watching the artsier stuff and foreign cinema of which, of course, all classics eluded me up till then. It was films like Seven Samurai, Persona and Werckmeister Harmonies that sparked that particular period. Now I just watch everything that comes my way that seems interesting or entertaining, from the new Marvel instalment to classic Godard.

Tell us about the one and only movie you’ve given a half-star. Ha, that’s an odd one… Once there was a challenge on the site that you could ask a fellow member to pick the next ten films for them to watch. I participated once and, of course, there would be underseen gems or personal favorites on that list, but also one or two that would be almost unwatchable. In my list that was Santa and the Ice Cream Bunny. If that title alone doesn’t give away how bad it was, watching the first five minutes will.

In your opinion, what’s the most underrated film according to Letterboxd average ratings? One that comes to mind, which was in the top 250 once, but has dropped substantially in the last few years, is Gravity. I also have a list where I collect all the films that were once in Letterboxd’s top 250 and it’s at the very bottom there. For me, seeing that film in a theater is what cinema is all about—finding new ways to immerse your audience into a movie experience they have never had before. Oh, did I mention I’m a sucker for special effects?

Dave is a sucker for special effects, including those in Alfonso Cuarón‘s ‘Gravity’ (2013).

As a Dutchman, please educate us: what are the greatest Dutch films people should see? The Netherlands doesn’t really have a thriving movie industry that brings its films across borders. If I have to give the essential tip, it would be Spoorloos, which was remade starring Kiefer Sutherland and Sandra Bullock and was not half as good. Other than that I would recommend Paul Verhoeven’s early work, such as Soldaat van Oranje and Turks Fruit, and the two Dutch films that won the Oscar for Best Foreign Language Film, 1986’s De Aanslag and 1997’s Karakter. And to top it off, I want to mention two Dutch filmmakers worth your time, Alex van Warmerdam, director of De Noorderlingen, and Martin Koolhoven, director of Oorlogswinter.

What comfort movies are you watching whilst in quarantine? Are you working on any viewing projects? I actually am in a viewing project at the moment. One of mine and my wife’s guilty pleasures is superhero movies! So currently we are, again, on a Marvel Cinematic Universe rewatch streak. They just provide a wonderful form of escapism and are definitely deserving of the term comfort movies. Some are better than others of course, but the perspective of rewatching The Avengers, Thor: Ragnarok or Guardians of the Galaxy after a while still tends to fill me with excitement. In a way, there’s still a bit of the twelve-year-old in me that was so thrilled to see T2 or Jurassic Park.

How do you plan on inducting your kids into the cinephile life? Well, most important is that they just enjoy going to the movies like I did when I was young. Let’s hope we will be able to do so again in the near future. They are still young, but their access to screen time with Netflix, Disney+ and (mind-numbingly stupid clips on) YouTube is so different than the days when we were young. So having them watch some Ghibli classics is already quite a step. And then I think the rest should come naturally. If not, so be it.

Which, for you, are the most useful features on Letterboxd? Did you know they have a list with the 250 best rated narrative feature films? That’s basically all you need to know… All kidding aside, just reading reviews once in a while by fellow members whose opinions I value is still the heart of the service to me. That and the statistics pages. And browsing other lists.

Does anyone in your real life know that your list is kind of a Letterboxd big deal? Not really! Mostly because I don’t exactly feel that way about it. I mean: my wife knows, but other than that it’s pretty much still my pet project. To me, it’s still just a film enthusiast’s list that so happened to become the site’s official top 250. I do have to say that it is humbling to see the numbers of new followers every day—especially when Letterboxd mentions the list on her social accounts—and to realize that apparently almost 23,000 people around the globe have taken a liking to it.

Please name three other members you recommend we follow. Fellow countryman and longtime member DirkH. He is not as active as he was before, but writes beautifully personal reviews, always with his trademark witty humor or sometimes cheeky sarcasm, not always to the liking of everyone. You all got to know Lise in the first How I Letterboxd, but I’d definitely also recommend following her other half Jonathan White. His reviews are great, he knows so much about film and is always willing to share his thoughts or answer questions. And damn, that man can rhyme. Then there’s Mook, if only for his franchise lists. Check out his MCU list, it’s my go-to place when I want to read up on anything Marvel.

Related content

Official Top 100 Documentary Feature Films

Official Top 100 Narrative Features by Women Directors

Letterboxd’s ‘Official’ Top 50 of 2020

Several of the films mentioned in this interview—Sátántangó, La Flor—are (at the time of writing) available for virtual screenings. The details are in our Art House Online list.

[johannesviii]

Top 10 Personal Favorite Hit Songs from 2005

16 to 17 years old. Finished public highschool, started public university in September. Looking back at 2003-2005 feels like looking at ten years of my life condensed in three. Exhausting.

