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sineala · 3 years

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How would you say fandom culture has changed over the years? What are some differences you notice between older and younger fandom folks?

I’ve been thinking for a while about how to answer this, and I’m not sure I have a really good answer, but I’m going to try.

I’ve been in fandom since approximately 1995. Maybe 1994. At that point, the world wide web was a relatively new part of the internet, and the fandoms I was in had most of their activity on privately-hosted mailing lists (predating eGroups/OneList/Yahoo Groups) and on Usenet newsgroups, with fiction beginning to be available on websites as part of either fandom-specific or pairing-specific archives as well as authors’ individual pages. Fanfiction.net did not yet exist. LiveJournal did not exist. AO3 definitely did not exist. If you wanted real-time chat, there was IRC. I was coming in basically at the tail end of zine fandom; zines were no longer the only way of distributing fanfiction, as fandom started to move online. So I have a selection of zines from 90s-era Western media fandoms but even by then zines weren’t where I was doing most of my reading.

I think in terms of generally “what it was like to be in fandom,” the big-picture stuff hasn’t changed. Fandom still produces creative fanwork and likes to, y’know, get together and talk about fandom. Also, almost every fight or complaint that fandom has about something is a thing that has been going on for actual years. People complain that, say, the kudos button is ruining comment culture because back in the LJ days the only way you could comment on a story was, well, by leaving an actual comment, or sending an email on a mailing list, and this might mean that people who would have otherwise commented have left a kudos instead. But back in the LJ and mailing list days, people were complaining that commenting was going downhill since the days of zines, when in order to comment on a story you had to write a real paper letter and mail it and because you had to do that, the quality of feedback was so much better than you got nowadays because people could just dash off a quick email or comment. You get the idea. Top/bottom wars are not new either. Pairing wars are not new. If you’ve been in fandom a while, you will pretty much have seen all the fights already. I think one thing that is new, though, is the fandom awareness of things like privilege and intersectionality and various -isms, as well as things like “providing warnings might be nice” (do you know how much unwarned deathfic I have read? a lot!) and I sure won’t say we’re perfect at any of this now, but I think fandom is trying way way more about all that stuff than it used to.

There are some fights we actually don’t have anymore, as far as I can tell. I feel like it’s been years since I’ve seen the “real person fiction is wrong” battle, but also I don’t hang out in a whole lot of RPF fandoms, so it’s possible that’s still going and I just don’t see it.

There also used to be a recurring debate about whether gay relationships that were canonical were slash or not. When slash started, obviously this wasn’t a question because there weren’t canonical gay relationships in fandoms, period. But as gay characters began to appear in media, people started to wonder “does slash mean all same-sex relationships, or does slash mean only non-canonical same-sex relationships?” Now, you may be reading this and think that sounds like an incredibly weird thing to get hung up on, but that’s because what appears to have happened is that the term “ship” (originally from X-Files Mulder/Scully fandom) has, as far as I can tell, come up and eaten most of the rest of the terminology. Now people will just say, “oh, I ship that.” For any pairing, gay or not, canonical or not. Fandom seems to have decided that for the most part it no longer actually needs a term specific to same-sex relationships as a genre.

Similarly, there are a few genres of fic that we used to have also pretty much don’t exist anymore. There are also plenty of genres that are well-entrenched now that are also extremely recent -- A/B/O comes to mind. But there are some kinds of fic we don’t write a lot of now. Like, I haven’t seen smarm in years! I also haven’t seen We’re Not Gay We Just Love Each Other in a while. There was also a particular style of slash writing where you’d basically have to explain, in detail, what made you think that these particular characters could be anything other than straight. You’d have to motivate this decision. You’d have to look at their canonical heterosexual relationships and come up with a way to explain why all those had happened in order to reconcile how this one guy could have romantic feelings for another guy. When had he figured out he wasn’t straight? Who might he have been with before? How does he interact with people in ways that make you think he’s not straight? That kind of thing. You had to, essentially, show your work. And these days a lot of fanfic is just like, “Okay, Captain America is bisexual, let’s go!” It’s... different.

Fandom also used to skew older, is my sense. A lot older. I don’t know, actually, if it really was older, but I get the sense now that there are some younger people who are surprised that adults are still in fandom. I have seen people saying these days that they think they’re too old for fanfiction because they are not in middle school anymore. And I think a lot of this has to do with the fact that the barriers to access fandom are a lot lower than they used to be. You used to basically have to be an adult with disposable income (or know an adult with disposable income who was willing to help you out; but even then if you were reading explicit fiction you also had to swear you were 18+, usually by sending in an age statement to whoever you were buying the zine from or to the mods of the list you wanted to join, so a lot of fandom was very much age-gated). Internet access was not widely available. Even if you had internet access, you maybe didn’t have your own email address, so you couldn’t sign up for mailing lists; free email providers didn’t exist. If you wanted to buy zines, you had to have money to buy them. If you wanted to go to cons, you had to be able to afford the cost of the con, travel to the con, et cetera. If you wanted to have a website you had to know HTML. Social media did not exist. You want to draw art? Guess what, you’re probably drawing it on paper! You might be able to upload a picture to your website if you have a digital camera or a scanner, but both of those things are expensive, and also a lot of people don’t have the capability or the money to download pictures from the internet (some people have data caps with overage charges, and some people have text-only connections!), so they won’t get to see it. Maybe you can sell your piece at a con! You want to make a fanvid? We called them songvids, but, anyway, you know how you’re doing that? You’re going to hook two VCRs together and smash the play and record buttons very fast! If you want anyone else to watch them, you are either making them a tape personally and mailing it to them or bringing your vids to a convention. Maybe you can digitize them and upload them, but it’s going to take people hours to download them!

(Every three hours my ISP would kick me off the internet and I’d have to dial in again. If it was a busy time of day, it might take me 20 or 30 minutes to get a connection again. And that was assuming no one else in the house needed to use the phone line. Imagine if your modem went out every three hours now.)

And now, for the cost of my internet connection, I can read pretty much whatever fanfiction I want, whenever I want it. I can see all the fanart I want! I can watch vids! Podfic exists now! Fanmixes exist! Gifsets and moodboards exist! If I want to write fic I can write it with programs that are completely free, and as soon as I post it everyone in the entire world can read it. If I want to draw or make vids that may require some additional investment, but I may also be able to do it with things I already have. Do you have any idea how good we all have it?

There are a couple of kinds of fan activity that don’t seem to exist anymore, though, and I miss them. I know that roleplaying still goes on, but I feel like these days most people who do real-time text roleplay have switched to things like Discord. I know that in the LJ days, RP communities were popular. But I really miss MU*s (MUDs, MUSHes, MOOs, MUXes..), which were servers for real-time text-based RP with a bunch of... hmm... features to aid RP. There were virtual rooms with text descriptions, and objects in virtual rooms with descriptions, and your character had a description, and they could interact with the objects as well as with other characters, and you could program things to change descriptions or emit various kinds of text or take you to different rooms, and so on. Just to, y’know, enhance the atmosphere. It was fun and it was where I learned to RP and I’m sad they’re pretty much gone now.

I also don’t think I see a lot of fanfiction awards in fandoms. Wonder where they went.

Going back to the previous point, the barriers to actually consuming the canon you are fannish about are way, way, way lower now. You can pretty much take it for granted that if right now someone tells you about a shiny new fandom, there will be a way to read that book or watch that show or movie right now. Possibly for free! Of course you can watch it! Why wouldn’t you be able to?

This was absolutely, absolutely not the case before. I’m currently in Marvel Comics fandom. If there is a comic I want to read, I can read it right now on the internet. I have subscribed to Marvel Unlimited and I can read pretty much every comic that is older than three months old; the newer ones cost extra money. But I can do it all from the comfort of my own home right now. I was also, actually, in Marvel Comics fandom in the nineties. If I wanted to read a comic, I had to go to a comic book store and hope they had it in stock; if they didn’t, I had to try another store. Not a lot of comics were available in trade paperback and they definitely weren’t readable on the internet. I used to read a lot of Gambit h/c fic set after Uncanny X-Men #350. I never found a copy of UXM #350. I still haven’t! But I did eventually read it on Unlimited.

Being in TV show fandoms also had similar challenges. Was the show you were watching still on the air? No? Then you’d better hope you could find it in reruns, or know someone who had tapes of it that they could copy for you, otherwise you weren’t watching that show. It was, I think, pretty common for people to be in fandoms for shows they hadn’t seen, because they had no way to see the show, but they loved all the fanfic. The Sentinel had a whole lot of fans like that, both because I think it took a while for it to end up in reruns and because overseas distribution was probably poor. So you’d get people who read the fic and wrote fic based on the other fic they’d read, which meant that you got massive, massive amounts of fanon appearing that people just assumed was in the show because it was a weirdly specific detail that appeared in someone’s fic once. Like “Jim and Blair’s apartment has a small water heater” (not actually canonical) or “Blair is a vegetarian” (there’s an episode where his mother visits and IIRC cooks him one of his favorite meals, which is beef tongue).

Like, I was in The Professionals fandom for years. I read all the fic. I hadn’t seen the show. As far as I know, it never aired in the US, and it certainly never had any kind of US VHS or DVD release. I’d seen a couple songvids. I eventually saw a couple episodes in maybe 2003, and that was because my dad special-ordered a commercial VHS tape from the UK and paid someone to convert it from PAL to NTSC. I didn’t get to see the whole show until several years later when I got a region-free DVD player someone in fandom sent me burned copies of the UK DVD releases and then I special-ordered the commercial release of the DVDs from the UK myself. But if I were a new fan and wanted to watch Pros right now? It is on YouTube! For free!

I think also one of the things about fandom that’s not immediately evident to new fans is the way in which it is permanent and/or impermanent. There are probably people whose first fannish experience is on Tumblr or who only read fanfic on FFN and who have no idea what they would do if either site, say, just shut down. But if you’ve been in fandom a while, you’ve been through, say, Discord, Tumblr, Twitter, Pillowfort, Imzy, DW, JournalFen, LJ, GeoCities, IRC, mailing lists. And sure, if Tumblr closed, it would be inconvenient. But fandom would pack up and move somewhere else. You would find it again. It would, eventually, be okay. Similarly, if you’ve been in a lot of fandoms, if you’ve made a lot of friends, drifting through fandoms is like that. You’ll make a friend in 1998 because you were in the same fandom, and then you might go your own ways, and ten years later you might be in another fandom with them again! It happens.

But the flip side of that is that I think a lot of older fans have learned not to trust in the permanence of any particular site. If you like a story, you save it as soon as you read it. If you like a piece of art, you save it. If you like a vid, you save it. Because you don’t know when the site it’s on will be gone for good. I have, like, twenty years of lovingly-curated fanfic. And I feel like people who have only been in fandom since AO3 existed might not understand how much AO3 is a game-changer compared to what we had before. It’s a site where you can put your fic up and you don’t have to worry that the webhost is going out of business, or that the site might delete your work because they don’t allow gay fiction or explicit fiction or fiction written in second person or fiction for fandoms where the creator doesn’t like fanfiction, or whatever. Because all of those things have absolutely happened. But, I mean, I still save pretty much everything I like, even on AO3, just in case.

So, basically, yeah, fandom is a whole lot more accessible than it used to be. I think fandom is pretty much still fandom, but it’s a lot easier to get into, and that has made it way more open to people who wouldn’t have been able to be in fandom before. There is so, so much more now than there ever was before, and I think that’s great.

#Anonymous #replies

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potteresque-ire · 3 years

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Not sure if this has circulated before, but here’s a link to Henry Jenkin’s reactions to 227, largely as responses to an interview he did with Sanlian Lifeweek magazine (三聯生活周刊), a publication modelled after TIME magazine and published under China Press Publishing group (中國出版集團), the largest and state-owned publisher in China. The magazine asked for Jenkin’s opinions on the fandom-related aspects of 227 back in March, 2020. Henry Jenkins, as many may already know, is among the most renowned scholars of (Western) fan culture ... if not the most renowned.

Personally, I find this article to be quite limited in perspective, because 227 had a significant non-fandom-oriented, sociopolitical component ~ and hence its scope, its chaos, its damage. IMO, 227 stopped being a fan war, stopped being about solos, cpfs, and even Gg the moment AO3 was shut down ~ the powerful Chinese state had intervened, and the incident necessarily became a political incident. That One Fic on AO3, the conflict between solos and cpfs about whether and where That Fic should exist was at most a lighter left at the scene of what would become the blaze; it wasn’t even responsible for igniting the first fire. Most i-turtles (i-fruits?) are probably aware too at this point: if fan wars are sufficient to start 227, then there wouldn’t have been a 227 ~ because 227 would have been every date of the year.

Fan culture is fundamentally transgressive, and what that means can only be defined in the context of the subculture’s “mainstream” sociopolitical and cultural environment. I therefore find the article’s attempt to transplant Western fan culture’s observations / theories / analysis / conclusions to the incident without explicitly comparing, addressing in depth the differences of the pre- and post-transplant environment to be ... prone to rejections (as organs are after transplantations!)—exclusion from being useful or valid. And this article was very short on such comparisons or address. Jenkins being a fandom expert aside (and he was careful about not treading outside his area of expertise), early “antis” of 227 presented themselves as crusaders for the freedom of speech and, by late March when this article was published, the heated debates surrounding the incident on Chinese social media had already led to embarrassment for multiple powerful state publications. It was probably a wise choice to not make another dive into the political aspects of the incident.

Being a new(-ish) turtle who joined the fandom a full half-year after 227, I’ve been backtracking, trying to really understand the incident, which remains very much beyond comprehension in many aspects. The discussions I’ve dug up that have most fascinated me have been those in non-fandom spaces, by non-fandomers / politics enthusiasts who barely knew who Gg was, who didn’t know That One Fic involved more than one idol and had zero knowledge about solos vs cpfs. In these discussions, “antis” are not referred to as “antis” because while the action of the so-called “227 coalition” was to kill Gg’s career, that wasn’t considered its ultimate goal ~ its ultimate goal was to warn whoever tried to clamp down the freedom of expression that their opposition was strong enough, populous to fight back and take away whatever, whoever those who attempted the clamp-down care the most about. In this case, “Gg fans”—I put this in quotes because eventually, no one would know who would lurk behind those pro-Gg Weibo IDs (and the anti-Gg ones as well)—were the perceived enemies of creative freedom. Gg, assumed to be the one, the symbol of what “GG fans” cared about the most, naturally became the target of the coalition.

Gg wasn’t special in that sense ~ and that was perhaps, the saddest thing I found about this incident as a Gg fan (without quotation marks); Gg could be any idol who achieved top fame at the moment, who had enough fans to make the point known. The coalition was therefore not “anti-Gg” in its ideological sense. It was anti the fan circle culture that had cemented Gg’s popularity, that had already been known to deal extremely poorly with dissent—complaints had been abound that c-ent was no longer fun for bystanders because the latter could issue no critique, not even doubt, about an idol without the fear of being reported, torn down by fans. The coalition eventually grew to include anti the many happenings, the many censorships and imprisonments in the past few years that had silenced the creative crowd in China, happenings people dared not speak about beyond a loud grumbling ...

The coalition tried to take down Gg, because they couldn’t take down the force that had shut down AO3, that was truly responsible for the silencing. They played the Hunger Games in the Weibo arena instead of challenging Who The Real Enemy Was, because some might not have given much thought about The Enemy; some might have thought the Enemy too invincible to be worth the effort; some might have got too carried away by their blood thirst, the cruel schadenfreude of shredding a beautiful, successful young man into pieces, and forgot why they were there in the first place ...

And that was only the political side of 227. 227 was also widely suspected to have a commercial component, which added another layer to the symbolism behind Gg the Idol ~ pretty much as soon as 227 happened, netizens investigated, tried to uncover the chain of capital behind Gg. With the scent of money was the memory of filth associated with it, in a country not exactly unknown for its corrupt business practices. Much like in The Book of Exodus in the Bible, the Idol is believed to be forged with gold; it is ungodly, tainted. Whether Gg the Person was identical to Gg the Idol, Gg the Symbol mattered to few. That Gg *was* a person seemed lost to many ...

I’ll have to dive into the non-fandom aspects of 227 with more rigour. As much as I'd love to leave 227 behind, every time I see Gg, I see its legacy on his face, in his smile, and perhaps, I’m not the only one ~ ADLAD cast him as Patient #5 because of 227′s effect on him. Put it another way, 227 is already modifying, writing Gg’s career trajectory ~ a trajectory that is undoubtedly under scrutiny by many who wish to duplicate his success but circumvent his pain. And every time I see a young idol—Gg, Dd, and anyone else—I wonder if the hurt of 227 can happen to them (again) because the crux of the incident has never been resolved; the oppression and silencing have remained strong as ever.

Anyway (sorry for the rant) ... what I found noteworthy about this article was the quotes the magazine highlighted in its published form (in Chinese), which weren’t highlighted by Jenkins on his own website. They reflected what the magazine would like to be the take-home messages of the interview. I’ve listed them below; all of which had Jenkins as the speaker:

[Pie Note: About Real Person Fiction (RPF) in Western fandoms]

“American fans often do have some shared norms about what is and is not appropriate to write, mostly having to do with protecting the privacy of other people in the star’s life. Writing about the star is seen as fair game; writing about their family members is not.”

---

[Pie Note: About GG being “cast” as a transgender woman in The One Fic that started the incident; gender in fandom]

“We write fan fiction as a form of speculation and exploration. For some people, it may be one of the few spaces in the culture where they can express who they are, what they are feeling, what they are desiring. And for others, it is a place of “what if” where they explore in fantasy things they would not necessarily desire in reality.”

---

[Pie Note: Whether GG should be held responsible for his fans’ behaviour]

“Under these circumstances, I would not hold a performer responsible for his fans’ behaviors but the performer is responsible for their own behavior and fans may respond negatively to performers who over-react to the existence of alternative fantasies and insult or hector their audiences.”

---

[Pie Note: About AO3 and why fans were so upset about its closure] “Keep in mind that AO3 is a particular kind of platform. Alongside Wikipedia, AO3 is one of the greatest accomplishments of participatory culture in the digital era.”

---

[Pie Note: About the “problematic” content on AO3]

“Among my findings were that fan fiction sites can be a valuable space for young people to acquire skills (and receive feedback) on their writing from more experienced writers who share these same passions ... That said, while teens have participated in fandom, a large part of those on AO3 are adults, engaging in adult conversations on adult topics.”

---

[Pie Note: About media text in the new media era]

“First, I would stress the proliferation of media texts at the current moment ... We have access to a much broader range of media content than ever before and in this context, fans play a constructive role in curating that content, helping some shows get greater visibility ... Second, these texts have become more malleable”

---

[Pie Note: About idols not producing “good” media texts]

“Rather, the question should be what are fans finding meaningful about these performers and the texts they generate. I start from the premise that human beings do not engage in meaningless activities. I may not immediately recognize why something is meaningful but my job as a scholar is to understand why cultural materials are meaningful to the people who cherish them.”

