Latest Steven Universe Episode Changes EVERYTHING

The most recent episode of the Carton Network series Steven Universe, entitled "A Pale Rose" dropped a stunning revelation that affects the entire series' backstory as well as existing relationships in the show.

I'm going to review the reveal, some of the hints that I think were dropped along the way, and what it means about the show's characters AND characterization.

Discussion in this post from here on out will be a gigantic spoiler, so I've put the rest of the post behind a "read more" link. Click below to read the rest of the post.

Mass' Effect: Why Are Fat People Vilified In Video Games?

Description: Screenshot from Silent Hill 2. A fat, white man
with blond hair wearing a backwards baseball cap & striped shirt
points a finger towards the camera, with the subtitle "You've been
laughin' at me all along, haven't you?" displayed at the bottom.

As a fat guy, I've gotten a lot of strangers commenting on my right to exist in public space over the years (and I have it easier than a fat woman or person of color). The way fat people are pilloried as character in the virtual space of video games is pretty gross, too. Producer and essayist Anshuman Iddamsetty looks at the multi-billion dollar entertainment industry that is video gaming contributes to this in "How Video Games Demonize Fat People" for The Outline. Idamsetty's essay goes into a deep dive in speaking with professors, motion-capture actors, game players, game developers and others connected to the industry to take a long look at both the root causes and the effects, intended or otherwise, of demonizing fat bodies.

Here's an excerpt:

if the fear of alienating a player is so great that lazy tropes are somehow safer, this alone doesn’t account for their frequency — if a fat body appears at all.
Sunset Overdrive was released in 2014 by Insomniac Games. Part zombie shooter, part Tony Hawk’s Pro Skater, the Xbox One exclusive boasted a robust customization system that let you be whatever you wanted — except fat. “We wanted to put our time into wild outfits instead of technology to bloat up people or bloat them down,” Sunset Overdrive director Drew Murray told Kotaku. (“Bloat” — what a word to describe my body. )
Later in the piece, a shape emerges. “You have so much other complexity in all the things you can wear, the hair, the animations,” said Insomniac CEO Ted Price. “We had to pick our battles, and that was kind of where we chose to draw the line.”

The essay is a bracing but necessary look at not just the history of video games as technical development, but also as popular entertainment, and how certain story telling and design decisions in video games as a medium seem baked into the process from the beginning. Please, give the whole essay a read.

I'm also interested in hearing from other gamers-- have any of these examples ever made you feel a certain way? Do you have any to add yourself? Sound off in the comments.

Shining Some Light On Solarpunk's Politics

Artwork courtesy of T.X. Watson

If you're a regular reader of this blog, you've probably heard of steampunk. I've also covered steamfunk and silkpunk. There's a cyberpunk off-shoot that started via artist tumblrs and has grown from aesthetic to a speculative near-future with some interesting political underpinnings: solarpunk.
It's been the prompt for at least one game jam, and has an oversize influence in visual domains: There's a seemingly endless scroll of solarpunk pinterest boards, and the concept has worked its way into webcomics and concept art for Black Panther.

Writing for Medium, Andrew Dana Hudson has an in-depth look at the vision behind this speculative future, and the politics behind the genre. An excerpt:

Let me say from the outset: the world of solarpunk is this world. The here, the now and the very soon. Burdened with all that that’s been slung across our backs. While you might set your solarpunk stories in far off futures or fantasy universes (I won’t stop you), great speculative fiction always reflects the fears and aspirations of the time and place it was written. This is what I’m interested in: what solarpunk can tell us about the civilization we have right now, where it’s going and what we’ll be living through.
I’ll also offer up my own ideas about what exactly we should be doing with this strange bloom we’ve found. Solarpunk feels like a cathartic uncorking of a pent up imagination, and that energy can be channeled in different directions. A genre explores ideas through motifs, variations on a theme. A movement provokes change through iterations of strategy and deed. I love the former, but we need the latter.

The entire article is fascinating reading, so I implore you to read the whole thing. Then, once you've done that, have a look at the impressive body of work from the late, great Solarpunk Press, where you can find art, podcasts and fiction that explore the genre.

Listen Up: Wizard Team, A Harry Potter Podcast

#WizardTeam is a podcast that's a spin-off from the blog "Black Girls Nerd Out," where hosts Robyn and Bayana discuss the Harry Potter books, in order, one chapter at a time!

It's updated semi-regularly, so the best way to keep up is via  iOS or soundcloud .

Listen Up is an ongoing series devoted to shining a spotlight on podcasts by diverse creators. You can check out all the podcasts previously featured here. If you have a podcast you'd like to recommend, post it in the comments or email me at shawnstruck at gmail dot com.

Listen Up: Artistic State of Mind

Juliana and Stephen are brother and sister, but don't think the debates they get into are just another form of sibling rivalry. They are both passionate hosts that really give listeners a deeper dive into the world of theater, acting, music and film. In-between the regularly updated podcast, they're both quite involved in the UK music and stage scene and do lots of work on initiatives to celebrate and uplift diverse artists.

