F**k You Kim Jong-Un and All Your Friends

Once a silly movie, now a martyr. 

Some day soon, I promise to start writing reviews again, but that day is not today. This last year in politics has been surprising. My “hope for the world” meter traveled a couple notches until the Sony Pictures Entertainment hack; then it plummeted right back to zero. The repercussions for the whole company will be problematic as best. For their movie division, it seems a lot worse. I understand why Sony would pull The Interview from theaters, especially after the Guardians of “Peace”—I mean North Korea— released a terrorist threat demanding termination of the film. Since then Sony has been pulling everything related despite a lack of credible threats.

The Interview is just a movie, but impact of its removal makes a greater statement about our culture. When folks discovered North Korea was behind the attack, this movie should have been in every theater across the nation; just to shove it up Kim Jong-Un’s sorry ass. North Korea denies any involvement in the hack, but excuse my severe disbelief. Terrorists are people who already deem their victims as worthless and deserving of death. Negotiating with them is meaningless because chances are they’ll kill people, appeased or otherwise. Yet, I understand why Sony and all major theater owners refused to show The Interview, but I don’t like it.

When did people in the U.S. become so frightened of cyber attacks? Has cowardice taken the place of bravery? George Clooney had some scathing comments about certain folks in Hollywood. I share his sentiments. The Kim family are in good company among dictators like Pol Pot, Hitler, Stalin, Mao and Castro. Their regime has literally brained washed twenty two million people into adoring only the Kim family. Anyone who dissents is killed or enslaved for the remainder of their lives. People starve to death on a regular basis because their government’s greed and incompetence. These people are evil, but we don’t have enough balls to show a satirical movie about them? That’s pathetic and depressing. And people wonder why I think the United States is screwed. Censorship issues arise as well.

Unlike Target Australia pulling GTA 5 from their shelves, refusal to show The Interview is legitimate censorship because there are no alternative means to view it. I shouldn’t need to explain why censorship is wrong. Unfortunately, Jamileh Lemieux feel this censorship was justified because of “white privilege.” The stupidity of her claim defies rationality. Yes, the North Koreans are known as fierce advocates of freedom and social justice. Jamileh and others who agree with her are endorsing “ends justify the means” logic which is always dangerous. State initiated terrorism is acceptable provided they are fighting for a proper cause, as defined by the “socially conscious.” All kinds of humor will offend someone, but comedy makers shouldn’t worry about that. Humor is a great medium to digest harsh realities and encourage rational conversations. If we can laugh at ourselves, then progress will occur.

George R. R. Martin and a few others have volunteered to show The Interview in their own theaters. I don’t care if this movie wasn’t any good; I’d watch it on principle alone and I hope most of the free world seconds that emotion. Sony, please release this movie digitally or direct to DVD and get better cyber security. Theater owners, don’t let liability concerns keep you from protesting terrorism. Take a stand again Guardians of Peace and North Korea. Do all of you really want to be remembered for buckling to false threats? Now is the time to stand by our principles, not hide in holes. 

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Censorship Paranoia

The Australian Target and Kmart created chaos in the world of “vidya.” Both stores—owned by the Wesfarmers Group—recently removed Grand Theft Auto Five from their shelves due to a customer petition. Since then my twitter feed flooded with accusations of censorship. While others claim it is not. This situation saddens me and mirrors my frustration with progressivism; however, people are conflating two separate issues.

Let’s begin with definitions. According the Merriam-Webster dictionary a censor is “a person who examines books, movies, letters, etc. and removes things that are considered to be offensive, immoral, harmful to society, etc.” Censorship (the same dictionary) is “the system or practice of censoring books, movies, letters, etc.” or “the actions or practices of censors; especially : censorial control exercised repressively.” No dictionary is the absolute arbiter of meaning, but that’s where my analysis begins. Notice that neither definition demands a government institution be involved in the censoring. Personally I believe censorship can occur outside government institutions, but in practice that rarely happens. Almost every instance—both historical and current—of censorship has come from a government or a governing institution. Now to the actual controversy.

I’ll admit the reason behind the decision is weak, but I understand why some people object to the game’s content. Take-Two Interactive Software claims the game “explores” mature concepts, yet I don’t buy that. Others claim the GTA franchise is a satire of American culture. Certain aspects of the game achieve that, like the radio shows, but the games as a whole do not. Even if GTA was meant as a satire, it’s interactive nature eliminates authorial intent. GTA 5 is a guilty pleasure game. Players are encouraged to do immoral activities because the characters are bad people. Does this have any real life impact? Not for adults. I’ve enjoyed all these games since GTA 3, but would I defend their merits beyond game mechanics and open world sandbox? No.

Wesfarmers’ decision to stop selling GTA 5 is not censorship. One of two criteria must be fulfilled. Either it becomes illegal to own the video game in question or it can’t be sold legally. Any retailer has the right to decide what they sell. While inconvenient, Australians can still purchase GTA 5 from other retailers. No censorship has occurred and no one’s rights are being infringed upon. I do understand peoples’ concerns especially circles within #Gamergate. It’s improbable that two retail chains have enough influence to encourage all stores in Australia to follow their example. Enough cultural resistance still exists to combat moral busy bodies so games with mature themes will remain.

This is another instance of video games being singled out. There are movies and books that have an equal, if not greater, amount of violence; yet they remain on Target’s shelves. Interaction alone hasn’t been proven to increase peoples’ violent tendencies or be the genesis of them. If Wesfarmers were fair, all material displaying violence against women would be banned. It is also their right to not be fair. If you don’t like it, take your business else where. It is foolishness to labeling this situation as censorship. Don’t make GTA 5 a martyr until an actual ban occurs. Thanks for reading. 

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Warcraft of Warcraft Through Rose Tinted Glasses

Talking about World of Warcraft anywhere is like a sheep gleefully trotting into a den of wolves. However, it’s age and the release of Warlords of Draenor inspired some introspection. The Warcraft franchise has always held a special place in my heart. Warcraft II: Tides of Darkness was the first RTS I’ve ever played. Josh, Jake and I sat down in front of Josh’s computer and fought over how our army should develop. Since then, every Warcraft game has been in my house at one point or another. Were there better RTS in the following years? Definitely. Both Starcraft (1998) and Age of Empires II (1999) are superior when comparing game mechanics, unit diversity and possible winning strategies. However, Warcraft’s appeal to me never solely manifested in the games specifically.