---

My understanding of this selection of quotes is this: this state publication (as others) was quite ready to forgive Gg, to put this incident behind. It could choose to not publish this interview; it could choose to leave out certain quotes, or not do the highlighting that cast both AO3 and Gg in a positive / innocent light. But it did all these things. This article furthers my impression that the state never intended 227 to blow up the way it did, and that it did—enough for stories about it to be found in non-China websites, and in English—was what I’m still trying to comprehend. 227 was, admittedly, how I was first introduced to Gg beyond Wei Wuxian. And as I got to know Gg, like Gg, my want to understand 227 only becomes stronger, perhaps because only through comprehension I feel I can find peace for the GG fan (again, without quotation marks) in me.

Maybe I should email Dr Jenkins and ask if he’s looking for a PhD candidate. 5 years of research and thinking ... maybe that’s what it’ll take.

I feel I’ve already started anyway.

#pie metas #yizhan #bjyx

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whencallstheheart · 3 years

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One thing I really don't comprehend is why Liz picking Lucas was really that much of a shock for Nathan stans. I mean, she had expressed just as much interest in him than she did Nathan, if not more at certain times so why is team Nathan acting like Lucas never existed in Elizabeth's affections and that he was never even a choice?!

I get that they interpreted things in a different way, but I know Team Lucas (TL) wouldn't have been SHOOK the way Team Nathan (TN) was if it was the other way around. I know this because we all resigned ourselves to the fact that they were going to go that predictable route in the penultimate episode and while we had HUGE reservations, we didn't act blind to the fact that it was always kind of a possibility.

Now this merely stems from what I've read and seen on social media, but we didn't ignore the reality of what was happening in comparison to TN. We didn't ignore Elizabeth's chemistry and interactions with Nathan, or the small symbolic gestures they shared or the very intent way Nathan pursued her. However it truly baffles the mind that the other team really went out of their way to ignore every time she ever looked, smiled widely, laughed, yearned and had fun & some real passionate chemistry with Lucas. I mean talk about selective watching. 😂

All Lucas stans hear is how Lucas is shady, but Nathan's enormous lie about Jack is brushed over and twisted into a noble sacrifice, whereas I guarantee had it been Lucas, he would have been painted as an opportunistic conman who took advantage of a widow's pain and loneliness, a man who wormed his way into her life in a completely questionable and frankly dishonest way. The truth is that his one lie is bigger than any lie Lucas or really any other character has ever told Liz and that already set off alarm bells for me personally and is just one of the many problems I have with Nathan's character, however we don't have time to go through all my issues with him.

As for the way the story was told, I'm not sure why certain fans think that TN was inevitable and that his reward for apparently just existing and taking care of Allie would be Elizabeth, who has been having intimate after intimate moment with Lucas. Seriously, she went on more dates with Lucas, she would even make the first move with him like taking his hand or being open to maybe kissing him and it was LUCAS that stopped it. I mean maybe in the penultimate episode when Lucas literally put Liz's happiness above his own, I can understand why TN held out hope but to act like EVERYTHING that happened between her & Lucas before that wasn't an honest appraisal of her feelings is just so odd and it kind of came across as denial.

It is also bizarre how TN could ignore and excuse SO MUCH of what she did or said, how she conducted herself and how she would retreat from Nathan more often than not, how he would keep pursuing her and how she would barely give anything back. I mean, how much can you really just blame her fear of getting hurt on her rejection of him? That's a bit too simplistic, because that fear existed equally in her opening her heart to Lucas, plus it seems that TN care more about Nathan's happiness than whether him and Liz really belonged together and if she truly wanted to be with him. 🤷‍♀️

I mean even reading your analysis, I noticed it was based on how Nathan deserved her after everything, but she's not a prize and while I know you did not mean it that way, it just doesn't seem like a good enough reason for them to be together & nor is Ally. I've noticed that TN just adored the neat perfect family 'appeal' they had because Liz has LJ and Nathan has Allie who ironically Lucas helped him adopt with the money he offered.

However, that is not a sustainable enough reason for two people to build their lives together. They have to have that kind of love, spark and connection that is incomparable and cannot be broken.

I think all three characters deserve partners who truly loved each other for who they are intrinsically and not anything else, not Lucas's money which apparently is the only reason she could ever love him, because she's apparently a spineless gold digger, who couldn't possibly love him for his compassion, his unwavering friendship, sense of humour, loyalty and patience 😂 or rather Nathan's automatic dad appeal and the land he purchased and the complete nuclear family they could have created, which I again could understand because that is a tempting offer also and she already loved Allie so it could have fit her too, had she wanted Nathan in that way.

Don't get me wrong, I don't love how long it took to get us here & I do agree that it should have been concluded earlier in the season & Elizabeth doesn't come off looking great. Although in a way, with everything that she has been doing with Lucas, it could have looked a lot worse for her character to have discarded him too, but I suppose that is all a matter of perspective. I don't however believe that Elizabeth is some kind of monster which is apparently what some of TN have landed on because she rejected Nathan. It's like we've forgotten that a woman doesn't owe love or a relationship to someone just because they've put the time in, not Nathan and not Lucas. It would have also been okay if she had just decided to keep them both as friends, that is her right as a woman. Just because she didn't pick what certain fans wanted, they have dragged her unfairly when she was also really struggling with not only mourning her husband and the life they had, but having to pick up the pieces and carve a new life out for herself, whilst struggling with the immense confusion surrounding her feelings for both men. I don't think the cobwebs really cleared for her until Lucas removed himself from the equation, I think that is when she really opened her eyes to whom she could not, rather did not want to live without.

Anyway sorry for the long rant, you just seem like you love to analyse shows and characters the way I do. 😆

It all boils down to perception. That’s it. It also doesn’t help that people were essentially forced to pick sides. Everything became black and white for people. If one man was a certain way, the other was the opposite... even if that wasn’t true. But that’s what we’re conditioned to think. It’s like politics. The lines may be more gray but people are going to only believe what they want to believe or are told to believe by others within their party. Nobody’s gonna listen to the other side because they’re the “enemy”. That’s not really a great strategy for a tv show largely about community. The show is so proud of the fandom that was built but yet they actively worked to divide it for the past 3 years.

I think a lot of the frustration comes from the fact that Lucas did get all those interactions with Elizabeth. He got the dates. He got the almost kiss. He got the hand-holding. Nathan got NOTHING romantic with her even though we were led to believe he would at some point since it was supposed to be a triangle. If she had picked Nathan, at least Team Lucas would’ve had all those moments to hold onto. At least they got something along the way. Team Nathan didn’t. And because he wasn’t getting much along the way, it made people think that it had to be coming. That they’re putting him through all of this because it’s going to end in his favor. It felt like the natural course of the storytelling (but now we know there wasn’t even any planned storytelling... they just made it up along the way???).

The two teams are never going to get along now. People have made up their minds and they will continue to believe what they want to believe. No side is better than the other. You have issues with Nathan so why can’t people have issues with Lucas? That’s hypocritical. You have your reasons and others have theirs for believing certain things about the characters. At some point you just have to agree to disagree because this is how things are now thanks to how it was all written and how it was handled on and off screen. We don’t need to be pointing fingers at the fans.

#truelovewinsout

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dailytomlinson · 4 years

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Back in December, a month before Louis Tomlinson’s debut album Walls was released, I had the honor to attend one of his album release parties in Atlanta, Georgia.

I expected my year to go differently: to travel across the country to attend several Louis shows. Little did I know sitting in the local bar in Atlanta it would be the last time I would see the musician who changed my life for the foreseeable future.

Even though nine months have passed, I can still say it was one of the greatest days of my life.

The three-hour drive to Georgia felt like five, but once the Atlanta skyline appeared over the Interstate, my mind filled with anticipation and excitement knowing I would hug Louis in near hours and hear Walls for the first time. Being in a bar with Louis just hanging out with only a few selected fans seemed unfathomable. We checked into our downtown hotel, which was paid for by Sony, and got ready with only a few hours to spare.

Once the Uber dropped us off at the bar, reality hit me. I would be in close proximity inside with the artist who shaped and saved my life — and I just wanted to remember it forever. I wanted to stay frozen in this moment. As we waited outside, the radio host, Adam Bomb, handed us papers to write our questions on. He reminded us to keep the questions respectful and music-centered if we wanted them to be considered. My question was, “I know songwriting is the major part of the album process for you. Can you talk a little bit about your songwriting process?” It wasn’t asked, but one of Bomb’s questions was about his writing process.

Fifteen long minutes waiting outside in the cold, and we were inside. The radio station confiscated our phones at the door to protect Louis’s unreleased music. A couple of tables surrounded a high chair, where Louis would sit for the interview.

My friends and I sat at a table straight across from the chair with a clear view of Louis. Adam Bomb sat in the chair next to Louis’s, and he flipped through the cue cards for preparation of the exclusive event.

“Please welcome to the room, Louis Tomlinson!”

Louis, dressed in a black sweater, jeans, and the usual sneaker, walked out from a curtain in the corner of the room. Smiley and waving, he admired the small room of fans who cheered and shouted for his entrance.

He sat in his chair, inches from where my friends and I sat, smiling occasionally at our table. Adam asked Louis a couple questions about the album (I can’t even recall what because I sat there in silent awe admiring him). It was the happiest I ever felt. It was an out-of-body experience where I wanted to pinch myself to wake up. I just couldn’t believe this was real.

As Louis exited the room, Adam talked to the crowd about how special and exclusive it is for us to hear songs from an unreleased album. He reminded us to be respectful and to enjoy Louis’s hard work.

The first track played. “Too Young.”

The audio was extremely quiet, and Louis shouted from behind the curtain, “Oi! Turn it up!” We all laughed, and Bomb turned up the volume letting the poetic words be heard. The room was silent with everyone intensely listening to the love song. I sat with my jaw open, and tears immediately filled my eyes. I couldn’t believe Louis wrote something so poetic and purposeful. Immediately, I knew this album would be better than anyone expected.

Louis’s photographer, along with the radio station’s, captured fans’ reactions and even recorded and photographed my friends and me from across the room. I felt so humiliated that my tears and freak-out with my friends were being documented, but one of the workers later told us our reactions made the room fun and she could tell how much he meant to us.

Later, a photo of me and my friends was plastered on Louis’s and the radio’s social media.

We listened to “Perfect Now” and “Walls” and there wasn’t a dry eye in the house. Out of the corner of my eye, I could see Louis peaking around the curtain wanting to see our reactions to his years of hard work. He signaled to his security guard to give us tissues and he came to our table and handed us napkins for our tears.

After we listened to the songs, Louis sat back down for the interview. He said it was a beautiful thing to see a reaction like that from fans after working so hard as a solo artist. It was evident he loved being in a room with fans, we mean so much to him and we make him extremely comfortable.

He talked about the tour and how he wanted to keep it authentic and intimate for the fans. Bomb asked about his Live Life Love show in Nashville days prior, which I attended, and when we clapped he laughed and said, “Yeah, yeah, you were there.” I couldn’t believe he remembered us from the meet-and-greet just days ago.

Bomb followed up with his joke and asked if he sees fans freak out on the front row, and then he pointed at us and said, “You’ve been front row, I know you have,” smiling and laughing at our shocked faces.

https://twitter.com/Q997Atlanta/status/1202402335168901123

Bomb asked a couple of fan questions. Louis talked about his writing process, tour, and Walls. The interview was kept professional and exciting, which I appreciated.

After the interview, Bomb invited everyone to the front for a group selfie. Things became extremely intense when Louis was almost mobbed by fans who shoved chairs down to run up to him. Rylee, a fan Louis donated money to make her home accessible, was blocked by fans from coming to the front to be seen. At this exact moment, I knew I spent ten years of my life supporting the right person. He firmly asked the girls to move so Rylee could come to the front, and when they didn’t, he walked to the back and moved a chair out of her way so she was able to be seen in the photo. I wanted to sob when I saw him go out of his way for someone who has spent most of her life looked over. He truly has a heart of gold.

After the selfie, we lined up for the meet and greet with him. His smile was so contagious and he greeted every fan with a warm hug. He signed Donny jerseys and drew tattoos for fans, and as the line inched closer, my eyes filled with tears and my heart raced. Before I knew it, my friend was hugging Louis and he looked me up and down, arms wide open for a hug greeted with a huge smile. We talked briefly, I hugged him again, and I walked off. It’s hard to put into words, but his positive energy is contagious and hugging him feels like home. He’s such a special soul.

After I met him, they made us leave the bar, and my friends and I waited to wave him bye as he left. I wanted to have a tattoo drawn by him, but my anxious mind forgot. Maybe one day, though. My friends and I hung outside for a while and the radio team interviewed us for their social media.

https://twitter.com/Q997Atlanta/status/1202437699317174273

To be in the room for such a special moment to share with an artist you’ve looked up to is truly the greatest feeling ever. I never want to forget how happy and excited I was during those thirty minutes. Leaving the party, I wanted to be able to listen to the songs over and over — but I couldn’t for another month. Being one of only a handful of people who heard Walls before its release was so special yet so tough at the same time. It was hard to keep everything to myself and not leak spoilers, but I knew I had to do it for Louis. I wrote down lyrics and everything I could remember from the album to cherish until Walls was released.

My closest friends were able to join me on this once in a lifetime journey, and here’s what they had to say about the experience.

What was your favorite moment from the party?

Caitlin: My favorite moment was telling him that I would see him four times on tour. His response was, “Thank you, love,” and he looked so happy when I told him that.

Bri: My favorite moment from the listening party is whenever we took the group picture with Louis! He realized this little girl named Rylee wasn’t anywhere near and went out of his way to go help her get into the picture. He ended up putting her in the front with him and that just warmed my heart to the max.

Makayley: My favorite moment from the party was definitely hugging him and watching him interact with Rylee, but I also loved listening to the songs with everyone and the excitement of it all.

How did you react when you found out you won?

Caitlin: It was super last minute when I found out I was able to go. I was super excited because I have always wanted to attend a listening party.

Bri: When I found out I won passes to the listening party, my mind went everywhere! I was crying, shaking, screaming, and panicking. I was the last winner, the last hour. It was CRAZY!

Makayley: I had a panic attack in math class and um thirty minutes later (oops)

What was your favorite song from the three we heard?

Caitlin: My favorite song was “Perfect Now.” Something about it put me in the feels.

Bri: My favorite song out of the three we listened to has to be “Perfect Now.” The lyrics spoke to my soul. Especially the lyric that said, “Keep your head up, love.” Just due to the fact, I’ve gone through some difficult times in life and just hearing that sent me into orbit. I was crying a lot at first but then went into a place of peace and happiness.

Makayley: “Walls” definitely.

What was your initial reaction from the songs?

Caitlin: I was really impressed with the lyrics. Being able to listen to those songs for the first time was super special. I thought the sound was definitely in his lane.

Bri: I could not just have one reaction to the songs we heard. I was happy, sad, surprised, a random emotion you can’t even describe.

Makayley: I was just really proud knowing how hard he had worked on it and how far he’s come.

Did Louis answer your question? What was his response

Caitlin: Louis did answer my question about which song off the album are you most excited to play on tour to which he responded, “Probably ‘Kill My Mind.’”

Bri: No, Louis did NOT answer my question but I was happy with the ones that did get answered.

Makayley: No.

Do you wish they did anything differently about the party?

Caitlin: I wish they would have allowed us more time to talk and spend with him. the meet and greet was rushed I think. but overall it was a fun experience.

Bri: Absolutely not. It was fine as it was. So close together, we all understood each other, etc.. It was amazing!

Makayley: No, I liked the way it was very chilled out and in the setting, it was (my only problem was with the accessibility of it).

What was meeting Louis like for you?

Caitlin: Super special. it was so nice to get to say hi to him and just tell him how much I love him and couldn’t wait to see his tour.

Bri: Meeting Louis was anxiety-filled. It was my first time ever meeting one of the people I look up to. Overall, it was an amazing experience. Louis was the sweetest and most genuine person ever!

Makayley: Meeting Louis was definitely a monumental moment as for all he had helped Rylee and myself with. But, hugging him definitely got me through a rough patch, and the feeling that the hug gave me still helps me to this day.

#united by pop #louis tomlinson #with fans #281020 #press

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nutty1005 · 4 years

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Xiao Zhan: It’s Your Turn

Translator’s Note: This article comes from VogueMe Magazine 2020 Feb Issue.

Currently, the trend in the entertainment business is to get famous overnight, the statistics dictate everything – a drama, a variety show, a song… all of which could give birth to a super idol, fame, commercial value and opportunities that come along with it. In 2019, the drama “The Untamed”, adapted from an internet novel, became this window of opportunity. This is the story of a young man who received the opportunity. And like other idols created by their era, his fanbase grew immensely, radiating throughout the youth, his name etched in time. All of these simply points to this – it’s now Xiao Zhan’s turn.

The summer of 2015, Xiao Zhan had not yet realized that he was going to job switch from the design firm opened by his teacher. The teacher did not feel so as well – as Xiao Zhan left for the talent search variety show, he told him, “Go play, come back to work once you’ve been eliminated.”

The show was called “X-FIRE”, and positions itself as a large scaled youth talent development inspirational show. During broadcast, the description says “16 secretly trained youths painstakingly selected from a few thousand 16-24 year olds”. At that time, Xiao Zhan was 23 years old – nearing the upper age limit.

Xiao Zhan just wanted to “play around a bit”. He felt that he would be just touring for a round, and he would be back after a week. As the former class Cultural Committee Member in his university, Xiao Zhan loved singing, won quite a few inter-school cultural activities awards, but never trained in dance-singing. Xiao Zhan, who graduated in graphic design, learnt drawing since young, but never thought of becoming an artist, because “it is hard to survive as an artist, you still need to earn a living”. He was willing to lead a simple life and go to work everyday, with a direct and clear life plan – as a graphic designer, do his work well, then open his own firm.

The summer 4 years later, the name “Xiao Zhan” meant a lot of different things – a member of a pop group, the lead actor of one of the most popular drama, the owner of a Weibo account with more than 22million followers, or as what Chinese entertainment business puts it – a “top traffic”. The topics and imagery surrounding him includes – Xiao Zhan’s looks, Xiao Zhan’s design talent, Xiao Zhan’s professionalism, Xiao Zhan’s role as Wei Wuxian…

And like the other idols who broke out in this era, he has his own set of records – moderators of Bilibili (a video hosting site in China) nagged that his drama fans uploaded so much of his videos that they “almost see him 800 times a day”, Xiao Zhan was jokingly proclaimed as “The Man who caused the Bloodbath of Bilibili”; he became the cover person of a magazine, and the two mobile sales platform app broke down consecutively on the day of the sales; his popularity in 2020 only got higher – on 9 Jan, according to Tian Mao statistics (TN: Taobao eShopping Mall), the Portrait magazine, where he was the cover person, sold out 100,000 copies in 3 seconds, overall sales exceeding 13million Chinese yuan, a poster was spread all around the internet with the accompanying text “a fandom that brought paper media back from its grave” – this is the Xiao Zhan statistics.