They just recently wrapped up Season 2, so now's the perfect time to catch up. You can follow along on the Artistic State of Mind website, on iTunes via iOS or check out the podcast's dedicated soundcloud.

Listen Up is an ongoing series devoted to shining a spotlight on podcasts by diverse creators. You can check out all the podcasts previously featured here. If you have a podcast you'd like to recommend, post it in the comments or email me at shawnstruck at gmail dot com.

Knowledge Check: D&D Unsung Heroes Were These Women

Writing for Kotaku, Cecillia D'Anastasio has a great longform article on how the early history of Dungeons & Dragons and some of the setting's most iconic features were all thanks to the major contributions from many women, and most of the time the women contributed despite the atmosphere surrounding them:

The countless histories documenting Dungeons & Dragons’ 40-year ascent to the cultural mainstream tend to gloss over the women who made the fantasy role-playing game what it is today. The early D&D heroes we hear about are always big-gutted men with gray beards, who in their basements and at conventions in their name, cultivated the younger men who would carve the game’s legacy in their image. But that’s the lore of D&D, not its story. From the earliest days of D&D, women were shaping its look, its narrative, its affect and its fandom.

This may come as a surprise since, in those nascent years, most women around D&D were tolerant wives and mothers. That’s not because D&D didn’t appeal to women; it had simply inherited the deeply masculine culture of its predecessor—wargaming.

It is a great read and talks with many key TSR employees from Dungeons and Dragons' past. Check it out!

Marvel vs. Limits of Diverse Representation

I've written before on the numerous times Marvel comics has tried and failed to grasp just how diversity works. Seriously, just search the marvel tag. However,  the example that sticks out for writer Paige Allen isn't Marvel's continuing mishandling of Captain America. Nor is it Marvel's VP of Sales blaming attempts at diverse casts of superheroes for hurting sales. According to Allen, the most egregious example is the writing of Marvel's Invincible Iron Man. Penned by Brian Michael Bendis, Invincible  that introduced the world to a new Iron Man – a young black teen by the name of Riri Williams. Writing for Geeks of Color, Allen points out that "...some fans were skeptical of Bendis writing the experiences of a young black girl, especially since Marvel had no black women writers on its staff when the series was first announced."

Bendis has also written also wrote about another black teen assuming the mantle of of Marvel franchise powerhouse-- Miles Morales as Spider-Man. Bendis has also talked about the research he's done as an author and the perspective that raising two of his adopted African-American children have given him. Allen points that while Bendis is able to write about the challenges and loss Riri Williams faces as a black girl, his knowledge is reflected in a very narrow focus of the Black experience:

Unfortunately, this knowledge is the overall problem Bendis has in his depiction of Riri Williams. He knows about black pain and the various micro- and macro- aggressions that black people face every day, especially during these particularly fraught times of racial hostility... Basically, Bendis is like your white classmate that took one Africana class and now believes himself to be the purveyor of all knowledge on black life. However, because he acquired his knowledge as an outsider to the culture, the only way he really knows how to depict blackness is through identifiable aspects of The Struggle – all the negative social realities of being black that you see reported on TV, lambasted on Twitter, and through quickly cruising through activist circles in search of easily transferable knowledge about racism without any nuanced understanding of how black people deal with it.

This came to a head when scans from a page of Invincible Iron Man #8 appeared online recently, where it shows Williams in class trying to actively seek out marginalization as a motivator.

Allen reflected:

Never in my wildest nightmares would I imagine a black child seeking out racism to fight against in the pursuit of their dreams. Racism isn’t a Sailor Moon villain that waits for us to level up before trying to kick our ass; we are always aware of it and are always affected by it, but one of the best traits that black people have is our ability to bypass that negativity and live our lives despite it, not to specifically spite it.

This isn't the first time Bendis' writing for a black character has been criticized. The Nerdist pointed out that Bendis and other white writers writing characters of color often come off as tone-deaf and run the risk of alienating the very fans they want to recruit.

As I wrote in an earlier post, the real key is to actually hire diverse creators to write diverse casts. Otherwise we're just slapping a Band-Aid on the issue:

Looking at a diversity initiative as the beginning and end of what's needed to help improve the state of comics is short-sighted and wrong-headed. Instead of just having the same white men tell stories with some characters of color here and there, there should be structure in place for minority writers and artists and creators to tell the stories they want to a mainstream audience. Diversity as the final and only goal is a hollow act that does nothing but reinforce whiteness and the status quo as the default. That's not the world we live in, so why should worlds we get to make up have to be that way? Free your mind, and the audience will follow.

Glitch In The Narrative: ROM 2064 Missteps With Disability

I loved almost everything about MidBoss' cyberpunk adventure game, Read Only Memories: 2064. The soundtrack was evocative and well put together, the look of the game nailed the classic cyberpunk aesthetic, the writing was by turns affecting and humorous, and nearly all the characters from the protagonist and side NPCs were vibrantly well written. ROM: 2064 is also a game that takes unflinching looks at issues of morality, disability, gender, and mental illness in society, which is why one character's end game story turns out to be so disappointing. I've set up a jump cut to ward off accidental spoilers, so be warned: the rest of this post features spoilers for the endgame of ROM: 2064.