Also we’re now past the halfway point of these lists! And this is another exceptionally good year for hits.

Disclaimers:

Keep in mind I’m using both the year-end top 100 lists from the US and from France while making these top 10 things. There’s songs in English that charted in my country way higher than they did in their home countries, or even earlier or later, so that might get surprising at times.

Of course there will be stuff in French. We suck. I know. It’s my list. Deal with it.

My musical tastes have always been terrible and I’m not a critic, just a listener and an idiot.

I have sound to color synesthesia which justifies nothing but might explain why I have trouble describing some songs in other terms than visual ones.

So I finished highschool that year. I met my best friend ever in late 2004 and we even had some sort of small crew back then! I had a bit of a crush on her but alas it wasn’t meant to be. I don’t know who invented the term ‘friendzone’ but they got its meaning completely wrong because staying friends basically forever with someone you love can be a fantastic thing. Things weren’t rosy nor perfect that year, of course, and I still was miserable at home, but I’m not sure where I’ll be today without her. She's amazing and she still lives nearby nowadays. Shoutout: if you read this, E., you pretty much saved my life.

I was still making tapes and burning CDs, still using my trusty portable cd player, and always listening to stuff while drawing during recess, sitting in a corner and doodling stuff in my sketchbook on the floor like a weird gangly goblin.

I had already started to buy Rock Mag in August 2004 but it really became my monthly ritual in 2005, and it lasted until autumn 2007. A reliable source of posters to cover my walls. At that point they were almost completely covered with paintings, drawings, torn pages from magazines and posters of Linkin Park, Mylène Farmer, Placebo and Indochine.

I also had a better access to the family computer and was a bit more involved online. Might explain why the number of singles I was buying plummeted.

It’s time once again for some (ok, many) honorable mentions!

Beverly Hills (Weezer) - I don’t even know why I like this but I do.

Bouger Bouger (Magic System) - I never understood why it was cool to make fun of these guys in my country. Their music is so happy and fun.

Holiday (Green Day) - My brother loved that band and listened to it a lot, and I was 100% fine with that.

Wake Me Up When September Ends (Green Day) - See above.

Gabriel (Najoua Belyzel) - That is so-bad-it’s-good at its finest right here.

Candy Shop (50 Cents) - As a sucker for terrible puns (HA, get it?? I’m sorry I’ll get out immediately) I can’t help it, I love this.

Love Generation (Bob Sinclar) - Stay tuned for more of this guy on another list.

Listen to Your Heart (DHT) - The original is better, but it was really nice to hear that again on the radio.

We Be Burnin’ (Sean Paul) - Not my favorite but still damn good.

Bad Day (Daniel Powter) - I even bought the single. What can I say except “relatable”.

All About Us (Tatu) - I bought that single as well. Almost made the list.

Le Bateau Blanc (Karol) - The last cut from the list. Not even kidding at all. I’m still not sure if Keane deserves to be on the list more than this to be honest.

Like it happened previously with Placebo not being elligible at all, it is a complete outrage that Precious by Depeche Mode isn’t elligible for this list. Like, what the f█ck. Playing the Angel was one of the defining albums of the year to me. I’m not even sure it would have topped the list, maybe #2, but it still feels wrong.

There’s another band who’s complete absence from this top feels kinda painful to me, considering how much I loved their new album at the time. Indeed, no single from Three Cheers For Sweet Revenge by My Chemical Romance is elligible for this list, and it feels wrooooong, man. I love I’m not okay and especially Thank You For the Venom, but even Helena would have been nice. Alas, it wasn’t meant to be.

For some unfathomable reason, Get The Party Started (Pink) and, even more unexplainable, Do You Really Want to Hurt Me (Culture Club) recharted in France in 2005 and both made the year-end top 100. The fact they are both elligible but all the stuff mentioned above this paragraph isn’t makes no sense whatsoever.

And now, the actual list!

10 - Everybody’s Changing (Keane)

US: Not on the list / FR: #48

Pretty great even though it’s not my favorite Keane song. That would be Crystal Ball. It’s fantastic and as a person who is scared, above all, by existential horror, the music video is terrifying. Sadly, it’s not elligible for my 2006 list, so Everybody’s Changing will have to be its slightly less good proxy for 2005.

9 - Et Si En Plus Ya Personne (Alain Souchon)

US: Not on the list / FR: #100

This has to be the most borderline non-elligible song ever put on one of my lists. But I’m glad it is still elligible. Remember the song on the 1993 list that I called an “anticapitalist ballad”? Well that’s the same guy. And this time it’s a song about how religion can cause both beautiful things and war, and how “the sky might be empty” because of us. It’s great. Here’s a translation. You’re welcome.