But different from the breakout idols, Xiao Zhan did not encounter major controversies (TN: This was published early Feb), and his career did not seem to go through much fluctuations. He never thought that he would be at this point – “Sometimes you’re not ready, but life has already pushed you to ahead. What you can do is to quickly keep up with the pace.” He is now at the stage where any of his actions are “studied under a magnifying glass”, but he feels that his stress levels are not as high as his previous few years, “the past few years, I had the drive but nowhere to use that, now I know how to work hard.”

During the initial auditions, Xiao Zhan still continued to work as per normal, go onstage – sing – leave, which was quite fun. After the selection down to 32 persons, he did not think much of it, and left his work to go to Beijing to practice the dance for the variety show. After the selection down to 16 persons, he practiced everything – dancing, vocals and flexibility training.

He did not think much of what would happen later. The winter in Beijing was especially cold, after the show recording, it would be around 3am or 4am, and there would be fans waiting for him outside of the studio – Xiao Zhan felt quite sorry for them, “All are young girls, it’s so cold and so dark.” He felt surreal having fans. When the 16 of them went to Zhejiang TV “Running 2016” New Year Eve performance, he saw the stage and felt that it was especially big and he was especially happy, and kept making sure he remembered the moves so as not to make any mistakes. After the final battle, Xiao Zhan’s team lost, but he and a few of his teammates were rescued by fan votes.

In 2016, Xiao Zhan debuted as part of X-Nine. During the signing of the contract, Xiao Zhan finally realized that he was going to make a career switch. “When you look at it now, 23 year old is also still a child, but no one took me as a child then.” – Xiao Zhan was the oldest in the group, he made his own decision to sign the contract, he thought that if it did not work out, he could go back to work, there was no need for him to paint himself into a corner.

3½ years after his debut, Artist Xiao Zhan still had to explain to interviewers his obsession with going to work. That day, he had a pimple on the left side of his face, and the makeup artist was applying essences on his face. The makeup room was simply a curtained area in the basement of the Art Gallery, full of passing staff, the editor was discussing the shooting schedule with his manager, the stylist was here delivering clothes, and he sat there with his eyes closed, allowing others to apply whatever it is on his face.

Xiao Zhan’s eyes are long, and also wide, he is very fair and his side profile is graceful and beautiful. With his looks, one would imagine that his personality would be cooler, more introvert, with mild melancholy, like those prince-like male leads in romantic dramas. But his personality does not really match his looks – he is serious, disciplined, he does not talk much initially, but overall he is a relaxed person, and quite funny occasionally.

“A lot of art students do not want to go to work,” the interviewer said. Xiao Zhan learnt drawing since young, some of his happiest moments in his childhood would be to win drawing awards or to have his works praised by his teachers, other unimportant happy moments includes had a good lunch, went to an amusement park, or had a liking for a girl in high school.

“They never went through the society school of hard knocks,” Xiao Zhan said. He described himself as someone who went through “quite a fair bit of knocking”. Since young, his father thought him to be independent, taught him budgeting, and told him stories about Bill Gates’s children… “I wanted to say, god, you’re not Bill Gates.” Despite all these, Xiao Zhan stopped using his parents’ money ever since his university graduation.

Xiao Zhan not only learnt drawing, he also learnt violin, go and Chinese calligraphy… pushed him to study in “National Key” middle school, “National Key” high school (TN: National Key refers to the top range of schools in China). He was an obedient child, but as a standard art student, Xiao Zhan was better in humanity subjects, and his math was not good, hence all the while he had always been the mid-bottom of the pack, which worried his family of 3 quite a fair bit.

Studying graphic design in university, Xiao Zhan felt that his university life was quite comfortable – everyday before class he would adjust himself a bit, although in the end it seemed like it did not work well after all, but at least his results were decent. Xiao Zhan emphasized that he was “definitely not the school hottie”. He was a good student. After he had learnt what the teachers taught, he started a studio on the side. The design studio would take on poster and logo design work; the photography studio only have 3 persons, Xiao Zhan did the photo taking, the other 2 did lighting. Before graduation he went to intern in a design firm, hence it was easy for him to find a job. Within a year of working, his monthly salary was around 4,000 to 5,000 Chinese Yuan, which would quite alright for Chongqing at that point in time.

Being part of a boy group releasing albums, shooting web dramas. The way to do things right was quite different from his previous job – his characterization in the group is a warm guy, although Xiao Zhan did not like characterization, he seriously fulfilled his role, and he was obedient. When someone in the variety show suggested that he lose some weight, he replied “I’m quite thin already I still have to lose weight”. As a commoner, Xiao Zhan was 183cm and 150lbs, his mother would always say he was too thin, and he felt so himself as well. That person showed him the film, “the camera lens is a really scary thing, I literally looked like a ball”. It was not easy for Xiao Zhan to lose weight, so he did it brutally. He was so hungry that he dreamed that he was eating. Xiao Zhan is now 127lbs, but this was not his thinnest.

“How was it like after debut?” “Unoccupied.” (TN: Xiao Zhan used the Chinese phrase “picking at his feet” to describe the state of emptiness.) Xiao Zhan’s words were paced and gentle, most were caught unawares by the sudden switch to casual humor, he might not be laughing, after others laughed he would continue his conversation seriously.

After his debut, he felt that he was freer than the times when he was still an intern. But he did not allow himself to stay free, he took vocal and dancing lessons, making sure that he could do sing-dancing to the best of his abilities. But he was still a bit lost – when he was still a designer, his future was clear and straight, but after his debut he had no clue where his future led to.

“I could count the number of dramas I’ve acted in with my fingers,” Xiao Zhan said. After which, he started counting them – “Battle through the Heavens”, “The Wolf”, “Oh! My Emperor”, “The Untamed”, “Joy of Life”, “Jade Dynasty”, “The Oath of Love”… the earliest work “Super Star Academy” was not counted – It was shot with his boy group, he was still fat, and he had no clue what he was doing.

Acting was his own idea. When he started auditioning he had not even attended any performance classes, he saw the director, took a piece of paper that indicated the scene and lines, and just went for it. Xiao Zhan did not feel that it was awkward, it was something he wanted to do, so he would do so without any inhibitions, and grasp every opportunity to do so. Singing was something that he always liked, his first single after debut was a song voted by his fans. With the stage and his fans, with attention, he would always want to do it better. Acting was something totally foreign to him.

The first turning point was “The Wolf”. When auditioning, within 2 hours, Xiao Zhan had tried many roles – the bounty hunter who was threatening someone, the prince whose brother was about to be executed… Xiao Zhan won the role of the bounty hunter – the 4th character on the character roll, Ji Chong. During the pre-shoot training he was still acting in “Battle through the Heavens”, daytime he would be shooting, nighttime he would be having performance classes. He did not feel it was tough then, as long as he had time to sleep. “Work is something I am willing to do, I will only feel very motivated, tomorrow must be done better than today.” Xiao Zhan liked Wei Wuxian, felt that he was vivid. When acting, during the first month he would be second guessing himself everyday, is the portrayal accurate? Would the audience accept it? Xiao Zhan checked with the director everyday. After a month, he stopped asking, he felt that he was Wei Wuxian. Dramas adapted from web novels are rarely positively received, his hopes for Wei Wuxian was that “I hope people would not dislike the character because of my acting”.

The summer of 2019, the drama aired, and the real turning point arrived.

Billions of fans, frequent trending topics on Weibo, appearing on multiple magazine covers and even causing the sales platform app to crash…

He is one of the few artists in Weibo that sets his account as “only posts in the past 6 months are viewable”, but it did not affect his popularity. His interaction with his fans are witty, the statistics are more than enough to attract attention. Last year on the Chinese Valentine’s Day (TN: 7th of the 7th Lunar month), he posted a photo informing his fans that he had put on weight, his pants folded up, legs in the swimming pool. One of his fans replied, “Fine, good to know that your leg hairs are doing fine.” This reply was boosted to the top with 190,000 likes.

“After watching ‘The Untamed’ and ‘Joy of Life’ and then meeting you, I feel like you are very similar to your performance method, calm. You are like an AI, whatever you do you’re especially precise.” “You’re highly professional.” The interviewer concluded.

At the start of the conversation, Xiao Zhan just finished an exterior photo shoot, we were both seated, leaning forward and warming hands above the radiator. He said, “Artist is just a job, I don’t like artists to place themselves on a pedestal, just like today you are the reporter who is interviewing me, today I am someone being interviewed. Cooperation, is just so that we can complete our jobs, coming in for the photo shoot is my job today, every single staff is also executing this job, it’s just the role is different.” Because he went through the society “school of hard knocks”, he respected and understood the truth behind teamwork.

As someone who once had to face clients, he knew how it felt as someone at the receiving end of endless unreasonable requests, and therefore he did not want to be someone like that. His standards for work is consistent – high efficiency, good results, everyone is happy, no one has to serve another person. Also “once I am done I will knock off, after I knock off no one should come find me, let me be alone.”

“Everyone works to fulfill their needs, they have entertainment after they knock off, they have freedom and privacy. As a public figure, artist, the product is yourself, the works are also yourself. You have to output materials, contribute works, and then gain the opportunity to grow, for higher social status, value and better lifestyle. For some people, besides their career, they also included their dreams,” the interviewer said.

“The understanding is very thorough. You win some, you lose some, after becoming a public figure it meant that there are multiple pairs of eyes staring at you, anything you do would be judged. Whether it is positive or misguided. Truth and falsehoods, isn’t this circle just like this? Whether the rumors or the gossip is true or false, who knows?” Xiao Zhan said.

On 5 Jan 2020, Xiao Zhan was working in a sculpture garden in Shanghai Songjiang, shooting a series of photographs to be the cover of VogueMe. It was cold, the gallery’s doors were open, and the wind blew from the first floor to the basement. Everyone was wearing winter jackets.

In the morning, beside the metal sculpture on the first floor, Xiao Zhan and model Chen Yu faced the camera separately. As the shutters rolled, they did not exchange glances or touch each other. As the photographer requested the model to sit on the ground, Xiao Zhan said his only sentence to her, “Careful your head.” and used his hands to shield her head from the protruding portion of the sculpture.

That day’s Weibo opening advertisement was also Xiao Zhan. As per the photographer’s request, he tilted his head up slightly and gave a cold gaze, or side glancing a faraway place, but also at the same time, he was smiling sweetly on mobile phone screens, promoting a series of instant food products.

In the afternoon, the team went to the exterior, to a concrete sculpture beside the gallery entrance, where he and the model stood in front of, facing the camera. The arm was on the model’s shoulders, and the two of them looked at the camera – he was even thinner than the model. In yet another set, the staff erected a ladder to one of the rooftop grass patches on the gallery buildings. An ice cold rock slab was selected, which the assistant padded using a jacket, and tested the light levels. After which, it was Xiao Zhan’s turn. He was wearing a red jacket with blue shirt, wearing a baseball cap, lying on his side on the rock slab, supporting his head with his arm. In between shoots, the assisted would hand him a long wool top, with deep blue diamond checks, quite thin. The top was flipped over, he slipped his hands into the sleeves to protect the front of his body, his assistant handed over another water bottle that contained warm mineral water to warm his hands. Xiao Zhan basically did not speak, he placed the bottle on his neck to gain some warmth.

An artist’s job, the profession included losing weight, staying hungry, freezing and staying up overnight, wearing winter clothes in summer is the norm, not drinking water prior to any shoots to prevent water bloating on screen… people who do those well may become famous, if they look good or are lucky they may become even more famous. Now Xiao Zhan has an opportunity, and like his previous job, he chose to be down-to-earth and do it well.

In the evening, the green screens were setup in basement 2 of the gallery. 17:44, Xiao Zhan was in position, his manager reminded the stylist to take note of the clothes’ proportion – “The sweater is too long.” Hence, the sweater was folded up. After the camera assistant brought down the Apple machines, the cameraman adjusted his machines, and started shooting the video. Quite a few scenes were done in one take, in the middle there was a break, the manager and the camera crew were discussing camera positions. This was the 10th hour of the shoot, Xiao Zhan sat behind the table, laid his head on a prop gift box and waited quietly – we could not see if he was tired or not.

The shoot ended, and the sky was already dark. Xiao Zhan has not yet knocked off. The media had ended their work, the manager was darting around, arranging for Xiao Zhan to change out and get on his car, to rush to his rehearsal that night – they were already behind schedule. Both teams bid their farewell, Xiao Zhan warm and gentle, still unclear whether he was tired. After less than an hour’s journey, he would need to go onstage to sing, and thereafter, his work would be to complete the costume testing of 20 different sets of clothes.

The Initial Cold

The time set for the shoot was 9am, Xiao Zhan arrived at the rural set at 8.30am. His overnight flight arrived only the day before, meeting Xiao Zhan on the cold morning of a deep southern winter, his spirits looked great, his face having the same kindness as usual. The endless job schedules taught him how to conserve his energy – no casual conversation, not even to his staff; take every opportunity to eat or rest; absolutely no procrastination, ensure efficiency, do his best to accommodate and complete every job. He is a highly disciplined and professional artist.

In this shoot, the warm, gentle smiles have been replaced by cold, sharp glares, the metal and concrete sculptures gave him a few minutes of inner emotions and narrative, his scenes with the model was almost like he was acting in the set of “Last Year at Marienbad”. Xiao Zhan displayed emotions and charm very different from usual self – this is the power of an actor. The darker filters and monochrome imagery restored the caution that the youth of his age would have, it was the concealed feelings of a sunny boy. With such an idol, not only he can warm your hearts, there are still much to expect from him.

#xiao zhan #sean xiao #xiaozhan #肖战

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bog-o-bones · 4 years

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Kaiju Media Forecast 2020

The kaiju fandom has certainly seen a gigantic upswing in content since the last time I did one of these “year going forward” reviews. Let’s take a look at some of the major movies, events, merchandise and more that kaiju fans have to look forward to in the coming year!

Movies

Every year since at least 2013, the kaiju fandom has had one “tentpole” film event of the year, usually the most highly anticipated feature coming out that year that most media and merchandise hype will surround. This year’s choice is the latest (and possibly last?) of the Legendary MonsterVerse which just last year introduced us to the first American incarnations of Mothra, Rodan, and King Ghidorah. Later this year, the King of the Monsters will once again take on the King of Skull Island in a rematch nearly 60 years in the making with Godzilla vs. Kong. The only snippet of footage we’ve seen is featured in the screenshot above and recently leaked toy fair displays have quite a lot in store for the big crossover event of the MonsterVerse. Godzilla vs. Kong drops November 20th.

According to your definition, the first kaiju film of 2020 launched two weeks ago with Underwater. The Kristen Stewart-helmed deep-sea monster movie isn’t really making the splash it was looking for box office-wise and most people who have seen it say that it’s okay at worst. Regardless, if you like big monsters and quasi-Cloverfield type films, you can give it a shot in theaters now or in a few months when it hits home media.

Godzilla’s sole big screen appearance won’t just be limited to the big crossover with Kong as a snow-covered cameo role will land him a spot in the new Shinkalion movie. From a clip posted on Yahoo Japan (refresh the page if it doesn’t work) Godzilla briefly faces Hatsune Miku piloting a giant train-based mecha (I tried pinching myself, believe me) at the very end. This role is likely going to be very short but nonetheless, it’s always satisfying to see Godzilla pop up in the most unexpected places.

Again, stretching the definition of “kaiju” here, but also apparently the Monster Hunter movie still exists and is coming out later this year in September? I don’t know much about the franchise, but I do know it’s probably going to be butchered with a Paul W.S. Anderson directed schlock fest. Who knows, maybe the monster scenes will make up for it?

As is tradition, the Ultraman franchise hits us once again with an annual theatrical movie based off the previous year’s show. Ultraman Taiga The Movie: New Generation Climax will be out in March and judging by the title, will feature a climactic event featuring the New Generation assortment of Ultraman heroes. I still have yet to see Taiga but hopefully this provides a fun conclusion to the show.

Famed director Hideaki Anno returns to the world of his most famous creation with Evangelion 3.0+1.0, the highly anticipated final installment in the Rebuild series to be released this June. I have not seen any of the Rebuild movies myself but this is sure to be a wild and crazy ride for Evangelion fans.

Finally, the oddball of the bunch. Kadokawa rises from it’s dusty grave with a brand new monster film focused on the unproduced predecessor to Gamera: Nezura 1964. Featuring giant rat monsters and a cast comprised of many Daiei/Kadokawa favorites, it’ll be interesting to see if this film can capitalize on the recent kaiju craze and be successful enough to possibly give our old turtle friend the revival he truly deserves. Nezura 1964 is due out in December in Japan.

Television

Not much on the television docket this year. It’s far too early to speculate about Tsuburaya’s next Ultra series, leaving us with little to discuss. Studio Trigger is supposedly making some kind of new series related to it’s Gridman show from last year (another item I have yet to see). Titled SSSS.DYNAZENON, nobody knows when it’s due out so for all I know this could be a rather outdated entry.

What we do know for sure is coming is something not particularly kaiju but still related via the tokusatsu connection is the continuation of Kamen Rider Zero-One, the first Rider series in Japan’s newly named Reiwa period. This isn’t really related to the year 2020 but honestly I’d rather have something in this TV section to talk about than just the Gridman sequel.

Merchandise

Last year was one of the greatest years in the history of the American Ultraman fandom with the officially sanctioned releases of Ultra Q, Ultraman, Ultraseven, Ultraman Orb and Ultraman Geed to Blu-Ray in the West for the very first time. In this new year, Mill Creek will continue to satiate the needs of Western Ultra fans with releases of previously unseen-on-western-disc series Return of Ultraman, Ultraman Ace, Ultraman X, and the Ultraman Orb Origin Saga. A schedule flyer released online also teases many other entries in the franchise making the continuous release of these beloved shows a treat to look forward to. You can pre-order the four releases discussed above on Amazon.

American toy company Playmates acquired the license for the Godzilla vs. Kong toyline last year and in early January, a few figures from their non-film focused toylines showed up at Walmarts across the country. They’re uh...well, let’s be honest: they’re not great. Leaked images of the Godzilla vs. Kong toyline were also shared around social media but I’ll avoid talking about them here for spoiler purposes. Let’s just say the line is looking mighty juicy for kaiju fans and it will be interesting to see if they’re promoted come New York Toy Fair.

Bandai’s Movie Monsters Series line will likely continue to issue newly reissued/remolded monsters in the Godzilla line (as well as produce new figures for Godzilla vs. Kong) but coming out in March is a sight for sore eyes: a brand new sculpt of the 1995 Gamera design for the 25th anniversary of Gamera: Guardian of the Universe. Hopefully a Super Gyaos is not far behind!

