#so it's become this monolith among a lot of fans

[ryssabrin]

incredibly cold take but i really do not understand how bl*od/weave became the most popular origin/origin ship, both for each character or like. just in general. like they both make way more sense in a romance with wyll than with each other and more compelling cases could also def be made for gale/shadowheart (both having a crisis of faith and struggling to define their identity outside of said faith) and astarion/karlach (touch-averse vs touch-starved and jaded pessimism vs boundless optimism). hell i'd even see gale/lae'zel before i'd see gale with astarion. they simply do not like or respect each other. it's literally anders/fenris all over again tbh.

[gffa]

Hi! Loved your posts a lot. I love Nightwing and redhood .But the thing that annoyed a hell out of me is the way fandom jason is potrayed . Jason stans always want jason to be Nightwing 2.0.Their question is always like why jason isn't respected among heroes like dick? Why jason doesn't lead the titans like dick? .Was jason as good looking as dick?. Jason should be well suited to be spy than dick . Jaybabs is better than dickbabs.Dick is worst friend to roy. Jason should be Tim role model not dick.sometimes it confuses me if they both have same personality with different names. What's your thoughts on this.

I want to step carefully with this answer because I don't want to make it seem like Jason fans are a monolith (they're most definitely not, half of my Cool People in this fandom are the most excellent DC fans you'll ever meet and Jason is Their Guy!!!) or that I'm talking about anything other than a very specific subset of fans. And that any time I say "Jason fans", it is specifically about the subsection who falls into this, not the whole of his fandom!! And, as a caveat, I'm only talking about my experiences in Jason fandom--of which I do consider myself a part of!--but that someone else who is deeper into Jason fandom than I am may have COMPLETELY different experiences than what either you or I have experienced! And, to be clear, I will point the finger in any direction, that every Bat has a subset of fans that is deeply frustrating, Tim fans have it, Damian fans have it, Dick fans have it, Bruce fans have it, etc. Every one of them has that group of fans that I go ??? over. But also I think I should be clear in that I think we should try to approach other corners of fandom with empathy, because a) we're all annoying nerds to someone else as well, that's just what fandom is and b) this fandom is hostile enough over comic book characters of all things, I'm going to try to limit the amount of gasoline I throw on the fire. ;) I think what causes a lot of fanon Jason in a certain subset of fandom comes from a mix of - Not a lot of regular appearances/his own book/GOOD appearances in his own book/a consistent characterization in those books - A lot of people read more fic than they do the comics - People naturally want their babygirl to have nice things, that's a pretty human response - Jason was kind of created to be a Dick Grayson clone in the first place, in some ways, so it's a natural extension

Jason fans have it rough in canon because he is all over the place, he's not written consistently, so half of the time he's written as the woobie, half of the time he's written as two steps away from being full villain, and it feels like every author has a different take on how Jason sees himself or what he wants. It's hard to agree on what Jason's character is like/what the point of him in the larger comics landscape is, because even the canon can't agree on that. So, then you throw in all these epically long fics that are written by extremely talented authors, who have a consistent take within their own writing, which explores Jason's issues in a way that feels like it has a lot more depth and vulnerability to him, and it's easy to go, yeah, okay, comics are kind of thin, but now I have this strongly developed sense of him in my mind! And when comics don't match that, when Jason is meaner or more of a villain or less cool in the comics, because the comics didn't do all that character work, the fic did, it becomes easy to go, "This isn't what Jason deserves, he deserves to have his issues explored better!" And, like. Jason does deserve better than what Nu52 gave him. It's a thing that a lot of fic vs comics have--like, there's a subset of Tim's fandom that writes him as the most delicate character ever (there's a lot of fic that explores Tim's vulnerabilities, I am not talking about those!!!) and, guess what, has to make Dick a terrible person in those fics as well, like the whole "Dick tried to send Tim to Arkham" is a straight up lie about what happened, but how many of us have still come across it? Which I think comes from that Dick Grayson is a character that you just kind of can't remove from the foundational Batman narrative and mythos, like you can't remove Bruce and still get what you need for the set-up--but Bruce occupies the space of "Dad" for the characters, so he has a very different, defined place in the Robin Of Choice's life. Dick, on the other hand, you can't just lift him out--he created Robin, he was the one that dragged Bruce out of the dark in the first place and created the role of Adopted Kid Who Bruce Is Complicated About, and still occupies that space very strongly. Even when he hasn't been Robin in a long time, his shadow casts extremely long, because honestly I'll die on the hill that I think he's everyone's favorite Robin to this day. Bruce? Yeah. Jason? Yeah. Tim? Yeah. Damian? Even if he never met Robin!Dick, I'd bet he's still say Dick was his favorite Robin. Superman? Explicitly said it in a comic.

(And I feel like there's an element that can be explored on how Dick also set the expectation of how to grow out of being Robin--he moved on to being Nightwing, so we expect that of the other Robins. I've been complaining forever that Tim needs to be allowed to finally do this, to step out of being Robin and not just be Red Robin, but to find his own unique thing. And, honestly, that probably does look more like Nightwing than not. I think there's an expectation that eventually Damian will realize that he doesn't want to be Batman and will instead be something else--or at least that it's a strong possibility. Which again looks a lot more like Nightwing than it maybe should. Because what else do you do with characters when you want to establish them out on their own? So Jason should follow that same path, right? He's kind of halfway onto it, with being Red Hood now, it's just that Red Hood has such a complicated history with how many people he's murdered, so what other options should there be? And patterning him after Nightwing, just as his Robin was patterned off of Dick's Robin in a lot of ways, could be a natural step forward for him there, too.) So, the specter of Dick Grayson hangs over the role and the Bat-son's place in Bruce's life--two things that are big issues in Jason's life. Then you add in that Jason was basically created to replace Dick Grayson exactly, like you can't even tell the difference in half of the panels of Jason's time as Robin if you don't already know. Then you add in that, to try to flesh out Roy's character, they gave him Roy and Kory as friends, two people who were Dick's friends first. And that makes sense--who else would you have as Jason's friends, given his general age? The Justice League is too old for him, Young Justice is too young for him, the only major team in his age bracket are the Titans--characters he does have some connection with, via Roy and Kory. And it's a natural question of, well, why didn't Jason lead them, too? Because Dick lead a team, Tim lead a team, it felt like a thing Robin was supposed to do, to the point that, when Dick introduced Damian to the Teen Titans, he automatically assumed he would lead (well, that's also just Damian XD) because that's what Robins do, why shouldn't Jason, too? So, I see where all of it comes from and understand the appeal--it's a lot more fun than the canon for Jason can be at times and feels like it understands his character better and fanon Jason is a lot more likeable and there's often times a lot that's explore that is really, really good character stuff. I think a lot of Dick's characteristics get ported over to Jason because there's just not as much else established for him in the canon, whether friends or a solidified narrative presence or even a consistent characterization, and Dick's a fun character, he has a rich history of friends and complicated dynamics with characters, like his relationship with Bruce is ridiculously fun to dig into, his relationship with Jason can actually be really interesting, his relationship with Tim is both adorable and has some nice crunch, his relationship with Damian is heart-wrenching--who wouldn't want a character with a wealth of dynamics and characterization to step into? Especially when you go back to canon and Jason's borderline a villain who isn't justified in killing people but still does it anyway, whose trauma is not getting explored in a way that's as satisfying as fanon's version of him is, because canon Jason is a lot more of a hot mess and stepped over the line, while fanon Jason tends to be more righteous and still on the right side of the line. (Or at least intended to, there's a lot of "Jason should be allowed to kill people and not be a bad guy for it." out there.) I think this is why I get a lot of Jason fans reblogging my comics posts about canon who yell at me for liking garbage comics when, guys, I'm just reacting to what's actually on the page for Jason.

Jason is a character who has this massive fandom that has been built up around the potential of the character, much of which had to be borrowed from Dick because that's the only really available options and because his central relationship (the one with Bruce) has so many parallels to Dick's relationship (with Bruce) and because Dick being who he is means that he's very easy to like (Dick's not perfect and I'm certainly biased here, but I do genuinely think that Dick is pretty easy to like as a person) and because he has such a rich history of dynamics and relationships that fans see as being really fun to explore, if only Jason had had those relationships instead. I suspect a lot of it comes down to that there's this massive fandom for Jason--fic, posts about him, fanart of him, headcanons for him, etc., throw a rock in fandom and you'll hit a popular post that has Jason as their babygirl Blorbo--and comics themselves don't often match that and comics fandom are pretty notorious for hating their source material/throwing it out in a way that's borderline assumed default MO, so Jason fans aren't any different from people complaining that this comic or that comic coming out right now are garbage. Anyway, that's been my experience. It's not that Jason fandom doesn't do unique things with Jason's character (his death is different from what Dick's experienced, his relationship with Bruce does often come in different flavors, etc.) but the places where they overlap are ones that I can understand why it happens, even if I often personally find that it doesn't match up to who he is in the source material now and feel like there's a lot of really good, crunchy unexplored angles for a character who has been deeply hurt, but went over the line about it, like that's why the recent short story in Beast World Tour: Gotham went so hard for me, because it felt like it had teeth and claws in a way that I've been wanting for Jason for a long time.

[toku-explained]

The Legendary Alchemist

New Generation Stars: When Yuka admits to sometimes forgetting Ediom is an AI, due to his clear sentence, he opts to show how it isn't that rare using the example of when REM was incarnated in human form. Afterwards, Ediom expresses his happiness that Yuka has always treated him as an equal.

Gotchard: Legendary Legend quickly overpowers Dark Kiva more, then finishes his when he tries to use King's World End again. Kaguya greets Hotaro, who still needs reminding of their meeting. Saigetsu was able to escape to the Hundred Dimension, where three monoliths stress the consequences should be fail again, forcing him to resort to the Ark Driver-Zero. At the Academy, Kaguya has given the students a gorgeous makeover, and Hotaro has his memories properly jogged. Kaguya used Hundred seeking the Legend Kamen Riser to distract the leaders while he dealt with their forces on the World of Legend, but recognises the World of Gotchard wound up in trouble because of it, and he and Butler will need some time before they can return. Plans to assist them fall apart by everyone being busy, so Kaguya takes over Hotaro and Kajiki's English make-up class, and then turns out Spanner had to deal with Kaguya almost transforming on live TV, and he's also somehow already acquired a fan club among the students. Gigist is informed of proceedings, then confused Clotho and Atropos by sensing something. More Hundred Kasshin appear, so Fire Gotchard and Legend face them, except Legend immediately forced Hotaro to become Fire Gotchard ExceedMighty, and becomes Legendary Legend himself, using Build Genius Form and using Hopper1 for a finisher. After, Hotaro is annoyed at Kaguya using his Chemy friends as tools, leading Kaguya to storm off to seek the commander. Hotaro and Butler talk, Butler explaining Kaguya doesn't understand how to work with others properly, as he always tries to draw all the enemies attention, and Hopper1 allows Hotaro to realise something. Saigetsu confronts Kaguya, and transforms into Ark-Zero to face Legendary Legend, who opts to use Decade Complete Form, and uses the Liner Form finisher. Saigetsu completes his Learning, and transforms directly in Ark-One, and is only briefly thrown off by Iron Gotchard. Hotaro apologises for not considering Kaguya wanted to see him whilst stuck there, and trying to make sure Hotaro remembered his gorgeousness this time. Ark-One returns before they can shake hands yet again, so Kaguya opts to use Zero-Two alongside Platinum Gotchard, and together a Double Rider Kick defeats Saigetsu. Retreating again, he still seeks to fight, but his Masters steal his life, and the Ark-Driver converts into a representation of the Ark, with a 24 hour countdown. Kaguya seems to sense this, and readying the Legend Driver, tells Hotaro this is goodbye.

Boonboomger: With the rest of the Boomboomgers busy with a special mission, Saibu hands a special delivery to Genba. Dekotread and Itashar are mourning Mad Rex, but Yarucar gets riled. Recognising a passing Genba thanks to him wearing orange they spy on him, and he runs into Mira, helping sell Kashiwa Mochi, as he tells her it is a prototype ISA energy source, unstable enough if he drops it it will explode. Mira lots to go with him, trying to avoid anything that cause him to drop it, and the Hashiliens create a Koi Streamer Kurumaju to try and get a hold of it. The Kurumaju can send things flying, but Genba holds everything off while keeping the case safe until the Hashiliens, scared of an explosion, time out the Kurumaju. Turns out the others are helping out with a children's group for Children's Day, as Genba explains he's trying to see what delivery means to the others. Almost at the lab, the Hashiliens target them again, Mira ready to fight with Genba, except he has her hold the case and fights the Nejiraiders himself. On receiving a notification, Genba suddenly throws the case over the Kurumaju, leaving all three Hashiliens scrambling to catch it, but it opens to reveal more Mochi, as the others arrive, the real delivery having been a success. Mira is confused to learn she's been bait, as they fight the Kurumajin, run Yarucar off the road, then fight first as Boonboomger Robo, swap in Boonboom Patocar 1 and Boonboom Racing, and finish with Boonboomger Robo Builder Wagon Custom. Afterwards, Genba thanks Mira for her help, her genuine reactions having benefited the mission.

555 Murder Case: Because it's been 4 months, and because I haven't watched Paradise Regained, I'm not sure if I remember everyone's name. Anyway, let's get started. While Jotaro takes crime photo, Kusaka gathers everyone, and states the obvious, the killer is an Orphenoch, indicating Takumi. The kids are shocked by the accusation, but Takumi wasn't trying to hide that he was an Orphenoch, and Mari has to clarify that doesn't make Takumi the killer, reminding them that Orphenochs aren't all evil, and Rena at least trusts Takumi, and Mari points out she knows, and Kusaka should as well, that it isn't Takumi. Kusaka knows for a fact himself, Mari and Jotaro aren't Orphenochs, leaving the suspect between Rena, Hisao, Kouta and Kei. Takumi points out the other question, where Kin went. For that, Kouta and Jotaro argue the other ate him, with Kei defending Kouta. Focusing on the facts of the murder, Kusaka asks how Jotaro met everyone. He caught Kouta and Kei shoplifting, offering the a job instead, met Rena when he hit on her, and while refusing at first, accepted to get food, and Hisao came begging for a job. Takumi this argues they all had motive to eat Kin. Hisao freaks out, and opts to run, only for him to die and collapse to dust upstairs, with a dying message spelling Kouta's name. As they start questioning him, Rena walks off from the back and screams, they find her just as she also collapses, holding Kei's astrology book. Before they can accuse Kouta more, Kusaka begins a summation, realising the Kouta clue hinted to his star sign, Pisces, meaning Kin is the killer, the Flyingfish Orphenoch. It flees, And Takumi, Kusaka and Jotaro pursue, bringing us back to the start, as NEXT Faiz and NEXT Kaiza confront the Orphenoch. Takumi summons the Photon Edge and Faiz Blaster Blade Mode, while Kusaka summons the Kaiza Processor, and after a bit of fighting the Orphenoch flees, prompting Kusaka to use Kaixa's Axel Form to stop it I'm place, and thwn Faiz finishes it off, wishing things could have been different. Mari wonders why exactly Hisao wrote Kouta of all things, and Takumi announces he's adopted a loach, while we see Kouta really is the Gecko Orphenoch, going off with Kei.