Writing Diverse Characters & The Fear Of Doing It Wrong

Prolific author and blogger s.e. smith recently wrote about his thoughts about white people writing diverse characters and settings (smith is white himself), and it's pretty relevant right now. There have been increasing calls for more diverse representation in media. As smith points out, though, that push comes with a fear that many white authors are reluctant to discuss: the fear of getting it wrong, and the fear of being widely criticized. Could that be attributed to a sudden influx of angry fans? Smith says those discussions aren't really anything new:

One consequence of more open discussion about diversity is that nondiverse creators are forced to see that discussion. It’s not like diverse readers and creators just now started criticising works that have huge problems. Rather, those conversations were happening, often in the open, and no one cared or paid attention. Now, there’s enough momentum that they become highly visible, that it’s no longer possible to be insulated from them. Some nondiverse creators appear to be operating under the impression that there’s an army of mean people gearing up to descend on whatever they write to shred it to pieces as soon as it hits the shelves — or before. Often, that comes from a defensive position, because it hurts to hear that you did something wrong, or that something you worked on for months or years has major problems, and the instinctive reaction is to lash out to neutralize the criticism so you can go on with your life.

Smith goes into the difference between the fear of doing it wrong, and the fear of how you'll be perceived, and offers some pretty good advice. Another excellent resource are the annual "Writing The Other" workshops and classes offered by authors Nisi Shawl and K. Tempest Bradford.

Notorious M.O.M.- How GTAV Helps One Mom Cope

Description: From the game Grand Theft Auto V, a behind
the shoulder perspective of a man firing a machine gun at a gas
station, with multiple fireballs, explosions and plumes of smoke.

Last week, I linked to an article in the Guardian written by Keza McDonald that gave advice for new moms wanting to balance gaming with the responsibilities of being a new parent. This week in the Guardian Sarah Lee Donlan talks about how playing Grand Theft Auto V helps her cope by offering a little escapism:

My daughter’s constant night feeds are keeping me awake, but not awake enough to do anything useful. So I pass the time in my preferred way. I steal aircraft. I take a sleek black jet, fly it over a sleeping city and land it smoothly on a desert strip, narrowly avoiding a wild dog... 

Suddenly faced with a new and overwhelming responsibility that came with a seemingly endless list of dos and don’ts, GTA V allowed me to break the rules, mess about and act in a wildly dangerous manner. 

During the day I was an exhausted new mother making small talk at Brighton baby groups, but at night I escaped to San Andreas, where I lived a life of violent crime and irresponsibility.

One complaint about open world sandbox style games in general, and the GTA series in particular, is that lots of times it's just a lot more fun to mess around causing mayhem or exploring the game world instead of doing the quests that advance the main story. For Donlan, this is part of the game's appeal. After she recounts the effort she undertook to create a gigantic explosion by taking down a jumbo jet:

The amazing thing is, all of this adventure exists outside the plot. To me, GTA V is at its absolute best once the campaign is done. San Andreas is filled with detail, most of which is barely touched upon in the main story.
It has luscious scenery and diverse wildlife. I have been eaten by a shark, swum with orcas and even found a humpback whale singing gently off toward the upper limits of the ocean. I also have my favourite places to find peace: a sea cave on the bottom right of the map and the quiet mountain stream just north of the city. GTA doesn’t just give you permission to be irresponsible, it gives you permission to rest.

How about you, readers? Does this sound like the appeal for open world games for you, or is it something else? Comment below!

Writer Who Made Captain America Nazi Has IRL Bigoted Past, Politics

Description: A panel from a Captain America story from
the 1970s, As superhero Falcon looks on,Captain America
walks off dejectedly. Caption reads: "This man is now
crushed inside. Like other Americans, each in his own way
he has seen his trust mocked. And this man is Captain
America."

I previously wrote about the asinine retcon that Marvel writer Nick Spencer came up with after his plot twist that Captain America was made into a secret double agent for Hydra, the super powered occult Nazi group he fought in World War II. as it suddenly turns out, that's because in the Marvel Universe, the Nazis had actually won World War II. Captain America was never, ever a good guy. The Allied Powers used the Cosmic Cube to rewrite reality and make it so the Nazis lost, Captain America was a good guy (but somehow the Holocaust still happened) and Hydra never had a secret agent. So Captain America becoming an ally to super-powered Nazis was actually "restoring" him to his true self.

What he hasn't been shy about has been his contempt for critics and his denial about another Nazi Captain American twist: it was revealed that Hydra Captain America was deemed worthy to wield the hammer of Thor. Not only does this have gross implications in-universe... "...that you must be good and worthy person to wield it, Mjolnir has been a moral compass of sorts — and Spencer is already crossing many, many lines with what he clearly thinks is some kind of edgy, potentially iconic imagery. But this isn’t just some subreddit level attempt at being cool. At this point Spencer is literally putting hate symbols into the pages of Marvel’s comics," Rosie Knight says, and explains how Thor's Hammer has been used in recent decades as a symbol of neo-Nazi groups and white pride in the US.