The S.H. MonsterArts line had a fairly predictable and underwhelming list of releases last year. Great figures for the most part, but obvious choices without much surprise. This being a movie year, I don’t expect much to change and we’ll likely see Godzilla vs. Kong figures soon enough. What is confirmed and releasing in May is their take on the Burning Godzilla design featured in Godzilla: King of the Monsters last year. Originally a Tamashii WebShop exclusive, it’s being released in America by Bluefin around June.

Media company SRS Cinema continues to throw unexpected independent kaiju films our way with releases of Deep Sea Monster Reigo and Deep Sea Monster Raiga last year on limited Blu-Ray and wide-release DVD. They’ll continue the assortment this year with Attack of the Giant Teacher and Raiga vs. Ohga. The films likely won’t be much to look at, but more independent kaiju films seeing a western release is never a bad thing. Here’s hoping Daikaiju Eiga G or Gehara see a release soon.

In an almost perfect repeat of Daiei and Toho’s box office bout sixty years ago, boutique label Arrow Video has reportedly secured the rights to the Gamera franchise and are planning a box set that could rival Criterion’s late 2019 release of the entire Showa Godzilla series. Arrow Video puts out sublime products and kaiju fans will likely want to keep their eyes peeled for this set, even if they’ve already secured Mill Creek’s rather dull bargain sets from years past.

While not on the docket for tie-ins to Godzilla vs. Kong (yet), NECA will likely be continuing to pump out new figures in their Classic Godzilla line. No brand new sculpts are known at the moment, but fans can look forward to a blue, poster-styled repaint of their KOTM Mothra figure and some reissues of their older molds in new box-styled, poster-featuring packaging. Some, like the 1985 Godzilla, might even feature newly molded details.

In rather shocking news, Media Blasters has seemingly propped one of its kaiju films up from the depths of licensing hell with an announcement of a Blu-Ray release of Gappa the Triphibian Monsters scheduled for a February release. The out-of-nowhere circumstances surrounding this release as well as a proclaimed inclusion of an “uncut” Japanese release (despite the International version containing more footage than the Japanese version) and Media Blasters rather spotty history regarding kaiju Blu-Rays should have folks taking this with a grain of salt until the actual discs are in collectors’ hands.

Events

As per usual, the kaiju fan’s Woodstock G-FEST will be continuing it’s annual celebration of all things giant monster from July 10-12 at the Crowne Plaza Chicago O’Hare in Rosemont, IL. No guest announcements at this time, but fans looking to go should register and book a hotel immediately as attendance will continue to spike and rooms in the convention’s hotel are already sold out.

As is tradition, the San Diego Comic Con will take place this summer a week after G-FEST is over and will likely bring with it new information on Godzilla vs. Kong and many other kaiju-related media. NECA will possibly show off new figures and we may even see some post-2020 information on the MonsterVerse.

Not necessarily guaranteed, but kaiju fans may also want to look out for this year’s New York ToyFair taking place in February. ToyFair has pretty much become the SDCC for toy collectors with many companies showing off their new products for the new year. Kaiju collectors will possibly get a glimpse at the Playmates Godzilla vs. Kong assortment as well as a few other possible surprise reveals from other companies like NECA or Diamond Select.

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2020 is looking to be a monstrous year for kaiju fans. Hopefully the fandom will enjoy everything to come from our favorite franchises.

Here’s to a happy 2020!

#kaiju #2020 #kaiju fandom #daikaiju #godzilla #godzilla vs kong #gamera #arrow gamera #ultraman #mill creek ultraman #bandai #sh monsterarts #neca #neca godzilla #g-fest

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olderthannetfic · 4 years

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Vidding absolutely counts as a fandom, and Escapade is key to the history of vidding.

Notice how the terminology shifts over the course of Escapade: The first year, it’s ‘songtapes’ being shown, then ‘songvid’ or ‘song video’ predominates for much of the 90s, and then we move on to ‘vidding’ and ‘vids’.

The vidshow moves from being more of a curated presentation of old favorites to having a lot of premieres. It goes from just one night to two, then back to one. Vidshow panels where you just watch vids for a whole panel slot come and go. In 1998, vid review starts up: This is a Sunday morning panel for in-depth critique of the vids shown the previous night and is a famously contentious part of the con. And then there was this:

2002, Friday, 6pm - VividCon Discussion (Come discuss the proposed VividCon, tentative time/location, August/Chicago.)

Yep. Escapade was where Vividcon was born!

By 2008, people were talking about how vidding had moved on from Escapade. In 2011 a vidshow retrospective was added to try to counter the lack of vidding-centric programming. There was a big resurgence for a few years, including such hard-hitting topics as:

2016 - Vidding Aesthetics (”Why is there so much show audio in this vid?", "Why didn't that cut hit on the beat?", "What do you mean 'Cheesy?' She's Celine Dion!" and other immortal questions of vidding aesthetics. If you've ever watched a vid, we want your opinions.)

Why yes, it was my panel. Why do you ask?

There were rounds of warnings wank, caused by Oz vids and by that time Absolute Destiny sent a vid of a violent coming of age film.

Check out this 1994 panel description from Fanlore:

"[The technology in fandom panel] included several things that people can now do in-home that they couldn't do five years ago: cutting and splicing songs on Macintosh computers (to remove inappropriate choruses, verses, or the word "girl"); the soon-to-be-easier ability to select different people from different clips and combine them onto a new background (also for songtapes); printing vhs video frames directly to computer screens, printers and/or color copiers (for fun); and zines and/or libraries on disk. Most of the new technology possibilities were followed by comments that the actual work we can do is illegal [...]. Which comments were followed by the statements that seventeen years ago, writing and publishing a slash fanzine was illegal.... [...] a few people [...], talked to me at different times throughout the con about getting accounts or modems [...]”

This is interesting not just technologically but aesthetically. Is the word ‘girl’ bad in a slashvid? Different communities have disagreed.

Conversations about digital vidding and digital vs. VCR really heated up around 2001, much later than you might expect if you’re coming out of an AMV background. While most of Youtube vids on Sony Vegas--a Windows-only program--at Escapade, Mac has been the norm.

The topics that have remained big are vidding aesthetics, including things like how to make an effective pimp vid, discussions of hosting options and where the community is hanging out now, and how-tos for people who want to get into vidding.

(And before anyone asks, the answer is that you should download DaVinci Resolve because it’s free and cross-platform. And you should encode with h.264 because it’s widely compatible.)

The 2020 vidding panels are:

Vidding 101: The Vid Bunny Farm So you’ve had an idea, and it’s gnawing on your leg? Or maybe you have too many vid ideas and can’t choose? Or you want to make a vid but don’t know where to even start? Aspiring fan vidders, unsure-vidders-to-be, and experienced vidders welcome alike to share vid bunnies, brainstorm together, and talk about the processes of conceptualizing a vid.

Vidding Genres Then & Now We’ve come a long way from “living room vids” vs ‚”con vids‚” or have we? Let’s talk about evolving fanvid genres, from ship vids to AU vids to multivids, from character vids to fake trailers, from genre-bending vids to long form vids to cosplay music videos, and more. Let’s talk about all the genres of fan videos floating around YouTube, Billibilli, AO3 and beyond, and also consider if the old school genre terms still apply.

Escapade has had many, many vidding panels. So many that even I feel the need for a readmore. I’ve pulled out the meta ones and left off some single-fandom vidshows and whatnot. Sorry for the wonky formatting, but Tumblr, in its infinite wisdom, seems to have removed the horizontal rule feature.

1991 - "Classic" songtapes were shown at 9:00 on Friday.

1994 - Song Video Roundtable (Bring works in progress or finished works you're having difficulty with for a quick jump-start. Open to anyone who enjoys videos as well as the people who make them.)

1994 - Songvid Editing (Authors get edited and usually have to do at least one rewrite of a story. Artists have erasers. What stops songvid makers from doing drafts and re-edits of their work? Let's talk about editing style (what cuts to use for best emphasis) and technique (how to physically do the inserts.)) [Notice how much of an issue editing is. These are VCR vids, edited in order, so insert edits are a gigantic pain.]

1995 - Techno Vids—Media Cannibals, (What's available with the new computer hardware and software? Can have Bodie & Doyle screwing on screen if we apply the right touches. Should we? How and when?) [Yes. Sweatily. Always.]

1995 - Video Workshop (video makers & watchers discuss the art.)

1996 - Music Video Critique and Workshop (Roundtable critique of videos, how to tell/recognize story, POV, rhythm. Also, tricks of the trade.)

1997 - Music Choice for Song Vidding (Finding the right song for the fandom is almost as great a challenge as finding the right clips for the song. Discussing what to look for in music choice.)

1997 - Songvid Critique (An exploration of different elements of media vids, with an emphasis on aesthetics. We'll look at segments of different songs to see how the images were used in conjunction with the varied rhythms of the music, and to enhance the mood.)

1998 - Media Cannibals Self-Indulgence Hour (Stunned to look back on vidding effort, MC plans to show -- and talk about -- some of their best and worst vids, pointing out some happy accidents and some annoying f*ckups. This is a great panel for people who want to learn about vid-making, the work that goes into them, and what to look for when watching them.)

1998 - Con Vids vs Living Room Vids (What are the elements that make a music vid accessible to a large crown, or more appropriate to an intimate setting?)

1998 - Music Video Show Review (Selected vids from Saturday's show will be replayed and discussed for their aesthetic, technical and musical choices. Open to all, for feedback and fun.) [Perhaps the start of the Sunday vidshow critique, which was also such a feature of Vividcon?]

1999 - Songvid Aesthetics (An exploration of theme, color, mood, and rhythm. Choosing clips to relate to the music and convey your message to the viewer.)

1999 - Sunday Morning Vid Review (Selected vids from Saturday's show will be replayed and discussed for the aesthetic, technical and musical choices. Open to all, for feedback and fun.)

2000 - Vidding Basics (Or "you want to learn how to make a music vid, huh?"—Carol and Stacy will take a group of novice vidders from the basics of what you need on your VCR, to all your hardware set ups, thru the selection of music, to actually doing some hands-on putting a dip (or two) into a music vid. So if you're interested in music videos and you want to try your hand at making one... you know what panel you need to go to.)

2000 - Songvid Appreciation 101 (Remember Art Appreciation? "Why is this painting good?" Well, we're doing the same for vids, using examples from the ESCAPADE Video Show. Let's take advantage of the fact that we've all just seen these vids, and use them to illustrate how to do cool things in a vid. We'll look at clever POV changes, appropriate choice of music to theme, skillful uses of musical changes within a vid, storytelling techniques, changes of mood, cutting on the beat vs. cutting on the lyric line, the different approaches to serious and humorous vids, or single fandom vs. multiple fandom vids, and more.)

2001 - Vidding Workshop (2 hours) (This workshop will cover: a comparison between digital and analog vidding; a how-to for analog vidding; a how-to for digital vidding; and a discussion of the artistic side of vidding, including song and clip choices, and techniques to avoid.)

2001 - Impact of Computer Tools on Vidding (Vidding used to be push-and-pause between 2 vers, and a LOT of patience. Now with I-movie and Final Cut and Macintosh G4's, the technological leap is here and it isn't going anywhere. Are vids better for the technology available to them?)

2001 - Songvid Appreciation (2 hours) (Comments and feedback on vids you saw last night, Escapade style.)

2002 - Art Manipulation Using Photoshop (A how-to overview, with demonstrations in Photoshop, and more detailed techniques for creating photo manipulations, web graphics, and zine graphics. Depending on interest, creation of vid titles and overlay vid graphics may be included.)

2002 - Digital Vidding (An overview of the digital vidding process, including some advice on the hardware and software you need to get started. Learn the basics of editing with Premiere and similar programs, and get an overview of some of the fun options you have when using a computer to vid.)

2002 - Vidding Workshop: Art After Craft (What is the Art of Vidding?)

2002 - Vid Revision (The art and craft of revising vids—how you get from a song in your heart and a bunch of clips on your hard drive to the final product. We'll show multiple versions of a few vids, critique them, and talk about what improves a vid. No technical knowledge needed; come whether you make vids or just like watching them.)

2002 - Vids: Pro vs Fan Editing (A long time fan vidder and a professional editor discuss techniques.)

2002 - Sunday Morning Vid Review

2002 - VividCon Discussion (Come discuss the proposed VividCon, tentative time/location, August/Chicago.) [VVC started 6 months later, in August 2002, and ran until 2018]

2003 - How to Vid on the Computer (A brief intra vidding on computers. It will touch on hardware requirements, software options, and basic concepts of non-linear editing and what makes for a good vid, and, time and tech permitting, it may also include a demonstration of some of the editing basics. There will be handouts.)

2003 - Vid Show Review (A discussion (and literal re-viewing in some cases) of some of the vids from the Saturday night show.)

2003 - Also Premiering Vid Show (The "Also Premiering..." vid show is for vids premiered in the last year that aren't going to be shown in the Friday or Saturday shows. This will be an informal setting and we'll go by participant preference — if folks want to see a vid a second time, or want some time to chat about it, or if a vidder wants some feedback on it, we can decide to do that on-the-fly. If you'd like to show any vids in this show, just bring them to the show itself. There are no hard-and-fast limits on number of vids; we'll just go with what shows up and take turns until we run out of time. Afterwards, consider going out to lunch with other participants to talk about the vids!)

2004 - I want to vid! (But I don't know how) (Introduction to vidding hardware, software and maybe some concepts if we have the time.)

2004 - Made On a Mac: The MacFen Symposium (So you're a slasher and a Mac user. Come and share your tips and tricks for HTML coding, photo editing, website management and vidding on a Mac, Share the programs that have and haven't worked for you and hear some helpful tips from the front lines.)

2004 - Vidding: Creating Mood (Why do rapid cuts of short clips create tension? What does a wipe *feel* iike? A vidder's toolbox Includes more and more options, but how do we know what emotional effect each technical effect will produce? Leave the music at the door; this one's about the visuals.)

2004 - Editing Techniques and Vidding (How can you edit together clips from widely different episodes and movies into a seamless whole? A familiarity with concepts in filmmaking can help you achieve the results you're aiming for. A look at some of the common rules of continuity editing and how they relate to vids.)

2004 - The changing face of vids (How has increasingly cheap technology, wider highspeed access and the new flood of vidders changed vidding? What should we rejoice about and what should we worry about? How do we help make it a winning situation for all?)

2004 - Vid Review (A retrospective on the Saturday night show.)

2005 - Vidding: Let the Lyrics Help You (How to look at lyrics to add depth and structure to your vid. or why top 40 songs usually make you do all the work.)

2005 - Vid Review (A Sunday morning tradition at Escapade, and a chance to discuss those great vids.) [See how it’s a “tradition” by this time.]

2006 - The Changing Vid Audience (The move to digital vidding, the availability of vid source and software, and the expectation of online distribution have all radically affected audience desires and expectations. What do audiences want from vids now? Vidders, share your historical perspectives. Vid fans, this is your chance to tell vidders what you want.)

2006 - Defining the Character Study Vid (We love character study vids, so how do you go about making a good one? What's the difference between a vid about a character, a vid about a universe, and a vid about seeing the universe through the eyes of a character?)

2006 - Marketing Your Vid (How can you stand out among the swelling ranks of vidders? What's the best way to present yourself, and to draw attention to your work? We'll focus on knowing your audience, timing your release, pimp communities, etc.)

2006 - Vid Review (Like Ebert and Roper, but much better looking.)

2007 - Ulead Media Studio Pro 8 and Why It's Better Than the Rest (A compare and contrast of the semi-professional video editing software programs with a strong emphasis on Ulead Media Studio Pro 8. If you are new to vidding, or interested in upgrading your video editing software, this panel should help you make an informed choice.)

2007 - Mac Workshop (The ins and outs of vidding on a Mac.)

2007 - Vid Show Review (Take apart what worked and what was missing from selected vids in the Saturday show. Audience participation at its finest.)

2008 - Ulead Video Editing Introduction (Intro to Ulead Video Studio/Media Studio Pro for those who are interested in vidding but don't have a clue as to where to start. or wouldn't mind a refresher course.)

2008 - Vid Review (Last night was for watching, today is for analyzing. What worked, what didn't, and why?)

2009 - Fannish Aesthetics: Extrapolation v. Subversion (How do we as writers (and especially as vidders) interact with the source material? Is that relationship evolving? What can we say about where we've been and where we're headed?)

2009 - Vid Review (Last night was for watching, today is for analyzing. What worked, what didn't, and why?)

2010 - 2010: A Vidding Odyssey (Current trends in vidding, including what's changed and what's remaind the same when it comes to slash, vidding in particular. We will show some examples of "classic" slash as well as some of the newer develpoments in constructed reality.)

2010 - Vid Review

2011 - Escapade Songvid Retrospective (A trip back to the days of yesteryear, when vids were made on VCRs and Escapade was the place for vids and vid programming. Compiled by Kandy Fong, this show will survey vids from a variety of vidders and shows, covering Escapade 1992-2001 in a fun, informal environment.)

2011 - Decoding Vid Meaning (How do you read a vid? Clip choice, lyrics, structure, symbols or the tone of the music— vids offer plenty of clues, and we decipher them as we see fit. Come watch a vid (or two!) and discuss how we get meaning from what we see and hear to develop a deeper understand of what's going on in the vid. Multiple viewings are required!)

2011 - Vid Review (Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.)

2011 - The Vidding Explosion (1985-1990) (Who taught whom. The growth of storytelling, technique, and sophistication. Includes vid show and presentation.)

2012 - Vidwatching 101 (Vids have their own language and their own framework for discussion. It can be tough to translate vids into words, but if we have the same language, vid discussion can be wonderfully rewarding for both vidder and viewer. This panel is a primer to get us all on the same page.)

2012 - The State of Vidding Fandom (Ten years of VividCon and roughly the same years vids have been distributed online, let's talk about the state of vidding and the community of vidders. Is there one? Where is it? How do vidders fit in with fandom at large? What are the different options for watching/releasing vids, and how do they stack up for vidders and viewers? If you love vids, join us—whether you vid or not.)

2012 - Festivids Review (Festivids is a fannish vid exchange inspired by the Yuletide fic exchange. This will be a vid review-style panel where we show clips from some of this year's highlight vids and talk about the challenge.)

2012 - MVD Vid Retrospective Show (Sometimes the oldies really are the goodies. Mary Van Duesen has made songvids since the 1980s, working in a range of fandoms. She has also remastered many old vids, and they look better now than they ever did. Come see some old favorites, or find some new ones.)

2012 - Vid Show Review

2012 - Nearly New Vids (So many wonderful vids were submitted for the Escapade show that we couldn’t fit them all in the early show. Here’s your chance to see the rest in the daylight hours (replay of the late-show vids).

2013 - Mac Vidders Roundtable (What’s the best way to vid on a Mac? Our vidding options have changed a lot in the last few years, and it’s been a while since we had a roundtable to discuss and compare our tips, tricks, and processes. This panel is for all of the above.)