But there is another story of these people to come.

[hamliet]

So, this person mentioning your 2ha metas made me get curious about it so I wanted to look for them but then the first thing I found was this: "I think 2ha had the potential to be as rich in complexity as MXTX's works, but instead settled for a more traditional black/white version of the morality" and now I'm actually more curious about this line 🤣

You see... I've alway failed to get the whole hype regarding mdzs and its morally gray this, morally gray that. And it doesn't help that the Chinese fans I know also complain about it, they're like "wwx is the hero, why western fans are so obsessed to change this? Why they don't do the same with their heroes?"... And they also comment on how mxtx is pretty clear about the morals of their characters and I feel like I get both sides but again, not really the obsession with the matter. Because then there's the fact that, while I agree with meatbun not treating SQT well, I don't feel like MXTX did it better when it was only literally wwx the one having his happy ending... Everyone else is dead or condemned to be forever alone for some reason... and even someone as jc is someone who, imo is pretty clear, MXTX thinks doesn't deserve anything but loneliness (the fact there's no woman who wants him according to her, he has no friends, he has no real bond anymore with anyone...). So, honestly, I don't feel like if MXTX wasn't clear about who are the morally correct and the morally wrong in her stories just as I don't feel she was any more fair with her secondary characters for the sake of wangxian happy ending. The same goes with her other works where all the characters that are antagonists in different levels, just like in mdzs, get what "they deserve" 🤔

Ahhh okay, I've seen this argument floated a lot, and it's become a bit of a pet peeve for me, so I'm going to take a bit of time to respond to this... There is a lot here to respond to.

For starters, I would caution you about categorizing of "Chinese fans" as if they are one monolith; they are not. They are also not different than western fans in terms of being human; they are closer to the cultural context of the story, but that doesn't inherently mean every interpretation is correct or textually supported. For example, I haven't seen at all your claims about WWX being the hero (I saw it from a western person, and if the Tweet is what you're referring to, they took the quotes shockingly and almost laughably out of context): while I'm sure Chinese fans do say this... so do western fans. A lot. In fact, Jiang Cheng is very not popular among Chinese fans in polls, while Jin Guangyao is. The point is, you can't say Chinese fans vs Other fans in a simplistic way to make any claim of substance.

As for MXTX's statements, I literally do not take authorial interviews into account in analyzing stories, nor do I really understand why people do. I'll quote Dostoyevsky here: “Don’t let us forget that the causes of human actions are usually immeasurably more complex and varied than our subsequent explanations of them.” Authors explain things in overly simplified ways, and explaining a novel that runs on complexity simplistically is never going to be satisfying. You also have to look at the full picture: she's said pretty cold things about Xue Yang (much worse than about JC), but has also defended him from antis, calling him "my son" and saying that she loves him more than any readers because she created him. I don't doubt this is the same for Jiang Cheng.

"jc is someone who, imo is pretty clear, MXTX thinks doesn't deserve anything but loneliness" I do not think this is true. The notes about Jiang Cheng's dating life are humor. You may not find them funny, but they're clearly intended to be humor. Framing matters (I'll discuss framing in a bit.) It is also factually incorrect to say he has no real bonds. He clearly does. Jin Ling is a bond.

Everyone else is dead or condemned to be forever alone for some reason... I also don't see what you mean by looking at the story, or whom you might be referring to. Song Lan went to restore Xiao Xingchen's soul, to heal it. The juniors went from being antagonistic to being friends with each other. Wen Ning helps Sizhui with his heritage. Lan Qiren accepts Wei Wuxian as Lan Wangji's husband.

The ones where I can kiiiinda see people assuming this are with Jiang Cheng and Lan Xichen, but I also don't think the framing is taken into account. Jiang Cheng has Jin Ling, and much like with Lan Xichen, I think people expect spoonfeeding where nuance works better. The trajectory of the novel--towards healing, towards the younger generations doing better than the older ones--indicates that there will be healing that continues beyond the main story. Not everything needs to be spelled out. I doubt Lan Xichen will be in seclusion forever like his father; his father had Lan Qiren (a flawed if well-intentioned man), but Lan Xichen has Lan Wangji, and I highly doubt Wei Wuxian is going to leave brother-in-law miserable. I do think Jiang Cheng and Wei Wuxian will form a new bond, because they are both clearly involved in Jin Ling's life. Neither of them are really good at cutting off bonds (like even after WWX's death, Jiang Cheng was looking for him). I wrote more on this here.

What is missing from most of these discussions is framing. framing, framing, framing. It tells you what to think about a story's events. Yes, Jin Guangyao and Xue Yang die, but how is that framed as "what they deserve?" Xue Yang dies with a candy in his hand, which if you want to rely on MXTX’s statements, she literally said she did that to show that he was not a heartless monster. Which is indeed what the text implies. For JGY, you have Jin Ling bawling and realizing his uncle was good to him too, Lan Xichen tricked into killing him when he wasn't doing anything, Wei Wuxian realizing how wrong it was and that they are the same. That's tragic framing, not "haha got what he deserved." The literal point of tragedy is that it shouldn't end this way. Tragedy is not "justice." Tragedy has injustice as its main point. You are supposed to be sad.

I've talked about tragedy in media before, and will quote Arthur Miller's "Tragedy and the Common Man" here:

The possibility of victory must be there in tragedy. Where pathos rules, where pathos is finally derived, a character has fought a battle he could not possibly have won. The pathetic is achieved when the protagonist is, by virtue of his witlessness, his insensitivity, or the very air he gives off, incapable of grappling with a much superior force.

Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief-optimistic, if you will, in the perfectibility of man.

What is the "much superior force" in MDZS? It's society. And yet, because things are gray, society is not fully evil. Like with Dostoyevsky's novels, people need each other. They need each other to heal and to fully live; seclusion is not a Good Thing. But also, playing the political game kills, so society also corrupts. See here.

What is society if not a reflection of the human being? Born with tendencies towards good and towards evil. Someone who can corrupt, and hurt, and also heal others. Someone who can comfort an orphan with a dog and also torment his father to death. Someone who can kill thousands of people and also risk his life to save others. People who are complex.

By saying "gray morality," I'm not saying that there is no good or evil, but instead that context determines much of this; empathy matters as well, and so what is evil to one person may save another person. That said, there is an overall moral implication that people living is good, and empathy is good. Gray morality has never ever meant moral nihilism. It just means that instead of thinking "there is no right choice sucks to suck"; it should be "there are no choices that will heal without hurting; hence, let's empathize with those who make those choices instead of condemning them." Black/white morality is exemplified with Nie Mingjue's character, who ends up stuck in a coffin for 100 years after being used like a puppet to kill innocents. I think black/white morality is pretty clearly condemned.

Imo, claims that only Wangxian got a happy ending and everyone else was sacrificed for this are based off of personal projections and impressions, not off careful analysis of the text that takes culture, literary allusions, tone, framing, and the like into account.

Wangxian are a gay couple, aka already challenging societal understandings on love. They leave society to heal and then return to help others, which is as far from a "f*ck you got mine" attitude as you can get. It's an old trope used as far back as the Bible: after some time away, you return to go into the world and save. The salvation isn't religious here but it's empathetic. They want to be a part of their loved ones lives.

Wei Wuxian never thinks that he didn't deserve death for what he did, even if the context leading up to it might well justify him feeling that way. He does not think Jin Guangyao deserved what happened to him, at the same time. He does not think everyone else's sacrifices were justified. If WWX is supposed to embody morality, as black/white people claim, then why do they disregard chapter 113?

It's fine for people to prefer things to be more spelled out (they are in TGCF, for example!) but I think MDZS is a novel that is heavily based in nuance (like, that's a central theme), and so when people approach it with an attitude of expecting spoonfeeding, they end up confused.

[pumpkinpaix]

mdzs fandom, diaspora, and cultural exchange

Hey everyone. This post contains a statement that’s been posted to my twitter, but was a collaborative effort between several diaspora fans over the last few weeks. Some of the specifics are part of a twitter-localized discourse, but the general sentiments and issues raised are applicable across the board, including here on tumblr.

If you’ve been following me for a while, you’ve probably seen a few of my posts about this fandom, cultural exchange, and diasporic identity. For example, here, here, and here. This statement more directly criticizes some of the general issues I and others have raised in the past, and also hopefully provides a little more insight into where those issues come from. I would be happy if people took the time to read and reblog this, as the thought that went into it is not trivial, and neither is the subject matter. Thank you.

Introduction

Hello. I'm a member of a Chinese diaspora discord server - I volunteered to try and compile a thread of some thoughts regarding our place and roles in the fandom expressed in some of our recent discussions. This was primarily drafted by me and reviewed/edited by others with the hopes that we can share a cohesive statement on our honest feelings instead of repeatedly sharing multiple, fragmented versions of similar threads in isolation.

This was compiled by one group of diaspora and cannot be taken to represent diaspora as a whole, but we hope that our input can be considered with compassion and understanding of such.

For context, we are referencing two connected instances: the conflict described in these two threads (here and here), and when @/jelenedra tweeted about giving Jewish practices to the Lans. Regarding the latter, we felt that it tread into the territory of cultural erasure, and that it came from a person who had already disrespected diaspora’s work and input.

Context

The Lans have their own religious and cultural practices, rooted both in the cultural history of China and the genre of xianxia. Superimposing a different religious practice onto the Lans amidst other researched, canonical or culturally accurate details felt as if something important of ours was being overwritten for another’s personal satisfaction. Because canon is so intrinsically tied to real cultural, historical, and religious practices, replacing those practices in a canon setting fic feels like erasure. While MDZS is a fantasy novel, the religious practices contained therein are not. This was uncomfortable for many of us, and we wanted to point it out and have it resolved amicably. We were hoping for a discussion or exchange as there are many parallels and points of relation between Chinese and Jewish cultures, but that did not turn out quite as expected.

What happened next felt like a long game of outrage telephone that resulted in a confusion of issues that deflected responsibility, distracted from the origin of the conflict, and swept our concern under the rug.

Specifically, we are concerned about how these two incidents are part of what we feel is a repeated, widespread pattern of the devaluing of Chinese fans’ work and concerns within this fandom. This recent round of discourse is just one of many instances where we have found ourselves in a position of feeling spoken over within a space that is nominally ours. Regardless of what the telephone game was actually about, the way it played out revealed something about how issues are prioritized.

Background

MDZS is one of the first and largest franchises of cmedia that has become popular and easily accessible outside of China. Moreover, it’s a piece of queer Chinese media that is easily accessible to those of us overseas. For many non-Chinese fans, this is the first piece of cmedia they have connected with, and it’s serving as their introduction to a culture previously opaque to them. What perhaps is less obvious is that for many Chinese diaspora fans, this is also the first piece of cmedia THEY have connected with, found community with, seen themselves in.

Many, many of us have a fraught relationship with our heritage, our language—we often suffer from a sense of alienation, both from our families and from our surrounding peers. For our families, our command of the language and culture is often considered superficial, clunky, childish. Often, connecting with our culture is framed as a mandatory academic duty, and such an approach often fosters resentment towards our own heritage. For our non-Chinese peers, our culture is seen as exotic and strange and other, something shiny and interesting to observe, while we, trapped in the middle, find ourselves uprooted and adrift.

MDZS holds an incredibly important place in many diaspora’s hearts. Speaking for myself, this is literally the first time in my life I have felt motivated and excited about my own native tongue. It's the first time I have felt genuine hope that I might one day be able to speak and read it without fear and self-doubt. It is also the first time that so many people have expressed interest in learning from me, in hearing my thoughts and opinions about my culture.

This past year and a half in fandom has been an incredible experience. I know that I am not alone in this. So many diaspora I have spoken to just in the last week have expressed similar sentiments about the place MDZS holds in their lives. It is a precious thing to us, both because we love the story itself, and because it represents a lifeline to a heritage that’s never felt fully ours to grasp.

It’s wonderful to feel like we are able to welcome our friends into our home and show them all these things that have been so formative to our identities, and to be received with such enthusiasm and interest. Introducing this to non-Chinese friends and fans has also been an opportunity to bridge gaps and be humanized in a way that has been especially important in a year where yellow peril fear mongering has been at an all-time high.  

History

However, MDZS’ rise in popularity among non-Chinese audiences has also come with certain difficulties. It is natural to want to take a story you love and make it your own: that’s what transformative fandom is all about. It is also natural that misunderstandings and unintentional missteps might happen when you aren’t familiar with the ins and outs of the culture and political history of the story in question. This is understandable and forgivable—perfection is impossible, even for ourselves.

We hope for consideration and respect when we give our knowledge freely and when we raise the issue of our own discomfort with certain statements or actions regarding our culture. Please remember that what is an isolated incident to you might be a pattern of growing microaggressions to us. In non-Asian spaces, Asian diaspora are often lumped together under one umbrella. In the west, a lot of Chinese diaspora attach themselves to Korean and Japanese media in order to feel some semblance of connection to a media which approximates our cultures because there are cultural similarities. This is the first time we've collectively found community around something that is actually ours, so the specificities matter.

There is a bitterness about being Asian diaspora and a misery in having to put up a united front about racial issues. Enmity towards one group becomes a danger to all of us, all while our own conflicted histories with one another continue to pass trauma down through the generations. Many of us don’t even watch anime in front of our grandparents because of that lingering cultural antipathy. When the distinctions between our cultures are muddled, it feels once again like that very fraught history is flattened and forgotten.

Without the lived experience of it, it’s hard to understand how pervasive the contradictory web of anti-Asian and, more specifically, anti-Chinese racial aggressions are and how insidious its effects are. The conflation of China the political entity (as perceived and presented by the US and Europe) with its people, culture, and diaspora results in an exhausting litany of criticism levied like a bludgeon, often by people who don’t understand the complicated nature of a situation against those of us who do.