Nick Spencer has taken to twitter over and over over the past year to defensively dig in his heels. He insists that there is nothing political in his writing, that critics of his writing are somehow threatening him, his livelihood and comics as an art form. He says that just because he's defended a real life neo-Nazi who got punched in the face, or that he wrote college-age "social justice warrior" caricatures as bad guys so awful that the Black superhero Falcon later apologizes for ever sounding like them doesn't mean he's a conservative, and that his personal views and history don't inform his writing.

Which makes his personal and political past stand out more. As blogger Kim O'Connor lays out, just a little over a decade ago, Nick Spencer made two failed bids for public office in Ohio as a Republican. He had a website for both campaigns, got some press (local and national), and in 2005 ran on a platform of eliminating all human services in Cincinnati, building more jails and arresting homeless people as "quality of life" issues.  He even wanted the city government to buy up the buildings that housed homeless shelters and get rid of them;

Per Cincinnati CityBeat, Spencer's 2005 campaign blog called on the mayor of Cincinnati to use eminent domain against Mary Magdalene House (a homeless shelter) and the Greater Cincinnati Coalition for the Homeless. 

Here's Spencer: "It's time to stop playing around and get tough here. ... The city must use all of its powers to protect the civic and financial investments that have been made in the area. The glut of social services that encourage panhandling in the district must be addressed." 

You read that correctly. Nick Spencer described organizations dedicated to helping homeless people as a "glut of social services that encourage panhandling."

He also worked for John McCain's campaign. Some may argue that Spencer is just running on a platform similar to many Republicans, so it's not so unusual, right? He's just echoing an official party platform! You might be able to say that about his policy ideas... but not so much about his racist blogging about black people as thugs, drug dealers, and at one point comparing black folks to being worse than stray dogs! As Cincinatti Black Blog covered at the time of Spencer's campaign, he wrote on his blog stuff after a highway shooting like this, emphasis mine:

Lots of blame to throw around here. Let's try this one: Ross Love. To hell with that guy. He owns the WIZ [a local radio station], then tries to walk around town like he's such an upstanding citizen... maybe you should look into that shit you've got on heavy rotation over at your station. You know, like "Ridin' Dirty" a song about drug dealers trying not to get caught by the cops while they've got crack in the car...
And let's give it up one more time for The Ritz ownership [a local club with mostly black clientele]...
I love going to IHOP after we close up the bar, and the place has a big post-Ritz crowd there around the same time... I see stray dogs act with more survival instinct than some of the Ritz clientele.

What Spencer didn't mention was that Ross Love had sold the radio station 5 years earlier, that "Ridin' Dirty" was about police brutality, that "Ridin' Dirty" also aired on a Clear Channel radio station affiliate run by a white owner that Spencer never called out, and The Ritz was a club that directly competed with a bar that Spencer owned at the time. Oh, and the song was never connected to the shooting in any way by authorities. He was also growing increasingly paranoid, convinced that "thugs and prostitutes" were waiting to shoot at him and hiding guns in trash cans.

On his campaign blog, Spencer also talked about how the possibility of The Ritz's owners or clientele moving into his neighborhood meant that either he'd mobilize against it, or he'd pull up stakes and leave:

Bad news... Jump Cafe' space on Main may be leased out to the owners of The Ritz in Roselawn. I'm not kidding-- just when you thought thing couldn't get any worse. The neighborhood is going to have to mobilize in a big way to prevent this from happening... I don't have any hesitation in saying this: if they move in, we go. 

Writer Kieran Shiach, who also did a great recap of Hydra Cap and related issues earlier this year, sums up my feelings on this:

Nick Spencer has been uncharacteristically silent about this on twitter.

Writers of Color & Craft: An Invisible Archive

Neil Atkin-- a great translator and poet in his own right-- writes about an amazing and sorely needed collection project that I wanted to signal boost:

A couple weeks ago I was thinking about how Junot Diaz often comments on the fact he’s almost never asked to speak about craft, and instead always is asked to talk about race, identity, and the immigrant experience. And it’s true — when I think about all the books on writing craft I’ve read or heard about over the years I’m struck by how few POC-authored books on writing I’ve seen. 

Are they really that rare? Or are the books and essays out there, but we don’t know where to find them? 

This list is an ongoing project to catalog what writing resources are out there.

You can check out the compilation he's assembled so far right here.

Captain Kirk: How Pop Culture & Toxic Masculinity Got It Wrong

Kirk:"Leave any bigotry in your quarters. There's
no room for it on the bridge."

The popular collective image of Captain Kirk from the original Star Trek series is that of a brash, impulsive captain who charges in first and asks questions later. Pop culture would have it that Capt. Kirk was also a serial womanizer, bedding alien women across the galaxy.

