#obligatory meme tag | Explore Tumblr Posts and Blogs

hollow-dweller · 2 months

Note

Talk Shop Tuesday: as someone who is involved in a lot of fandoms (and has seen a lot of horrors), has there been a significant shift in how fandom is today compared to the “good old days” as much as people say?

there are. SO MANY.

to start and to be entirely clear, there is no good old days of fandom. there are things i miss about fandom tendencies of the past, which i'll get into, but as many many many marginalized fans have and will continue to say, Ye Ol' Fandom was as much if not more of a cesspit of racism, misogyny, and queerphobia as it is today. because fandom platforms were more diversified, they were also more gatekept--and i mean actually gatekept, not just "people are mean about this thing i like" gatekept. to an extent this was necessary--fandom itself was much more culturally stigmatized, and existed largely in a legal gray area, so fandom spaces needed to be semi-closed communities for their own protection. however, if you were a fan who tried to bring up systemic fannish issues--such as racism--you could and would be kicked out of whatever fannish space you were in, and there would very rarely be other places to turn.

also as a caveat: this is not anywhere CLOSE to a comprehensive view of the changes in fandom nor the myriad factors that contribute to those changes. fandom is a cultural ecosystem existing within a broader cultural ecosystem, and the ways those things interact with and inform one another are literally innumerable. anyone who claims they know the One Thing That Ruined Fandom is oversimplifying the issue. anyone claiming they know the Twenty Things That Ruined Fandom is oversimplifying the issue. fandom is a living system, and living systems exist in a constant state of change.

but broadly speaking, i think there are two major changes that have informed The State of Fandom.

Consolidation of Fandom Platforms

as mentioned, fandom used to exist as a variety of closed or semi-closed forum spaces, blogs, archives, and other websites, each dedicated to its own fandom or, more often, subsets of a particular fandom. authors/artists had their own sites, particular ships had their own sites, fic had its own sites, art had its own sites, discussion/meta had its own sites, and any or all of these could be hosted in any combination across any number of websites depending on the fandom. some of this was the result of the structure of the early internet, and some of it was, as mentioned above, a function of necessity.

as the internet evolved and fandom platforms became consolidated, this necessarily changed fandom norms and behaviours. the way we write fic is different because of the advent and dominance of ao3, the way we construct meta is different because of the nature of sites like reddit and tumblr, the way we build community is different because of sites like discord, etc. notably, most of the changes we've seen are not created by social media or mass fandom platforms, but rather enhanced by them. ship wank, whether masquerading as legitimate analysis or not, has always been a cornerstone of fandom--it like all things is simply much more accessible to people now than it used to be. the subdivision of fandoms into different subgroups, even within a ship or media, has also always been a thing--people form friend groups with like-minded people and that's normal, actually. the types of conversations and conflicts fandom has have not changed that much--just the places and manner in which we engage with them.

modern fandom platforms are both more accessible and more comprehensive than they ever have been--so fans can more easily than ever be exposed to different corners or subsets of fandom. but also. fans can more easily than ever be exposed to different corners or subsets of fandom.

The Scarcity of Long Running Media and the Dissolution of the Monoculture

the type of media that fandom now orients itself around has changed drastically as a result of changes in the broader media landscape, and this also changes fandom norms and behaviour. it is increasingly more rare for a fandom to develop over the course of years, because long-running serialized (or even episodic) narratives are becoming less common. tv shows especially are released with vanishingly short promotion cycles, and with less and less certainty of continuation. creators have to therefore hedge their bets--the binge model means there is no room to pivot mid-season if things aren't working out, and the lack of certainty around renewal means that seasons have to be relatively close-ended in order to try to deliver a satisfying experience. similar trends affect book publishing--we are seeing fewer and fewer multi-part series being released, and fewer books dominating cultural discussion in the way blockbuster series of the past have.

thinking of cornerstone megafandoms of the past (and present), we tended to see a couple essential elements that contributed to both fandom engagement and sustained fandom activity: they were released over a longer period of time, and they took up a larger portion of the dominant cultural landscape. the Harry Potter books were released over a period of ten years and were, of course, a huge cultural moment. Twilight was released over a shorter period of time, but was similarly a cornerstone of the monoculture, enhanced by the immediate and almost-eclipsing (heh) release of its movie counterparts. The X-Files was released over the course of, again, a decade, and they will be releasing new Star Treks until the mountains crumble into the sea and the stars turn to dust. these fandoms all have greater and lesser degrees of longevity and output, but they and fandoms like them all had the benefit of time and cultural dominance in order to enable the development of the fandom.

this is not universal (nothing i'm saying is universal), but fandoms nowadays tend to be a lot shorter-lived and migratory simply because they have less material to work with and less time in which to work with it. Voltron, as one example, was a megafandom that developed rapidly and burned out quickly, and while it had a decent amount of material, its eight seasons were released over the course of two and a half years. fannish momentum can only be sustained on so much material for a certain period of time, and fannish investment is necessarily going to be curtailed if fans live in uncertainty about the continuation of their favourite media.

this also is reflected in the type of fanworks that we see proliferating. while AUs were not absent from Ye Old Fandom, i do think they were a lot less common/prominent. the longer release cycles and difference in structure between releases (open-ended finales as motivation to hook viewers into the next installment that they knew/were pretty certain was going to happen vs close-ended finales that hedge bets if a series is cancelled) led to a lot more speculative fanworks set within the canon, imagining what was going to happen next. a famous example is of course the HP fandom's Three Year Summer--the period of three years between the release of the fourth and fifth Harry Potter books that was intensely productive for that fandom. fanworks in that period were famously long and plotty canon divergence/canon speculation works branching from the return of Voldemort in book four, and that tendency towards long and plotty canon-based or canon-adjacent fanworks persists within the HP fandom to this day.

fandoms nowadays do tend more towards works that are stripped from their canon contexts (the infamous coffee shop au, media fusion aus, modern setting aus, no powers aus), and while these works did exist in Ye Old Fandom, they were both more rare and their reach was more limited.

Some Kind of Conclusion Because This Is An Essay Now I Guess

to present a synthesis scenario: a particular trope is generated and popularized by one fandom. due to its presence on consolidated platform sites, it becomes ubiquitous within that fandom, spawning further derivatives, copycats, reimaginings, and variations. as people migrate from fandom to fandom, both as a result of the media landscape itself and the ease of doing so on social media/multi-fandom sites, the trope or AU spreads to other fandoms, and is again further transformed by those fandoms. this continues ad infinitum.

this pattern is not limited to tropes in fanworks--it is applicable to every element of fandom, from discourse to meta to creative works to behavioural norms. the state of modern fandom is interconnected to the platforms on which fandom is hosted and the media on which it is based. no longer is the one common unifying element of fandom the source media--the unifying element is fandom itself. this is why we see, for example, people stating they get involved in fandoms for media they have no experience with--they do not know the source text, but they know fandom.

i could literally go on and on--i didn't even touch on things like the destruction of the fandom fourth wall, or the relationship to the practice of filing off the serial numbers, or the existence of BNFs (actual BNFs not people like you seek who just Have Friends and Make Things), or the connection to nostalgia, or the relationship to commentary and analysis-based fandom outlets such as rewatch podcasts, or-

there are literally so many elements here. i could talk about this forever. i probably will be talking about this forever. please god someone let me out of here HELP-

#fandom #fandom meta #fandom history #fandom analysis #what do i even tag this as #long post #asks #i cannot express how much this barely scratches the surface #obligatory charlie day conspiracy board meme

19 notes · View notes