What about our fans? Are they privileged? Let me tell you about Anders. He was one of two male love interests in Dragon Age II, and the only one of the two that would actually make his intentions known to the player without the player expressing interest first. If you were nice to him, he would make a pass at you, and you could turn him down, and that would be the end of it. And some fans REALLY did not like that.
Some of them asked for a gay toggle; because in a game where there’s mature themes, slavery, death, and none of which we offer toggles for, encountering a gay character? OOH, beyond the pale. They didn’t want to be exposed to homosexuality.
And this one fan on our forums posted that he felt too much attention had been spent on women and gays and not enough on straight male gamers. For all of whom he personally spoke, of course. ‘It’s ridiculous that I even have to use a term like Straight Male Gamers, when in the past I would only have to say fans.’ The purpose of the romances in Dragon Age II was to give each type of fan an equal content. Two romances whether you’re male or female, straight or gay.
How upsetting for this particular Straight Male Gamer to realize he wasn’t being catered to. This was not equality to him, but an imbalance; an imbalance of the natural order. He did not want equality, he’s not interested in equality. To him, from his perspective, equality means he’s getting less. Less options? Actually, no, the number of options we had in that game was actually the same number of options that he would have received earlier. What was his issue was the idea that there was attention being spent on other groups, which SHOULD have rightly gone to him.
Do ALL straight male gamers feel exactly the same as he does? Absolutely not. In the thread where this came up in fact, there was quite a few guys who came in and identified themselves as straight male gamers and said ‘I actually don’t have an issue with that, as long as I receive an experience I enjoy, I think other people should be able to enjoy that too.’ But if you think that Straight Male Gamer Dude is an outlier among our fanbase, you were not paying attention.
This is Anita Sarkeesian, she’s the author of the Feminist Frequency, a blog which examines tropes in the depiction of women in popular culture. You’ve probably all heard about this, it’s a matter of public record, she announced a Kickstarter to start a web series to look at the tropes in video games and she was subjected to a campaign of vicious abuse and harassment by male gamers. Why? Well, because she represents to these guys the loss of their coveted place in the gaming audience. Never mind that well all know Goddamn well that they’re still at the top of the totem pole. What they see themselves losing is sole proprietorship over their domain. That’s what it is.
Everything that is changing about the gaming industry to accommodate these players, to them, is diluting the purity of gaming which has belonged solely to them. That’s what this is all about. And here’s the thing, I’m pretty certain that our industry fears the scrutiny of those guys way more than the scrutiny of everyone else. Because those are the guys that scream at the top of their lungs, they spend their time on every internet forum, they spend their time making Metacritic reviews. Infuriate them, and you become a target. It’s so much easier to say “Well, that’s what our fans are like. There’s nothing we can do.” And that’s bullshit.
They didn’t set the tone, did they? We set the tone. What we put out there, what we permit, whether it’s on our forums, whether it’s on Xbox Live, the things that we permit we are in effect condoning. What happened to Anita, we the industry, are partly responsible for. We’re in part to blame. And if the idea of moral responsibility doesn’t phase you, consider the idea that the time will probably soon come that this will also amount to legal responsibility.
In all other cases except the Triwizard cup, portkeys only go one way at one specific time. Touching them again does not activate them to return to their place of origin. Also, when Harry grabs the cup a second time, it does not return him to the middle of the maze. It takes him to…
Not from Sean’s blurb, but while I wasn’t on board with mysticism of BSG’s final season, I don’t see the finale as “baffling” or “uncomfortably preachy.” Aside from whatever the cosmological purpose of Kara Thrace was, I found it the opposite of uncomfortable.
The “abandon tech and come back to agrarian life” thread was kind of preachy, but that seemed kinda soothing in a regressive, I-don’t-agree-with-this-at-all-but-what-a-nice-notion way.
“The unlearning of misogyny, sexism, and patriarchy is not done by standing on proverbial mountaintop and shouting “I Am a Feminist.” […] You can’t be “good” just because you’ve declared yourself so.”—
Yesterday I wanted to write about developments on the Caps and their forward lineups. There were two pieces of news:
Marcus Johansson won’t play center
Eric Fehr will likely start on the top line
Both are equally valid stories, and the Johansson was arguably more significant, but I chose the Fehr story because I like him and I’ve been rooting for him forever.
The story has done really well (at least, measured in traffic and social). I think that’s instructive as to what works in writing for the web. Enthusiasm goes a long way, and it would have been hard to be enthusiastic about Johansson’s elimination from the center position. Fehr, meanwhile, is a fan favorite who has struggled for years through injury and low spots in the lineup. I’m glad he’s getting a chance now and I’m glad I got to write about it.