There is often a frankly stunning lack of self-awareness re: cultural biases and blind spots when it comes to discussions of MDZS, particularly moral ones. There are countless righteous claims and hot takes on certain aspects of the story, its author, and the characters that are so clearly rooted in a Euroamerican political and moral framework that does not reflect Chinese cultural realities and experiences. Some of these takes have become so widespread they are essentially accepted as fanon.

This is a pattern of behavior within the fandom. It is not limited to any specific group, nor does it even exclude ourselves—we are, after all, not a monolith, and we should not be placed on pedestals to have our differing opinions weaponized against one another in fandom squabbles. We are not flawless in our own understandings and approaches, and we would appreciate it if others would remember this before using any of us as ultimate authorities to settle a personal score.

It is difficult not to be disheartened when enthusiastic interest crosses the line into entitled demand and when transformative work crosses into erasure, especially when the reactions to our raised concerns have so frequently been dismissive and hostile. The overwhelming cultural and emotional labor we bring to the table is often taken advantage of and then criticized in bad faith. We are bombarded with racist aggressions, micro and macro, and then met with ridicule and annoyance when we push back. Worse, we sometimes face accusations of hostility that force us to apologize, back down, and let the matter go.

When we bring up our issues, it usually seems to come with the expectation that there are other issues that should be addressed before we can address ours. It feels like it’s never really the time to talk about Asian issues.

On the internet and in fandom spaces, Western-coded media, politics and perspectives are assumed to be general knowledge and experience that everyone knows and has. It feels like a double standard that we are expected to know the ins and outs of western politics and to engage on these terms, but most non-Chinese have not even the slightest grasp of the sort of politics that are at play within our communities. We end up feeling used for our specialized knowledge and cultural background and then dismissed when our opinions and problems are inconvenient.

As the culture represented in MDZS is not a culture that most non-Chinese fans are familiar with, we’d like to remind you that you do not get to decide which parts of it are or are not important. While sharing this space with Chinese diaspora who have a close connection to the work and the painful history that goes along with being diaspora, we ask that you be mindful of listening to our concerns.

Cultural erasure is tied to a lot of intense historical and generational trauma for us that maybe isn't immediately evident: the horrors of the Pacific theatre, the far-reaching consequences of colonization, racial tensions both among ourselves and with non-Chinese etc. These are not minor or simple things, and when we talk about our issues within fandom, this is often what underlies them. This is one of the first and only places many of us have been able to find community to discuss our unique issues without feeling as if we’re speaking out of turn.

With the HK protests, COVID, the anti-Chinese platforms of the US election etc., anti-Chinese sentiment has been at the forefront of the global news cycle for some time now, and it is with complete sincerity that we emphasize once again how important MDZS fandom has been as a haven for humanizing and valuing Chinese people through cultural exchange.

Experiencing racial aggression within that space stings, not just because it’s a space we love, but because it feels like we’ve been swimming in rapidly rising racial aggression for over a year at this point.

Feelings

This is a difficult topic to broach at the best of times, and these are not the best of times. Many of us have a wariness of rocking the boat instilled in us from our upbringings, and it is not uncommon for us to feel like we should be grateful that people want to engage with something of ours at all. When we do decide to speak up, we’ve learned that there is a not insignificant chance that we’ll be turned on and trampled over because what we’ve said is inconvenient or uncomfortable. When it is already so difficult to speak up, we end up second-guessing and gaslighting ourselves into wondering whether there really was a problem at all.

We’d like to be able to share what we know about our culture and have our knowledge and experience be taken seriously and treated with courtesy. This is a beautiful, rich world built with the history of our ancestors, one that we too are trying to connect with. When we find it in ourselves to speak up about it, we would appreciate being met with consideration instead of hostility.

We don't have the luxury of stepping away from our culture when we get tired of it. We don't get to put it down and walk away when it’s difficult. But if you're not Chinese or Chinese diaspora, you get to put this book down—we'd like to kindly request that you put it down gently because of how much it matters to all of us in this fandom, regardless of heritage.

What we are asking for is reflection and thoughtfulness as we continue to engage with this work and with one another, especially with regards to how Chinese issues are positioned. When we raise issues of our own discomfort, please take a moment to reflect before reacting defensively or trying to shut us down for spoiling the fun—don’t deprioritize our concerns, especially in a fandom for a piece of Chinese media. We promise most of us are not trying to start shit for the sake of a fight. Most of the time, all we want is acknowledgement and a genuine attempt at understanding.

Our hope with this statement is to encourage more openness and understanding between diaspora and non-Chinese fans while we navigate this place that we’re sharing. Please remember that for many of us, MDZS is far more intense than a typical fandom experience. Remember that the knowledge we have and research we do is freely and happily given, and that it costs us both materially and emotionally. Please don’t take that for granted. Remember too that sometimes the reason for our discomfort may not be immediately evident to you: what seems culturally neutral and harmless might touch upon specific loaded issues for us. We ask for patience, and we ask for sincerity as we try to communicate with one another.

We are writing this because there’s a collective sense of imposed silence—that every time the newest round of discourse crops up, we often feel as if we’re walking away having created no meaningful change, and nursing new wounds that we’ll never get to address. But without speaking up about it, this is a cycle that will keep repeating.

This is not meant to shame or guilt the fandom into throwing themselves at our feet, either to thank us or beg for forgiveness—far from that. We’re just your friends and your fellow fans. We are happy to have you here, and we’re happy to create and share and play together. We just ask to be respected and heard.

Thank you. Thank you for listening. Several of us will be stepping back from twitter for a while. We’ll see you when we get back. ❤️

* A final addendum: here are two articles with solid practical advice on writing stories regarding a culture other than your own.

Cultural Appropriation for the Worried Writer: Some Practical Advice

Cultural Appropriation: Some More Practical Advice

The thread on twitter is linked in the source of this post. Thanks everyone.

[thevalleyisjolly]

Ok, I’ve rewritten this post several times because I really want this to be a productive and respectful discussion, but this is a conversation that does need to be started.  I’ve been thinking about the whole cultural appropriation story line in this season of The Unsleeping City so far, and of course I think it’s great that Cody is starting to realize why that’s wrong and that Murph is making it explicitly clear that it is wrong, but I want to reorient the conversation away from Cody now and talk about Ricky as a Japanese-American character.

Because when Zac went “Just to paint a picture for you...” during the museum fight episode, there was quite a bit of surprise from non-Asian people in the fandom that this was really a serious issue, and one that Ricky would be bothered by or speak up about.  But why wouldn’t he?  I mean, the character is Japanese-American, and so is the player.  Doesn’t it make perfect sense that he would at least be a little bothered by a white person appropriating Japanese culture?  Asian fans certainly noticed and pointed it out before that episode aired.  Ricky/Zac certainly noticed - go back through the episodes and observe how every time Cody pulled out a kunai or threw a shuriken, Ricky was cringing or facepalming with an uncomfortable laugh.  Even with seven different camera perspectives to watch at the same time, it should have been pretty clear in the fandom that this was an ongoing issue that would bother and was bothering Ricky.

And I think there are several different facets to this, but the one I want to address is how there’s a tendency in fandom to ignore or erase Ricky’s Japanese heritage.  Not literally (although there is a particular sting every time I see another Ricky fancast where the actor is of another Asian heritage than Japanese - Asian people are not interchangeable).  But especially prior to Season 2, there was a general trend in the fandom that liked to simplify Ricky’s character and overlook him as a complex player character because of traits that are very common in East Asian immigrant cultures.

Perhaps it’s because my heritage is East Asian and I’ve had more exposure to general cultural customs and behaviours among East Asian immigrants, but Zac’s portrayal of Ricky has always read as a very obvious Asian-American child of immigrants to me (and, y’know, Zac and Ricky are actually Asian-American children of immigrants).  Not expressing negative emotions out loud, not verbally articulating thoughts and feelings but expressing them through actions, deferring to other peoples’ needs first instead of expressing his own wants because it’s not about him.  With the caveat that I’m Chinese and not Japanese, these are common practices that I’ve observed in my own family, among friends and acquaintances (of various Asian heritages including but not limited to Chinese), in broader experiences with other East Asian immigrants.

(Asia is not a monolith and I’m not familiar with the immigrant cultures and experiences of people from other Asian heritages.  I specify East Asian here because that is broadly what I can speak on and because Ricky is Japanese, but other Asian people please feel free to discuss your experiences as well)

And obviously, these are not monolith traits observed at all times, I’ve definitely met plenty of East Asian immigrants who did express their emotions loudly, who used their words, who were assertive about their own needs and wants (this is not the post to be getting into different generations of immigration and the culture differences between those generations).  And it also depends on the context - from my own experience, in private within families, both emotions and words can get extremely loud (if you dare to risk the wrath of your elders by arguing with them!)  But my point is that the habits I pointed out above are still relatively common in East Asian immigrant cultures, even if not all individuals follow them at all times.

Particularly prior to Season 2, there was a common perspective in the fandom, usually couched in “uwu, I love that Zac is playing a hot dummy!!” that would go along the lines of “Ricky doesn’t have a character arc, he doesn’t get into conflicts with other people, he doesn’t say anything and is just happy to be there, he’s a shallow character who’s just a himbo.”  All of which I’d dispute, (*insert post here about Ricky as a character reclaiming Asian masculinity*), but I want to focus on how the main traits -refraining from overt emotions, remaining reserved in speech, not bringing up his own needs and wants- that were brought up and used to simplify and dismiss Ricky’s character were traits which are commonly found in East Asian immigrant communities.  The whole “remaining reserved/trying to avoid conflict” is something a lot of East Asian-American kids pick up at home because what you say or don’t say isn’t as important as what you do or don’t do.

And I mean, so much of Ricky is about doing things for people, showing his feelings through his actions, not his words.  Just because he wasn’t getting into PC conflict in Season 1, or expressing his emotions in the same ways as other PCs, doesn’t mean he was just a silent, cheerful himbo.  Which there’s nothing wrong with being a himbo, and it can be particularly empowering in Ricky’s case as an Asian man (see above linked post about Asian masculinity), but that’s not all there is to Ricky’s character!  And don’t get me wrong, I personally love that part of his ongoing character arc in Season 2 is speaking up about his feelings and expressing to other people what he wants (because there’s the “American” part of the Asian-American experience that’s not just about having Asian heritage but is also about negotiating that relationship in a place with different norms and customs).  But it doesn’t negate the “Asian” part of “Asian-American” either, which does impact and shape the way Ricky interacts with people and the world.

In hindsight, I don’t think it’s a coincidence that interest and meta in Ricky skyrocketed once he did start being more vocal and assertive in Season 2, which are common traits in many Western cultures.  And it’s not the only reason that there’s a deeper interest in Ricky now (shout out to all the Asian fans and allies who’ve been really diving into Ricky’s character this season!) and I choose to believe in good faith that it isn’t intentional or malicious (audiences do tend to gravitate more towards tangible moments of conversation and conflict rather than background acting).  But I think we as fans need to start questioning why as a whole, we really didn’t start giving deeper thought to Ricky until he began displaying more typically Western traits, because I think it’s emblematic of how, very subtly and unconsciously, we are used to privileging white “American” behaviour and ignoring or glossing over Asian (immigrant) traits.

In many ways, Ricky prior to Season 2 (and very arguably up until the museum fight), has been perceived in the general fandom as a sort of post-racial American-melting-pot character.  Fans don’t wholly ignore that he’s Japanese-American, you can’t really do that when his family name is “Matsui” and when the Season 1 finale showed that his interactions with the American Dream pretty strongly involved his parents’ immigrant experience.  But knowing intellectually that Ricky is Asian doesn’t always translate to actually perceiving him as an Asian person with all the implications and racial dynamics that entails.

An example of how this manifests: Ricky and Esther become a canon couple.  Numerous posts begin to appear (and periodically still do) that express opinions along the lines of Ricky/Esther being the only tolerable “het” couple.  Ignoring the fact that we don’t know Esther’s sexuality and we only have an offhand Ztream comment for Ricky, Ricky/Esther is a canonical interracial relationship between two non-white people, a Japanese man and a black woman.  Interracial relationships are already extremely poorly represented in media, to say nothing of interracial relationships between non-white people.   Yet we overlook the racial dynamics and only focus on the perceived queerness (or not) of the ship.

Or, for another example, taking the discussion on cultural appropriation and making it all about Cody’s flaws and character development, rather than considering how it affects Ricky as a Japanese man to see a white man disrespecting a part of his cultural heritage.

Anyways, I really urge D20 fans, especially if you’re not Asian, to start questioning and challenging how you really perceive characters, what kind of characteristics you tend to privilege and be drawn to and why, and what kind of fandom environment you shape in your interactions with the show and with other fans.  This is not to say that Ricky should be everyone’s favourite character or that you can’t dislike him, but it is important to think about why we have the preferences that we do.  I especially urge you to remember that Ricky Matsui is a Japanese-American character, that this was a deliberate choice which has been repeatedly brought up by Zac (who is a Japanese-American actor), and that you cannot and should not ignore Ricky’s heritage when you think and talk about him. 

(And if you think Ricky is being an “asshole” to Cody just for being, frankly, mildly perturbed in his direction because Cody spent most of the season so far being very offensive to Ricky’s cultural heritage, I really encourage you to think critically about your opinions and why you hold them.  And if, after thinking critically, you still don’t see why they’re wrong, please don’t let the door hit you on the way out.  Your conscious racism is not something that is welcome in this fandom, and Asian fans are not here to teach you better)

((White and non-Asian people can and should reblog this, but don’t clown around.  Productive, respectful discussion is welcome.  Asian fans are more than welcome to add their perspectives/agree/disagree, especially people with Japanese heritage))

[thyandrawrites]

Hello, there! Hope you're doing well.

I wanna know your opinion regarding the characteristics and personality of quirkless AU! Touya Todoroki in fanfics. I mean, I've read quite a number of MHA quirkless AU fanfics and each and every one of them showcases Touya as the failure, the black sheep of the family, the college dropout, the careless, and callous one among of the Todoroki siblings. I get that it's probably the headcanon of the writers and I respect their thoughts but isn't it a bit too much? The way the writers are portraying Touya in the AU fanfics... isn't it wrong? Cause in the canon MHA universe, Touya/Dabi is a very careful and cautious person, someone who really works hard so he could reach the highest rank, extremely smart (smarter than the rest of his siblings), definitely wouldn't have become the black sheep of the family if Endeavor wasn't an abusive asshole. To me, I think, Touya is someone who always wants to become the best in everything like Endeavor, wants to be the No.1 in everything, someone who never backs away from any challenge and difficulties threw at him. If things went right, Touya would've become the golden child among the Todoroki siblings in the canon universe.