With Lord of the Rings and surrounding works, Tolkien created the modern fantasy genre and embodies what people now call “high fantasy.” His world is full of lore that goes back to the creation of Middle Earth. Tolkien’s lore is my favorite aspect of Lord of Rings. I believe Warcraft’s lore was conceived in a similar tradition. Few games have the depth of the Warcraft franchise. Elder Scroll games might be a fair contender. Warcraft II: Beyond the Dark Portal expanded existing lore and Warcraft III brought a new level awesome. The RTS games were fun, providing entertainment for years, but the lore made the franchise exceptional.

My experience with World of Warcraft is strange. When it was published in 2004, my high school mind exploded with joyful vibrations. The lore nerd inside me went crazy. A Warcraft game where you played a single person who could explore, level up, get sweet gear and be apart of newer sagas. Prior to WoW, MMOs were an unexplored genre for me, Diablo II being the only exception. Vanilla gave me two years of awesome gaming experience. Guilds formed real communities of people. It blew away the perception that video games weren’t a social activity. I played on Kirin Tor and met this awesome guild called Ancient Guard. While I don’t keep in contact with those folks anymore, they made those years enjoyable. Thank you all so much AG. Raiding was super fun, despite five to nine hours of commitment per raid (yay for forty man raids!). Shoot people met and got married on WoW which still weirds me out. MMOs were forever changed as WoW became the new standard.

Burning Crusade came out in 2007 and the magic happened once more. The shattered remains of Draenor, now called Outland, could be explored. A combination of Warcraft III and Warcraft II feels flowed from me like dam waters flooding Isengard. Forty man raids were eliminated (thank God). Level 70 dungeons were really hard and challenging to tank. Blood elves and Draenei were introduced as playable races. BC raiding content remains a mystery to me since causal raiding didn’t exist yet. Dual spec was introduced. Kael’thas’ tale wrapped up and Kil’jaden was destroyed. These are pretty significant events in WoW lore that players could participate in. Out of the existing expansions, Burning Crusade is still the best.

My reaction to Wrath of the Lich King (2008) was less exuberant. There were reasons to be excited: A higher level cap. Death Knights were introduced and over-powered. This expansion ends Ner’Zhul’s awe-inspiring story. New pvp battle grounds are made and a random battle system was implemented. The zombie infestation world event that occurred before Wrath’s release was super awesome. Northrend and it’s many zone and dungeons were fun to explore. Yet, four years of WoW had taken it’s toll. College was looming over the horizon and my interest was waning. Leveling became a chore versus a pleasure activity. So I froze (no pun intended >.>) my account and walked away.

Life without WoW was awesome in its own right. My biggest complaint has always been the time commitment WoW requires. I can play Diablo III for an hour and feel accomplished. An hour on WoW is spent walking or flying. Playstation became my primary source for video games. I met more people, traveled and developed my passion for writing. NMSU taught me valuable lessons that might help me one day when I grow up. That’s why video games are cool because one doesn’t need them. Like all other pleasure activities, they can be dismissed and forgotten for any length of time. After three years of sobriety, like a diabetic walking into a Krispy Kreme, I was suckered in once more.

Cataclysm (2010) completely passed under my radar, despite Death Wing being my favorite character in Warcraft lore. According to articles I’ve read and friends, Blizzard hashed up the Aspect of Death. At First, dungeons were super hard and right before Mist’s release they were easy. While some excellent features, like raid finder and two new races, were implemented; apparently they didn’t stem the waves of awful. Another feature I enjoyed was the redesign of classic zones, probably the best Cataclysm had to offer. Mists of Pandaria’s release in 2012 actually angered me. Long sobriety caused a shift in my opinion of WoW. I thought Blizzard should move forward and develop a better MMO. However, a good friend suggested that I take up the mantle once more since Mists was a great expansion. To my surprise, he was right.

Pandaria wasn’t filled with lore that put nostalgia goggles over my eyes. While interesting, it didn’t engage me. Thankfully, Mists’ new features picked up the slack. Pokemon—I mean the pet battle system is a fun distraction. Upgrades brought an entirely new dynamic to gearing. The Timeless Isle further closed the gap in gearing between heroic dungeons and LFR. Scenarios provided an alternative to dungeons and allowed players to participate in certain world events. The Pandarian continent was worth exploring with its abundance of rare mobs. My cynicism was blown away by this expansion. Timing favored me as I returned only two months before Siege of Orgrimmar’s release. Both SoO and Throne of Thunder were excellent raids. Yet, a crappy guild and other circumstances caused to me leave once more as 2014 dawned.

Similar to my prior three years, I thought my WoW experience was over. Then I saw Nerdlords of Draenor on youtube and the magic came back. While in a separate time line, Warlords of Draenor awakens the Warcraft II feels again. However, they emulated J.J. Abrams’ reinvention of Star Trek. Alternate time lines or worlds allow writers to reappropriate existing lore. I am excited to see how characters’ roles are reversed or changed entirely. Garrisons are a gimmick, but it adds another layer to game play. WoW’s continued dominance in the MMO market speaks to its quality. Blizzard has tried and succeeded at keeping this old dog competitive with its younger rivals. Its too early tell whether Warlords will be another Cataclysm or continue the new standard Mists established. Either way, if you’re thinking about returning to WoW, there’s no better time than right now.

Thanks reading and now another humorous comic:

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To the Awesome Readers of This Blog

 A quick announcement about some format changes to the reviews. They tend to be long and almost like reading a school rubric. Concept, characters and story will still be talked about in the same order, but I’ll try write in a more organic fashion. Character analysis is something I’m not particularly good at, yet sometimes the character sections are long without providing any useful insight. Overall length is another issue I’ll try to address. Reading a review shouldn’t take a million years.