Popular culture has it completely wrong.

Writing for Strange Horizions, Erin Horakova penned an essay entitled "Freshly Remember'd: Kirk Drift" that looks at just why it's important that these notions be debunked and the conclusions people can draw from them be deconstructed. For example, there's a lot of toxic ideas about what it means to be "macho" if you buy into the "Kirk was a womanizer" narrative:

If your vision of masculinity cannot distinguish between choosing to have sex and situations of dubious consent incurred in the line of duty, it is deeply toxic. You are insisting that men are hyper-sexual, unemotional, and can never be taken advantage of (lest they cease to be strong, compelling men due to their ever having displayed vulnerability)... These misreadings are supported by a subterranean network of ideas about masculinity, pop culture, and the past that consistently reinforce them, hitting refresh on these dank memes. I don’t think all the connections have been made here, and all the implications unfolded.

Horakova outlines many instances of what she calls "Kirk Drift"-- the difference between what people think Capt Kirk did and Star Trek portrayed, and what actually aired. How these misconceptions not only inform the average person's idea of what Star Trek was, but what the reboot thinks Star Trek should be, How the ideas trickle down, changing and erasing everything from science fiction's attitudes to concepts of what it means to be a man to expressions of Jewish masculinity. Why should we care? hhhh makes the case thusly:

All texts run the danger, even if they’ve worked hard to be progressive, or if they yield easily to positive interpretations, of being “rewritten” in the world and even in our minds. In relation to her own work, novelist Dr. Nnedi Okorafor says that “what I really want to discuss is the whitewashing battle in many readers' minds. The one that turns characters white upon reading them so the reader is more comfortable.” Her work, like all work that comes from a place of or offers any potential for alterity, is at risk of being “colonised” by conservative narrative reclamations operating via the mechanism of mismemory. It is not enough for a text to be progressive; its memory must also be defended against this decay.

The entire essay is well-written, thoroughly sourced and a fascinating read. Grab the whole article here.

Marvel Retcons All of World War II, Capt America Always Evil

Cover to Secret Empire #0. Art by Mark Brooks.

The latest ridiculous twist in the saga of Captain America penned by Nick Spencer has outdone all of Spencer's other "shocking" twists in both the breadth of its foolishness and its lack of respect for an iconic character's legacy.

First, a quick recap.

Last summer, comics fandom and the wider media fandom at large was shocked when Captain America, Marvel's staunch defender of liberty uttered the line "Hail Hydra", revealing himself as having been allied with the evil Hydra organization all along-- a group that in the Marvel universe originated with Nazi Germany, the very foes Captain America was supposed to have fought against! It seemed like a crass twist and super inconsistent with the character's real-world origins and legacy. Captain America was created by two Jewish creators, Jack Kirby and Joe Simon. Captain America was born s wish fulfillment, to have an all-American hero punch Hitler and fight Nazis even before the US was involved in World War 2. Nick Spencer, the writer for that arc as well as the ongoing Sam Falcon, Captain America title promised all would be revealed in due time.

"Captain America wasn't brainwashed," Nick Spencer said. He also said that the Cap that declared "Hail Hydra" wasn't an alien body double or a robot duplicate. It was the actual Steve Rogers, the real Captain America had done this. But be patient, Spencer urged. It would all make sense. Recently it was revealed that the pieces of the Cosmic Cube- an artifact powerful enough to rewrite reality itself- had somehow taken the form of Kobi, a small naive child unaware of the reality-altering powers she had within her. Kobi, in turn, influenced by the super-villian Red Skull-- Captain America's longtime Nazi arch-nemesis since World War II. It was the Red Skull who influenced Kobi to give Captain America the memories of being a Hydra sleeper agent. So, see, it wasn't technically brainwashing, right?

That's not the most foolish part. See, as asinine as that revelation was, that gives you the hope that Captain America still had some good in him, right? That even though at this point Captain America has sold out the Earth to invading aliens, allied himself with super powered Nazis and was setting himself up to become dictator for life of the United States, that there was maybe still some good in him somewhere. The Marvel Universe had a glimmer of hope.

With the release of Secret Empire #0 two days ago, Nick Spencer reveals his biggest, most asinine twist yet: The Allies actually lost World War II and used the Cosmic Cube to re-write reality so that the Nazis were defeated and Captain America was the world-saving good guy. In the Marvel Universe, Germany was actually the winner, and always was. Steve Rogers really was an agent for Hydra all along, and those memories added by Red Skull were actually restoring Captain America to his "true self", Spencer ret-conned actual world history to take a symbol of the US created by two Jewish men during World War II and said nope, Captain America was supposed to really be an evil bad guy and it was only a reality-rewrite that made him good.

This is especially egregious tone-deafness because two days ago-- April 19th-- was the anniversary of the Warsaw Ghetto Uprising. It was the largest Jewish revolt during World War II, and also has the distinction of being the first urban uprising against the Nazis that happened in Nazi-occupied Europe.The Nazis attempted to completely wipe out the Jews living in Warsaw on the eve of Passover. Instead, the Jews held out against occupied forces for nearly a month, using whatever they had on hand to fight back. Their bravery inspired Jews across Europe, including those already in the camps, to organize and revolt.