I like the writings of the other writers don't get me wrong, but every time the way they portray Touya in the AU verse is getting really tiring to me.

What do you think about it?

Hey there! I'm doing fine. Hope that you are too

Before I get into my answer, I want to clarify something. There is no "right" or "wrong" way to write fanfic, particularly when it comes to characterization. Of course there are aspects of it that can be closer or more far off to canon, but fanfic is just... fan fic. It's the work of a random fan, not a divergence from canon written by the author of the series. Please keep that in mind when discussing it online. It's okay to have preferences! I'm super picky with how I like my Dabi characterization, for example, after all the hours I spent into writing meta about him. But ff is a work of love, and it's not written to cater to the public's tastes, to align with the main story perfectly. It's the version of canon that the author wanted to personalize and expand on, and it's meant to be read as their interpretation, and thus respected as such. The best thing to do when you find a squick is to click out of that work! Nice and easy

Ok, I just had to take that out of the way bc I'm a fanfic writer myself and I know I would feel horrible about my writing if I ever came across a take that brushed off my stories like that Now on to the actual reply

I think the popularity of that fanon concept can be traced back to two things:

1. In a quirkless AU, authors need something to translate Enji's dismissal of Touya into. Since they don't have quirk meta as a viable option, they'd need other options. When people think of common reasons why their parents would be disappointed in their kids, the things you listed would probably be the first ones to come to mind. Being a college dropout or a black-sheep in a traditionalist families are all easy ways to translate the Todofam conflict into a different universe.

of course, AUs are such that you can alter elements of a character's backstory and play with the results. So you could write an AU where Endvr is less abusive, or one where the neglect didn't turn Touya into the emotionally unstable person he is in the manga. But again, fanfic is something extremely personal. A lot of people don't write it just to see two characters kissing, but to explore themes that are dear to them as well. Sometimes authors just prefer to explore the negative sides of a character, and yes, sometimes even amplify them and exaggerate them to tell a certain kind of story. If you go in with the expectation that characterization or worldbuilding will be a monolith shared by all fans, I'm afraid you'll always be disappointed. People write what they know best or what they want to read.

That said, here comes point two

2. Keep in mind that not all fans are caught up on the manga. I know a lot of writers who are anime-onlys, even more who read spoilers occasionally, and several who are caught up but skipped entire arcs cause they weren't their cup of tea.

The revelation that Touya actually enjoyed the training and saw it as his opportunity to show off to his father is fairly new. You might think that since it happened a year ago, people are caught up on it, but that isn't necessarily the case.

Adding to that, even those writers who are caught up on the manga might not want to stick close to canon for personal reasons. Sometimes people will just stick to their old headcanons even after the manga proved them incorrect, and that's valid.

anyway, I realize that this very long-winded defense of fanfic is not what you meant to discuss with me. Did you mean to ask me if I think that Dabi is callous, inherently set up for failure no matter what? mmh. My answer is "it depends". Dabi is not normally cruel for no reason, but he can be surprisingly callous when you touch certain buttons. Same with the "failure" argument. He could make it big, he does have his assets, but that depends entirely on what circumstances you write him in.

At the end of the day, I think it's all a matter of interpretation. What story are you interested in writing, one where you explore his hurt for the abuse he faced, or one where he gets to have the life his canon self missed? Where do you think he draws the line between apathy and excessive violence? I have a fairly solid idea of what his sore spots are, but people will disagree and that's fine. For example, a lot of people seem to think he doesn't give a shit about the League, but I don't. Some think he has no respect for Shigaraki, and I don't. Some people write him as a selfish lover, and I don't. I could of course write meta that defends my points, but I'm not Horikoshi, so my opinion is just that, an opinion :')

Sorry about the not-answer! I just don't like to publicly brush off fanwork that is not meant for me, is all

[bigskydreaming]

Do you ever feel like you're pushing a boulder up a hill defending characters against the same whole-hearted misinformation that keeps getting repeated again & again as if it's canon? I tried 4 times in a chat thread where people kept insisting that Dick Grayson and even the Teen Titans were jerks to Jason Todd when he was Robin. I don't know how you do it. No matter what you say, it just keeps going. No canon is ever enough. Why are some fans so set on the idea that everyone ostracized Jason?

Ooof yeah, that’s a whole barrel of annoying. The big gripe for me, in both my major fandoms, is that so much of the misinformation comes paired with this contradictory insistence on how much people don’t give a fuck about canon.....even while willfully trying to reinvent canon to say what they want it to say, in order to back up their version of events or take on various characters!

Its like, if you don’t give a fuck about canon, THEN DON’T GIVE A FUCK ABOUT CANON. Don’t TELL me you don’t give a fuck about canon, and then GO OFF on how canon does all these things that canon most definitely does not do, thereby casting MUCH MUCH doubt upon your claims of not giving a fuck about canon, and suggesting that in fact, you do give quite a bit of fucks about canon, actually.

Y’know?

fahsklfhalfhkafl

But honestly, I’m not the person to give advice on this front because oof, I make bad choices here. LOLOLOL, no but for real, I can’t really tell you how to just deal with this because I’m like, I do not have mastery of that skillset myself. I have however long since exhausted myself of any illusions about CHANGING the minds of people who are particularly insistent upon things that never happened informing their particular view of characters, because like.....the reality is, people who come into fandoms emotionally invested in views of characters that they derived from other fics or fanons, like......it doesn’t matter that those things aren’t canon, what matters is their emotional investment in this particular fandom is entirely bound up in those particular views no matter WHERE they originated from, and so most of them aren’t changing their minds any time soon because they don’t WANT another viewpoint, their original one is the reason they’re here and invested in the first place. 

BUT at the same time, everybody wants to feel validated in their viewpoints, so the more that viewpoint is challenged by people being like uh no, here’s a thing that says you’re wrong, look, its here, its clear, the facts say shhhhhh the marketing campaign for all the Hateorade you’ve drunk about this character is based entirely on The Sky Is Green If We Say It Is logic.....the more people are like, determined to prove they’re right, even if their own personal conviction ORIGINALLY was not dependent on canon whatsoever and it only retroactively started mattering to them not as a source point for how they view characters but like, rather, a data point for Here’s How I Can Still Win This Argument.

And here’s where being in a comics fandom gets really fucking annoying:

Because there are so damn many comics.

And like, a lot of people in comics fandoms don’t even read the comics, and say so - and I mean, this is fine? If you’re here for the characters you don’t need to be here for the comics, so if you don’t actually like comics, like don’t read the comics, just read fic. Its whatever. BUT the bigger issue in my experience is like.....people arguing about comics canon even when they haven’t read the comics, like....often project onto everyone they’re arguing with, like, their own stance on comics.

What I mean by that is a lot of the people arguing about comics canon even when they proudly haven’t read a comic in their life because there are so many where would they even start and also, eww, I’m not doing all that.....like....there’s this presumption evident in a lot of arguments that the same holds true for everyone else in comics fandoms.....that none of the rest of us have read all those comics either, because how could anyone? There’s so many of them!

Forgetting of course, that many of us come into these fandoms from entirely different trajectories. If you come into a comics fandom because of fanfics, or a cartoon adaptation, or the movies.....upon your first day in fandom, when you look at all the comics canon that’s out there, you’re like holy shit that’s a lot, nobody could ever read all that, I’m certainly not going to read all that, I’m going back to fics.

BUT for those of us who came into these fandoms from the direction of reading the comics......our perspective was entirely different, because it was never some singular monolithic VASTNESS of unread comics that nobody could ever tackle because where would we even begin. For those of us who were reading comics for years or most of our lives......its been a handful of issues a month, month after month, year after year, rather than all in one sitting.

So the point of conflict becomes the presumption from a lot of fans who AREN’T here because of the comics, that comic book canon is this untapped cornucopia of potential validation, Schrodinger’s Canon, it can be basically whatever they want it to be, because who’s to say it ISN’T? If they can’t read all of that, nobody can read all of that, so when you think about it, its entirely plausible that the thing they insist happened in canon actually DID happen in canon, SOMEWHERE in all of that.....because just because they don’t know where it is and can’t point to it as explicitly existing, doesn’t mean it doesn’t exist either. Who’s to say, really?

Well. Umm. People who in fact actually HAVE read all or most of the RELEVANT comics. Like yeah nobody’s read every comic ever I bet, lolol, but for lifelong DC readers, canon ISN’T this vast uncharted territory that can potentially contain everything.....its actually quite charted, and there are people who absolutely do know what it does and does not contain.

And this I think is at the heart of the insistence on particular points of argument, like Jason was always perpetually mistreated and Dick and the Titans hated him on sight and that’s why the Knights of the Order of Protection for the Smol Jason Bean hate Dick, because he was a giant jerkface to a little kid who never did anything to him ever. Like it doesn’t matter how much we point out that no, this did not in fact happen and is untrue, COMPLETELY, like.....people who came into fandom because of fics about Jason in which the entire perspective upon his character is uniformly, with virtually no exception, that he was scapegoated by Dick from Day One and he and Dick will always be eternally at odds because of the remnants of what a jerk and failure of a brother Dick was to him at first.......like, I feel like there’s this conviction lying underneath all those arguments, no matter how much canon they’re presented with, that there still exists out there SOMEWHERE, some untapped treasure trove of panels proving what a buttface Dick was to his first little brother, validating everything they’ve ever believed and thought ever, because look all those depictions of Dick being a giant assbutt to Jason in fics had to come from SOMEWHERE after all, didn’t they?

Well, yeah. They did come from somewhere. They came from the writers who wrote those fics that way because they either just hated Dick’s character or they were working through their own sibling angst and projected certain dynamics onto the characters or someone told them this is what things were like in the comics and they didn’t know any different or just didn’t care or a hundred million other possible reasons for why they wrote them that way with none of those reasons being Cuz Canon Said So.....and then those particular depictions caught on and multiplied fruitfully like the offspring of rabbits doing it sans contraceptives.

Because its not like “perpetual black sheep of the family so unfairly hated, so misunderstood, especially by the family’s favored son, the golden boy” is a fan favorite trope on its own, regardless of whether or not the characters said trope is applied to actually FIT that trope.

So in the end, the painful irony was not only did canon have nothing to do with that trend, canon COULD do nothing about that trend, because the reasons people turned to it, despite how often canon gets brought into it....really had nothing to do with canon.

So tbh, my personal stance these days is the best defense to fic-borne and originating views of the characters and their dynamics is NOT canon, its....more fic. Fic that presents a counter-narrative to the ones that are so often the first thing people see when they enter fandom, and thus become engrained as Truth. So that there’s at least more variety out there, because where there’s variety, there’s varied points of view, and the more people internalize THAT, that there are variations to be found in how these characters relate to each other and their shared histories......the more people have to make a CHOICE about what variations they most want to adhere to, from among the OPTIONS they’re presented with, instead of just doubling down on the first thing that clicks for them, no opposition in sight.

And if these counter “Dick’s just the worst like what an uber asshole gonna give a five star rating for Sucking At Life to that guy” fics happen to be inspired largely by canon rather than fanon like....oh no, how strange and unknowable, that’s not the Process, we’re doing it wrong but hey whatever.

But does that mean its not still frustrating as hell to see people just parroting the Dick and the Titans were mean to Jason truism as fact, especially when you know damn well its not? Hell no. That’s annoying as fuck. But don’t worry so much about trying to change peoples’ minds, I say, and instead just find people who ARE open to canon or familiar with it, and just have a good rant. Its fun!

 Here, I’ll start:

UGH AND ANOTHER THING ABOUT THIS WHOLE “DICK WAS SUCH A JERK TO JASON AND THE TITANS ALL FOLLOWED HIS LEAD” CRAPOLA SUMMER SALES EVENT:

Where would that even have happened???

Like what really chuffs my chopped onions here is when people are so suuuuuuuure that the gatekeepers of comic book fandom are keeping the real juicy anti-Dick panels hidden every time they ask “Hey Siri show me proof Dick’s a jerkmonster to Jason”....because like...they’re just SO SURE these panels are out there and its like lololol but where would they even come from? 

Because everybody overlooks that in proper Dickens fashion, pre-Flashpoint Jason was a Tale of Two Jasons, the pre-Crisis adorable child of sunshine and whee, and the post-Crisis I have smoker’s lung at age twelve Jason......and these two Jasons can and do and are MEANT to co-exist within the same body! They’re the same Jason, in hindsight!

See, post-Crisis Jason only existed for like, less than TWO YEARS real world time, before A Death in the Family! People have this assumption that because of how rock-solid the post-Crisis origin for him is and how solidly that’s informed his characterization and stories moving forward, like.....there was this HUGE foundation for it back in the day that was built upon.....but no! We’re talking like, less than twenty four issues IN TOTAL. Post-Crisis Jason was a drop in the bucket compared to pre-Crisis Jason.

So why then, is post-Crisis Jason so much more firmly cemented in peoples’ minds than pre-Crisis Jason even though pre-Crisis Jason had way more material written about him?

Because for once in DC’s existence, they were SMART about a retcon. They didn’t TRY to pit post-Crisis Jason versus pre-Crisis Jason and make people pick between them. Post-Crisis Jason wasn’t an attempt at overwriting pre-Crisis Jason and making it so he never existed. Instead, what they did with their limited amount of time writing post-Crisis Jason was overwrite only two stories specifically: his actual pre-Crisis origin, and how he and Dick first met....and then they let everything else from pre-Crisis stay! It just got folded IN BETWEEN Jason’s new post-Crisis origin and everything that came after that, thanks to some handy non-linear storytelling and flashbacks.

So rather than Jason having two entirely separate storylines and directions, they still kept him at just one....and his post-Crisis origin and A Death in the Family became BOOKENDS surrounding not just the twenty issues in between those two stories......but ALSO surrounding ALL the pre-Crisis issues featuring Jason.....including the times he interacted with Dick and the Titans.

And that’s why there’s no untapped treasure trove of potentially vilifying issues showcasing Dick being such a can of Jerkola to Jason.......

Because post-Crisis only amounted to a grand total of like twenty something issues.....in which Jason interacted with Dick once and only once....the issue which ends with Dick giving Jason his blessing as Robin, his costume, and his phone number to call him if he ever has any problems with Bruce.