8 - F█ck Them All (Mylène Farmer)

US: Not on the list / FR: #62

Aaaaaaaaand unfortunately for everyone including myself, she’s back. Not her best song by a mile (told you it was all downhill after C’est Une Belle Journée didn’t I), but still pretty damn good, and that music video where she’s destroying bird-like scarecrows is amazing so here’s a bonus gif.

7 - Boulevard of Broken Dreams (Green Day)

US: #7 / FR: Not on the list

My brother LOVED this band and listened to it SO MUCH. And yeah, they were very good and that song might just be my favorite one from them. I don’t have much more to say about it, you all know it already. Let’s move on.

6 - Sugar We’re Going Down (Fall Out Boy)

US: #40 / FR: Not on the list

Again, it feels wrong that both Fall Out Boy AND Panic! at the Disco were elligible for this list but not My Chemical Romance. I was never a fan of these two acts, at all, and their supposed rivalry was kinda hilarious to watch from afar. With a bucket of popcorn. While listening to Three Cheers For Sweet Revenge and nodding sadly, of course.

This is still a great song, mind you.

5 - Feel Good Inc (Gorillaz)

US: #37 / FR: Not on the list (really? wtf happened)

Again, I live with someone who loves Gorillaz, so I claim overexposure.

It’s still #5 on a list based on a very, very good year.

That’s quality for you.

4 - Speed of Sound (Coldplay)

US: #57 / FR: Not on the list

A new chapter in the ascension of Coldplay from “Johannes hates this band” to “this is one of the best mainstream bands we have”. An epic saga, years in the making, and Speed of Sound was basically the last scene of Act One. Not my favorite song from X&Y (that would be Talk), but still really good. Hell, I even bought the single, and goodness knows I wasn’t buying a lot of singles anymore in 2005.

Holy shit, half of these are Benassi Bros garbage. None of them are elligible, though! Dodged a bullet there, didn’t I.

3 - Numb/Encore (JayZ + Linkin Park)

US: #93 / FR: #75

What a blessed mashup. For a few magical months in 2005, all the punk goth kids and the hiphop kids were united under this song’s banner and it felt like world peace had been achieved. It could have pissed off everybody but no! Everyone loved it instead!

“But Johannes, this is just Numb all over again with different lyrics. You can’t keep putting Linkin Park at the top of your lists forever.” Sadly no, I can’t. I know. It’s only #3. Don’t yell at me. Also, the next two songs are genuinely better, at least in my opinion!

2 - Lift Me Up (Moby)

US: Not on the list / FR: #31

I heard this on the radio and bought the album, Hotel, on the grounds that Natural Blues from 2000 was one of my favorite songs ever and than it wouldn’t hurt to actually own an album of that guy after all that time (”all that time” being only five years, but please keep in mind the past three years had felt like ten, and in my mind, they still do ; trauma is one hell of a thing). And a couple of days later that year, we went to Disneyland for my brother’s birthday, and I only had a small bag that could contain my cd player, and the earphones and nothing else. So I could only put one cd in it and that was it.

So I picked Hotel, and I basically retreated inside of it whenever my mother was starting to talk aggressively, which happened a lot in the various queues. So in the end, I listened to that cd a LOT that day and every single time, it would calm me while still being energetic enough to keep me enthusiastic for the various Disneyland rides.

Lift Me Up is energetic but cold, aerial but distant, uplifting but sinister. It was the perfect song for someone who was, at the time, trying to tone down their aggressivity and anger and trying to be masculine but in a softer way, while still staying themselves and not giving up the fight. I absolutely adore this song. It’s perfect.

It instantly joined my list of favorite songs ever that year.

1 - Mr Brightside (The Killers)

US: #16 / FR: Not on the list (this feels so wrong)

If I had to make a top ten of the hits of that entire decade, this would be #2. No debate whatsoever.

Because holy shit.

I was already sold on that band after hearing Somebody Told Me on the radio, which sadly isn’t elligible for this list (I instantly loved it, first because it was catchy as hell, but also because I love the chorus “Well somebody told me you had a boyfriend / Who looked like a girlfriend / That I had in February of last year", because as you already know I tend to be extremely literal minded and my immediate conclusion was “wow you two dated the same trans guy before and after he was out of the closet” and that was highkey relatable and no you can’t change my mind). So I bought the album about two weeks after, mostly blind, because the cd store was playing it and also because Rock Mag said it was great.

That was an understatement. Hot Fuss is one of the best albums of the entire decade and you probably know that already. The first song, Jenny Was a Friend of Mine, floored me right after putting the cd in the player and it felt like the album already reached its peak and there were still 12 tracks after that.

The very next track was Mr. Brightside. And. How do I put this.

There’s like a dozen interpretations possible for this song, and most of them are something like “this guy is so anxious and paranoid he’s gonna break up with this girl because he keeps imagining her cheating with another guy and it might not even be real.”