In fact, that's another odd thing about the whole "Allies used the Cosmic Cube to re-write history so the Nazis would lose instead of win like they were supposed to"-- why didn't the Allies cosmically re-write it so that the Holocaust never happened?

Marvel is doubling down on the doubling down, too, rebranding its websites with Hydra iconography, and even asking brick and mortar comic book shops to have employees wear Hydra t-shirts this month.

We've also been asked to change our store logos to Hydra symbols. My staff are LGBTQ, Jewish, or both. We are no longer hand-selling Marvel. https://t.co/gQnBfBZC8L

— Glamour Toad 🌈🐸🌈 (@NickiColey) April 20, 2017

Nick Spencer took to twitter with all the class you'd expect:

Haters upon seeing the advance reviews for SECRET EMPIRE 0 pic.twitter.com/lFU0RStBd6

— Nick Spencer (@nickspencer) March 23, 2017

Then again, for a dude making his living writing super heroes, Nick Spencer doesn't seem to have the greatest grasp of them. Like when he rushed to twitter to give his hot take on Nazis getting punched in public:

@nickspencer Nick....you just described what a superhero is.

— ANTHONY OLIVEIRA (@meakoopa) April 17, 2017

Last week, I talked about how Marvel's VP of Sales tried to blame "diversity" for poor comic book sales, and how that assertion is utter bullshit. itch.io user spacetwinks was pretty pissed off about that assertion too, and put together a thorough and damning analysis and response, as described thus:

This did not sit well with others, the idea that retailers and Marvel would blame these books for low sales - and it didn't sit well with me, either. So I've hunkered down and put in the hours researching sales data reaching back over a decade in Marvel, and looked for what could possibly be the true culprit in their sales problems.
"Shut The Fuck Up, Marvel" is a nearly 30k long essay, a spiritual sequel to The Problems With Comics, a deep dive into the true issues with Marvel's economics and business - and how an obsession with short term profit, the constant renumbering and relaunches and events, all compounded by a complete inability to understand basic marketing techniques or outside audiences, has absolutely destroyed the sales stability of many of their former best selling books, all as they condescend to those who criticize them on their stories, or on how they try to sell comics.

It's offered as a pay what you want download, and is a very insightful read. I wholeheartedly recommend it.

Update: Wow, this post is starting to blow up! My hosting is getting slammed! So if you liked this article and want to see more, you can help support it by pledging a buck or more to my Patreon or by tossing some spare change in the virtual tip jar to the right. Thanks!

Star Trek, Philosophy & the Kobayashi Maru

Description: Technical detail readout of  the Star Trek series'
starship & titular scenario, the Kobayashi Maru. 

In the Star Trek series, the Kobayashi Maru is both the name of a starship and a training simulation for Starfleet cadets. The scenario goes like this: trainees encounter a civilian ship calling for help, but to help the ship, you would have to choose to venture into a demilitarized zone and violate a wartime treaty. If the trainees choose to honor the treaty, the ship is at the mercy of the warlike Klingons. If you try to meet it halfway, your ship is attacked and boarded. In the movie Star Trek II: The Wrath of Khan, the legendary James T. Kirk was the only cadet in Starfleet history to ever beat the Kobayashi Maru scenario... and he did so by reprogramming the simulation so that is was possible to win. Forbes-- yes, the vaunted business magazine & website-- looks at how this scenario informs and reflects the philosophy of both the science fiction series as a how, and popular philosophy in general.

Is the Kobayashi Maru a good test of leadership, and of the ethical decision-making that’s a part of it? And what should we make of the fact that Kirk seems to have “beat” the test by cheating? It’s good to question whether features of a situation that we take for granted really are fixed, rather than changeable. When faced with two bad choices, it’s good to try to find a third, or fourth, or fifth possible choice that is less obvious but that might be better all around. 

I think the optimism embodied in Kirk’s rejection of no-win scenarios is the sort of thing that can motivate creative thinking about how to do a better job sharing a universe (which, really, is what ethics is about). But I don’t think that’s what the Kobayashi Maru was intended to test.

You can read the rest of the article here. What do you think, readers? Are the larger ideas about grace under pressure, no-win scenarios and the like a useful intellectual exercise, or is it a few torpedoes shy of a spread?

SJW: Social Justice Witcher

Lawrence Richards, writing for gaming site The Leveller, recently took on a special challenge playing through The Witcher 3 (which we've previously discussed here):

I wanted to see if instead I could play a character whose interests were a bit less tedious than being some empty, unquestionable Nietzschean superman. I wanted to test the so-called freedom of what is clearly the most groundbreaking open world game of our generation, to see if I could reject the usual triple-A heroism and play a character who is sensitive, humble, committed to social justice rather than self-aggrandisement. 