But simultaneously, because all those pre-Crisis issues still existed, were still relevant, were still in continuity (as evidenced by Jason himself when he came back as the Red Hood and fought Tim at Titans Tower, referencing how he was briefly a Titan himself.......aka those issues in which he teamed up with the Titans, which ONLY happened before his new origin)....we similarly know that it wasn’t like Dick and Jason never had any contact after their first post-Crisis encounter....we just never saw Jason use that phone number on the page AFTER that issue (because again, there was no time before he was killed off in the comics TO engineer another on the page meet-up, like both characters were busy in unrelated stories in the course of the mere year between that issue and ADITF). BUT by the power of retcon, we do know that Jason still must have used it at some point, or else Dick reached out to him again at some later point off the page......because Dick and Jason’s easy familiarity with each other pre-Crisis STILL EXISTED AS WELL. They had a sibling relationship post-Crisis because they had a sibling relationship pre-Crisis...AND IT WAS THE SAME RELATIONSHIP.

And this is Part Two of why no untapped treasure trove of Jerk Dick and Poor Jason panels exists......because other than that one post-Crisis issue, all their other interactions hail from the pre-Crisis era....where Dick adored Jason and so did the rest of the Titans.

Jason wasn’t resentful of the Titans or scared of them or nursing grudges, he thought getting to hang out with his big brother’s friends WAS THE COOLEST FUCKING THING IN THE WORLD and you could practically see him bouncing on the page the times it happened. He glowed when Dick would ruffle his hair playfully or compliment him, and the Titans’ collective energy towards Jason was very much OH OUR FRIEND’S BABY BRO IS THE MOST ADORABLE SMALL CHILD EVER AND WE WILL PROTECT HIM WITH OUR LIVES.

Like people WILLFULLY misconstrue this one issue where Jason teamed up with the Original Titans other than Dick for a mission against Cheshire, and claim like “oh see, this is the proof that the Titans were mean to Jason because of Dick, they kept giving him shit for not being Dick and hated him for replacing Dick....” which omg noooooooooooo, that is so odiously NOT what happened in that issue. First off, NOBODY blamed Jason for replacing Dick back then, because at the time those issues were written, he DIDN’T....this was when Dick had given Robin to Jason himself, when choosing to move on as Nightwing. And even RETROACTIVELY looking at this issue in light of the retcon where Dick was fired as Robin, this STILL changes nothing about Dick and Jason’s dynamic at this particular time or how the rest of the Titans would have viewed Jason as of this issue.....because that’s where the post-Crisis issue specifically writing Dick and Jason’s new introduction to each other on the page matters so much. As now the ultimate takeaway is even while not making Jason Robin himself, this issue STILL showed Dick giving Jason his blessing.....thus maintaining and stabilizing every pre-Crisis interaction between Jason and the Titans and ensuring that this whole “they resented him on Dick’s behalf” scenario wouldn’t throw any retroactive curveballs into how they were with Jason...because now there still was no need for anything on Dick’s behalf, as far as Jason was concerned, because Dick had given his A-Ok.

So that just flat out never happened, not originally, pre-Crisis, and not even in hindsight after the post-Crisis retcons were factored in, because the HOW of the post-Crisis retcons specifically factored in an avoidance of this potential tangle.

And in fact, what DID happen in the arc where Jason teamed up with the Titans without Dick, to go up against Cheshire.......is that Donna, who was in charge of the team at the time, kept trying to defer to Jason-as-Robin, because subconsciously she was insecure about her leadership at the time and having a Robin at her side was making her think of when Dick had been in that role, and simultaneously been their leader, and thus she was trying to lean into the familiar comforts of being able to turn to a Robin for direction.

And Jason CALLED HER OUT ON THIS. Politely. And cutely. No for real it was adorable. But like, he did it with poise and self-confidence and deliberation, and SHE HEARD HIM. She snapped out of it. Jason laid out exactly what she was doing and why and Donna was like oh shit, you’re right, I HAVE been doing that. And Jason was like, and that’s not fair to me. And Donna was like no, you’re absolutely right, that isn’t fair to you, I’m sorry. And Jason’s like, I can’t be the leader here, I don’t have the experience that Dick does. But you do, and you can be the leader. And Donna was like. You’re three for three kiddo, damn you’re good at this.

AND THEN THEY WENT AND KICKED BAD GUY ASS TOGETHER AND EVERYTHING WAS HUNKY-DORY BECAUSE THE POINT OF THAT ENTIRE PLOT WAS NOT “EVERYONE IS MEAN TO POOR JASON BECAUSE DICK MADE A CONSPIRACY OF MEANNESS” IT WAS “JASON’S A KICK-ASS LITTLE GO-GETTER WHO KNOWS HIS STRENGTHS AND HIS STRENGTH IS TELLING PEOPLE WHEN THEY’RE BEING DUMB AND THEY NEED TO STOP THAT.”

Okay, one caveat here. I must confess, its killing me....there is ONE Titan who was a jerk to Jason.

But uh....that Titan was Hank Hall aka Hawk. And he’s a jerk to everybody. Its kinda his superpower.

And he most certainly didn’t do it on Dick’s behalf, as Hank hates Dick and Dick hates Hank asfhilfhalfhalf. Seriously, they’re basically the hateship that ppl keep trying to make Dick and Jason into, only without the incest makes it spicy or whatever element, but like, if you’re not hung up on that and can ship people without them being related, oh no, oh woe, oh say it ain’t so, like, DickHank is the unsung hateship of dreaaaaaaaaaaams. They’re like:

Hank: As it is a day ending in y, I feel now is the perfect time to let you know, without prompting, that I hate your guts because people like you. And I hate people and everything they like, on account of people are the worst.

Dick: Well, you’re people, and you’re the worst, so that tracks.

Hank: So we’re agreed. I hate you. You hate me.....

Dick: Our hate is so in harmony.

Donna: What is even happening here and do I want to know.

Roy: In reverse order, no, probably not, and I’m not sure, but I THINK they’re getting hate married, and exchanging vows to hate each other in sickness and in health, forever and ever.

Wally: *skidding around corner* I CALL BEST MAN.

Donna: Its not a real wedding Wally.

Roy: Idk they seem pretty serious about it. Which means the best man position should be valid here, which means it should be me, because suck it West, only way you’ll ever be Dick’s best man is over my dead body.

Wally: Get ready to throw down then, Robin Hood, and just call me the Sheriff of Notachanceinhell, that best man position is MINE.

Garth: Whoa, hold up, I have an agreement IN WRITING from when we were THIRTEEN for Dick and I to be each other’s best men at our weddings, so I’m gonna need you both to stand down, I LITERALLY CALLED DIBS. Look. ITS IN WRITING.

Donna: Oh for fuck’s sake, you collective pluralization of buffoons, STOP TREATING THIS AS A REAL THING. ITS NOT A REAL THING.

Dick, eyes dead-locked on Hank: Oh this is real Donna. This is happening.

Hank, stepping forward, eyes equally locked: I have never been more serious about anything in my life. 

Lilith: Sure, you’ve only both saved the world but hey why should that matter. This is definitely the real shit.

Hank: Please. I only did that to prove I could do it better than Dick could. I hate the world.

Dick: Aww, and did you cry yourself to sleep when that flopped?

Hank: Wouldn’t know. It didn’t happen.

Donna: I swear by every god on Mt. Olympus, the first one of you to say I know you are but what am I is getting flung into orbit.

Anyway. I might have gotten distracted somewhere in there. What was your question again and did I answer it? I think I did....fahlkfhaklfhalhfa.

[doomedandstoned]

Prog-Doom Trio APE VERMIN Blast New EP, 'Arctic Noise’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Steven Yoyada

One of the most impressive release years on record was 2018, when all the big dogs of doom dropped new albums. It was a tough year for a fledgling band to make its big splash, but somehow APE VERMIN made us all turn around and take notice, birthing a massive full-length debut 'Sonic Monolith' (2018) -- still a favorite among doomers. Now, we herald the return of the North Carolina heavyweights with an extended play record, 'Arctic Noise' (2021).

Having already crossed the 2-3 year threshold that seems to either make or break many a promising band, Ape Vermin seem here to stay as they near a half-decade together. Originating in 2017, Brett Lee (guitar, vox), William Deal (bass), and Charlie Burleson (drums) dub their style progressive doom. Through firmly grounded to the storied tradition of deep, reverberating doom, these guys are explorers who like ancient man simply are searching for new horizons.

“Our records are stepping stones for us,” frontman Brett Lee states. “We put our heart and soul into them and where Sonic Monolith had a very drone-type feel with an avalanche of groove, this new EP is a little more over the edge, and more melodic at times. We wanted this EP to represent the celebration of echo, death, and rebirth.”

Based in the small town of Valdese with barely 5,000 souls to speak of and nestled near the Catawba River 'neath the looming mountains, Ape Vermin have developed a club weilding style that's also surprisingly spiritual. Their bio depicts their artful style as comp[ose of "juddering riffs, thundering drums and otherworldly concepts that underpin the sheer mania of their music, along with hypnotic riffs and nimble fretwork" which gives"genuine virtuosity to the sonic vistas they create." That, my beloved Doomers & Stoners, I can firmly endorse.

And now to the record before us. We first encounter on Arctic Noise a song called "Megaliths Of Echo." Warping pedal effects and feedback are interrupted by a declamatory guitar lead accented by bass and drums, establishing our main theme. If you listen carefully, a story is being told in the music alone. Chugging riffage erupts with a stampede of rhythm bringing us caveman-like grunting, "Arctic Drone! Asteroid Explode! Shadow! Behold! Echo! Unfold! Astral Fate, Colossus Awake!"

Something momentus has happened, and suddenly the mood shifts down to a Cathedralesque riff that reminds me of that chilling moment on "Tower of Silence" when Lee Dorian announced, "The circle of time has stopped...sun no longer shines." And we're but five minutes into this gigantic near 17 minute slab of ice core.

Fire in the arctic! To celebrate this guilt. We've been surrounded, By the ice! We've killed the martyr, to set free this realm. We've been surrounded, By the ice!

Fire in the arctic! We've been surrounded! We've killed the martyr! The stone has fallen!

It's clear that someone's doom has come. For a moment, you can see it in your mind's eye, perhaps a churning in the gut, as the Neanderthal DNA still abiding inside has a sudden flashback to this momentous day in prehistory. What is happening? No one knows. Confusion abounds. All one can do is stand, watch in awe, and contemplate their fate.

We fade in the end, You've been holding the earth, We've been mining the sun, You will fade in the end.

I talked last night to frontman Brett Lee, who shared: "These songs were written during an intense emotional period." You can see the lyrics both describing some long ago fantastic calamity and also doubling as a metaphor for the bewilderment that comes with change and uncertainty, which all of us know far too well in recent days due to pandemic pandemonium.

Open the door, To find reason to kill, Locked up inside, For 10,000 years.

Something is encased in ice, and thawing. An ancient spirit lies within with the raw instinct for survival. It grabs us in our weakest moments and shouts, "Live, god damn, you, live!" The emotion laden writhing of the axeman seems to stir up such sentiment as I listen. Then a reminder of my own mortality.

We fade in the end, We echo.

We have such a short time to live. Our time is now. Let's attack it with the same uncouth gusto of our forebears, who struggled to survive in the ice and snow. The words of Led Zeppelin's "Immigrant Song" comes to mind in these closing minutes:

We come from the land of the ice and snow From the midnight sun where the hot springs flow The hammer of the gods Will drive our ships to new lands To fight the horde, sing and cry Valhalla, I am coming

Ancient Ruin takes the stage next, with a Near Eastern sounding motif with an attractive hook accompanied by tribal beat and voices singing in Forming The Void like harmony, "Orion." Following this is a vicious drum dominant slog and once again, we hear from our gruff caveman, who exclaims:

Fading out, Cosmic temple Riding out of this hell fear thy brother, meet thy maker Feel the darkness in my soul.

It's clear a religious ritual of some sort is underway, perhaps in response to the inexplicable disaster of the opening number.

We finish our adventure with the namesake track, Arctic Noise, which could very well serve as a Part B to the previous song. The riffage here seems more curious and wandering. A tale is told 'round a cave sheltered camp fire as cold, vicious winds blow about.

Arctic samurai, Astral vision May the arc of life BURN! Ancient avalanche echo All hail noise

I am the wretch I am the fiend Out of the void and in the machine I am the failure I am the one Out of the rapture and into the sun.

A searing solo breaks through that reminded me of one we'd hear on the first High on Fire record, only it begins feeling kind of wobbly and wounded, as if in pain. It quickly becomes seized by adrenaline and expresses itself in a confident, warm-blooded tone. I haven't said enough good things about the drumming so far, but it really shines in the second half of this song, and of course William Deal's basswork is as hearty as ever. The song ends on a cliffhanger, as if to say: "To be continued."

"I leave a lot of imagination in the lyrics," Brett told me, but dispels any notion that this is thematically linked to their debut LP, 'Sonic Monolith' (2021). He ended our conversation with an intriguing footnote: "Although deep in the lyrics in the debut album and also this E.P may you unlock what is to come next!"

Next did you say? That's something to look forward to, for damn sure! What better time than now to become a fan of Ape Vermin and revel in their dirty, gritty doom and fuzz-loaded stoner vibe!

I would be remiss were I to compliment the extraordinary album art by Steven Yoyada (who also penned the remarkable cover for our recent Doomed & Stoned in Denver compilation). Gaze upon this moment frozen in fantasy and you'll discover that it, too, has captured something of the record's soul.

Arctic Noise by Ape Vermin will be officially see the light of day on May 7th via Koloss Records (pre-order here). Fans of Conan, High on Fire, and Mastodon are you listening? Good, because Doomed & Stoned is rocking this mother in its entirety today.

Give ear...

Arctic Noise by APE VERMIN

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[alistonjdrake]

Adapting Historical Fashion for the Fantasy Eye

I’m back. Why? Because we’ve seen a resurgence of people talking about corsets and whether they were the death traps some would like you to believe (they weren’t and we’re not here to discuss that but I beg you to do some research), people not knowing that there is a vibrant and active historical fashion community who either engage in history bounding (dressing up in period accurate clothing) or add elements of it to their daily lives, and just as always people not knowing the difference between stays and corsets. 

But, June, you say. You’re a fantasy writer. What does historically accurate clothing have to do with anything? Historical accuracy is for losers. And to that I say, you are correct. But if you’re using something that has a heavy historical context (like clothing, technology, etc) you might as well know a thing or two about the subject before looking a fool. If only because readers like me notice the small things and cry OR because the aesthetics are cool but knowing where they come from and how they can be changed to fit your world is even cooler. 