2013 - The Art of the Pimp Vid (What makes a pimp vid so addictive one hit will get you hooked? Let’s talk vids for people outside of your fandom. Plot arc vids, character vids, pairing vids: How do you grab a new audience hard and never let them go? Hey there, little fangirl, the first taste is free!)

2013 - The Bestivids of Festivids (This year’s Festivids featured everything from incest testtube babies to care bear Avengers to a surprisingly large amount of kickass femslash. Let’s watch and discuss some favorites from Festivids 2012.)

2013 - So You Want To Be A Vidder (Nobody vidding your OTP anymore? Sad that vidders haven’t discovered your new favorite show? Why not vid it yourself? Come learn the very basics, from choosing programs in your price range to dos and don’ts if you’re planning to submit to cons.)

2013 - How Do Vids Work? (Let's talk about the techniques (not just the feelings!) that make a slash vid work. What makes for a vid that we watch over and over and that sticks with us long- term? We'll talk about these things with reference to a couple of specific vids, see what strategies, commonalities, and differences we can identify, and then open up discussion to additional favorites from the audience.)

2013 - Vidding Aesthetics (Vidders and vid watchers: let’s talk vidding aesthetics. How have styles changed over time? What makes a good vid and what’s just a matter of personal taste? What do you want to BURN WITH FIRE? Let’s get this cage match... err... discussion going.)

2013 - Vid Review (Flash all the way back to Saturday night to dissect our favorite vids (or not) vids from the show.)

2014 - Vidding 101 (Never edited before? Haven't made a vid since the VCR went the way of the dodo? Come learn how to turn those vidbunnies into reality!)

2014 - Vids for the Viewer (We often discuss writing from the perspective of a reader, but vidding from the perspective of vid-watchers not so much. Let's talk about how to read a vid, different vidding aesthetics and how accessible or popular they are with viewers vs. vidders, and impostor syndrome in vid review.)

2014 - Vid Review (Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.)

2015 - Best of Festivids. From the slashy to the merely sublime, what tickled our fancy in this year’s Festivids?

2015 - The Perfect Slash Vid. What makes the perfect slash vid? Is it the song choice? The point of view? The abs? (Okay, you got me: it’s the abs.)

2015 - So You Wanna Be A Vidder. Bring your laptop or at least a pen and paper and find out how to get started in vidding.

2015 - Vid Review: Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.

2016 - The State of *Vidding Fandom. Sunday, Noon, San Diego 2. What's going on in vidding fandom today? Where are people hosting and posting? What's next?

2016 - Vid Review. Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.

2017 - Vidding 101 - Have you dreamed of making a vid but just aren’t sure where to start? We’ll go step by step, talk finding your source(s), choosing music, finding your way with non overwhelming tech-tools, brainstorming ideas, finding collaborators, and learning by doing. Already a vidder? Come and help new vidders find their way, find new collaborators, and make new ideas happen.

2017 - Let’s Collab! New Forms of Collective Fan Creativity , Newport Changing technologies mean that we collaborate with each other in ever-evolving ways when we create fic and vids. What are the possibilities for collaborating beyond geographic boundaries with digital technologies? How are you collaborating with fellow writers and vidders these days? Are you interested in finding new collaborators and new ways to connect? And are these new forms of collaboration creating new forms of creative fan work?

2017 - Vid Review, Marina del Rey On Saturday night, we watched the vid show. On Sunday morning, we talk about it. Join Rache to discuss the good, the better, and the great of the show, including techniques and all of the reasons Charlotte doesn’t vid anymore and never will again.

2018 - Noon (Vids from the Vault, Part One Kandy Fong Newport A curated retrospective of vids from early Escapades.

2018 - Fanvid Feels (What vids do you return to again and again because they just make you *feel* things, thrill you, or fill you with joy, or even sadness? Maybe a vid introduced you to a pairing, or a fandom, or perhaps you love it even though you’re not really that into the source? Let’s look at some of our/your favorite vids and think about what makes them tick. Come with vids you want to talk about in mind, or just come to watch and talk about vids that make us feel stuff.)

2018 - Vid Review (Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.)

2019 - 3-Minute Pimp Vid (Forget telling: Show us your canon with a vid or clip! (3-5 minutes each.))

2019 - Lend Me Your Ears: Vids and Music (Have you ever discovered a song or musician because of a fanvid? Do you have thoughts on what music works and doesn't with fan vids? Let's talk about all the ways in which different types of music can work in vids, and look at some vids that work with music in awesome or surprising ways. Plus maybe there will be a little singing along...)

2019 - AO3 But For Fanart and Fanvids (AO3 has been great for fic, we need safe harbors for art and vids too. Let's talk about it!)

2019 - Pitch a Vid Bunny, Find a Vid Beta (Have an idea for a fanvid you'd love to see happen? Come with concept, song, source ideas, characters--share your bunnies, find some cheerleaders, brainstorm together. For newbie & experienced vidders alike, all welcome!)

2019 - Vid Review (Rehash the Saturday night vid show with a room full of fans.)

#escapade 2020 #escapade con #fandom history #vidding #vividcon

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paulisweeabootrash · 6 years

Text

Series Review: Read or Die (R.O.D. the OVA)

Welcome to another episode of Paul is Weeaboo Trash! Today’s topic is a show I’ve previously seen one episode of, so long ago that I’m almost going in fresh: the OVA (what we in the US would call a “direct to video release”) of Read or Die (2001–2002)! I was lucky enough to grow up in a household where education and fun were not portrayed as opposites, and we had the means to find plenty of fun educational things to do. My parents searched for all kinds of potentially interesting activities, and living in southern New Hampshire, the Boston area was not prohibitively far to go for them. And so I was signed up for Splash, a program one weekend per fall in which MIT students teach middle- and high-school-age kids seminars on a wide variety of topics.

What counted as topics worthy of education was quite broad, however. I ended up in a "class" that consisted of watching one episode each of several anime that the student running the class was a fan of. This was back in the days where anime fandom spread person-to-person by recommendations and there was more emphasis on developing a background knowledge of "classics" among the more informed and/or snootier fans. (I still feel this way a bit because certain tropes and references are so common or influential that being familiar with the original sources can make newer shows suddenly make a lot more sense, but I disapprove of the gatekeeper tendency to look down on people who don't yet know the things "everyone knows".)

I don't remember how many shows we sampled there, but the two that made an impact were Hellsing, which in retrospect was at best questionable for the age of the audience, and was very much not my thing because I have a low tolerance for gore, and the topic of this post, Read or Die, which was very much the kind of thing I wanted to see: a nerd being a badass in a fantastical way. Especially since I was also really into James Bond at the time, so I was probably primed to eat up other media involving a British spy fighting a mysterious secret organization. Since I'm incredibly averse to media piracy and had no clue where to buy anime, though, I never followed up to finish watching it, and eventually it faded from my mind. Until I stumbled across the first volume of the manga for super-cheap at Saboten Con last year, and it flicked some nostalgia switch that reminded me how much I'd enjoyed it at the time, although I barely remember any actual details, so I am practically going in fresh here.

Read or Die follows Yomiko Readman, a teacher, obsessive book collector and reader, and superpowered secret agent who can manipulate paper in nearly any way. Any paper available, from money to ribbons to a briefcase full of blank looseleaf she apparently just brings with her. She uses this power in the course of her service as a secret agent, codename The Paper, working for the British Library?! Along with Miss Deep, who can selectively phase shift, and Drake Anderson, a gruff and dismissive military type (and apparently potter in his cover job), she is assigned to a plan to save the world in a way that vaguely involves collecting books. Saved from whom? The I-jin, clones of historical geniuses with superpowers related to their areas of expertise, such as... knowing stuff about insects, or... uh... spreading Buddhism to Japan... who are going to flashy and violent lengths to steal books the British Library is trying to acquire legitimately. Trust me, it eventually gets explained, and the Big Reveal, although pretty goddamn weird, fits in with the rest of what has been established. Suspend your disbelief enough to accept the I-jin at all, and it’s fine, although still a bit ludicrous.

And I submit that all that is still less weird and ridiculous than your typical superhero or spy movie, and this show does after all have elements of both genres in one. Or, well, more and more superhero and military action as it goes on. Although the theme music uses 60s guitar sounds, chromatic chord changes, and blaring brass hits that are virtually guaranteed to evoke the James Bond theme, and our main cast do work for a secret intelligence agency, they are in quite open military-style conflict with the I-jin -- with the approval of the UN -- and very little that’s actually covert occurs, with the notable exception of something I can’t spoil that happens at the end of ep. 2. And because of the superpower angle, some of the instances of weirdness are not flaws at all but pretty creative implementations of the characters’ powers (using a paper airplane as a lethal weapon?!).

This last point didn’t really fit in organically, but I'd also like to mention a couple of things about the art that I love but don't see often. The very first shot of the series uses multiple flat backgrounds at different distances moving in relation to each other to convey the camera moving across the scene, which I have seen in other animated works (at the moment, I can only think of examples from very old Disney movies off the top of my head), but not in recent ones. I don't know whether it's simply out-of-fashion or this is a result of the shift to CGI so animators figure "why would we do this when we can actually render a city with realistic perspective?" This show also has a particular kind of fluid motion in characters that I’ve seen in many reasonably-high-production-value shows from the 90s and 00s, but rarely in newer shows (Space Dandy being a notable exception). Maybe I'm watching the wrong recent shows, maybe it's just a stylistic choice that's out of fashion, maybe it's harder to pull off convincingly when you're not animating by hand.

I’m glad I finally got to watch this. It’s even better than I remember. Now to get to work on the rest of the manga and the other series. Oh yeah, haha. The abbreviation "R.O.D." stands for both "Read or Die" and "Read or Dream", which are different parts of the same larger series. The Read or Die manga (4 volumes), this OVA series, the Read or Dream manga (also 4 volumes), and a 26-episode TV series all take place in the same narrative universe, rather than the usual model of the anime being an adaptation/retelling of the manga. There is also a light novel series I know nothing about, but it sounds from the Wikipedia article like that is the single ongoing series that is the source for the two manga and two anime. (There is also apparently a barely-related future side story manga.)

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W/A/S: 1/3/3

Weeb: I don’t think there’s much, if anything, in here that would require explanation to a typical Western audience and which isn’t also explained in the dialogue.

Ass: There is a single implied nipple in the opening sequence. Gasp! And Miss Deep's costume design is pretty fanservicey, but only barely more explicitly so than you're likely to get in American media deemed suitable for older children.

Shit: Until the Big Reveal, it's just unclear why anyone involved other than Yomiko should be this interested in acquiring the specific books that serve as the show’s MacGuffin, nor is it clear that the I-jin’s plans extend further than searching for them in a very destructive way, leaving me baffled that the Library immediately makes the connection that the books are key to saving the world. There are a few minor errors in the subtitles and a visual glitch (Blu Ray remaster, please?), and a couple of places where faces just... don’t... look right. Oh, and if you’re watching the dubbed version, add another half point of Shit for Crispin Freeman’s British accent.

And for the first time I feel the need to add a CONTENT WARNING. Usually, I think the review is sufficient to give you the idea whether there is anything likely to be disturbing in a show, but this is different, because the first two episodes have the sort of over-the-top stylized combat you might expect from other action anime or Western superhero media, where even a death comes off as un-shocking. But in ep. 3 of this, there is a shocking pivot. There are several short instances of graphic and sudden violence of kinds that are quite a bit more disturbing and distressing (even when they involve the use of powers) than anything that occurred previously.

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Stray Observations:

- Yes, those of you who know a little Japanese caught that joke: "Yomiko" could be loosely translated as "read girl". Her name is "Read Girl Read Man". Because she likes to read. Get it? Ha! Ha! Ha!

- In the manga, Yomiko is also established to be a literal bibliophile. As in "books, regardless of content, turn her on". I'm kind of glad this is not a plot point in the anime.

- The “secret” operation in the last episode, which is conducted with UN approval and involves an actual military attack with an actual goddamn naval fleet (and collaborating with North Korea to keep the US too distracted to notice it, even though this is a British operation against an organization that literally burned down the White House in the first scene of the first episode) might actually beat the first few episodes of Full Metal Panic! for “worst undercover operation ever”.

#R.O.D.#Read or Die #anime review #weeaboo trash

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junker-town · 4 years

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The Girl in the Huddle

How Elinor Kaine Penna became a pioneering pro football writer in an industry where women weren’t welcome

“I didn’t know you were a big sports fanatic,” says a server named Ellen, wandering over to Elinor Penna’s table after overhearing her story about visiting Baltimore Colts training camp. “I know the Indianapolis Colts, but … the Baltimore Colts!”

“Well, I was,” Penna replies. “That was one of the most interesting things that ever happened, how they got the Colts out of Baltimore.”

We’re sitting in the dining room at the Garden City Country Club on Long Island, where she eats often enough to greet the staff by name — and to know what she’ll order. So instead of looking at the menu, Penna, 83, has started laying out a slew of old photos and magazines featuring a common subject: her.

“Ellen, look at this — this is 60 years ago,” she says, holding up a photo of her and Johnny Unitas. “The reason we’re having this lunch is because I was writing about football for 40 newspapers and I wasn’t allowed in the press box, being a female.”

“Really, back then?” Ellen replies. “Oh, my God.”

“Now look at all the women on the sidelines,” says Penna, a bemused smile crossing her neatly painted red lips. “It’s so easy for them — I’m so jealous.”

To say Penna was a pioneering woman sportswriter is an understatement. Working under her maiden name, Elinor Kaine, through the 1960s and early ‘70s, she was a bona fide sports media phenomenon with the syndicated columns, TV deals, book deals and trash talk from disgruntled peers to prove it. Though she’s intermittently remembered today for her widely publicized fight to get inside an NFL press box, Penna’s work meant so much more than that.

She was written up in Harper’s Bazaar, Women’s Day, Newsweek and Vogue (which called her football writing “funny, gossipy, frank and technical”) while getting bylines in Esquire, after that magazine called her “the best fortune-teller in pro football.” Her challenges to the sportswriting establishment were twofold: first, she was a woman, and, second, she refused both reverence and jargon, favoring a gossipy, bright tone that had more in common with contemporary blogs than it did the work of her stodgy peers. Fans treasured Penna’s fearlessness and wit, her willingness to comment on both what other writers wouldn’t think to (players’ marital status and pregame rituals) and what they wouldn’t dare to (juicy rumors about front office discord and trades). As one admirer put it, “She must have blood-stained shoes from stepping on so many toes.”

Skeptics — and sexists — dubbed her “pro football’s Tokyo Rose,” a nickname that unfortunately stuck: “the only woman in what was designed as a man’s game, and like Rose, an irritant.” In short, as one fellow columnist surmised, “Women like these hurt the men’s ego.”

But 50 years after what her friend Larry Merchant dubbed “The Kaine Mutiny,” Penna lives between Long Island and Miami in relative obscurity. Her very active Twitter account (@NFL_Elinor) has 329 followers; she plays in survivor pools (she won $3,000 a few seasons ago) and watches all the games — just on a substantially bigger and more colorful TV than in her early days covering the game.

“Imagine looking at a game on a 10-inch black-and white screen, you’re not going to see any of it again, the announcers are boring and that’s that,” Penna says. “It’s so much more fun now! You have a lot of replays. You can even tape a game and save it for later.”

It’s true that sports have changed dramatically over the course of Penna’s life. She was born Elinor Graham Kaine in Miami Beach in 1935, when there were just nine teams in the NFL. She grew up between Chicago and Miami — or between Wrigley Field and Hialeah Racetrack, as she tells it. Her well-off family owned horses, and racing was Penna’s entrée into the ever-entwined worlds of sports, gambling and high society.

After barely graduating from Smith College in 1957 with a degree in mathematics — where she had spent most of her time convincing boys to drive her to nearby racetracks, and playing pranks on her classmates — Penna spent a year working in an aeronautical engineering lab at Princeton while taking flamenco guitar lessons on the side (a clause that doesn’t sound real but somehow is).

Meanwhile, she began to see the appeal of the NFL: friends would come to visit her in New Jersey on Sundays since from there she could get Giants and Eagles games. Once she moved to New York a year later to become the librarian at an advertising agency in the then-brand-new Seagram Building (essentially living the plot of a minor character on Mad Men), Penna immediately fell in with the classy and sports-crazy crowds at places like P.J. Clarke’s, the now-defunct Toots Shor’s, Gallaghers Steakhouse — Midtown institutions that were, at that point, still hip.

Clarke’s, a famed destination for movers and shakers from Sinatra to Steinbrenner, was a particular favorite: she briefly dated the restaurant’s late owner Daniel Lavezzo Jr. (“It wasn’t really a huge romance, but he would be my best friend to this day if he was still alive”).

Among the monied, cosmopolitan crowd at Clarke’s, Penna’s sports fandom flourished. The Giants would come after home games: Charlie Conerly, Frank Gifford, Dick Lynch, Emlen Tunnell. The panelists of What’s My Line?, like Dorothy Kilgallen and Random House co-founder Bennett Cerf, made up another table. “Sunday night at P.J. Clarke’s was really something special,” Penna says, “and with all those people, at least half of them were interested in football.” The restaurant even fielded its own touch football team for a very casual league in Central Park, and Penna played: one column explained she “can throw a football 35 yards, has great hands, and describes her running style as ‘very Mel Triplett.’”

Going to Giants games at Yankee Stadium was an event: “I remember that we would wait and plan our hats, and suits, and high heels!” she says with a laugh. “People dressed to the teeth — they weren’t just in sweatshirts. It’s so awful now.” Her roommate briefly dated Tim Mara, so they could get season tickets on the 50-yard line (which they paid for, Penna notes: at one point the price went up from $20 to $25, and “we used to crab about it”). There was the game, and then the game after the game: “Everybody waited in the Stadium Club [a VIP lounge, basically] for Frank Gifford to come and pick up his wife Maxine,” says Penna. It was also where she started meeting the people who would become her sources.

Penna, who had grown up around gambling because of her family’s racing bona fides, recognized a market inefficiency and saw an opportunity. Plus, she was tired of her day job at the agency. “There were bookmakers in all the sports restaurants in New York at that time, and they were all taking football bets,” she explains. “Nothing was legal, and so at that point they didn’t put the line in the newspaper — I don’t think it was allowed.”

So in 1961, she decided to go it alone and start a weekly newsletter called Lineback. First, Penna befriended a bookie in Vegas, who she would call every week to get the following Sunday’s lines. Then she would type them up and add the most interesting news from around the league, which she gleaned by subscribing to the local papers in every single city that had an NFL team — so many papers the post office wouldn’t deliver them, and Penna had to walk to Times Square and haul them all back to her apartment at 69th Street and 2nd Avenue. Then she would make 500 copies or so, and by Thursday, five or six select restaurants (which would each pay $10 a week) had a stack of copies of Lineback on the bar.