I wanted to play a male character who could be an actual ally to the empowerment of his female co-stars, a-la the new Mad Max, rather than just the tough guy who saves them. I wanted to immerse myself in this world committed to freeing its inhabitants from their miserable feudal bondage, rather than just saving the day and making sure that the system can survive. I wanted to play a hero that Gamergate couldn’t wank over.

Giving some of the series' reputation for cringeworthy misogyny, The Witcher 3 may seem like an odd choice for Richards to try to play the character in this way. However, the developers have played up the nuanced choices available, and there are supposedly 32 different ending depending on how you play the game. Many reviews have called The Witcher 3 out as a good example of an expansive sandbox action game. With this in mind, he decided to play the game as an anarcho-feminist. Was he sucessful? Kind of.

There's also a neat little side-diversion on game economics and NPCS:

I tried to keep those ideas of money and exchange and autonomy in mind as I freed numerous entrepreneurs through the world. But ultimately it was all done in good faith, as well as a sense of resignation that there was no way for me to guarantee helping cottage industries was going to help the workers. There were very rarely apprentices, which made each smithy and merchant’s shop a kind of Ayn Rand utopia in which the only visible labour is that of the brilliant entrepreneur, the source of all value and creativity. This, though subtle, was for me one of the blandest features of the game, because it is an accidental trope rather than a philosophical decision.

What do you think? Sound off in the comments!

The Road To Silkpunk

If you're a regular reader of this blog, you've probably heard of steampunk. I've also covered steamfunk. Author Ken Liu talks about his latest novel, and just what Silkpunk means:

Like steampunk, silkpunk is a blend of science fiction and fantasy. But while steampunk takes as its inspiration the chrome-brass-glass technology aesthetic of the Victorian era, silkpunk draws inspiration from classical East Asian antiquity. My novel is filled with technologies like soaring battle kites that lift duelists into the air, bamboo-and-silk airships propelled by giant feathered oars, underwater boats that swim like whales driven by primitive steam engines, and tunnel-digging machines enhanced with herbal lore, as well as fantasy elements like gods who bicker and manipulate, magical books that tell us what is in our hearts, giant water beasts that bring storms and guide sailors safely to shores, and illusionists who manipulate smoke to peer into opponents’ minds. 

The silkpunk technology vocabulary is based on organic materials historically important to East Asia (bamboo, paper, silk) and seafaring cultures of the Pacific (coconut, feathers, coral), and the technology grammar follows biomechanical principles like the inventions in Romance of the Three Kingdoms. The overall aesthetic is one of suppleness and flexibility, expressive of the cultures that inhabit the islands. 

A lot of my ideas about this alternate technology aesthetic were inspired by W. Brian Arthur’s theories about technology, especially the notion of treating engineering as a creative art that solves problems by recombining existing machines into a new machine that achieves a new purpose — in a sense, engineering is very much like poetry.

Liu's novel, The Grace of Kings, was released to critical acclaim. I've started reading it myself, and whole-heartedly recommend it.

Harry Potter and the Invisible People of Color

Description: From left to right are screenshot of the character of Lavender Brown from the Harry
Potter movie series In the first two pictures, she is played by a black girl. In the 3rd picture, the character
is portrayed by a white girl. A comment sarcastically asks "Did she get a haircut".

The Harry Potter film series has been a worldwide blockbuster, spanning 8 films and a cornucopia of related merchandising tie-ins. The entire series has many allegories for hatred, genocide and racism. Which, as the Every Word Spoken project points out, is really weird considering that there are so few characters of color in the movie series, and the characters of color that are in the movie barely have any speaking lines. They released a video supercut tallying up how much screen and speaking time people of color got across the entire 19 hours & 39 minutes of the films. POC speaking time, in comparison, was just a little over 5 minutes and 40 seconds. Here's the video:



The tally:

• Total POC talk time: 5 minutes and 40 seconds
• Total run time of all films: 1,207 minutes
• That comes out to 0.47% of screen time in which POCs speak throughout the entire series. This is split among 12 characters and 13 actors (Parvati Patil was played by two actors, Sitara Shah & Shefali Chowdhury)
• Of these 12 characters, 2 were CGI bodies voiced by POC actors (Firenze & Shrunken Head)
• On average, each POC character speaks for 28.33 seconds. 

The books aren't that much better, sadly. Looking at the 200 most mentioned characters in the series, here’s what you’ll find:

• Number of POC characters: 9 (4.5%): Cho Chang, Dean Thomas, Angelina Johnson, Parvati Patil, Lee Jordan, Kingsley Shacklebolt, Blaise Zabini, Padma Patil, Hassan Mostafa 
• Number of POC characters in the top 50: 2 (#44 Cho Chang, #45 Dean Thomas)
• Number of non-human characters in the top 200: 26 (13%)
• (4 more characters are described as being part giant or part veela, but are white-appearing.)