Fashion defines a society. Fashion defines a culture. What garments are important? What garments are the same among the upper and lower class? Do their roles as garments change depending on class? (ex: stays were often wore “out” for working class women while upper class women would see them strictly as undergarments) How do fashion trends define the eras? It’s not hard to notice that throughout history nearly every decade as a definite silhouette. It’s not hard to tell the difference from a regency era gown from an early Victorian gown to a late Victorian one. They all look vastly different. 

I’m not asking anyone to know the ins and out of historical clothing but it doesn’t hurt to read up on it or look at some existing examples. To know the anatomy and construction of what would make a complete outfit (or to read about what people might wear for a given situation if no artwork or garment exists). It all feeds into how your characters hold themselves, how they might be able to move. It’s not so much that people were just “Shaped Differently” back then. Their clothes were constructed with a certain poise or look in mind. And y’know. I just want to stop seeing modern underwear in fantasy underneath historical clothing while we all pretend the undergarments don’t contribute greatly to the finished overall look. 

But again, you’re right. We’re not writing historical fiction here. We don’t need to have every mention of clothing in our fantasy novels be completely in line with the point in time we might be basing our setting off of. This is about adaptation. 

Adapting Historical Fashion for Non-Historical Purposes. 

I’ve said it a bunch by now I’m sure. My books take place in a world based off the late 18th century. Why? I dig it. As such, when I first started putting together the aesthetics of the world that period was also my go to. I know I already did a whole thing on culture and society but really this is more or less just about how fashion can amplify those two things. I mentioned setting and what fabrics might be commonly used or found. And what might make sense to use (lighter, breathy fabrics for hot climates vs thicker fabrics and furs for cold ones) vs ones considered high class and enviable or with trends that might be coming from other countries that have stronger influence. 

When I take real life fashion and shove it into my world (give or take a few changes) I usually ask myself a few things first. 

1. Who controls the fashion trends?

The younger generation, the monarchs, a group of travelers who just look super stellar? Who is the rest of the community following when it comes to the newest look and what elements of it are they trying to steal/adapt? What element is the thing that really catches on? 

Anyone who knows me knows I’m a huge fan of waistcoats and breeches and stockings, tailed coats with flaps (although anyone who reads my book will also know I axed powdered wigs. Because I could.) But to just copy wouldn’t say much about the opulent and flamboyant Escana. To increase the idea of the vanity and the peacock attitude of the younger, partying courtiers I have young men who usually dye their stockings to match their waistcoats (because colored socks > white or black socks) and forgo the coat to show off sleeve details as well as lose some of that “seriousness”. It says a lot about them while still remaining in a circle that gives readers a clue as to where my inspiration came from. 

2. Who disagrees with the fashion trends?

And how does their disagreement influence the perception of certain garments or the people who wear them? Just read one thing about how evil corsets are and how crinolines are literally cages for women and how many of us go around thinking Victorian ladies fainted every time they opened a window and understand these perceptions can be long-lasting and completely change an outsider’s opinion on how people lived. Granted for world-building or story purposes hopefully these will be happening currently instead of being a huge misunderstanding of history.

Over and over again I say things like cultures not being monoliths but neither are generations and there’s nothing that makes a world feel more lived in and full than people who don’t all wear a uniform based vaguely on what the author thinks a medieval gown looked like. It’s just also sometimes nice to get tidbits like a character wearing a scandalous or pricey color just to look good even if they can’t afford it. Is it usually super vital to the plot and story? No. If used sparingly can it be fun background information to how the society your character lives in works or views things? Sure. 

3. Colors and fabrics and spares, oh my

Okay. That’s not a question. But it’s an umbrella for me to put my thoughts under. Because I live in the 21st century I don’t often think about things like dyes or luxury fabrics but this would be front of mind for most of my characters. Not everyone can afford to wear certain colors, or certain colors come with a context that means they shouldn’t be worn for certain situations or for certain people and the same could be said for fabric. We live with these fashion rules now (although I’m not so strict in my memory of them because my current life doesn’t depend on it, but I do write about princes and courts so it’s more important for a courtier to not wear a happy color to a funeral than for me. Or things like no white after labor day).

Hand-me-downs. I grew up wearing them. They were common in history and should be more common in fantasy. If a family was not wealthy they could only afford so much fabric or to follow fashion trends for their eldest. It wouldn’t be unheard of for a family to still be wearing clothes considered “outdated” and it’s not like we all just throw our clothes out when they get old. While a trend might have moved onto a new silhouette or something, someone with less means might still be wearing decades-old clothing that have held up well (these clothes were built to last. Fast fashion could never) or could have chosen not to jump on the trend at all. In my book, the opulent courtiers and royals of Graza Palace dress completely different than some traditionalists who wear garments more native to Escan before it was an empire that are completely different from the suits and 18th century gowns I’ve borrowed. They’re timeless and probably see a lot more turnover from one family member to the next than a gown that could be out of style in a year. 

4. And lastly, making sure I’m not turning it into a costume

This becomes important when taking garments that have a cultural context in the real world and using something similar to it or basing another garment off of it. I would start with this for the purposes of using culture clues to ease someone into what actual culture the fantasy one is taking inspiration from to give them a taste of what certain things might look like without going into full detail but it’s key to then know what makes these garments...these garments so you’re not bastardizing them. Why do people wear them? (especially if a form is still worn in modern times) What are they usually made out of? What are the occasions they are worn for? A respectful nod to something will just add to your world building, a costume rendition with 0 understanding of how certain garments will work will just make it seem like all your characters are in cosplay. 

So in conclusion: No, I’m not advocating you be historically accurate for your already not historically accurate but it pays to look into why your basing clothing off a certain period and what goes into making that piece of clothing...that piece of clothing. Why it looks that way, how someone wearing it would look/hold themselves, and what it means in the context of your setting as well as things you might change and take extra liberties with for the purpose of storytelling. Clothing can add character and it could be just as useful a tool in world building (in my biased opinion) as language given that fashion can have such a huge impact on people but it can also fall flat. 

[anhed-nia]

BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment. 

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

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PS Here, have this stuck in your head for the rest of your life.

[praisetheaxolotl]

I’d like to get your thoughts on this, hope this is okay!

Look at this quote from this article:

“It’s easy to pick on the “this wouldn’t be happening if these characters were coded as male,” but it’s nonetheless true—as a fan of the unrepentantly (gloriously) awful Bill Cipher, among others, I can promise you I see it regularly.”

I immediately thought of this blog when I read this. 

Not saying you’re misogynist, of course. This blog is just so fascinating, and for someone to dismiss it all like that is frustrating. 

I mean, of course they weren’t referring to you directly, but still. 

For someone to brush off people’s interesting, thought-provoking theories as nothing but misogyny is kind of close-minded, in my opinion. 

But this makes me curious. Do you think you’d still feel the same way about Bill if he was more feminine-coded? Would it matter?

And what do you think about that statement? Are you as annoyed by it as I am?

It’s always alright to get my thoughts on certain subjects, Anon! And lucky for you, I have lots of thoughts on this.

First of all, thank you for liking my blog! I put a lot of work into it, and I still look back on everything I’ve done here fondly. This blog is my only fandom-specific blog that’s still semi-active even after I’ve left the fandom. 

And, about what you said about misogyny... I don’t actually think that’s what the article is talking about. It’s not misogyny for someone to pick apart Bill Cipher, but it’s misogyny if someone offers that level of potential depth to a male character while instantly condemning a female character. 

But... honestly, from my experience? These two groups of people are different groups. 

I used to run in those “anti” circles, back in 2015? 2016? Before the whole “SU criti/cal” thing started to become popular. But I could still kinda see hints of it? It was back when SU was hailed as THE perfect show, before people knocked it off the pedestal they put it on. 

Anyway. These people hated redemption arcs. They saw Bill as this irredeemable monolith of a character, and any alternate interpretations were met with outright malice. I got called out once for, and I am not joking, headcanoning Bill as an abuse victim. They claimed I was “excusing his actions,” but when I asked to please show a screenshot of where I said that this excused him, they couldn’t. Because I never said that. 

(I ended up publishing the whole headcanon on my main blog, and people loved it. That reception is what pushed me to create this blog.)

I don’t doubt at least some of those people became the type to nitpick SU. So I feel that the same people that nitpick male characters are also the type to nitpick female ones. They’re just nitpickers with a black-and-white sense of morality.

But there are always exceptions to the rule- people who love morally gray male characters but hate morally grey female characters. Yes, some of these motivations may be spurred on by misogyny. But what frustrates me is the initial assumption of malice. I’m not saying the article itself is guilty of this, as it seems to be speaking to a general problem, but more those tumblr posts or tweets trying to “call people out” if they gravitate towards more morally gray male characters than female ones.

Which brings me to my answer to your question: No, I don’t think I would like Bill as much, had he been a woman.

But please let me explain first. 

First, you need to know some facts about me:

I am transmasculine. (Not a trans man- I’m nonbinary.)

I have a personality disorder. I’m not comfortable disclosing which one, but it’s one of the cluster B ones.

I was abused, and my reaction to the abuse was extreme anger and irritability. (Hence the PD.)

Another important fact is that my abuser was a woman. She’s my mother. I had to live with constant emotional abuse, gaslighting, neglect and other forms of malice for my whole life. I’m still not free yet, and I’m turning 20 in a month. (No, literally, exactly one month to the day.)

I was abused my whole life by a vindictive, manipulative shit of a woman, and it made me into a vindictive, manipulative shit of a person. The key difference is that I am actively trying not to be a vindictive, manipulative shit.

When I pick apart asshole male characters, I see myself in them. I do a deep dive into the whys, the hows the whos of why they ended up the way that they did, because it makes me feel liberated. It’s personally liberating to see someone like me, whom everyone sees as a monster, have a backstory that shows that monsters aren’t born, they’re made. It’s liberating to see them try and change, it’s liberating to give them someone to help them change no matter what, it’s liberating to look harder. Because that’s what I wanted. I wanted someone to look at me and see past the violent, angry 15 year old that I was, and actually help me. I wanted someone to see I was a victim, that I didn’t like being the way that I was. I wanted someone to help me and be there for me, even though I was messed up and awful.

(But don’t feel too bad for me- A few years ago I met someone wonderful through this very fandom who was exactly the kind of person I needed. And last November I proposed to him and he said yes!)

When I see a morally grey female character... all I can see is my abuser. I see in them the person that hurt me. I don’t want to look deeper, just as I don’t care about my mother’s long rambles about how shitty her childhood was. Was she also abused? Yes. Do I care? Nope! I don’t feel that same drive to pick apart female characters that act like the male ones I like, because of my trauma.

 And honestly? Just because I gravitate towards male characters more doesn’t make me a misogynist. How I treat actual real life women does. I do examine my behavior to make sure I’m not being misogynistic- in fact, it was worry that I was being misogynistic in my dislike of these characters that made me think hard enough to have such a long answer to your question. 

Maybe someone liking only male characters is an indicator of misogyny. Maybe it isn’t. I’m not shy about talking about what happened to me but people should not have to disclose their traumas in order to be “allowed” to consume fiction in a way some stranger doesn’t like. 

And there actually is a specific subset of morally grey female characters I like: my own OCs. 

I guess it’s the fact that I created them and thus can control how they act? They’re all assholes and I love them so much, but I don’t feel that same aversion as I do with characters that aren’t mine. Because the lack of control I had over my own abusive situation is what fucked me up so hard, but now I do have the control. If I watch a TV show, I don’t have any control over what the characters do, they’re not mine. But I do have control over my OCs.

(Psst- if you wanna see those OCs, I’ve since moved to the Invader Zim fandom, and am working on a HUGE fic series for it. (It’s not published yet- I’m working on it behind the scenes.) Those OCs I’m talking about star heavily. Here’s my blog, if you’re interested. I kinda wanna do some metaposting for that fandom, too, but I’ve no idea where to start. I love the Irkens, though, haha. Anyway if any of you happen to like IZ and have a meta-question for me... the askbox IS open!)

Anyway. This got really long. But misogyny in fandom is a thing, and the article does call it out well. I just get frustrated that people immediately assume malice. The statement does annoy me, but because it does happen if the characters are coded as male, too. I see it all the time. People just tend to either be fans of the morally grey, or... not.

[oliverarditi]

Impossible speech

I have a pet theory. I would like to articulate it eventually through a scholarly monograph, but for the moment it guides my peregrinations through fantasy (and other forms of) fiction, and emerges in partial form in the things I say about it. It is roughly as follows: certain writers in the twentieth-century, predominantly of fantasy fiction, and most notably J.R.R. Tolkien, developed world-building (a discipline which every writer of prose fiction must attend to) into a literary form in its own right. Tolkien, and others including the linguist, role-playing game designer and sometimes novelist M.A.R. Barker, made the secondary world the primary focus of his creative efforts, his life’s work in fact. The two novels he set there were relatively incidental in his mind, although writing the second certainly spurred him to firm up much of the detail and history. The Lord of the Rings is not, to my mind, a good novel – yet it is one of my favourite, and one which I have re-read repeatedly. The affection I have for it, and I think its widespread popularity, are due not to its virtues as a novel, which are rudimentary, but to the breathtakingly coherent and poetic world-building which underpins it, and which continually ruptures the surface of its prose with intimations of a vast, deep history, and with vatic language of epic power. Few other writers have made world-building their primary focus, but some have understood some of Tolkien’s insights. The past is a well, and its deepest waters must be mythic, or their sun-warmed historical surface will be tepid. An individual, even a carefully particularised one (as Tolkien’s characters are not), is a product of their place, and a place is an archive of its past. And most importantly, cultural coherence is a function of linguistic coherence.

Frank Herbert knew all this, as the documentary evidence which he fabricates for his deep future history in Dune demonstrates. Ursula K. Le Guin understands it well, as can be seen in her remarkable Earthsea books for children, in which she both locates magic in the act of naming, and attends carefully to the specific phonological music of her proper nouns. G.R.R. Martin is also very clear on the relationship between a secondary world and the tenor of a narrative, and his A Song of Ice and Fire series presents a deep, well-thought history, and a coherent linguistic milieu from the outset. None of them appear to prioritise world-building over prose-writing, as Tolkien did for many decades, but having seen Martin’s doorstop Fire & Blood arrive in the library last year it was apparent that he has been enjoying that ‘secret vice’ (a term Tolkien used of his language construction, but equally apposite here). One also might speculate as to whether this explains why the fuck The Winds of Winter is taking so long to arrive, but given my interest in world-building I’m not about to begrudge Martin a decision to set aside his present-tense narrative in favour of a work of constructed history.