Second, a sincere thank you to all my past, current and future readers (hopefully). I’m some overly critical guy who doesn’t like a plethora of fiction and other activities/people in reality. Still, ya’ll take time to read my posts and that’s awesome. My gratitude for even small number of views is enormous. A fiction writer is my dream, but I’ll settle for critic right now. I want others to enjoy what I write whether they agree with it or not. From the bottom of my heart, thank you all so much for visiting my blog. 

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Keanu's Surprising Come Back

Curiosity can be a terrible burden, sometimes ignored, but never ceasing. Jubilation and lamentation punctuate the landscape as two possible destinations to a journey that inquisitive nature began. I share this joy and affliction with you, dear readers. My viewing of John Wick was one occasion where curiosity lead to a rather unique experience. Ratings sparked my desire to watch this film. Excluding documentaries, Keanu hasn’t been in a well received movie since The Matrix: Reloaded, . Disbelief, confusion and cybernetic unicorns clouded my mind as John Wick stayed above eighty percent on rotten tomatoes even after its theatrical release. I thought, “how is this possible? An action movie with Keanu as lead that doesn’t suck? Can’t be done.” Yet, people like this movie. I’ll try to unravel this mystery.
IMDB
Rotten Tomatoes
Genre: Action, Drama, Thriller, Dark Fantasy, Revenge
Concept:

My limited research revealed no adapted source material which is surprising considering the caliber of John Wick. Narrative complication or superb story-telling don’t lend their rare support this time around. This is a bare-bones revenge flick and that’s ok. Folks tend to bash on simple narratives because skeletons make worse dates than people with flesh and skin and who are alive, but I digress. Narratives need meat (complexity, richness, characters, etc) in order to be compelling; however, basic stories can achieve the same goal, but with different methods. Quentin Tarantino has built a directing career off these methods. Movies that lack narrative can balance out with stylization, visual effects, cinematography, engaging characters or a myriad of other methods. Unfortunately, endeavors involving these methods end in failure or film makers rely on one gimmick, disregarding narrative entirely (looking at you, Michael Bay).

At surface level, John Wick appears another generic action movie. An assassin leaves his profession because he fell in love. Times passes and through a series of events, the assassin is dragged back into an underworld of villains and lies. Dozens of modern movies have this plot enough times to form a sub-genre of action movies. However, two elements separate John Wick from its peers. First, his wife (Helen) is not the vehicle for his return. Second, the setting goes Legion of Doom style. Action thrillers, non B-list ones anyway, tend to be unrealistic in their action sequences, but not the background. A separate and secret society of assassins is presented through the Continental: a hotel where assassins can stay while working and provides them with a myriad of services. Gold coins specific to the assassin trade are used as currency. The Management decrees their hotel is neutral zone, thus no fighting can occur on the premises. It’s not plot-centric and a little stupid, but I like it. Characters:

John Wick (Keanu Reeves)“The man you call to kill the boogey man.” A man so effective at ending human life that the entire underground world fears him. John seems like our typical action hero: silent, brooding, stoic and able to kick major amounts of butt. Yet, aren’t action heroes good people? An evil man falls in love with a woman, yet his evil is not erased. He didn’t kill for country or to protect his loved ones. In fact, it’s never established why John was as a hit man at all. Wick’s character is compelling for these reasons. Usually, anti-heroes start out as heroes and slowly depart from that role. John’s back story is never explored and it’s intentional. By keeping his past vague, the audience is presented with a protagonist they won’t resonate with. Keanu was prefect for this role because Wick doesn’t emote often or have an excessive amount of dialogue.

Dasiy (the puppy)A young dog with the saddest back-story ever written.

Viggo Tarasov (Michael Nyqvist)A Father and Russian mob boss who loves his stupid son despite certain death. I haven’t seen Mr. Nyqvist in many films, but he played this role well. Viggo has a charismatic fatalism. Honestly, he’s probably the most sympathetic character in the film. Viggo is well aware of Wick’s monstrous proficiency at killing people, yet he defends his son with every available asset. Disregarding his family business, he partially fills the role of hero. Yet, he’ll save his own life before anyone else.

Marcus (William Defoe)Friend and fellow assassin, Marcus is an anomaly in the assassin/hit man sub genre of actions movies. Wick doesn’t seem to have many friends in the underground or outside it. Protagonists in revenge flicks rarely have actual friends. Usually, their companions boil down to love interests and/or other assassins with similar goals. Despite killing for living, Marcus and Wick developed a friendship off screen, but the depth of that relationship remains ambiguous until relevant points in the plot occur. Unfortunately, Marcus is used to move the plot forwards which bothers me.

Iosef Tarasov (Alfie Allen)Stupid, spoiled, sporadic and simple describe Iosef; “shit-head” is an acceptable alternative. His actions basically start the plot. Wick’s initial target is Iosef for stealing his car and killing his dog. Beyond being a macguffin and supplying different motivations to Wick and Viggo, this kid has no purpose.

Story:

Concept, characters and story amalgamate together into a successful film. However, that hasn’t always been the case. John Wick challenges my criteria for an excellence in films. I’ve always acknowledged that solid foundations can be built on non-traditional elements, but irregularity kept me from seeing real world examples. John Wick fails in traditional criteria while benefiting from stylization, atmosphere and proper execution.

Let’s tackle atmosphere first. Great action movies must have good pacing. Transformers Four took pacing and sacrificed it on the altar of Cthulhu. Thankfully, this film doesn’t make that mistake. A concise montage, less than fifteen minutes, provides a chronology for how Wicks’s wife passed away. Scenes include when she falls ill, her death and the funeral procession. It ends with Wick and Marcus having a brief exchange of dialogue. Prior to Wick seeing Marcus, there was silence. Yet, all the relevant emotional depth is displayed. We know Wick cared for his wife and her death has destroyed him. Death by disease adds an extra dimension because terminal illness is often accompanied by severe pain. This montage establishes atmosphere for the remainder of the film.