As they point out this means that even in the books, there is better representation of centaurs, house-elves, giants, and goblins in this series than there are of human characters of color. Dobby and Kreacher in particular get way more page time and deeper character development than any of the POC characters. And unlike the series you can't fixit by waving a wand, but maybe we can address it better by pointing it out so the next fantasy series has plenty of different kids from all sorts of backgrounds, too.

What Designers Really Need To Learn From Metroid

Metroid for the NES and Super Metroid for the Super NES are two of the most influential video games ever made.

The games' non-linear progression, solo exploration and action based gameplay have, along with Konami's Castlevania series, influenced so many action-platformer games that therm term "Metroidvania" was coined in video game reviews to describe the genre. The Internet is chock-a-block with all sorts of indie game plaftformers that display their Metroid influence proudly. But, as Maddy Meyers explain, just because you can count Metroid as an influence doesn't mean your game is automatically as good:

Take Shadow Complex, for example, a “metroidvania” that is obsessively similar to Super Metroid in terms of play-style—except that it’s 2.5D instead of 2D, so the world feels a bit more layered and packed out with compelling new surfaces to scale. That said, for a game that supposedly takes its influence from Metroid, Shadow Complex falls wildly short in terms of aesthetics, narrative and nuance. The plot follows Jason, a bland-as-a-plain-bagel man whose girlfriend gets kidnapped right out of the gate by shadowy soldiers. The game’s artists gave Jason a far more boring existence than Samus Aran’s, overall. Instead of beautifully designed, vibrant, unique armor and towering, glorious alien architecture, Jason gets black-and-gray suits and bland warehouse crates and hallways. (He doesn’t even strip down to a bright red swimsuit at the end of the game, either.)

So what makes Metroid stand out? Why is it so important as a game?

The reason why Metroid and Super Metroid work, at least in part, is because they evoke a fearful feeling of exploring and surviving, as well as a sensation of not-belonging, of being lost, and of rebuilding oneself piece by piece. Samus fights a cyclical, endless war on familiar battlegrounds; she goes on unglamorous, personal quests, often with little institutional support (in contrast to heroes like Master Chief or Marcus Fenix, who spend their campaigns being loudly lauded and supported.) Metroid is dark, and not in a cheesy way—in a mournful, slow, deliberate way. 

The fact that Samus is a woman matters, and it has always mattered, but that’s not the only element missing from contemporary Metroid imitators. The other missing pieces are even sadder: the lack of emotional nuance and depth, the shying away from the grit of loneliness, the dark existential depth of outer space, and the murky waters of motherhood (incidentally, videogames already do dads plenty—but only Metroid and Portal have even come close to tackling “mommy issues”.)

Meyers also goes into a very insightful breakdown of the movies Alien, Aliens, and Terminator 2 and how Metroid is the video game that comes closest to capturing the sci-fi feel of these movies.

Have you played a game that lives up to the Metroid legacy? Is it even possible? Sound off below.

YA Books & The John Green Problem

Fiction for young adults is seemingly booming. YA lit sections in chain bookstores seem to keep increasing in size, the number of eager readers grow yearly, and YA writer John Green's novel The Fault In Our Stars was adapted into a box-office success in a movie adaption of the same name. As the Daily Dot pointed out earlier this year though, he's endemic of a larger genre-wide problem:

On Twitter, Green has 2 million followers. Compared to the rest of the leaders in Young Adult fiction, that number is staggering. To approach even half the Twitter influence of John Green all by himself, you need an entire army of YA women. Anderson, Blume,Dessen, Veronica Roth, Cassandra Clare, Richelle Mead, Margaret Stohl, Kami Garcia,Rainbow Rowell, Maureen Johnson, Malinda Lo, Holly Black, LJ Smith, Ellen Hopkins,Shannon Hale, Lauren Myracle, Libba Bray, Melissa Marr, and Leigh Bardugo: As a group these women only have about 1.2 million followers on Twitter. That’s the voice of one man outweighing several decades of women who have had major successes, critical acclaim, and cultural influence. 

The problem of the cultural influence his books have created is not Green’s fault, but it’s created a frustrating situation for female writers and readers. Book blogger Rhiannon K. Thomas issued a sweeping takedown of the way the NYT bestseller list is stacked against female authors, many of whom write series, which are automatically moved to the “Children’s Series” list, out of the YA category altogether. She also pointed out that when men like Green aren’t writing YA, the media perception of it suddenly changes. Instead of being high literature, it suddenly becomes a shallow, frivolous genre that only silly teenagers and unfulfilled housewives participate in—just like the romance genre sans Sparks.

While John green himself has also done loads of things that are actually harmful to the audience he's writing for-- like reducing the death of Anne Frank to a mere prop, or taking a teenage girl's post discussing how the author's online presence makes her feel uncomfortable to mean he was accused of being a pedophile-- I think it's part of a larger systematic inequality. 

Whether you look at books, comic books, film or television, women are under-represented and outmatched. This is especially troubling because it leads to the FALSE idea that not only are there no women writers, creators or taste-makers, but that half the planet can just be ignored or dismissed and wouldn't want to see themselves represented anyhow.