In other words, she was aggregating. “In the New York papers, they covered the Giants; In Chicago, they covered the Bears,” she explains. “They would write one article about the visiting team — like on a Friday — and that was it. But just think about it: 12 teams and no national news about them at all. No TV, no radio.” The paper had two droll slogans: “America’s oldest and only pro football newsletter,” and “You don’t have to like football to like Lineback.”

Penna began to meet more and more people in sports after she started the newsletter, and got better and better intel from fans, avid gamblers, team staff and players. She may not have been allowed inside the press box or in the locker room, but as one anonymous editor put it, “She can gather more inside information, without venturing inside a single locker room, than J. Edgar Hoover, Walter Winchell and Louella Parsons combined.”

She started selling subscriptions — $3 each — and counted Yankees manager Casey Stengel and Ethel Kennedy among her readers. (Penna was particularly proud of her incarcerated subscribers: “Send a subscription of Lineback to your favorite convict,” she told one paper.) Even NFL commissioner Pete Rozelle eventually got onboard, despite the fact she continually ribbed “The Big Bopper,” as she called him, in Lineback’s pages. Her readership started in the hundreds, and would eventually grow to thousands — all served by her and a group of friends stuffing envelopes in her living room.

By the mid-60s, it was a cult favorite: “Religiously read by the George Plimpton set,” as one paper described, though Penna says she never met the Paris Review co-founder. “The foremost, chicest professional football newsletter in the land … that is becoming the rage of the game’s emerging social set,” said another. Esquire called it “the most accurate and interesting inside information about professional football.” It was even called “sexy.”

“But it wasn’t!” Penna protests with a laugh. “Just to be the only girl made them think it was something.” She pauses. “When a football newsletter’s sexy, that’s going to be the day.”

It’s true, though, that Penna delivered football news with a rare humor and irreverence. Before pundits, Twitter and blogs made them sports’ most valued currency, she understood the power of a quick, bold take — especially when accompanied by a good one-liner. She described Vince Lombardi, for example, as “the Sophia Loren of football: top attraction, big on top, very volatile but warm of temper.”

“My aim is to go against the public relations garbage, which makes every team sound like it has 40 All-Americans in perfect health waiting and ready to go,” she told one reporter.

Some of her peers reviled her unorthodox approach. Others, like Larry Merchant, who was a columnist for the Philadelphia Daily News when Penna came on the scene, relished the way she turned things upside-down. “She had a take on what was going on in pro football that lined up with the direction sportswriting was starting to go into in the ‘50s and ‘60s,” says Merchant. “Dealing with professional athletes like they were 6-feet tall, not 10-feet tall; talking about their backgrounds and personalities, not just how many yards they gained that day. It was also a time when pro football was starting to emerge as a very powerful force.”

“The human interest stuff is what I was interested in, and that goes across genders,” Penna says. “When television came, instead of reporting the game the way it had been done for centuries, they had to look for another dimension — so people became writers. Old sportswriters weren’t writers.”

Uncovering trivia about player’s personal lives was one thing, but it was Penna’s accuracy and scoops that wound up getting her widespread attention. A big break came when she was one of the only sportswriters to pick the Browns over the Colts, who were 7-point favorites, in the 1964 championship game. What made her do it? She leans over confidentially: “Nobody else did.” After that, she was regularly called Nostradamus.

She was the first to posit that Lombardi would leave the Packers in 1968 (though she had guessed he would come home to New York), and she scooped the location of the 1969 Super Bowl by calling hotels in New Orleans and innocently asking for Super Bowl-weekend reservations. At the same time, she was reporting on how Donny Anderson was the only man on the Packers who wore black silk underwear and compiling lists of football players “with first and last names which could pass for first names.” She loved Steve Stonebreaker: “the ultimate in names.” Nothing was off-limits, and everything was at least a little bit funny.

Soon, she started getting punnily titled spots in papers around the country: “Female on the Fifty.” “Girl in the Huddle.” “Powder Puff Picker.” “From the Weak Side.” “Beauty and the Beef.” The one that eventually stuck was “Football and the Single Girl.” Despite their gendered titles, the columns had the same peppy mix of football miscellany found in Lineback — and were certainly too insidery for the novice.

Penna was also commissioned by teams and papers around the country to write guides to football specifically for women, including one that was syndicated nationally before the very first Super Bowl, and a chapter in the 1968 Encyclopedia of Football. Somehow, though, rather than patronize her audience, Penna proffered entirely lucid, often hilarious and highly educational introductions to the gridiron.

“Men pro football fans have certainly made it hard for a girl to enjoy the game,” one began. “They pretend football is too complicated for a female to understand, hoping to keep the gridiron a no-woman’s land. Beat them at their own game!” It proceeds to instruct women to do exactly what men do to this day: note extremely obvious facts about the game as though they are revelatory, and use well-worn football cliches to sound in the know:

“Before the play you might volunteer the fact that third down situations (and use the word — it’s very ‘in’) make you terribly nervous. If the team makes a first down, say, ‘I was worried they might not make it. Football is such a game of inches, isn’t it?’ and smile.”

Another evergreen tidbit: “Any girl who wants a sophisticated football fan to fall in love with her should talk about the offensive line. That is one line that is guaranteed.”

She started doing additional widely syndicated columns just to pick the following week’s games, touted with full-page advertisements insisting “Elinor Kaine can outpick ANY MAN!” while challenging readers to not “let her get away with it.” There was another column for Football News, and racing coverage in the offseason. Regular local TV appearances followed, and by 1966 she was making picks weekly on NBC’s Today.

“Most of the time when I was on television, I was not on television because they wanted me personally as a football writer to be on,” Penna insists now. “They wanted a girl, and they didn’t care what I said. I made the picks because nobody else wanted to.” She appeared on What’s My Line? and To Tell The Truth, always stumping the panelists who could never fathom that a woman would write about football.

Penna generally downplays the sexism she faced, or deflects with jokes — but there’s no question it was inescapable. There’s how she was constantly introduced: “Pert,” “pretty,” “reasonably pretty,” “nicely developed intellectually and otherwise,” etc. In the early days, when she was trying to get on the mailing list for NFL’s weekly press releases, the head of PR told her he couldn’t send them to her because “you don’t work for a newspaper and you’re a girl.” So each week, he left a copy at the reception of the NFL headquarters, and she went to pick it up. Eventually he decided it would be alright to send them — as long as he addressed them to “Mr. E. Kaine.”

At one point, she applied for a press credential for a Giants game. “Listen, girl: the turf at Yankee Stadium is sacred,” the team PR rep told her. “No female is ever going to put her foot on it — at least as long as I’m here.” Penna recalls the incident with typical good humor: “Through the years, the Giants have been the most old-fashioned, backwards organization possible — and here they are in New York City, which is a shame.”

She sent application after application to the Pro Football Writers of America, which were ignored until Rozelle invited her to dinner with the head of the organization and insisted they allow her in. She never met most of her newspaper editors, never went to the offices; at that time, there were almost always two papers in every city, and the more prestigious ones would never pick up her column.

Penna got a slew of hate mail — “and they aren’t all love letters either,” she joked at the time. It may have been less profane than the responses women sports reporters get now (though Al Davis was known to refer to her as “that bitch”), but it was certainly no less mercurial. “I get a royal ribbing on how a woman can be expected to know, comprehend or delve into the man’s world of professional football,” she told one interviewer. “They say I ought to get married and go to the kitchen because they don’t agree with what I write. They’re people who are stupid or don’t have a sense of humor, or both.”

Then there was the fact she was single for most of her professional life. When I ask if she ever felt pressured to quit and get married, she interrupts me: “No, no, no. I never wanted to do that. I don’t know what I wanted to do ...”

Penna was asked about it at the time, too — specifically about what her parents thought. “They think I should be married,” she said. “You know, we are a square family, and they think I should be married to an executive and having children. They don’t say anything, but they seem to be puzzled by my entire life.”

Most of the time, her personal life was just one more source of jokes. One anecdote that appeared over and over quoted a nameless escort as saying, “I thought I was out with [storied journalist and racing fan] A.J. Liebling.” Penna dryly insisted she had “army of beaus,” all of whom she told to buy a subscription to Lineback. “Nobody ever said no,” she added.

Looking back on it, she sighs. Penna doesn’t have much patience for self-indulgence or over-seriousness, but the realities of what she went through are still daunting. “Some of these things are just so incredible,” she concludes.

The incident that Penna is, unfairly, best known for is her battle to get in the press box at the Yale Bowl, where the Giants and Jets were slated to face off for the first time in a 1969 preseason game. She had been admitted as working press for the first time at Super Bowl III earlier that year, though relegated to an auxiliary press area in the stands. Otherwise, she had been paying to get in alongside the fans.

Penna met a lawyer who offered to file a show cause order in New Haven Superior Court against the Jets, the Giants, Yale, and the New Haven writer who was managing the press box, demanding an explanation for why a registered member of the Pro Football Writers of America was not being admitted to an NFL press box.

What followed was a media firestorm: Penna’s challenge was covered from coast to coast. “I don’t want to take over the press box, I just want to sit in it,” she said at the time. “It isn’t fair to base the availability of press box credentials on the gender of the applicant. I mean, we were all born by the luck of the draw, weren’t we?” Eventually, the teams and school acquiesced and gave her the credential — but not before smearing Penna and claiming the case was a publicity stunt backed by the publisher of her upcoming book. “But wait until she sees where she’s sitting,” the press box coordinator sneeringly told one paper.

“So LeRoy [Neiman, the artist and Penna’s close friend] and I hop into my car — I had a Cadillac convertible that was just incredible — top down, drove up to the Yale Bowl, parked, and when I got to the bottom of the stairs to the press box, they said, ‘Oh, I’m so sorry, we don’t have any seats — we’re totally full.’ This was about 11 in the morning,” Penna remembers. “They showed me to … I think it was probably a newsreel photographer press box under the regular press box, which had like four folding chairs and no place to type. They said, ‘We’ve saved this for you.’ That was the story.”

There were empty seats in the press box, as Penna’s writer friends relayed to her, but she still wasn’t allowed in. The game was a big deal because the Jets were the reigning Super Bowl champions and it was the first time the New York teams had ever played each other, so she had a tighter deadline than usual — but Penna couldn’t file on time because she couldn’t type.

“It was the writers who were against me, the teams didn’t give a shit,” she says now. “They didn’t want me in there. No girl. They wanted it just for themselves.”

So, for the first time, she wrote about what it was like to be a woman sportswriter. “The Establishment, the New Haven sportswriters, the Jets and the Giants conspired yesterday, and yours truly watched the Jet-Giant clash practically by my lonesome in a separate and very unequal situation,” she wrote as the lede for that week’s column. “I’m not crying,” she told another writer who interviewed her about the incident. “I’m just tired of getting treated like garbage. I hate to get kicked around by such little people. I really don’t know what I’m going to do — I don’t want to be made a fool of any more.”

Fighting to get inside the press box unintentionally brought Penna an entirely new degree of visibility. It also inspired more ire from both women and men, including other women sports journalists of the era who saw it as attention-seeking. The attention, though, finally got her inside a press box at the Orange Bowl by the invitation of the Dolphins — generally, she just stuck to watching in the stands, where one peer described her as having a transistor radio in one ear, a portable television in a shopping bag at her feet and a thermos of martinis. “If you got right down to it, I never particularly wanted to go into the press box especially since I wasn’t writing about the game itself — I was just annoyed that I couldn’t,” she says now. “Wouldn’t you rather sit in the stands at Yankee Stadium?”

“I’ve yet to find a writer with a sense of humor who wanted to keep me out of their press box. And I’ve never met a good writer who didn’t have a good sense of humor,” she wrote about her press box battle later in 1969 for Quill, the magazine of the Society of Professional Journalists — the same month that organization admitted women for the first time. “I’m lucky I’m not a baseball writer. If it sounds like football is conservative, provincial and full of old fogeys, baseball has a mind that’s strictly centuries B.C.”

At the time, going into the locker room as a woman was a complete nonstarter, as one might imagine. “Some of the guys said they would come out [of the locker room], the ones I knew — all I had to do was come down and ask,” she says now. “The whole thing about going into a locker room is so overrated. What those players say in the locker room is so boring, when you think about it — unless it was that Rams[/Saints] game last year with the foul, and you interview the guy who says he didn’t do it but he did, or something like that. But otherwise there’s nothing that comes from the locker room that’s interesting, and never has been.” At the time, of course, she had a quip: “They give you the same answers whether they have their pants on or off.”

Her book, Pro Football Broadside, came out that same year and was widely serialized in early 1970. Ostensibly framed around the idea of presenting football from a woman’s perspective, in reality it was just a smartly written survey of the state of the league, filled with both the basics of the game and anecdotes from some of its most memorable characters (the image of Joe Namath shaving his legs in the middle of the locker room stays with you).

“There is something basically discomforting about a gal sportswriter,” one review began. “Too many times it’s just a gimmick; in Elinor Kaine’s case, though, it’s downright embarrassing. She’s good.”

Pro Football Broadside begins not with an explanation of the game or a list of the teams, but in the locker room, where Penna vividly describes various players’ pregame routines and superstitions based solely on secondhand observations because, of course, she wasn’t allowed in. She talks about the pharmacy used to get players through the season, from vitamins to morphine and amphetamines, as breezily as she does the preferred cologne of the New England Patriots (Estée Lauder Aramis).

She describes the game in thoughtful, fresh terms: “If it is taken two at a time, football can be broken down for spectating purposes into 11 individual duels. Watching one duel at a time is absorbing. Superb athletes, football players use finesse, quickness and cunning as much as size and strength. The mini-wars are violently sophisticated and highly unpredictable.”

And within the book, there’s no concession to the amateur: Penna covers the pros and cons of “establishing the run,” the futility of prevent defense and punting (“super conservative” but “[Don] Shula would rather eat worms than run on fourth and inches”), while explaining Norman Mailer’s theory of the hypersexualized relationship between the center and the quarterback and allowing one center to describe the way different quarterbacks’ hands feel against his inner thigh. Penna describes spirals thusly: “The ball is never served with an olive. It’s always served with a twist.”

Penna covers racism and segregation in college football and the pros in frank terms, even explaining it wasn’t easy for Black players in Green Bay to get a haircut. She cites renowned sociologist Harry Edwards’ assertion that “[B]lack athletes have long been used as symbols of nonexistent democracy and brotherhood.” The book concludes with a call to get women in football: “According to doctors, who claim that nature made women the hardy sex as an ally for childbearing, women are physically as well as emotionally suited for football.”

“I don’t think it sold 10,000, but I may be wrong,” she says now. “When they’re on eBay for $2, I always buy them. I have two or three in my kitchen.”

By 1971, Penna had been invited to be on the CBS pregame show, NFL Today with Pat Summerall and Jack Whitaker. She’d known them for years prior to getting the gig, where she would just make the weekly picks — despite that, she says they barely greeted her when she came on set.

She’d already found warmer reception, though: Penna married an Argentinian horse trainer named Angel Penna in 1971 in a surprise ceremony at a dinner party she threw in New York. Angel had just gotten a job managing the stable of a French countess, so at the end of the 1971 season, Elinor decamped alongside him to live in a castle. “Perhaps it’s our male chauvinism, but we are glad to hear that Elinor Kaine has departed to become one of the newer Americans in Paris,” the Daily News wrote upon her departure. “Her track record as a cutie-pie, self-styled football expert was a low-class, put-on performance.”

At 35, her career as a sportswriter was over.

Penna looks at me skeptically over my salad. “You’re going to have too much stuff.” She’s right.

Epilogue

These days, Penna watches football more or less like the rest of us. From a big, comfortable office chair, she has access to both a TV set to RedZone and a desktop computer with Twitter open.

“You’ve gotta be careful,” she says, opening a tab up to check on the state of her survivor pool. “I’m trying not to tweet, but I can’t help it — I could do it all day. It’s exactly what I was doing 60 years ago: a gossip column.”

Penna’s a prolific quote-tweeter, particularly when it comes to her longtime home team, the Giants. She speaks — and tweets — with the easy assurance of a born pundit. Her commentary ranges from “terrible snap” to various critiques of players’ and coaches’ hair: Kliff Kingsbury’s hair is too short, Ryan Fitzpatrick’s beard is too long. She likes Andy Reid because he doesn’t have those “Adam Gase eyes.” “Isn’t it amazing that Belichick doesn’t open his mouth when he talks?” she’ll ask out of the blue, flashing a grin, ever observing the details that other sportswriters ignore.

“I think that reporters are missing that now — the gossip angle,” she says. “Now they would over-do it — take the fun out of it. And there’d be [law]suits.” When Penna was working, the league was still sort of the Wild West: in the middle of rapid expansion via the NFL-AFL merger, and only very recently a mainstream phenomenon. Monday Night Football, for example, was born in 1970. Now, the amount of money and power at stake makes playfully prodding players, coaches and owners seem impossible, especially if you want to maintain your sourcing.

“It’s so big. Think how big it is!” Penna says, reminiscing about the era when all the games were on one day. “And the London stuff — completely ridiculous. It’s not good for the players or for the home fans, who can’t go unless they’re really rich.”

After spending almost a decade in France (where she couldn’t watch football), she moved with her husband to the same house she lives in now on Long Island, spitting distance from Belmont Park. They started antique shops in Connecticut that have since closed, but she still sells 19th century English pottery online; Angel died in 1992.

I ask the woman Merchant had described as the “female Grantland Rice” if she had ever thought about returning to writing. “Never,” she replies. “Sometimes I say, ‘That would be a great idea for a column, but not for me to write about.’ Think about Jerry Jones. You wouldn’t want to interview him, because he wouldn’t tell you anything. But you could write columns about him, by reading what other people say.”

“Elinor laughed at the pretensions of men who patronized women with their pseudo-expertise,” Merchant wrote on the occasion of Penna’s retirement from sportswriting. “She poked fun at the juvenile antics of grown men who played, coached and owned. She fleshed out the people hidden under all that armor and money.”

“She would come up with these anecdotes that ordinary sportswriters at the time wouldn’t care about, would never find out about,” he says now. “It tickled me that this woman had created a space for herself. One of the reasons I love New York is because I met so many people who had sort of made up their lives in different ways that nobody could have anticipated.”

Penna had made something entirely new with her newsletter and her columns, not only because men wouldn’t let her in the room but because she didn’t like the rote, dull writing they were doing in that room anyway. She exposed the fallacy of football’s mystique with frankness and humor, while encouraging women to participate with the confidence of a man: knowing next to nothing about a topic (especially one as ultimately inconsequential as football) and loudly sharing opinions on it anyway.

“I don’t know what my goals were then,” says Penna. “I wasn’t trying to lay any new roads. I didn’t give a shit about that. Trailblazing...that had nothing to do with it at all. I was having fun.”