Iosef’s actions probably wouldn’t rattle a man like Wick under normal circumstances; however, throw unbearable grief into the cauldron and poop will collide with the fan. The former hit-man doesn’t lose his mind, rather as Amon Amarth says, “Only vengeance will set my spirit free.” Iosef becomes the target of Wick’s inevitable revenge. Prior association among most characters creates a heaviness that lingers through the film. It’s established that Tarasov used Wick’s talents to solidify his control of the city. Viggo granted Wick a way out by giving him an “impossible” task. Every act of violence Wick enacts on Tarasov’s organization feels personal, nameless guards and other personnel become victims in a titanic blood feud. Violence isn’t celebrated. I am incredibly desensitized to fictional violence, yet John’s actions made me uncomfortable. It would have been easier handle if John took pleasure in killing Tarasov’s men, but his cold and distant aura when ending human life was unsettling.

Notice that I and others have labeled John Wick a thriller. There are better thrillers like Argo or Gone Girl. However, this film builds tension and releases it properly. In the beginning, Wick is mourning for his loss. A puppy is delivered to house to be physical companion and last gift from his wife. Just enough scenes are show for a developed emotional connection between Wick and Dasiy. I almost thought the synopsis for the film was wrong due a lack of action. Then Iosef and his buddies break in and steal Wick’s car and kill his puppy. Tension is still building because Wick doesn’t immediately go after them. He buries Daisy in the back yard mulls around a little more. Iosef tries to sell Wick's mustang to Aureilo (John Leguizamo) who turns him down. The chop boss then informs Viggo of Iosef’s actions. Keep in mind, tension is still building. Viggo explains to his son who John Wick is and his actions were foolish. While he’s speaking, we cut back to Wick using a sledge hammer to break the floor of his garage open. This execution is excellent.

Thrillers make deal with their audience: eventually this tension has payoff, a promise fulfilled. Where other films like Jack Reacher or Godzilla (2014) failed, John Wick succeeds. Every character, excluding Iosef and Ms. Perkins (Adrianne Palicki), show visceral fear and/or respect for Wick. The film promises: Wick is going to make a sea of carnage, but you got to wait first. I waited and this movie delivered; Wick destroyers the crime empire he helped build . That’s proper thriller execution in a nut-shell.

Stylization might be paramount to John Wick’s success. A combination of lighting, sound effects and long camera shots build on what on atmosphere created. Dark visual tones dominate the color scheme. Wick wears an entirely black suit looking like a slick undertaker. While the color symbolism is obvious, it works to make death and John Wick synonymous. Scenes that have light in them are often still bathed in darkness and gloom. All the gun shots thud and resonate. It’s almost like the audience can feel Wick’s hatred every time he fires his gun. The soundtrack augments the atmosphere by playing the relevant genre depending on where Wick is; it’s almost too synchronized. Sometimes the music is slow and menacing, others times it’s unhinged and psychotic.

Yet, lighting, music and sound effects aren’t enough me, until I consider the camera work. Most modern action films use that choppy-shifting to different angles quickly style (clearly I’m a film student *cough*) to give fight sequences urgency and the illusion that the fighters are moving faster than the audience’s eye can perceive. John Wick utilizes traditional long shots where the action is seen from a sedentary position. Fights seem slow, tortuous and drudging which is perfect for this film’s atmosphere. John can kill a man quickly, but he’s not Bruce Lee fast in melee combat. This feature genuinely separates this movie from its contemporaries. Awesome Has an Expiration Date

Like all other films, the flaws can’t be ignored. Marcus’ fate is most problematic to me because it’s contrived, like the writers were saying, “Oh, we need a reason for Wick to kill Viggo. Let’s use Marcus!” From a narrative perspective the decision makes sense, but fails aesthetically. Marcus is reduced from a character to a plot device which is half-assed and stupid. He’s portrayed as a senior to Wick, not just in age, but in experience as well. Surely Marcus realized Viggo would come after him. Where’s the batman style contingency plan? I feel like a veteran of the assassin world would have an escape in case clients got rough.

Poor Daisy provides another problem. One hand, a revenge tirade starting at the death of puppy is awesome, but hard to deliver. To the film’s credit, Daisy is present from his wife and an embodiment of hope for Wick as he grieves. However, not enough of Wick’s relationship with Helen is shown for Dasiy’s death to really mean anything. A simple solution would have been a few flash backs at different periods in their past. One is briefly shown, but no characterization is accomplished.
Score: 7/10

Ultimately, John Wick is a well executed revenge flick and nothing more, otherwise I would score it higher. This film surprised me and turned my expectations. I understand why people liked what they saw. I definitely suggest watching this at first convenience. As a bonus, we get to experience Keanu actually showing emotion. However, if extreme violence disturbs you don’t bother and don’t let children near the dvd. They could have done better in certain areas, but those can be ignored for viewing pleasure. 

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Why Art Doesn't Matter

Since video games remain in my conscious, let more vidya content continue like the Rolling Stone’s corpse of a music career. Two youtubers, Jennie Bharaj and Westerly, both provided informed arguments an age old debate in video games. Should video games be considered art? Personally, I’ve always considered the subject to be an exercise in futility, aligning myself with Mr. Ebert. I acknowledge the benefit of video games being considered art: immunity from censorship. Developers can rest easy knowing this legal battle is over and I’m overjoyed that some government institutions aren’t useless. However, my apathy for this debate derives from my frustration with art’s terminology and cultural connotation.

Merriam-Weber’s definition of art shares affinity with urban dictionary, some consensus without real verification. No method exists determine when something is or isn’t art because even art experts’ opinions can be radically different. Specificity only excludes objects that others might consider art, compounding this problem and spawning more inadequate definitions. Even with consensus, as a term “art” has come to define nothing. Here are some examples I’ve heard: Art induces an emotional experience/catharsis. Art has no other utility than to exist. Art is expression or application of human creativity in a visual medium. Yet, I can counter each definition. Part of the Bible cause me emotional turmoil, but Scripture isn’t art. The second is too debatable and restricting, utility can be interpreted in a variety of ways. Under the third, a box of cheerios can be considered art.

For at least six hundred years people in the west have conflated art with quality. Despite the term’s completely arbitrary nature, an object becomes more valuable when qualified as art versus something that isn’t. That’s a pretentious double standard. Qualifying the value of anything should be divorced from determining whether something is or isn’t art. They are not related. Criteria is a tool to evaluate quality. Sometimes art is a criteria, but it shouldn’t be. If two paintings—both considered art—are being compared, one cannot say, “this one is better because it is art and the other is not.” In this fictional comparison, art cannot be a qualifier for value. This illustrates the uselessness of art as a term. Go to the Tate in London or any modern art gallery and drink in the pile of garbage that passes as “art”.