According to sources close to the club, Tom Malenski, a beloved member of the Ottobar staff, died last night after being stabbed in the neck. Police were hailed at 1:54 a.m. after a show by the hardcore band GBH. The police found Malenski and another unidentitifed male had been stabbed. Both victims were taken to the hospital, where Malenski died. City Paper has not been able to identify the other victim, who has apparently been released from the hospital. Tributes to Malenski are filling his Facebook page. Police ask that anyone with information call Homicide at 410-396-2100.
I am losing faith in humanity
I always felt so safe knowing this guy was around.
What worked was driven by the familiarity of the characters, setting, and themes. Donal Logue was predictably strong as Bullock, and I bet he’ll get even better. Ben McKenzie actually showed a lot of depth and empathy as Jim Gordon.
Aaaand that’s it.
I think most of it falls at the feet of CSI director Danny Cannon, who paced the episode maddeningly and introduced high-concept shots (the mounted POV camera on Gordon during the chase scene particularly) without any discernible intent beyond “this seems like something David Fincher might do.” Establishing shots were grimy and yellowed, followed by interior shots that were drab and staid. The big moments to reveal character at the end of some scenes were trounced by awkward cuts— perhaps so we could shoehorn another fanwank cameo in.
I did very much enjoy Montoya and Crispus Allen as noble antagonists at the Gotham MCU. And Camren Bicondova looked stunning as baby!Catwoman. And I think the Joker tease(s) are really clever.
But the stuff that was affecting was so because it struck chords we’ve already struck a million times— Bruce traumatized in Crime Alley, Gordon standing up to corruption, Alfred (whose cockney accent breaks his character) being more worldly than expected.
I know pilots are hard. They start spinning a half dozen plates while introducing characters as accurately as possible with tiny little doses. But while I’m gonna give this show a long leash, it’s gotta do a lot better than that mess.
'The Baseline Is, You Suck': Junot Diaz on Men Who Write About Women
The Atlantic:It sounds like you're saying that literary "talent" doesn't inoculate a writer—especially a male writer—from making gross, false misjudgments about gender. You'd think being a great writer would give you empathy and the ability to understand people who are unlike you—whether we're talking about gender or another category. But that doesn't seem to be the case.
Junot Diaz:I think that unless you are actively, consciously working against the gravitational pull of the culture, you will predictably, thematically, create these sort of fucked-up representations. Without fail. The only way not to do them is to admit to yourself [that] you're fucked up, admit to yourself that you're not good at this shit, and to be conscious in the way that you create these characters. It's so funny what people call inspiration. I have so many young writers who're like, "Well I was inspired. This was my story." And I'm like, "OK. Sir, your inspiration for your stories is like every other male's inspiration for their stories: that the female is only in there to provide sexual service." There comes a time when this mythical inspiration is exposed for doing exactly what it's truthfully doing: to underscore and reinforce cultural structures, or I'd say, cultural asymmetry.
“…Negative feedback leads to significant behavioral changes that are detrimental to the community. Not only do authors of negatively-evaluated content contribute more, but also their future posts are of lower quality, and are perceived by the community as such. Moreover, these authors are more likely to subsequently evaluate their fellow users negatively, percolating these effects through the community.”—
“Use what ever is around you, and use your lack of funds to your advantage. Start with an idea, write a movie that’s simple to shoot, and shoot it. Then you’ll have a movie people can see, and if you’ve done your job you won’t need to break into the biz, the biz will come looking for you.”—
Despite having limited input in the creation of “Blurred Lines,” Thicke was given a co-writer credit, which he says entitles him to about 18-22 percent of publishing royalties. Why would Williams be so generous?
"This is what happens every day in our industry," said Williams during his own deposition. "You know, people are made to look like they have much more authorship in the situation than they actually do. So that’s where the embellishment comes in."
I’m not sure when it started, but there’s this ongoing soft fraud about song authorship in the music business. Maybe it started when The Matrix gave Avril Lavigne co-writer credit on “Complicated” (which even Avril admitted was for changing a single line). Maybe it was Taylor Swift, who has a curiously small number of unshared writing credits— even for someone who came out of the Nashville system. Regardless, professional songwriters now routinely share writing credit (perhaps in exchange for a bigger chunk of cash up front?)
The result is a murkier idea of authorship in music, and a default assumption that some/most pop performers are also composers. It makes sense from a marketing standpoint— I’d argue Ashlee Simpson’s fleeting success was owed to the concomitant reality series that positioned her, fictionally, as a solo songwriter. They sold her as much as her songs, and her songs were supposedly a reflection of her. Music-as-product is a vector for selling identity as much as anything else, so it follows that the self-expression of writing music would and should be wrapped up in the performer’s marketed identity.
It’s an illusion that we’re all sorta okay with now, I guess? It’s the kayfabe era of singer/songwriters.