It’s perhaps because she’s so resistant to the idea of being labeled a pioneer that Penna’s accomplishments have been mostly forgotten; quitting the industry and changing her name also likely had an impact. She remembers being asked to sit on one panel about being a woman in sports media with a shudder. “Natalie, they were the most boring people,” she says. “You wouldn’t want to sit with them for five minutes. They had no sense of humor and took themselves so seriously.”

That’s what Elinor reminded me: This is supposed to be fun. Yes, 50 years later, women have only made it to the men’s professional sideline, not onto their gridiron as she called for all those years ago. But as I try to guess how she might end this piece, I have to laugh — that’s probably a lot closer than they’d like us to be.

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colorguardsweetheartblurrsgirl · 7 years

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Undertale Comic, Now or Later Question...

Thank You, and Happy Hunting or well Questioning (so to speak). And Welcome to the world of the Undertale Comic ‘Shattered Remnants’

(Skip down to the Italicized portion for the actual question to Undertale and fans of undertale comics, though anyone can be involved with asking questions)

Hey everyone, man the last year was rough on me. Not only have I failed to post my fanfictions and art from DA and Fanfiction on here, but I’m falling behind on doing the same to AO3.... Anyways that’s not why I’m here or what’s important to say...

I’m in the process of making an Undertale comic, having recently come into the fandom. I was well inspired while making a fanfiction into creating a comic based around certain events in my fanfiction, but standing as it’s own story that will separate/detach itself from the fanfiction I’m writing into an entirely new story and narrative.

However, with that said. Though I’m not a fan of such (of personally doing so) I often include OC’s in my work as I feel I can’t really claim something as my own like a story and even art without having something that I own in it. This is my personal beliefs towards myself and the way I work when I go to write stories (trust me I’ve tried my hand at not doing this and attempting the opposite, but I always seem to back off last minute and add a main character eventually that I own)

Though in this case of both my comic and fanfiction it’s sorta necessary otherwise the story I created wouldn’t make sense without the characters I own… Or frankly even exist.

If you're curious the story centers around Frisk’s family above ground (from earth) and what exactly transpired with them. What has occurred in the time of his disappearance and what efforts the community at large are giving towards finding the missing child. I came to the conclusion to write this, as besides seeing a room at the end of the game in the neutral run, there isn’t much if at all that we can actually perceive about his life above ground. Besides the facts that are revealed by his room and that he can easily accept the idea to be adopted. There isn’t much after the fact that we can surmise. E.G. is his family alive? Abusive? Dead? Is Frisk in fact an orphan? None of this is known. Although it’s widely accepted (or so I’ve seen) that he’s in fact an orphan. I’m still led to wonder what in fact happened to his family that would lead him to a place such as Mount Ebott. And thus this story was born. It delves into that idea of his family, and what consequences or events have occurred in the city/town he once called home since the time of his disappearance. For years I was a criminology major, I had to study the mental, physical, and community effects of children going missing. As well as those infamous cases that go national. How media likes to find people to condemn, and how sadly communities on their own do the same. It’s a hard reality what happens in these cases. It became something of interests when wondering these questions for myself and considering what in fact would a child rather Frisky, going missing who may not have family left look like.

The comic itself differentiates itself from the main story at the climax of the first act and centers itself more into the middle of the second act of my story. Where it has become it’s own narrative with the same characters and only sharing the background with the original fanfiction. Although, it may have a few differences in even the background (as I’m making the comic like I said entirely it’s own story). As stated above, the comic centers itself around the events after the main team/group found themselves in the underground world seeing it has no official name I called it ‘Underlin’ (Under-l-in) The team by unfortunately lamentable circumstances have been separated in this deadly underground hell. That’s all I’m actually giving for now. I feel giving too much will spoil the story. Or at least where we begin in the comic, and how I move about the other spectrum of the fanfiction. And besides I want to see what questions you send in, as I may use those to give more info on the story itself. However, I infer that you please don’t ask questions intentionally about plot or stuff to do with the main story just the characters here themselves. As that will be answers later for you. Although, you can ask about them and characters in Undertale, like how they would likely interact with each other, stuff like that no biggie (I’m not limiting the reactions to just the oc characters, as I will happily include Undertale characters reacting to possibly certain things they say just as well or in classic Sans fashion interrupting the point for example (I won’t give away what I plan on characters doing, after all that will ruin the fun). Just don’t expect them (or have me write the characters responses) to give away any specific crucial plot details. Those will come later revealed in the stories I’m telling themselves. This is really all just for fun and kicks while I’m working on the first few episodes of the story and also the little mini episode comic that I made to go with the main story just for kicks. As I sit creating this, expanding the intro, and even having one or two minor spin offs that I’ll post around the time of the first chapter/episode/prologue episode. I began to realize today that Unlike the fanfiction (which will be slower on updates then probably the comic itself) I’m probably posting this without people getting a full depth of my characters. Most of whom for the sake of the comic will hang more as memories in the background. Except maybe a select few for when I need them and one that is obviously in the forefront with the main characters. Still each of them have reasons of importance in the comic. Considering this, before I post the story or even a sub story connected to it in comic form.

Would you guys like me to do a little ‘Question and Answer Panel’ with the characters to get to know these OC’s a little better?

I know often people do this after somethings become popular. I feel using this method here would better prepare people for the characters, to relate with them when they come around then just being blindsided by a new individual in the picture (I feel like Sans would make that a joke considering picture and comic could go hand in hand as a joke, couldn’t think of one at the moment of posting though so just pointed it out). Anyways, I’ll open it for you guys to ask whatever questions you want. I’ll give maybe a week if I get enough interests/questions (depending on how quickly I get responses) and at most a month to send questions aimed at specific oc’s or all of them to get an idea of who they are. I did this because I feel drawing the characters reactions to the questions would be more fun then me just making a dull description because interesting things can come out of it.

Anywho, out of the few OC’s I have, the ones who are mostly my “main” OC’s are:

~Dalean ‘Dale’ Bentley Kewish

~Benji ‘Ben’ Rufus Euphoria

~Kyleen ‘Kyle’ Olive Tenison

~Nova Jordan ‘N.J.’ Leander Kewish

And MAYBE… ~Douglas ‘Doug’ Quinten Carter

With one or two question slot that you’ll hopefully find adorable for: Baby and Pupkin ‘Buppie’ and no that last one is not a misspelling.

Can’t wait to hopefully see questions you have to ask for these characters that I can make a little fun comic style for them to answer. No question is off limits (Except anything vulgar, please I’m trying to keep it PG-PG-13 at most) Remember there’s no stupid questions, only stupid decisions (Couldn’t think of anything better. And yes-yes that does make me sound like a pretentious teacher now doesn’t it) Have fun asking questions. I’ll have character drawings out soon of each character so we can exclude questions of what they look like and such from the question poll.

Thank You, and Happy Hunting or well Questioning (so to speak). And Welcome to the world of the Undertale Comic ‘Shattered Remnants’ And So It BEGINS...

Always Yours, Blurr’s Girl Blazin’ Blaze

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thewelterschallenge · 7 years

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The 2017 Welters Challenge

Hey guys! So we’ve been posting mysteriously about this for a few weeks now, and some of you may know all about it, some of you may merely be intrigued. Either way, welcome! Season 2 left us with a lot of feelings, and plenty of creative ideas to fuel so much fan content that it oozes out of our ears. But season 3 is a little less than a year away, which leaves us plenty of time to get that fan content out.

But what better way to do it than in a fandom challenge?

Now, you may be wondering: Do I need actual magic to participate? And the answer is no. Unlike the actual Welters challenge, you don’t need actual, real magic to play the game. All you need is a love for the show, a burning need for more fandom content (maybe a slight singe if not burning?), and the desire to have some fun. You don’t even need to be a fandom content creator!

Sound like you?

Well, then, we’d like to welcome you to the 2017 Fandom Welters Challenge. Where the name of the game is content creation and appreciation.

There are seven weeks of fandom challenges, and seven weeks of fandom appreciation. A whole week of content creation, followed by a whole week of response. The main goal of the Welters challenge is to introduce a surplus of content for an otherwise small fandom, and for content creators to receive an abundance of love and support for their art, edits, writing, whatever form of content they make. We aim to make this hiatus seem shorter, and less lacking than the last one was.

So, you may be wondering, how does this whole Welters Challenge thing actually work? Seems a bit difficult. And, yes, it is a handful, but there’s a whole team of us hanging out on Tumblr, Facebook and Twitter, all working to make sure everything goes swimmingly.

There are a few rules, which you’ll find below. Some things you may like to know before you get to the rules, though, are:

At the end of each week of appreciation, there will be a Featured Content for each category (Art, Edit, Video, Fic, Gifs), which will be selected primarily by votes.

The challenges will be announced biweekly. Essentially you’ll have a week to create and post. And then there will be a week of devouring that art like it’s the only good thing left on a magicless planet.

The challenge lasts 14 weeks. You are not at all obligated to participate in all fourteen weeks.

TheWeltersChallenge (Tumblr), @WeltersTeam (twitter), and /TheWeltersChallenge (Facebook) will reblog/share every submission.

Rules

Contributors

There aren’t too many rules, because that cuts down on the amount of fun you actually have while participating. But there are a few rules to make sure your content not only gets viewed by as wide an audience as possible, but receives the support it deserves.

Please tag all submissions with #welters submissions (with no space please; if you’re submitting through twitter, please just @WelterTeams) so that we can find it with ease.

Please include the challenge week number in your tags so that we can sort everything properly.

Please include the category in the tags, as well: Art, Gifs, Edits, Video, Fic.

Those are the only rules for the contributors.

Enthusiasts

You guys are just as, if not more, important than the content creators. Just like the content creators, you guys get an entire week for each challenge where the entire goal is fandom appreciation of the content. This week is made up so you can spread the love, vote for the featured pieces of the week, and show fandom content creators that they are appreciated. It is incredibly important, because without you guys, this challenge can not succeed. That being said, there are a few rules/requests for you guys.

If you don’t like a piece, don’t comment. Essentially, don’t be a dick about ships, or writing or anything. If it’s not your cup of tea, you don’t have to pay it any mind.

But if you do like a piece, reblog it. Share it. Comment on it. This is incredibly important guys, support breeds content, and this challenge is content and appreciation. So content appreciation is a major factor. Please like, share, kudo, whatever, to encourage the creators. That is your challenge.

When voting for featured content, you can not vote on anon. All votes on anon will be disregarded. When voting please include the creators URL, or a link to the piece you’re voting for.

Seriously, guys. Spread the love. If you like a fic, comment. If you like a gif set, share it. If you like the art work, reblog it. This challenge is all about give and take - from both sides of fandom.

A few more things we’d like to mention before we open up for the Q&A.

Anon Love - If you really, really love a piece, we do have anon turned on. You can “send love” for the author through the blog, say whatever you’d like about the piece, and add the creators URL, and we’ll tag them in the ask when we post it. This is a way for you to send a little extra love to some of the things that really get to you, and it’s a way to break that barrier for some of the people who are shy, or afraid, to approach the content creator. Send it on anon, and we’ll share it with the creator. (Alternately you can also message the creator yourself, if you’d prefer.) However, anon love does not count as a vote.

The Challenge Themes - these are announced biweekly at midnight, eastern standard time (USA). There are seven, and are broad enough themes that any type of content creator should be able to work something up for them. Once the theme is announced, we will have it queued up to post twice more throughout the day in case anyone misses it.

It’s Never Too Late - though there is a week to post, and a week of appreciation, we will reblog any late content. If it comes in during the next challenge, or after the deadline, it won’t qualify for the featured content, but it will be treated as all other content, and the same amount of appreciation is encouraged for late pieces as those that come in on time. Even if you’re submitting something for the first challenge during the last challenge.

Social Media - If you post outside of tumblr, you can send us an ask and we will make a post with the link and a summary so that it’ll post as a regular submission. We are also synced up with Twitter and Facebook, so everything we share here will automatically get shared with those audiences as well to ensure content creators receive as much love and appreciation as we can.

In a moment, we’re going to start taking questions on our own blogs, and here. Anything asked on our main blogs will get reblogged to this blog so you don’t miss anything. Also keep an eye out, because in a bit we’re going to post a Meet The Team post, so you know who’s who, and who to go to if you see anything wrong, or if you have any questions during the challenge.

We know we got you hyped up for today, but the challenge doesn’t start until June 1, 2017. That’s when we’ll post the first challenge. From now until then, we’re here to clear any confusion you may have.

Let’s make this Hiatus fun and so jam packed with content we’re too distracted to realize there aren’t any new episodes until January!

#mod post

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femslashrevolution · 7 years

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On the personal as normal; on the normal as political

This post is part of Femslash Revolution’s I Am Femslash series, sharing voices of F/F creators from all walks of life. The views represented within are those of the author only.

A few months ago I had a conversation about pubic hair, with a lover of mine. Your bush is super hot, my lover said. I’m blushing, I said. Then she asked: was my decision not to shave a political one, or just a “this is fckn sexy” one? And at that last question—I wasn’t sure what it was, or why it was happening, but something reared up in me. Some looming, rebellious objection. It wasn’t my lover’s fault; she is a thoughtful and considerate communicator, and had done nothing wrong. And it was strange, to feel as I did; because it wasn’t as if I was new to the idea of female body hair being a site of political dissension. I’m thirty-five years old; I was hassled by my schoolfriends in middle school for not shaving my legs and hassled by my girlfriend in high school and my Womyn’s Center mates in college for shaving them. Patti Smith’s Easter, with its iconographic pit hair has pride of place on my record shelf. I have done my time in the trenches of feminist debate, and when I was younger I spent my fair share of time agonizing over which personal grooming strategy made me “the best feminist."

But the truth is that these days, twenty years on, my selective hair removal—I shave my legs and my pits, but not my bush—feels, to me, neither politically motivated nor even particularly intentional. Instead it feels normal. It’s one of the myriad little habits that makes feel at home in my body, in that deeply comfortable and worn-in sense of "at home” that comes from being able to walk around one’s apartment barefoot, in the dark, while thinking about the last scene in one’s novel rather than where one is placing one’s feet. It’s a level of at-home-ness; of ownership and normalcy, that means conscious thought is superfluous. And though I acknowledge the usefulness, in many contexts, of interrogating received wisdom and assumptions about what constitutes “womanly” or “hygienic” female behavior, I would argue that in this world—this world which, today more than ever, teaches women never to be at home in our bodies, never to be comfortable in our bodies, never to stop thinking about our bodies and feeling guilt and shame about our bodies—that there is value to carving out spaces of normalcy, as well: space for us to breathe into all our inconsistent and idiosyncratic ways.

What does all this have to do with femslash? Glad you asked.

I am no longer a fandom newbie, but neither am I a long-time veteran of the wars. I wandered wide-eyed into fandom in my late 20s, already a full-grown adult: a near-lesbian in a foundering long-term relationship with a man, I was also a crafter and feminist and compulsive reader of literary fiction; and I was looking, with mercenary intensity, for writing which explicitly portrayed the kind of sexual complexity with which I was struggling in my personal life, and which I was pointedly not finding in published fiction. I knew zilch about fandom traditions or fandom political histories; all those fandom battles which old-timers were already heartily sick of fighting. I just knew: god! Here were people writing about sex (between men) so viscerally compellingly that even I could understand the appeal: I, who have always felt vaguely repulsed by men’s society and men’s bodies—even, inconveniently, the bodies of men I loved.

And even though my lack of fandom context led to me doing and saying some things in those early days that were, in retrospect, kind of embarrassingly naïve and lacking in nuance, I’m glad that I was ignorant of the larger fandom dynamics around lady/lady sex writing (or hey, around lady/lady writing at all [or hey, around writing about women, full stop]). Because my ignorance meant that when I discovered an entire new-to-me, female-dominated community writing complicated, explicit sex scenes, full of longing and messy exploration and bodily fluids, I could blunder right into writing about women conflictedly fucking other women; conflictedly fighting with other women; conflictedly forgiving other women and reconnecting with other women and betraying other women and taking care of other women and bittersweetly remembering other women. Because why wouldn’t I write about that? That was, to my fandom-naïve eye, the normal thing to do in this subculture into which I’d wandered.

Unsurprisingly, this provoked some interesting reactions.

Due in part to my ignorance when I came on the scene, I’ve since had a lot of interactions and internal debates, and witnessed a lot of fandom dust-ups, about those three things: writing female characters; and writing female characters in relationship to other female characters; and writing female characters fucking other female characters. (I have also written a lot about this, as well.) Some of these interactions have involved talking about why folks write queer women characters. More of them have revolved around why folks don’t; or don’t like to; or don’t think it’s a fair thing to ask; or don’t like it when I do. Common objections I’ve heard to writing and reading women fucking women include: there are fewer female characters in source media (or they’re not as interesting), so finding them and developing investment in them requires more work; f/f writing doesn’t get as much attention, and it is disheartening to choose political correctness over reader response; writing female bodies while living in a female body in a culture that hates female bodies is more emotionally difficult/traumatic; female bodies are gross; the mainstream hypersexualization of lesbians means that is it anywhere from uncomfortable to morally wrong to write sex among women, especially kinky sex; mainstream objectification of female bodies means it is anywhere from uncomfortable to morally wrong to write sex involving women, especially kinky sex; the omnipresence of sexist tropes in media mean that it is anywhere from uncomfortable to morally wrong to write female characters as anything less than morally exemplary, which is boring; the omnipresence of homophobic tropes in media mean that it is anywhere from uncomfortable to morally wrong to write a story that deviates from the anti-trope script (e.g. “happy lesbians with well-balanced relationships”), which is boring; fandom space is supposed to be escapist and fun, and including female sexuality is too close to home to be enjoyable; fandom space is supposed to be escapist and fun, and expecting hobbyists to be warriors in the army of capital-r Representation is obnoxious; fandom space is dominated by young women, and expecting them to be warriors in the army of capital-R Representation is sexist when we don’t hold middle-aged male media creators to the same standard.

I could write an essay about each of these, some of which are really complex points with some merit. But I think one thing that stands out, from a majority of my interactions on this issue through the years, is the perception that the act of writing relationships among women is inherently political, in a way that the act of writing about relationships among men is not.

The $64,000 question: do I agree with this?

Are electrons particles, or waves?

I mean, let’s get this out of the way: if writing about women is political, then writing about men is political, too. Masculinity is constructed as the default flavor of humanity in our society, but that doesn’t mean it doesn’t bear critical examination, nor does it mean that the actions of men aren’t informed by their socialization, or that everyone’s perceptions of men aren’t informed by power structures. Nor does it mean that men are immune from the toxic effects of life in a heteronormative patriarchy. If we as writers experience a focus on men to be a relaxing break from the stifling responsibility of depicting oppression, that is (a) pretty understandable, since that’s the myth of the (white cis hetero) male experience that’s sold to us from birth, but also (b) probably in need of some interrogation, since it doesn’t actually reflect anyone’s lived reality. Not even the lived reality of dude-bros who roll their eyes at the words “heteronormative” and “patriarchy”; and ESPECIALLY not the lived reality of queer men, who are, let’s remember, real people with a real history and a real present of active oppression due to their orientation.