My solution to this problem is eliminate the word, but that’s an unrealistic expectation, akin to believing that Valve will make Half-Life Three. An alternative method lies in simplicity and relaying on authorial intent. If a person intends their creative work to be art then it is. Boom and done. Will people like this solution? No. One problem with my solution is the complexity of video games as a medium. While books, movies and video games are all shared mediums, authorial intent is more evident in books and movies than when compared to video games. Interaction creates a distinct separation of experience between creator and audience. A gamer developer’s intent has almost no influence on how game players experience the finished product. Once again I side with Ebert, why does it matter if video games are considered art? Legally speaking, I think all creative endeavors should be protected, not just artistic ones. Therefore, we should be judging a game based on its merit, not whether it fits into a meaningless definition. Then we all can argue about something else instead. Thanks for reading.

I  don't own this comic, but y'all should check it out :D

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Monsters vs Crusaders and Trolls take the Harvest

These last few weeks have been really exciting in a frustrating way. Seeing folks fight back against misinformation and marginalization is refreshing. A fierce, persistent exhaustion has loomed over me during this month because resolution seems farther than the horizon. Almost everyday a new development occurs in GG’s short and polarizing history. During August and September, this conflict remained in the confines of gaming culture. Stories of Anita and Zoe’s victim-hood were starting to circulate non-gaming publications, but big media (MSNBC, CNN, ABC, Fox, etc) hadn't latched onto their stories yet. Then Brianna Wu became the third high profile victim of death threats and the flood gates burst. The war on #GamerGate expanded beyond the land of pixels and honey.

Before I dive in, a definition and applause for fair coverage of GG. Since anti-GG folks don’t congregate under one movement, I’ll refer to them as the Opposition or anti-GG. My arguments will be based on generalizations while acknowledging that exceptions exist and nothing can be stated in absolute terms.

Now to give credit where it is due. Huffington Post Live host Ricky Camilleri had an interview about #GamerGate. Then at the request of two female GG supporters and one neutral voice, Ricky had a second interview. Both sides were heard fairly which was awesome since almost all other media coverage of GG has been negative. Disclaimer: These opinions are my own and do not reflect the views of #GamerGate as a consumer revolt.

While fiction is ultimately meaningless, it can be a powerful tool (look at war propaganda during both world wars). When I first stumbled upon #GamerGate, I foolishly assumed rational discussion had commenced. After all, video games are an extremely inclusive activity and game websites should respect their audiences. However, none of that happened. Anti-GG opponents have heaped the same criticism on the movement: you’re a misogynistic group who strive to drive women out of the gaming industry.

Opposition break down

From observation, I have concluded that most Opposition members believe in various forms of third wave feminism. My arguments have been based off this assumption. Some might label themselves as “Social Justice Warriors” or an alternative name could be “tumblr feminism.” I don’t frequent these circles enough to know anything beyond that folks on the web use these labels. I’m not saying every person that opposes #GamerGate are feminists, but they seem to be the majority. Certainly they are sympathetic with progressive ideas. Despite not collecting under one movement, the Opposition do have leaders of sorts. Game journalists and their older siblings in larger media represent narrative architects. They are the Opposition’s ideologues. Leigh Alexander and others fill this role quite well. I imagine they encompass a small portion of anti-GGers. Everyone else in the Opposition digests the narrative. Either these people agree with the ideology or are too lethargic to verify what they read. Is not verifying bad? Always, misinformation is foundation of ignorance.

Dehumanization

During World War II, propaganda portrayed German soldiers as monsters or beasts to convince both soldiers and civilians that killing them was an act of justice. Those German soldiers didn’t have families waiting for them at home or were simply following orders just like American soldiers. No, they were Nazis who lived for no other reason than to destroy the free world. Was it true? No, excluding Nazi leadership. Propaganda kept the war effort at home alive, but it wasn’t right.

Terms like misogyny or sexist have been weaponized. Once a person or group is labeled in this manner, their opinions no longer matter. Even if their arguments are logical and backed with evidence, people will dismiss it because of the negative perception that surrounds that group. The slander doesn’t end with misogyny either. GG has been compared to ISIS and the KKK. Those statements are beyond absurd. A consumer movement which has done no physical harm to anyone (I’ll address the harassment stuff later) is compared to actual hate groups. I’m genuinely astounded at the gall of some anti-GG folks.

Conflation of #GamerGate and established problems on the Internet

Death threats, doxxing, hacking and harassment are well documented and established practice on the Internet. The anonymous nature of being online often brings out the worst in people. That’s not a statement of endorsement, just telling an unfortunate truth of the digital age. While there is a distinction between harassment and threating someone with death or rape, the two are closely related. I’ve stated before that Zoe’s, Anita’s and Brianna’s stories are tragic. No one should be subject to death threats. My frustration stems from their acceptance and continual perpetuation of the Opposition’s narrative.

Some context: a youtuber by the name of HannibaltheVictor13 made a rebuttal video after a recent conversation with prominent GG member Jemma Morgan. Like many others, he buys into the narrative and claims it’s extremely evident that #GamerGate’s origin derives from sexism. Certain screen shots by Zoe Quinn seem damning enough to convince the Opposition that this consumer revolt was manufactured to oppress women. Here’s another about #NotYourShield for kicks and giggles. A Gawker article uses this “evidence” to demonstrate #GamerGate’s monstrous origins.

Combine this “evidence” with three (probably soon to be four) accounts from victims of Internet harassment and anti-GG has an ironclad case right? Well, not really. Anonymity makes investigating/discovering one’s identity almost impossible, unless you’re a famous person or Internet personality. Then an investigative process becomes less challenging. A third option manifests through action of a law enforcement agency. Since all users on 4chan, 8chan, reddit and other forums boards are anonymous—their only identifier being a random sequence of numbers and letters—it’s impossible to know who any of those folks are. Most boards can be posted on without being a member of a particular site. 4chan does retain IP information, but only law enforcement could demand it. Therefore, how can Zoe, Anita, Brianna or anyone else possibly know—beyond reasonable doubt—that all harassment they received is from members of #GamerGate?