Now might be a good moment to remind you that at the time, I had a crush on my best friend, and was still firmly in the closet. And this song starts, as everyone knows, with “Coming out of my cage and I've been doing just fine“.

So... yeah. This is the song that accidentally convinced me the closet sucked and did nothing to deter bullies anyway, and that after more than three years of feeling mostly miserable, I should try to be myself and screw the consequences. I know it wasn’t the original intention behind that song. But still.

Godspeed, The Killers. I owe you one, guys.

Next up: Still not able to put Indochine nor Placebo on a list, OP is this close to punching a wall

[buzzdixonwriter]

Duty Now For The Future (part one)

Welcome to the start of the 21st century.

Oh, I know the calendar says it started January 1st, 2001 (and if you’re one of those who think it began January 1, 2000, go to your room and think about what you’ve done).

But as has been pointed out by David Brin, centuries in the human sociological sense start after that.  Brin’s contention is that the 14th year after the start of the calendar century is when the real new century kicks into gear but again, that’s putting a clock-like timetable on very messy and imprecise human affairs.

But he’s right insofar as some major cultural break needs to occur -- and it doesn’t have to be a bad one; a treaty to put an end to nearly incessant war is just as effective.

Now, a lot of people thought 9/11 was out cultural break, but as traumatic as it was for Americans in general and New Yorkers in particular, it really didn’t impact the rest of the world that much.

Oh, they felt a certain amount of shock, to be sure, and the pity and generosity and goodwill expressed were sincere, but there was also a tinge of “Welcome to the party, yanks.”

See, they had been facing terrorism of various stripes for quite some time, and they saw the US as unduly fortunate to have sidestepped their misfortunes.

9/11 put an end to that, and for a brief while 90% of the planet were our friends (the remaining 10% were cackling with glee, but that’s a different topic).

Then we went and screwed it all up.

We screwed it all up because we had an ineffectual president and corrupt sociopathic thugs who saw the attack as a means to extend their power both as a party and as individuals.

So we launched into a series of pointless, futile wars and we just made a royal mess of it, but hey, so long as the plutocrats got to profit off it, who cares?

Well, I care.

Full disclosure: I voted conservative for most of the 80s and 90s.  However, when it came out GWBush authorized torture in direct violation of the US constitution and the Uniform Code of Military Justice (not to mention the Geneva Convention), and that the GOP and most conservative pundits were okay with this, I didn’t have to leave the party; the party had already left me.

I’m a progressive now because they are the only people currently trying to ensure liberty and justice for all.

But back to our original thesis: Despite the trauma of 9/11 and the seemingly endless wars that followed, the country really didn’t change -- not then, even though the seeds of change were sown.

For one thing, 9/11 obsessed America far more than it did the rest of the world.  The real cultural change, the big cultural change would have to involve the entire planet.

Attempts by progressives to steer America into post-1945 20th century values were sporadic and vehemently opposed by the 1% that dominated both parties, but especially the GOP.

They lashed back at efforts to bring America up to speed for the 20th century in 2009, pushing instead for a literal return to pre-1860 American values and politics.

(For those of you saying, “Buzz exaggerates -- we abolished slavery” WTF do you think our current for-profit prison system is except a way to subject literally millions of people into forced labor?)

This backlash actively sought to overturn everything accomplished by President Barak Obama.  Unfortunately for everyone, the coronavirus has some other ideas and now, like it or not, the entire planet is being dragged kicking and screaming into the 21st century.

So what’s the major cultural difference this time?

Well, for one, we’re getting hammered into us but good that we are all one people on one planet.  As cool as space exploration is, we ain’t emigrating to the stars.  We can’t pretend that what happens on the other side of the planet to people we don’t know won’t affect us.  We are all locked down in a common experience and it ain’t gonna spare us because we’re rich or good looking or smart.

We can’t even take solace in it affecting more of the stupid people than us because the ones mocking precautions now and going out and eating at McDonalds or partying in Florida or &#@%ing licking airline toilet seats are going to spread it to us because they are stupid and they are going to show up at their jobs as cashiers and stock clerks in grocery and drug stores.

Google “Typhoid Mary” and see what I’m talking about.

This is an equal opportunity disease and it’s going to take a lot of us.

Let me give you some perspective: World War Two took eight years to kill 3% of the world’s population; the coronavirus unchecked could easily kill 1% in three years.

But the good news is it probably won’t because there are a lot of smart people working long and hard around the world (although not necessarily in the US of A) to find effective vaccines and counter-measures to ensure as many of us as possible survive it, and strict social distancing and quarantining when there are enough test kits to do the job will drastically slow the spread of the disease.

So with any luck, we won’t see 1% casualties in the whole world population, and we may hold the fatalities down below that number by slowing the spread thus not over taxing the medical system until a vaccine is developed.

But it’s going to mean changes.  Lots and lots of changes…

 © Buzz Dixon