I’ve not read his much shorter The World of Ice and Fire, which I assumed would be a cash-in of the sort that attends any intellectual property of this general flavour, but having held Fire & Blood in my hands when it arrived as new library stock, and seen that it consists of nothing but chapter after chapter of densely written historical narrative, I thought it would be remiss of me not to find out what happens when this master of long-form adventure fiction turns his attention directly to world-building. Of course this is still story-telling, and much of world-building will always be story-telling, but it’s fairly clear that Martin is a lot more interested in stories than say maps, or languages. In fact, what this seven-hundred and thirty-six page monolith of dynastic struggle amounts to is a plot outline for another dozen series as large as the still incomplete A Song of Ice and Fire.

When Tolkien wrote history, none of which was published before his death, he adopted a mythic voice which was grounded in a deep appreciation of the music of English, and crucially, of its linguistic past. Fire & Blood is written consistently in a voice which is reminiscent of another of the several which Tolkien employs; it can be found throughout The Hobbit and LotR, but is most prominent in the opening chapters of the later book, which are set in the Shire, among the pastoral, allegorically English hobbits. It’s clear that the work is written in the voice of a fictional scholar within Martin’s world of Westeros, and the tone that it adopts, particularly in reported speech, is very similar to the affectionately patronising tone with which Tolkien reports the speech of ordinary hobbits, in their commentary on the events of his narrative. The effect here (it’s pretty irritating in Tolkien) is twee, and jars with the sometimes explicit content, which of course any medieval chronicler would have left out.

In fact there is a fundamental contradiction between Martin’s desire to situate the voice of his text within his world, and his equally obvious intention that we take this text as a definitive and objective account of his world’s history. What interests does his narrator serve? What does he leave out? What does he embellish? Why does he appear to be regarded as reliable, when we are asked to understand him as subject to the same social and political forces as a medieval chronicler, none of whom were ever remotely reliable? He even discusses the relative reliability of his own fictional sources! The convolutions of succession, dynastic struggle, and internecine warfare which Martin describes are an absolutely convincing reproduction of the complexities of medieval European history (give or take a few dragons), but those complexities have been reconstructed by historians from multiple unreliable and politically interested sources. Martin’s decision to put his historical speech in the mouth of a single narrator pitches it straight into the chasm which exists between the singular, indisputable, oral truth of Tolkien’s backstories, and the multiple, debatable, constructed documentary truth of written history.

The impossible subject position of the speech that results could be forgiven as an aspect of the fantastical whimsy which characterises this genre of writing, but Martin’s usual narratives, and indeed his world, are characterised by nothing so much as their grim plausibility (give or take a few dragons). This weakly situated narrative voice, compounded by the lack of a protagonist, decentres the storytelling – without the complex interplay of subjectivities that characterise Martin’s novels the text becomes flat, its functional value (whether that is to edify, to entertain, to inform or whatever) perpetually deferred, until the narrative concludes with the reader none the wiser as to whose story they have just read, or from what position they have received it.

It is undeniably interesting to read a text by a commercial fantasy author that is pure world building. Martin paces his storytelling as carefully as he does elsewhere, and puts in plenty of cliffhangers and ‘Chekhov’s guns’ to keep the reader engaged despite the rather broad scale of the narrative. However, for me, this kind of writing foregrounds literary style in a way that Martin is uninterested in engaging with – it invites the reader to encounter it as the writing, not of its author, but of their constructed world. When Tolkien writes the deep past of his Middle Earth he adopts a backward-looking style which no contemporary writer would regard as being of much literary interest, but it is a burnished and musical mode of textual production which reveals the hand of a master-craftsperson, and which is absolutely plausible as the speech of a denizen of his world. Martin is also a master, but of plotting, not of prose, and his version of Bygonese is a clumsy one. His book will be of great interest to fans of A Song of Ice and Fire and Game of Thrones, and I certainly enjoyed it, but it reads as though it was written to communicate his plot outline to a publisher or show-runner. It is not at all compelling as a metafictional text.

[aviewfromhell]

Metal in 2018

DISCLAIMER- Increasingly, I find these year-end album lists becoming more personal and less critical. This is definitely a list of my personal favorite records from this year, and is not intended to be a critical survey of the artistic merits of various albums falling under the metal banner in 2018. Most of your favorites, and a huge percentage of metal journalism’s consensus “best of” will therefore be absent. There are even things here that probably aren’t “metal,” and definitely something that isn’t (originally) from 2018. So, you caught me. The title is a lie. But then again, it is my list, so I guess I can make the rules.

Immortal – Northern Chaos Gods

Mighty Ravendark returns! When Immortal parted ways with Abbath a few years back, most people assumed the band was essentially done. Shortly thereafter, founder Demonaz picked up his rime-crusted axe of old and announced that not only was the band not done, but that a new album was in the works. Many fans were skeptical, myself among them. How good could a new album without Abbath be?

This year, Demonaz (with the help of longtime drummer Horgh and session bassist/producer extraordinaire Peter Tagtgren) let the deathblow of his mighty axe fall, cleaving the heads of skeptics and doubters alike with the incredible Northern Chaos Gods. How good could this new album be? Better than anyone expected.

Far from sounding out of place, Demonaz's vocals fit the new material perfectly, and his lyrics are spot-on as always.Tagtgren's production is a great fit as well, and I hope the band continues their collaboration with him.While everyone will miss the grandeur of Abbath-led Immortal at their peak, I'm equally excited for this new incarnation of the band. If we keep getting albums of this quality from Demonaz, and Abbath continues releasing killer records utilizing his own trademark Abbath-isms, it may even be better than if the band had stayed together. If I had to pick a single release to be my actual "Album of the Year," this would most likely be it. Northern Chaos Gods has gotten more spins from me than any other 2018 release, and writing about it just makes me want to go listen to it again.

Judas Priest – Firepower

Judas Priest suffer from a rare condition in the metal world. They have so many great records that it's extremely difficult to release something new and relevant that plays to their strengths and isn't doomed to live in the shadows of their monolithic masterpieces. However, with this release, I think they achieved it. Sure, Firepower feels closely related to the untouchable Painkiller in pacing, structure, and overall style. However, Andy Sneap's production really sets this record apart as its own beast, and the combination of classic Priest writing and modern punchy production make Firepower one of the best metal records of 2018.

Aura Noir – Aura Noire

Norway's black thrash masters surface once again with an album that simultaneously feels like both a direct follow-up to their 1996 debut full length Black Thrash Attack, and a fresh new take on their abrasive, in-your-face style. Blasphemer, as usual, provides sickening riffs aplenty, melding different styles and techniques together into his own unmistakable sound. Aggressor and Appolyon deliver their signature, often over-the-top vocals in spades, and Aura Noire presents us with several tracks I'd consider to be new Aura Noir staples in an already impressive roster of black thrashing death anthems. All hail the ugliest band in the world!

High on Fire – Electric Messiah

One of the consistently best bands in American metal unleashed another monster upon us in 2018. Electric Messiah is solid throughout, and I'm as impressed as ever by Matt Pike & co.'s ability to deliver high quality albums like clockwork since their inception nearly two decades ago. Still, vicious album opener "Spewn from the Earth" does make me wish the band would release a record of nothing but high-speed rippers. Maybe one day, but until then I'm perfectly content with the killer mix of doom-drenched thrashy three-piece arcana that High on Fire has honed to perfection.

Sigh – Heir to Despair

Just look at the cover art. It may be the most "Sigh" thing I've ever seen. Mastermind Mirai Kawashima and friends return with the band's 11th full-length album, considered by many to be their best in years.The band's provenance is more evident than ever before; Heir to Despair's lyrics are almost entirely in Japanese, and various flutes, piccolos, and even taishogoto feature prominently. This album also happens to be one of the most "metal" in the band's recent discography, while still being as off-the-wall and unpredictable as fans have come to expect. This avant-garde offering delves deep into themes of madness and insanity, and I dare any listener to sit through the full album and claim they haven't gone a little crazier themselves.

Mayhem – Grand Declaration of War (2018 remix/remaster)

I know, I know. This album is from 2000, not 2018. However, as a Grand Declaration of War connoisseur, I can affirm that this is different enough from the original that it warrants inclusion on any list willing to allow remix/master/makes of any kind.

By most standards, this new version sounds almost objectively better in every way normally employed to determine musical sound quality. The album sounds much more organic and warm, particularly the drums. Everything sits nicely in the mix as well, with each instrument a little easier to pick out and enjoy than on the 2000 original. However, like other Grand Declaration of War enthusiasts have noted, the cold, digital, clinically-dead sound of the original was part of its charm. It added to the overall aural aesthetic and concept of the record. This 2018 version doesn't have that same detached quality, but luckily, we don't have to choose between versions; Mayhem has graced us with both.

I intended to restrict myself to talking only about the new release (since that's the only thing '2018' about the record), but I can't resist a small rant about Grand Declaration of War as a whole. This album was, and remains to be—if slightly less so—very controversial among black metal and Mayhem fans. Lots of fans hate(d) this record. They're wrong. Grand Declaration of War embodies both Mayhem and the spirit of Norwegian black metal perfectly. One of the absolute highlights of my year was being fortunate enough to play a gig with Mayhem, and the highlight of their set, for me, was "Bloodsword and a Colder Sun."

Maggot Heart – Dusk to Dusk

Perhaps my most anticipated album of the year, Dusk to Dusk did not disappoint. Last year's City Girls EP set the stage, and the full-length delivered big time. Maggot Heart is hard to classify, but if you look at the performers and their past bands, the sound won't really surprise you. Linnéa Olsson is writing some of the best riffs in a world where rock and guitar music is increasingly considered dead. Moreover, her vocals really shine on Dusk to Dusk, and I can't wait to see what the future holds for the band. Maggot Heart may be the most irresponsibly overlooked band of 2018.

Deth Crux – Mutant Flesh

This mid-December release is a perfect example of why I try to wait until the last minute to write any kind of year-end list. For me, it took about a listen and a half to know Mutant Flesh belonged here. A ton of vague descriptors could be used, but I'll just go with dark, weird, catchy, and awesome. The band isn't necessarily reinventing the wheel, per se, but they also aren't committing the grave offense of just making a worse version of the records that influenced them. The album is hooky, memorable, and original in the ways that count. The instrumentation and vocals swirl and haunt, coalescing into a driving, addictive blend of gloom and defiance. Sanford Parker's production is a huge plus for the record, and clutch sax contributions from Bruce Lamont seal the deal.

That’s it!

While a few of these records were probably obvious, I hope this list exposes some friends and readers to stuff they otherwise wouldn’t have checked out.

I normally end these with some humorous, often snarky mini-lists, but I'm afraid I'll have to skip that this time around; I'm engaged in listening to mixes of the upcoming unarguably BEST metal album of 2019. But now is not the time nor place for discussing that. . .

[az-valentine]

Entry 1: Pennywise [AU]

July 2nd, 2018 

In light of recent events – the nature of which I refuse to explain to people who simply couldn't understand – I've been inspired to record a few passages for Humanity to eventually stumble upon. Despite what you may know about me, however little that may be, I assure you, there is far more to me than what meets the eye. You probably know me to be an unpredictable, animalistic Eldritch Abomination that comes crawling out of the darkest pits of your worst nightmares – you are correct. However, I'm far more complicated than that. Yes, I eat flesh and feed on Fear, as it's necessary for my survival. I didn't choose to be this way, it's just how I was created to be. 

Outside of that, I'm actually a fan of your classic literature, like Shakespeare, Twain, Poe, and Lovecraft. I also enjoy taking long walks to admire your older European architecture, and your bigger, more lush and diverse botanical gardens. I don't often leave Maine, let alone the Continental United States, but when I do, it's always a treat. My Eldritch Brethren usually don't care much – or at all – about what Humanity has accomplished in its pathetically short time, but I watched your earliest ancestors crawl out of the ancient muds of this planet, and I'm positive I'll watch you all return to the weeds in due time. 

My past is better left being known only by those closest to me, and left up for interpretation to everyone else. That being said, I feel strangely obligated to offer you a word of warning – don't end up like the protagonists of most Lovecraft stories. Don't go digging for information you have no business knowing. What you know, and what you think you know about Fear, hardly even scratches the surface of the unnamable terrors that lie beneath and beyond your fragile mental barriers. The depths of Madness are not meant to be explored by Mortal minds, for they were never designed to be capable of handling the journey. 

Some have tried, and nearly all have ended up a writhing, unintelligible, gibbering mess before their inevitable, horrific deaths. Some have wound up on that Path without even intending to, and fell victim to similar fates. If there's one thing we have in common, it's our tendency to be curious creatures. I definitely understand the desire to learn about the unknown. I cannot stop you from attempting to uncover lost knowledge and hidden truths, and I can't honestly say I care whether or not you listen to me. However, I still feel compelled to advise against it. Like me, though, you'll do what you please, regardless of the risks. 

Moving forward, those of you that know of me know me to be a Shifter, a being that is capable of taking the form of whatever I want. I'm like a Mimic, but far more interesting, and intelligent. I'm also like Nyarlathotep, the Crawling Chaos, except I take no pleasure in gaining legions of followers and spreading Madness. I prefer to be left alone most of the time – to Hunt, eat, sleep, and explore as I choose. Earth isn't the only planet I've been to, but it's definitely one of my favorites. If I wake up during one of my sleep cycles, I'll sometimes take that opportunity to go somewhere new and different, or old and familiar. 

I've seen everything from the bustling cities of Tokyo and Arcturus Prime, to the noxious swamps of Beldron 4, the scorching, temple and monolith-spotted deserts of Alkh'tktuuhl, the ravenous raggle-trees of Nillub, and even the turbulent oceans, black forests, and numerous mountain ranges of an unknown terrestrial behemoth, floating aimlessly through the inky depths of Oblivion. One thing most don't know about me, is that Alkh'tkhtuuhl holds a very special place in my Heart. Those that know the reason why, though, I can count on one hand. 

Unbeknownst to Humanity, Arcturus Prime is still thriving to this day – and if rumors hold true, the Arcturians eventually want to introduce themselves. Don't worry, they're incredibly friendly. In my experiences with them, they're often a little shy, so don't do anything stupid when they get here. You'll need their help if you want your species to survive, thrive, and save the only planet you currently have to live on. They'll slowly work you into the galactic community, and help you learn how to integrate with other people from other planets, as well as how to survive off of your home world. 