The short answer: they don’t. Zoe’s investigation and “evidence” generated myths of misogyny about #GamerGate’s origins. Despite Adam Baldwin creating GG’s hashtag, Quinn insists that her harassers form the core of this consumer revolt. Yet, I remained unconvinced, must be my inherit sexism coming out. Specific screen shots taken out of context can’t provide a full story. I’m not saying Zoe is lair, but her word isn’t enough. Here’s an Escapist article regarding Zoe’s accusations versus the statements from 4chan users. This “evidence” is weak at best, yet the Opposition takes it as truth. She only established that a group of people sought to harass her. Opposition folks please stop conflating actions of any individual with the stated goals of #GamerGate.

Infallible Victims

The Opposition loves Anita because death and rape threats have been heaped upon her. Now they have a poster child for victims of awful Internet sexism. Brianna brought this conflict to game journalists’ older siblings: main-stream media. I take issue with her interviews because she frames #GamerGate as an active war to drive all women out of the gaming industry. Her variation of the Opposition’s narrative is much more aggressive than her predecessors. Whether Brianna actually believes her experience legitimizes negative views of GG is irrelevant because sincere belief or sinister perpetuation have identical effect. She’s had at least two interviews thus far on MSNBC, and PBS. There were painful to watch; a cloud of misinformation surrounded her. A youtuber—Sargon of Akkad—made a rebuttal video in which he provides reasonable criticism. I’ll talk about her interview with David Pakman.

Mr. Pakman showed himself as individual who is willing to ask the hard questions. In all of her prior interviews, Brianna’s claims were never questioned or was asked for clarification. For an opinion journalist, David knows how to keep his bias in check. His question were fair and reasonable, yet Brianna has the gall to claim he was running a “hit piece” on her. This interview confirmed some of my observations about Brianna:

1. She uses her victim-hood to shield herself from legitimate criticism.
2. Her accusations are said without any evidence or opportunity for others to verify. Two death threats have been made public with no connection to #Gamergate. Yet, Brianna claims a majority of threats came from GG supporters and she has proof, but refuses to show it.
3. If she truly fears for her life, I don’t think she’d be doing all of these interviews. Going to public studios leaves a plethora of opportunities of a potential killer to harm you.
4. She only seemed interested in talking about sexism in the industry which is not at all related to the consumers that make up GG.
5. Suddenly she speaks for all women in the gaming industry? I guess she must have a lot of free time to get know all the other women.
6. She literally states— with a straight face—that thousands of real people in #NotYourShield don’t exist and are actually sock puppet accounts created by white men. I just can’t. The stupidity of that statement boggles my mind.

Our culture, at least in the United States, wants to avoid victim-blaming to such an extent that we’ve traveled to other extreme: victim testimony cannot be criticized or questioned. People assume that victims would never lie about their trauma. Why does Brianna antagonize an already angry group of people? It doesn’t make sense, what does she gain? It seems that Brianna has declared war on #GamerGate, not the other way around. I don’t believe any of these women are professional victims, but I know that phenomenon does occur. Thunderf00t released a video about Anita’s recent canceling of her USU talk. While I disagree with his conclusion about Anita, he does give an example an actual professional victim. In our current culture climate is being a victim potentially beneficial? You can bet your buttons on it. Anita has gained opportunities from her victim-hood. I’m not condemning her for being pragmatic—that’s good—just making an observation. Victims are people; therefore, their testimonies are fallible. When making accusations against a person or group, the burden of evidence is on the accuser.

Journalism:

This criticism can be applied to all sectors of journalism and not all people in gaming media are unethical. Journalism has taken on a multitude of meanings over the last century. For a base definition, I’ll reference the Merriam-Webster dictionary. Definition 2b presents how journalism used to be, “writing characterized by a direct presentation of facts or description of events without an attempt at interpretation.” 2c defines what journalism has become, “writing designed to appeal to current popular taste or public interest.” Almost all people who claim to be journalists today, use definition 2c. When Walter Cronkite was still alive, journalists told people facts regardless of personal bias. His famous ending phrase was true because people of his generation understood that heavy bias distorts facts. News doesn’t present truth when told through the lens of any ideology. People ask, “where’s your proof of corrupt journalistic practices in gaming media?” My answer: look no further than the opinions writers who label themselves as “journalists” and don’t curb their bias at all. Journalistic ethics exist to keep journalists from reporting on false information or misrepresenting events. Do game journalists do this? Nope. They sacrifice factual presentation at the altar of special interest and ideological manipulation.

Here’s a brief list of articles with a negative bias towards #GamerGate: New York Times, New Statesman, The Mirror, The Verge, Jezebel, Deadspin, International Business Times, Telegraph, LA Times, BBC, Newsweek, Gawker, Kotaku, Washington Post, Vice, the Guardian, Time and there’s more. Now a list of positive bias: Breitbart, Breitbart again, Slate, Gamer Headlines, Reason, Reason again, Gamesnosh and maybe a few others. Follow the link trail on the negative pieces. All source articles come from two types of sources: liberal progressive publications or sites like Kotaku or polygon where the conflict began. When verifying an article’s claim look for source material/articles with a plethora of different biases. A mix of conservative, neutral and liberal biased publications that all mention an event generally means it’s true or if there is a way to access direct source material, look at that instead. Most of the negative articles about #GamerGate derive back to the same sources which means a narrative is being perpetuated. For example, a recent article from the Guardian talks about neo-nazi being welcomed by #GamerGate. One source article is from Gawker— a media company with a vested interest in seeing this consumer revolt crushed into dust since they own Kotaku—and it’s author is Sam Biddle. A biased article that sources another with an even greater bias shouldn’t be taken as established fact. What separates a blogger from a real journalist? As long as opinion writers masquerade as journalists, there is no difference. No human can truly be objective, but it’s easy lay personal bias aside or refrain from writing due to personal connections. If game opinion writers became real journalists, then #GamerGate would cease. That’s how to defeat #GamerGate once and for all.

Death threats on both sides indicate that all people can be assholes.