As to the question of queer women: was I right or wrong, in my fandom-naïve days, to assume that writing sex and relationships among women is essentially the same as writing those things among men?

Yes. That is, I think I was right, and also wrong.

In a 1995 essay, Paula Rust enumerates many of the widely divergent and in some cases mutually incompatible interpretations of the oft-quoted second-wave feminist slogan “The personal is political”:

The personal reflects the political status quo (with the implication that the personal should be examined to provide insight into the political); the personal serves the political status quo; one can make personal choices in response to or protest against the political status quo; one’s personal life influences one’s personal politics or determines the limits of one’s understanding of the political status quo; the personal is a personal political statement; personal choices can influence the political status quo; one’s personal choices reveal or reflect one’s personal politics; one should make personal choices that are consistent with one’s personal politics; personal life and personal politics are indistinguishable; personal life and personal politics are unrelated.

If we adapt Rust’s terminology slightly to accommodate the act of reading and writing fiction, so that “the personal” becomes something more like “individualized character depictions,” then I think this passage becomes a useful tool in breaking down how we think about reading and writing women versus how we think about reading and writing men. It seems to me that often, when we are reading and writing about men (especially cis white men who are canonically assumed to be straight even if they fuck in fanfic), our attitudes tend to hang out in the spectrum ranging from, on the more nuanced end, “choices about individualized character depictions can be made in response to or protest against the status quo” to, on the less nuanced end, “individualized character depictions and personal politics are unrelated.” Since straight white men are the default, depicting them doesn’t feel primarily political. It feels normal. Things that happen to straight white male characters seem not to carry the burdensome weight of responsibility and representation that plagues female characters, especially queer female characters or female characters of color. The unspoken logic here posits that the things that happen to men, just happen! The traits men have are just traits! Men can be evaluated as individuals, because there is nothing to distract from that individuality. No matter that whiteness/straightness/maleness is not actually nothing, only an invisible something; and never mind that the completeness of the divorce between individualized character depictions and greater political realities is to a large extent illusory. The fact remains that that’s often the in-the-moment experience of reading and writing about male characters: they can exist as individuals, because their maleness is the norm.

By contrast, when we are reading and writing about women (especially queer women and women of color), our default assumptions tend to range from “individualized character depictions can influence the political status quo” to “individualized character depictions and personal politics are indistinguishable.” It is burdensome to write about queer women because we feel that every individualized queer woman character we write, in her body and her actions, must both bear the brunt of, and actively resist, all that baggage listed above. She must subvert (on a meta level) and/or stand against (on an in-story level) the tide of mainstream objectification, of lesbian hypersexualization, of sexist and homophobic tropes, of poor treatment and shoddy development at the hands of media creators, and on and on. Everything that happens to her or doesn’t happen to her, every physical trait and every mental tic, is massively overdetermined, because we feel that to write about queer women is to body forth our own personal politics into the world—and, more than that, to transform the landscape of queer female representation entire.

OBVIOUSLY, as a writer and reader this is neither fun nor possible! No character can do this.

Please let that sink in. No character can do this. No character is so well-written that she is going to transcend the Oppression Soup in which we all swim; and even if she did, she would not be enough transform the landscape of queer female representation into an egalitarian wonderland. We can stop hitching our wagons to that star because it’s not going to happen. Good news! We are not failures because we fall short of this demonstrably impossible metric! Similarly: my friends and I can install low-flow shower heads in every bathroom in every apartment we move into, from now until our deaths, but we are still not going to offset the effect of Nestlé extracting 36 million gallons of water per year from our national forests to bottle and sell at a profit. Or again: my personal choice to make my own clothes, though potentially politically meaningful to me as an individual, is never going to counteract the coercive power of a global fashion industry that earns $3 trillion a year peddling the lie that women who are larger than a size 10, or who don’t have expendable income to keep up with the latest trends, are not employable, fuckable, or worth taking seriously. This is not to say that making my own clothes can’t be politically meaningful for me personally. Nor is it to say that I am incapable of meaningful political action: I can help to take on these oppressive and exploitative industries via mass organizing: public actions, legal challenges, legislative lobbying, investigative exposés, mass boycotts. But there is absolutely nothing that I alone can do, with my body or my apartment or my novel, that will dismantle these power structures.

For one thing, this is not how institutional oppression works. Yes, the ramifications of oppressive power structures can manifest in intimate details of one’s life, and it does well to be conscious of that. But the causality doesn’t work in reverse: identifying and purging artefacts of oppression from the intimate details of one’s life, while potentially personally meaningful or satisfying, won’t meaningfully reduce the overall strength of the originating oppressive power structures in society at large. I cannot take down the fashion industry by making my own clothes. I cannot save the world from Nestlé by installing low-flow shower heads. I cannot dismantle sexism and heteronormativity by writing a queer female character who carries perfectly on her shoulders the representation of every oppression she suffers, and perfectly represents my personal authorial politics—or, indeed, by writing a host of such characters, and sharing them with a few thousand people on the internet. This needs to stop being the expectation, or even the ideal. To hold the queer female character to such a standard is to make of her even more of an unattainable exception to human existence than she already is: for none of us can stand in for All Women, or All Queers, or All Queer Women; and none of us should be asked to do so.

For another thing, this is not how fiction works. Fiction doesn’t convince through intellectual perfection. Fiction convinces through building empathy and voluntary identification in readers for characters who may or may not be wildly different from them, and may or may not be placed in radically different situations than they have ever found themselves in, but whom they the readers, on some basic human level, nonetheless recognize. Crafting an individual character who inspires that kind of gut-level recognition is difficult if the author is assembling them primarily as anti-oppression talisman rather than a flawed and complicit individual; or if the author is undermining the voluntary nature of the reader’s identification by making the character, Ayn Rand-style, a prostelytizing mouthpiece for the author’s own philosophy. I think this is part of what people mean, when they object that writing women, or queer women, or women of color, feels “too political”: the strictures of talisman-creation undermine the ability to foster empathy for a real-seeming individual. But this is not a problem with writing queer women! It’s a problem with the unrealistic expectations we’ve placed on ourselves around doing so.

I mean, for my money, the way to craft characters who do inspire this gut-level sense of recognition is to draw on one’s own experiences—one’s own passions and one’s own struggles—while also refraining from providing neat and tidy solutions to which real people (and hence characters in the moment) do not have access. People are messy; we have to be able to let our characters be messy. To paraphrase John Waters, who surely knows whereof he speaks: we have to let our characters make US uncomfortable. We have to let them make us feel queasy and ambivalent sometimes, just as we sometimes make ourselves feel that way. We have to let ourselves discover things through the journey of writing and reading that we did not know when we started out.

Does this mean there is no point in research, no point in educating ourselves about over-used tropes and the history and current reality of queer representation, no point in critiquing media that perpetuates these tropes? Of course it doesn’t mean that. The goal—my goal, anyway—is to write characters who ring true to life, who come off as real people, with real struggles. And in order to do that, a writer needs to be familiar with the toxic and un-lifelike nonsense that gets endlessly recycled in media. It’s helpful to know, for example, that the “lesbian dies, goes mad, or returns to the heterosexual fold at novel’s end” trope was originally imposed on lesbian pulp writers as a condition of publication if they wanted to avoid obscenity charges: here is an example that’s, VERY clearly, not an artefact of lesbian reality but an artificial and homophobic narrative imposed from without. I think it’s valid to make the point that maybe, in this year of our apocalypse 2017, we have reached a point where this narrative should be largely avoided.

But you know: there are a lot of artificial and homophobic narratives. And there are even more narratives that, while not intrinsically artificial or homophobic, have so often been twisted that way as to be forever tainted by suspicion and pain. And that suspicion and pain twist back into real lived experience in ways that can be complicated and unpredictable. If our culture is a house, then so many of its walls are built of tainted narratives, and so many of its other walls are built up against those tainted walls, that it’s very difficult to dismantle the structure, or determine what’s sound and what’s not. As a real-life queer woman, I have never met an anti-oppression talisman, but I have met plenty of queer women who have made me uncomfortable—myself at the top of my own list. Though I squirm at the “lesbian goes crazy” novel ending, I have known many queer women, myself included, who struggle with mental illness (as well as many who don’t). Though I have noped out of media for egregious and self-serving use of the “lesbian was just waiting for the right man” trope, I myself am a near-lesbian who once fell in love with a man, and I know others who have done the same (as well as many who haven’t). Though I share the frustration over the assumption that bisexual characters are universally flighty and commitment-averse, I also know several flighty and promiscuous bisexuals (and many bisexuals who are neither, and many flighty and promiscuous straight folks). Though I cringe a little at depictions of alcoholism and drug abuse in queer female culture, I am myself a queer woman with a history of drug and alcohol abuse. In a cringe-y catch-22, I am deeply uncomfortable with both the demonization of the working-class butch/femme subculture by the middle and upper classes of lesbian society AND ALSO with the degree of forcibly normative gender expectations I personally have encountered in butch/femme environments… so I decided to go ahead and write a whole novel about that, despite the fact that I might avoid someone else’s treatment of the same subject matter.

The pattern here is hopefully obvious: even drawing from the pool of my own personal lived stories, many verge on or overlap with narratives that are often toxic in their execution. So what are we to do? Does all this add up to a wash, a free pass for the continuation of any tired and harmful trope imaginable? No. It adds up to a call for a nuanced and subjective calculus around analyzing works of art: an acknowledgement that some versions of Narrative X or Character Y will spark that sense of recognition or that shock of injury for audience members, and others won’t, and others will for some audience members but not for others, and all of that is valid to talk about. And it also adds up to a call for writers of queer female characters—especially those of us who are queer and/or female ourselves—to allow ourselves the freedom to write individualized queer women who, though they may not body forth our personal politics, make us familiarly uncomfortable. Characters with whom we are intimate.

Characters with whom we feel at home.

Taking a larger view, I think that we need to close the gap between our reading and writing of men, especially straight white men (“individualized character depictions and personal politics are unrelated”) and our reading and writing of women, especially queer women and women of color (“individualized character depictions and personal politics are indistinguishable”). Both sides need to shift. Neither extreme is true, and we are doing a disservice to all our characters, and our works, if we disregard the nuance that lives between them. But more intensely, and more specifically, I would argue that where queer female characters are concerned we need to work toward an attitude that—however partially and strategically—begins to uncouple “individual character representation” from “personal authorial politics,” and does so with the express goal of allowing these characters normality. Weird, inconsistent, flawed, complicated, mundane normality. We need to let go of the intimidating and paralyzing attitude that queerness and femaleness raise the political stakes in such a way that mundane fuckups, either on the part of the author or the character, are no longer allowed.

To extend the analogies from earlier: if we have the water pressure to support it, we should install low-flow showerheads, not because we can thereby compensate for the evils of Nestlé, but to save on our water bills. And if we have the time and inclination we might make our own clothes, not because it will magically deliver us from the perils of the beauty industry, because it it a mode of self-expression that is also personally empowering. And if we can, we should write and read complex, flawed queer female characters, and support others who write and read them, because to do so enables us—real-life queer women, and people who know real-life queer women, and even people who might be intimidated or repulsed by real-life queer women—to feel that real-life queer women, in all their flawed and problematic glory, are more human; more at home; more recognized. Closer to the range of the normal.

None of these things is going to save the world, and we don’t need them to. They are important and life-sustaining anyway.

(The author can be found online as havingbeenbreathedout on Tumblr and breathedout on AO3. She can be found offline on the wide open beaches and labyrinthine interstates of sunny southern California, where she lives the social-justice nonprofit life and also enjoys Bloomsbury history, kissing girls, poolside cocktails, early-morning yoga, and crying about fiction with her live-in editor/BFF/queerplatonic life partner fizzygins.)

#havingbeenbreathedout #I Am Femslash #Type: Meta #Femslash February 2017 #Femslash February #submission

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sanguinarysanguinity · 7 years

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2016 “Writing” Year Review

(I make other kinds of things, too!) gakked from @ecouter-bien

Total Number of Things Completed: 22 finished stories, 10 of which were 60-word stories for Sherlock60. (I stopped doing those, because the effort to fit a complete story into precisely sixty words was consuming half or more of my writing time in a week, which was making it difficult to finish other things. It’s a lovely exercise, and I’m proud of some of them, but it was sucking my creative time like no one’s business.)

I also published two vids and two podfic. (Podfic are new-to-me this year! Hooray, I learned stuff!)

Also-also, I co-founded AO3′s More Holmes collection and co-modded two rounds of Holmestice. I choose to count that time as making things, too, even if the thing made is “only” a shared creative space.

Total Word Count: Approx. 55K words of fiction, plus another 10K word of commentary for that one vid. Plus 30 minutes of podfic and 6 minutes of vids.

Fandoms Created In: Star Wars, Supergirl, Mad Max, Brooklyn Nine-Nine, Strange Empire, Miss Fisher Murder Mysteries, and fifty-some Holmesian fandoms, heh.

Looking Back, Did You Expect To Write More Fic Than You Thought You Would This Year, Less, Or About What You’d Expected? I expected to finish more, actually. I hoped to finish at least one of the two WIP stories on my hard-drive that have been sliding toward 50K each, but I eventually jettisoned the effort and wrote 30K of new stories, instead. I also trunked 10K of my ill-fated Holmestice story. :-(

But even though my raw word count feels low (for me), that was one humdinger of a vid project, plus I learned to make a new kind of fanwork, plus I modded three things. So, you know.

What’s Your Own Favorite Creation Of The Year? Well, it would have to be Something Good (Will Come From That), wouldn’t it? Every minute of working with @language-escapes was a joy, and it was well-received, too, widely rec’d outside of media fandom and in a bunch of languages I don’t speak. Too, it was almost exactly the thing I had initially set out to make: I wanted to show off Holmesiana the way I see Holmesiana -- as a great, tumultuous, heartfelt, joyous, and much-contested sea of ideas -- and I honestly think a lot of viewers got that from it.

But it was also very difficult to come back from, creatively. All summer long and into the fall, there was the definite sensation that I’d just published the best thing that I would ever make, and what was the point of trying to make other things? It took months to shake that. In the end, I didn’t so much shake it as decide that I might as well kill some time by making some shit.

Did You Take Any Creative Risks This Year? Mm, yes. I have long had a crushing fear of writing sex scenes, and it was limiting what kinds of stories I could tell. With @phoenixfalls’s encouragement, I screwed up my courage and made myself write some smut. And it went okay! I didn’t die, and some people enjoyed the stories!

Do You Have Any Creative Goals For The New Year? I’d be nice to finish up THE BEST BEE FIC ON MARS, because that’s been bugging me. It’d also be nice to finish up one of those monster WIPs on my hard-drive, and to un-trunk one of the trunked things. Also, I promised a bunch of treat-vids to people last summer; it’d be nice to get those finished up.

Best Creative Work Of The Year? Something Good (Will Come From That), obviously. Which was a double-edged sword: like I said, I spent months afterward paralyzed by the feeling that I’d done the best work I’ll ever do. :-/

Most Popular Work Of The Year? Hahahaha, Something Good (Will Come From That), of course. It was a bit, um, unnerving, actually. The streaming file has had 6.5K plays, it’s been rec’d in non-fannish venues from facebook to gizmodo, and even the grumpy old-guard Holmesians who hate everything I love have said some nice things about it.

In fact, for a while there, I thought I was going to open my email to find that my mom had forwarded it to me, all “I saw this and thought you might like it, I know you’re into Sherlock Holmes.”

Work of Mine Most Under-appreciated By The Universe, IMO: Desperate Men and Fools was never going to have a large readership (because ampersand, because American AU, because crossover with a rare fandom), but c’mon, I had hoped for a little more readership than it got?

That said, the readership it did get was as appreciative as I could want. I’ve been very lucky that way.

Work Most Fun To Make: Baker Street Papas. Yeah, so, the vid’s success was fucking with my head, so I holed up and wrote 18K of fluffy kidfic in an incredibly obscure fandom, just for me and @language-escapes, it didn’t matter if anyone else liked it or even read it. Writing it was a lot like writing THE BEST BEE FIC EVER, all self-indulgence and not much critical anything, just putting down shit what amused me and not much caring whether you’d still respect me in the morning. Weirdly, it got a lot more readership than I thought it was going to? (Is that the dudeslash effect? It’s been fun that people like it, anyway.)

Story With The Single Sexiest Moment: HahahahaNOPE. I write smut by not letting myself think about what I’m doing, and I avoid re-reading it after. If you want to identify a sexiest moment you can go read them and tell me.

Sweetest Story: Welcome Home, maybe? It’s all about hugs, anyhow, and people finally getting them.

“Holy Crap, That’s Wrong, Even For You!” Work: Huh, lookit that, I didn’t unleash any of my crack-not!crack monstrosities on the world last year. Sorry, I’ll try to do better.

Work That Shifted My Own Perceptions Of The Characters: Saved the World Today gave me a horrendous case of feelings about Alex Danvers -- until then, I did not know I had Alex feelings! Some of those feelings spilled over into Terrible Sisters, but most of them ended up in tagspams.

Most Unintentionally Telling Story: Eh, you can find deeply-held parts of me throughout all of my stories. It’s the only reason they speak to people, I would have thought.

Hardest Story To Write: Desperate Men and Fools. First, the crossover is a fundamental genre mismatch: @gardnerhill’s “Welcome to Bakerstown” is rooted in the mythic, legendary, larger-than-life Old West, while Strange Empire stands stands in stark opposition to that kind of Old West story. Second, I was writing about Native genocide from a white pov, fuck my life. Third, I was attempting to write a classic Western, which is a genre that I deliberately avoid -- I cobbled that thing together from half-remembered Marlboro Man commercials and shit. It doesn’t usually take me a year to write an 11K story, but it took me a year to thread my way through that 11K story.

Biggest Disappointment: Having to trunk my Holmestice story this last round. Trunking it was a good decision, but damn but it hurt to have to do it.

Biggest Surprise: That Something Good turned out to be a smash hit, actually. Honestly, between the unfashionable song choice and the fact that we were aggressively selecting commonly-maligned sources, I thought it’d just be another one of Those Weird Things That Sang Makes, passionately loved by a few and ignored by most. And then when it went live mere hours after the Pulse nightclub shooting... I was 100% resigned to it being perceived as the most irrelevant kind of trivia. (Which was certainly how I was feeling about it, that horrible day.)

But then the comments started coming in, and it turned out that people got it, that it clicked for them. That it made them happy. And not just my weird little corner of Holmesiana, either, but that it was being received as a love letter to the fandom at large, and that the fandom-at-large was responding in kind...

I, um, hadn’t expected that. It was a silly little song about how pretty the dragon is; it was the shock of my life when the dragon sat up and listened to it.

#my writing #also my other things #something good (will come from that)#long post

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cashsyyq038-blog · 5 years

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