Everyone that lives long enough will go through a Great Change at certain points in their lives – this trait is not unique to Humans, or any other Mortal species within the Multiverse, but is present among all sentient Life that has evolved far enough to be capable of experiencing these changes. Even I, the Prince of Fear, have gone through it several times throughout my existence. Indeed, many see me as just a highly intelligent, impossibly powerful beast that's merely good at acting, but I too am a person. 

I am not at liberty to speak of my true origins, or what came before, but I do have quite a few stories I'm allowed to tell. For the sake of brevity – I could write an entire series about my life – I will stick to telling only a few tales that I hold near and dear to my Heart. It's not every day a Mortal gets to learn such personal things about an Eldritch Being, let alone directly from them, so consider this a little gift to Humanity. I still take what I need to sustain myself, but who would I be if I didn't give back every now and then? 

Don't think of me as just a monster – I may be greater than anything a Human could ever hope to become, and I may have needs that cause a conflict of Morality between us, but it doesn't mean we don't share similarities. I don't know why I feel the need to say it, but just like you, I have my weaknesses. I have sore spots, bad memories, times of self-destruction, and an unhealthy relationship with self-hatred. Oh, yes...I can be as vulnerable as the Mortals whose lives I claim. It's not all bad, though. As I stated earlier, some of my guilty pleasures include literature, architecture, and traveling. I also enjoy attending plays, Broadway shows, and operas. At heart, I am an artist, and someone who appreciates the natural beauty to be found spread out across the Universe. 

In fact, for as long as I can remember, I've always taken part in the various cultures' Arts in some way or another. My numerous homes have always had a collection of writings, paintings, and props found in certain visual productions that had struck my fancy. I would occasionally write my own works, such as poetry and prose, plays, and even some music, and then offer it to Yog-Sothoth for his Archives. On top of that, I would often disguise myself as a native of a planet, and audition to play a role in something – not once was I turned down. Who was the best Carmen? Me. The greatest Figaro? Me! 

By now, you must be perfectly aware of the sizeable amount of differences between me, and the Being you've always known me to be. There is an explanation for this, yes, but I struggle to believe that you could fully comprehend what I'm about to describe. If I only lay out the basics for you, there's a good chance you'll be able to follow along. I've made mention of the Multiverse, yes? It's bigger, stranger, more complex, and more terrifying than you may have previously believed it to be. Infinities on top of Infinities, spanning in Infinite directions, through every Dimension, and every conceivable and inconceivable possibility happening all at once, at all possible times. It's a lot to take in, and I urge you not to try and understand it completely. It'll just drive you Insane, like many others before you. 

Back to the point at hand, though...I am not the same Pennywise you've known, as I'm from a different Universe. Who I am, as well as my Past, Present, and Future, have been and always will be completely different from the version of me you're familiar with. I've mastered the Art of Transcending Time and Space, and am able to move freely between Universes. The conditions of my state of existence, though, must remain a closely guarded secret for the time being. Let's just say that I've made promises I can't afford to break, to someone that makes me look tiny, powerless, and insignificant by comparison. 

Perhaps "completely different" was a poor choice of words. If I'm not careful, I'll become the Thing born of your worst nightmares. What's worse? I could get stuck like that, and require another Purification to set me straight. Yes, a Purification...something that all of the Dark and Twisted Souls must be willing to subject themselves to if they wish to enter the Light. Ugh! I shudder to think about going through such a painful experience for a second time. The agony is only temporary, and it melts away into a warm tingle, but it's still horribly unpleasant at first. I won't try to sway you one way or the other, but it was worth it for me. I was fine doing my own thing, and being by myself, but the opportunity was too great to pass up. 

I'd rather not get into the details of the situation, but I regained something I'd lost billions of years ago, only because I chose to go through the process of Great Change. I haven't been happy in billions of years, but I am now, and I'm never giving this up. To be perfectly honest, I only went through this change last October, and so I'm still adjusting to this new Way of Life I've chosen. I may or may not have snacked on a child recently...don't look at me like that, I was starving! And without a long sleep to fall back on anymore, I must feed at least once a week now, depending on the size of the person. 

I wouldn't worry too much if I were you. I've been targeting only the worst of the worst, so as long as you're not a piece of shit person, one worthy of being scared to the point of shitting yourself and then getting eaten alive, you have nothing to Fear from me. Except maybe the occasional scare for my amusement, and to satisfy my need for Fear. 

 July 3rd, 2018 

This entry has already gotten long, and I'm afraid I've run out of Time to tell you a story. Forgive me, I didn't think my introduction would wind up being so long. I'm afraid I have some bad news...I'm set to depart on a series of Hunts for the next three to seven months, and I'm unsure of when I'll be able to continue. This was sprung upon me at the last minute, and I'm in no position to decline this mission. 

Know this, Humanity: I will return, and in no less than excellent health. Chances are, I won't be hungry when I finally make it back. However, don't think for a moment that I won't continue to Hunt the scum of your societies, one by one...both to fulfill my needs for survival, and to make good on my Sacred Oath. 

 Until next Time, 

                  Pennywise 

[stunningvacationtips]

Amazing Monuments in Paris France as Eiffel Tower

Paris is famed throughout the globe for the appeal and also number of its monuments. Eiffel tower is an attractive icon of wonderful monuments of paris, france.

Paris is a city with an excessive record of unexpected visitor destinations, spots and also monuments of france. The vital Paris monoliths are so numerous, awesome, as well as varied when it involves duration and also architectural style. Paris is well known all over the world for the beauty and also number of its monoliths. Eiffel tower is a beautiful icon of fantastic monuments of paris, france. Everyone has listened to of Paris along with its renowned monuments like the Eiffel Tower, yet there is a whole lot even more to this capital of France compared to the apparent, simply by discovering the history that this city is steeped in you can uncover so much a lot more, plus with so many sightseeing attractions, you will certainly never be without somewhere to go as well as sights to find out in Paris.So Obviously, Paris wouldn't be Paris without the Eiffel Tower, the Arc de Triomphe, Notre-Dame, the Sainte Chapelle or the Sacré Coeur but Paris is also a mix of settings and also societies: little roads, squares and also parks that worth to be gone to. Variety of monoliths which currently provide Paris its global identity were met refuse as well as antipathy by indigenous Parisians throughout the time of their building and construction. The Eiffel Tower, which was made to offer as a centerpiece for the Paris Exposition (World's Fair) in 1889, satisfied with strident factionalism amongst a number of the Parisian literati, that created, 'We, the authors, painters, carvers, designers as well as fans of the elegance of Paris, do protest with all our vigour and all our indignation, within the name of French taste and also endangered French art as well as history, against the worthless and monstrous Eiffel Tower.' Browse the assembled checklist of outstanding monuments of paris france below:

Amazing Monolith in Paris, France

Eiffel Tower - An Amazing Monolith in Paris, France

Go readily to see this gorgeous monolith of paris in france. The highest building in Paris as well as a globally identifiable icon of Paris, the Eiffel Tower requirements little introduction. The world-famous metal tower was built for the Paris International Exhibit in 1889 for your centenary of the Reign of terror. It is 320 meters high along with the tower is composed of 15,000 metal parts. It was the tallest building in the globe till the building and construction of the Realm State Building in 1931. An elevator goes to the leading where there is an out of breath take a look at the city. Really in shape site visitors can likewise climb the 700 stairways to the intermediate platform (115 m). While of its commencement, it had been the world's tallest monolith. La Tour Eiffel a Paris - The Eiffel Tower in Paris is a wonderful name of monolith that explains a sight that everybody hopes they are visiting someday. What can Paris be like without the Eiffel Tower? Well, Paris had currently proved its beauty to the globe prior to the tower was even built with many fantastic monuments: the Louvre, the Arc de Triomphe as well as Notre-Dame. The Eiffel Tower, the impressive monolith paris, france surpasses them done in height as well as can be seen from each of these three buildings from a various, fascinating, angle. The iron tower still continues to be one of the most visited monoliths in the whole world.

Construction Background of Eiffel Tower Monument

The structure was developed as the entry arc for your Exposition Universelle, which was a World's Fair marking the centennial celebration of the Reign of terror, utilizing the Eiffel Tower being ushered in on 31 March 1889, as well as opened on 6 May 1889. There were 300 employees who signed up with together 18,038 pieces of puddled iron, which is really an extremely pure kind of structural iron, utilizing two together with a fifty percent million rivets. And also although the potential risk of accident was excellent as a result of its open structure and also only the 2 platforms, due to the fact that Gustave Eiffel took security preventative measures simply one guy passed away. When the Eiffel Tower was developed, it was met with resistance, as the public felt it had been an eyesore, even though Parisians today would certainly not want to be without it, due to the fact that it is commonly related to as a striking piece of structural art! Created in between 1887 and 1889, including the 24m antenna, the Eiffel Tower is 324m high and considers 7,300 heaps, which caused it to be the globes highest structure until 1930 when it was beaten by New York City's Chrysler Building.The tower could sway 6 to 7cm within the wind and because of the thermal development of the metal around the side encountering the sun, based after the ambient temperature, the top of the tower may move far away from the sunlight by as high as 18cm. The Eiffel Tower in Paris is re-painted every 7 years plus it takes about 6 lots of paint to complete it, merely to quit this monument from rusting.

Steps to Visit Eiffel Tower

The Eiffel Tower has some monitoring levels. The first as well as 2nd levels have dining establishments and also souvenir shops, and the 3rd and also highest degree gives an impressive view over Paris. Tickets can be acquired to visit the initial or 2nd degrees by lift, or by climbing the even more than 300 staircases that lead as high as each level. Tickets for your staircase towards the second level expense approximately half just as long as the lift tickets. The 3rd as well as highest degree is available just by elevator.The watching platform on the 3rd floor supplies breathtaking views of the capital. Price: regarding 13 euros per grownup, 9.90 euros for youths (14-24) and 7.50 euros for kids (4 to 11). Reduced rate if you take the steps.

Arc De Triomphe

It is additionally a popular monolith of paris like eiffel tower most visited by large number of people. Famous Napoleon's royal spots the 'Arc de Triomphe' offers a remarkable viewpoint over Paris as well as into its twelve avenues all converging in a star form. The main one being the popular Champs-Elysées Method. Visiting hours is from 10.00 to 5.30 and 9.30 to 6.30 in the summer season. Closed on public holidays. Every person involving Paris is more than a little educated concerning the Arc de Triomphe, the crowning splendor from the Champs Elysées, although few become aware just fairly just how big and also excellent this historical spots actually is.

Pantheon

The Panthéon is actually a neoclassically designed former abbey and interment site for a few of one of the most noteworthy figures in French record, including Victor Hugo, Louis Braille, and also Alexandre Dumas, whose casket was lastly moved to the internet site in 2002. With its location on greater ground, in addition, it offers stupendous sights from the city of Paris. Check out this top popular traveler destination and also amazing monument of paris in france reigion as eiffel tower.

Sainte - Chapelle

This lovely monument brings in the mass having wonderful layout. This traveler destination is most competitive spots and also remarkable monolith of paris as Eiffel Tower. Building of the Sainte-Chapelle began in the actual end of the 1230s and also this royal chapel was consecrated in 1248, being deemed to place among the most essential building work of arts standing within the Western World nowadays. The church was commissioned by King Louis IX in order to house much of his religious treasures, which include the specific crown of thorns believed to have been used by Christ. Site visitors will certainly see a few of the finest instances of 13th-century stained-glass home windows out there, along with numerous fancy sculptures plus some fine Gothic style. Throughout the French Revolution at the end of the 18th century, a lot of the chapel was destroyed and had to be reconstructed, although approximately two-thirds from the home windows are original.

Hotel De Ville

This neo Renaissance structure returning to 1873 was situated around the as soon as Grand Place de Greve. It had been created to replace the previous the one that was worn out below the Commune in 1871. The square made use of to be where happened horrid implementations. Ravaillac, the killer of Henri IV was torn apart alive in 1610. 136 statuaries stand for well-known historic numbers. Its stunning areas are embellished by numerous nineteenth century artists. Team visits only or by appointment.

Notre-Dame

Visit this stunning church as a gorgeous monument of paris like eiffel tower is essential among the people. The cathedral of Notre-Dame-de-Paris is truly a jewel of Gothic architecture as well as arguably among the finest churches in Europe. Created from the Middle-Ages, it truly is renowned to be at the centre phase of "The Hunchback of Notre-Dame", a 19th century unique authored by French author Victor Hugo.Construction on Notre-Dame started in 1163 during the Middle Ages, as well as the cathedral is thought about real heart of Paris. It is amongst the city's (as well as France's) most recognised monoliths. Put up around the Ile de la Cité, magnificent as well as stylish, Notre-Dame has seen over Paris as the city goes concerning its company for almost a thousand years. Being probably the most prominent building works in Paris, this gives consistent innovative inspiration to Parisians.

Sacre Coeur

Montmartre, and particularly the painters as well as cartoonists from your Place du Tertre, attracts several visitors. You can obtain to the basilica with the funicular. Situated in addition to the Butte Montmartre, the Basilica with its magnificent travertine white stone is amongst the primary spots in the Parisian sky. Integrated the Roman-Byzantine design, it really is decorated with 4 domes and a central dome 80 meters high. Its building started in 1875, however it was not consecrated up until completion of the First World Battle. Its belfry hosts 'la Savoyarde', the biggest bell in France. The basilica welcomes explorers from worldwide, that are able to remain at the Ephrem hostel, located nearby.

Palais du Louvre

It is stated that the Louvre is the globe's largest museum. Whether it is true or otherwise, it is one of the most impressive royal residences of Europe.Former home of the Kings of France, the Louvre and its glass pyramid open onto the garden of the Tuileries at the beginning place of the Historic Axis.

Palais Royal

Only the yards are open to the public, yet it deserves walking around the gardens to appreciate the style from the monolith, completed at the end of the 18th century. Social centre of the funding, home from the Kings' favourites and also seat of the management workplaces throughout the Empire, the Royal residence currently houses the Constitutional Council. The gardens and also dishonest betting galleries were dens of innovative anxiety at the end of the 18th century. You could currently discover stylish shops in the galleries.

So browse through the wonderful and also best place to travel for getaways the paris, is rich with history and also society and also is full of lovely monoliths as well as sites!

Know about History of Eiffel Tower, The Impressive Monument of Paris