The Media focuses on just Zoe, Anita and Brianna because these woman fit their narrative. They ignore harassments and death threats suffered by pro-GG supporters—like KingofPol, Milo Yiannopoulos, Boogie2988—and other folks within the Opposition. That frustrates me out of the room because clearly trolls are winning this fight. Some trolls might choose sides, but their effect remains the same. Through storify, Todd in the Shadows (a reviewer I continue to support despite his hurtful statements about GG supporters) brought up a valid argument against #GamerGate. My problem with his argument is two fold: 1) #GamerGate isn't necessary for Internet trolls to harass and threaten people. 2) Todd is classifying GG supporters as idiots or assholes. Troll organizations like the GNAA could cause trouble for both sides. #GamerGate’s existence does allow for more trolling and death threats because conflict attracts assholes. Trolls didn't find a home in GG, rather they knew GG would be blamed for their work. Both gaming journalism and larger publications have turned #GamerGate into a scapegoat for Internet harassment. Let my words be clear: everyone can and has been an asshole at some point on the Internet. Folks on both sides need to get over that. People suffer threats all the time and ignore them instead of making a fuss. If you do feel threatened, call the appropriate authorities.



A Personal Plea

#GamerGate has agreeable goals; consumers have the right to ask for improvement from folks who make video game products or report on it. But, none of this needed happen. Game journalists should have said, “Know what? Our audience is right. We fucked up and let’s turn our gaze inward to fix it.” Then GG wouldn’t have been necessary, but this consumer revolt must have an end. Boogie released an excellent video about that. I hope #GamerGate ends the fight game journalists started. Funny enough, GG’s goals don’t entice me to support them, rather the Opposition practically forces my hand. The venom of anti-GG’s attacks are genuinely astounding and the media dog pile sickens me.

To those who perpetuate this destructive narrative about #GamerGate: screw all of you. It’s people like you that make this world harder to live in. To Opposition folks that believe that narrative: Please look deeper than the surface. Don’t assume that journalists, whether you like them or not, are telling you the truth. Because chances are they’re lying or spinning the story for an ulterior motive. The majority’s voice isn’t always right. I apply this opinion to every journalist that I come across, including Mr. Yiannopoulos. Don’t let someone else’s ideology control your life. My reasons for support:

I’ve seen folks who support GG and most of them are reasonable and seeking to end destructive journalistic practices in gaming media. Their goals benefit everyone, except the journalists who defend their unethical practices. People of every ethnicity, sexual orientation, gender and political views have congregated around #GamerGate and #NotYourShield. Their claims are legitimate and they have real impact. Yes, there some current and former jerks in GG, but they don’t represent everyone involved. This consumer revolt is a hashtag, thus anyone can use it. There are no leaders, administration or members, only a common goal. Some folks have formed a harassment patrol to report abusive behavior in GG ranks, but they can’t stop people from misusing the hashtag. Please don’t conflate the actions of certain individuals with #GamerGate’s goals. We’re all people and individuals before the labels start sticking.

Being compared to the KKK, ISIS and being called terrorists and misogynists genuinely hurts. I haven’t personally suffered any abuse, but prominent anti-GG members have insulted me by association. Progressives and modern feminists say we shouldn’t be sexist, prejudice, or narrow-minded. I agree, but their actions are contrary to their words. The constant stream of hate and prejudice from the Opposition is absurd. I support #GamerGate because its opponents are cruel and vicious. I seek constructive criticism, a resolution and an end to #GamerGate. Do anti-GG folks feel the same way? Feminists and everyone else deserve to have a voice in gaming culture.

Here’s some videos and GG related stuff people might like to see.

Pakman’s interview with Milo Yiannopoulos
 
Pakman’s interview with Jennie Bharaj (a pro-GG feminist)

Anonymous’ denouement of OpGamerGate and support of #GamerGate

TotalBiscuit’s interview of Stephen Totilo

A sincere plea to the ExtraCredit (awesome web show) team about GG

Chez Apocalypse episode (season 4 ep 7—link doesn't seem to work) about GG and base assumptions, even though the host doesn't acknowledge his own base assumptions.

Paula Wright, another pro-GG feminist, writes about #GamerGate
A PBS video on fallacies and the host gives his honest opinion on GG

Another pro-GG feminists writes about her frustrations with anti-GG folks

Another awesome video from the Factual Feminist

Sargon of Akkad’s interview with Matt from the Fine Young Capitalists.

And now a funny comic

Thanks for reading :)

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Strike the Meh

Before we get going, definitions need to be addressed. Anime of multiple genres involve vampires, but few actually focus on them as main characters or focal points of the plot. I’ll definite a “vampire anime” as a show which has vampires in the main cast or a narrative structured around vampires as a concept. With my narrower definition, finding vampire anime is arduous and good ones are even more elusive. When Strike the Blood started airing in 2013, I was reasonably excited. It’s a shame my expectations are always higher than they should be.

My Anime List
Anilist

Genre: Shounen, Science Fiction, Vampire, Action, Comedy Ecchi, Romance, Magic

Concept:

When I saw ecchi as one of the genre classifications for this anime, my expectations plummeted. My experience in this genre can summarized with one word: shit. Complete and total garbage. However, strangely the excessive fan service does play a small narrative role. In this mythos, Kojou’s (our protagonist) vampire powers are triggered by sexual desire. Normally a cheap gimmick like this infuriates me, however, it provide purpose beyond getting Japanese boys to buy it. A plethora of vampire literature places taboo desires or sexual practices the reader would find disturbing on vampires. The act of consuming another’s blood falls into either of those categories. Thus, what I would perceive as useless fan service actually makes some sense in the anime. Sadly, it also accomplishes the prior as well. Since Kojou is a vampire, a mythos that intertwines sexual desire and the need to drink blood is fine in my book.

Strike the Blood’s world is very similar to Dance in the Vampire Bund. A man-made island where super-natural creatures co-exist with humans, know as the Demon District. It’s not original because many science fiction anime are set on man-made islands, however the setting is utilized well. Vampires are placed at the top of the magical food chain, but they exist within a board range of magical beings including: witches, beast people, and familiars. While I prefer vampires without the context of other supernatural creatures, Strike develops the vampire’s place properly. Four Progenitors remove the “one royal bloodline” cliche found in some modern vampire iterations. This anime’s world building leaves a myriad of potential narrative plots to traverse down.

Characters:Since this anime is twenty four episodes long and a relatively complex cast, I’ll only list “main” characters.

Kojou Akatsuki is the inheritor of the Fourth Progenitor’s blood and our main protagonist. Honestly, Kojou’s character frustrates me. So often shounen heroes are apathetic to their circumstances and wish “to live a normal life with friends and family.” In other settings that works, but there was wasted potential in this mythos because of Kojou’s apathetic tendencies. His romance with Himeragi suffers the most from this poor writing decision. His progression is surface level and only deepens in regards to Himeragi.

Yukina Himeragi is a sword shaman from Lion Heart Organization which specializes in exercising demons. Her orders are to observe Kojou, to determine if he is a threat to the world. Again, not an original premise, but one that makes sense within the established world. Kojou and her make a great pair because she exhibits opposite character traits. She worries, gets reasonably jealous, and genuinely seeks to protect Kojou. Their romance is a boon for this anime. It’s real romatnic tension that only Kojou and her share.

Natsuki Minamiya  is a teacher at Kojou’s school and an attack mage who knows of his true identity. I’d describe her as a distant parent in regard to Kojou. Her role is sigificant both to plot and other characters in the show. Natsuki isn’t explored even when she’s the focai of an arc. Fight scenes involving her are awesome and she’s a crazy powerful witch.

Dimitrie Vatler/Lord Ardeal is a high ranking vampire from the Warlord’s Domain (First Progenitor). He’s probably the most interesting character, but his actual role consists of a pseudo-villain and plot device. Openly gay, transgendered or cross dressing characters are not uncommon in anime; however, rarely do they reside in the main cast. Vatler represents a traditional vampire. His attraction to Kojou is the same regardless of the fourth’s gender. A long existence has warped Vatler’s perception of morality, leaving only a desire to be entertained. The safety of Itogami Island and it’s habitants mean nothing to him.

This anime is full of one dimensional characters who could be flushed out more. The four listed above are what I consider “relevant” characters. If I had a section for each character in Strike, the list would be at least fifteen points. Thankfully, my laziness superseded that desire. The other characters either move the plot forward, provide convenient escapes, give harem-esque romantic tension or a combination of the three. If the writers had retained focus on a few characters versus trying include the entire cast, less of the viewer’s time would be wasted.

Story:

I’ve noticed that Japanese light novel adaptations divide the anime into arcs. Anime adapted from manga will use story arcs as well, but adapters seem to be more liberal with the source material. There are seven story arcs of varying length (the light novel continues to be published). Each arc is stand alone, each with it’s own villain. Only characters, establishment of new abilities and setting connect these arcs together. While a central plot or villain isn’t necessary for excellent story telling, Strike needed a centric plot. The last two arcs are two episodes each, as if the writers were just trying to fill space. In other anime, arcs tend to build on one another and culminate at the end and Kojou’s story needed a bombastic climax. However, ending given seemed half-assed, but more on that later.

Disregarding the last two arcs, pacing inside the other arcs are excellent. Characters and conflicts are established succinctly. None of the episodes felt like filler and drew me in as a viewer. As the story progresses, Kojou learns more about the world he’s been thrust into. Truths about what Itogami Island is and how it sustains itself are revealed as one arc finishes and another begins. It was refreshing to see such a complex world.

Strike also keeps subtle ambiguity about Kojou’s past and the Lion Heart Organization’s intentions which was awesome. Mysterious elements ensure further story development, but this anime suffers from “Lost syndrome.” I realize the light novel isn’t finished yet so maybe a second season is coming; however, don’t introduce questions one has no intention of answering. Kojou has some prior connection with Avrora (previous fourth), but can’t remember due to a memory block. Unfortunately, we learn nothing about this connection. Other elements and characters seem privy to this information, but remain silent. I’m not asking for an explanation about every little detail, just hints. It’s frustrating because Strike sputters out; copping out to the point where the audience sees a glimpse into the future, but receives no on screen action. The Ecchi

I’m not a prude; mild nudity or fan service doesn’t bother me. If either of those serve as a device informing the audience about an anime world, then I’ll let it go. To a small extent, fan service in Strike does a service a narrative purpose; but it’s far too gratuitous. Is it titillating? Sure, I like a female body as much as the next guy. Female members of the cast will strip most of their clothing off for almost no reason at all. Kojou will pull the typical “fall and land on top of girl while holding her breast by accident.” I’m sick of that shit. For reasons unknown to me, the Japanese find sexual humor hilarious; a sentiment I share to a lesser extent. Gratuitous fan service doesn’t create a better viewing experience and disrupts descent story telling.

A vampire exerting their power through familiars is an engaging re-imagination that breaks from traditional vampire mythos. I enjoyed Kojou’s task proving himself to Avrora’s familiars, but the techniques infuriated me. Essentially, it boils down to Kojou drinking the blood of a spirit medium. Apparently, it’s not the only way, but it expedites the process. Cue almost every other female character in this anime. Every new arc comes with a new supporting female, another vessel for Kojou to “level up” his power. This angers me for two reasons 1) those female characters don’t have any purpose which is kinda sexist. 2) Kojou’s agency is reduced to almost nothing. I wanted to him gain control of a familiar through a different method; one that showed his strength, not the convenience of having three or four spirit mediums hanging around. This shit is taken straight out of the “harem anime” play book, yet it doesn’t technically fall into the genre. Enough harem elements exist to distract from an awesome world with so much potential. Animation

Strike is superbly animated. None of the cg is intrusive or invokes a cringe upon viewing. Fight scenes are awesome and one aspect that initially sucked me into this anime. Thank God Gonzo didn’t get their hands on this one.

Score: 6/10

What a waste. Strike the Blood shares a remarkable number of similarities to Campionie. The prior dominates the latter, but both suffer from a boring formula. Conceptually, Strike had a great start and stopped halfway through. It’s possible the light novel is to blame rather than anime studios. Either way, don’t go into this anime with high expectations. 

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