Category Archives: Print Media

Visions of sugar plums

I’ve been having trouble sleeping.

There are a number of reasons for this. Chiefly: I still struggle at sticking to a mostly regular sleep schedule, so that one day I might turn in as soon as the sun tilts toward the horizon, and another I’ll stay up long enough to see the sunrise. Both such tendencies have their own motivators –depression and all-night FF7 binges, respectively– and a certain kitten-shaped constant who ensures that whenever I do decide to sleep, that is the time she’s most active.

There is another reason, in that whenever I do stretch out in bed I start thinking about setting again. Very particular settings: fortresses built into mountainsides with five compounds representing the five traditional elements; and the territory that fortress would oversee, and the taxes it would collect in exchange for protection from its militia. What is the attitude of the servant class within the fortress; are they from the region, or transplanted from the empire capital? How many are more loyal to the emperor than his son who manages this territory?

In other words, I’m writing again.

Or more precisely, preparing to write. I had another project in the pipelines for a while about war and aliens –you know, all-new literary territory– but after spending months neck deep in The Journey to the West and other Chinese and East Asian half historical/half mythological texts I decided the chances were slim of being able to suddenly change gears into some inverted Starship Troopers story. So, I gave in and went with the flow of my current interests.

(I’m making the SF project sound more banal than it is. It’s a narrative I believe in, or I wouldn’t have spent almost two years to date developing it. But SF is about politics and extrapolating from the present world’s circumstances, and right now I’d like some escapism.)

And since it’s that kind of fantasy novel, the sort about beds and the folks occupying them, the mind wanders to those before-and-after conversations that sound most authentic when you’re half-asleep when you come up with them. Except I then don’t sleep, largely because other things seep in: do I have time to think of frivolous things like novels when I’m not sure I’ll be able to afford rent next month? how will I ever find a way to sell off enough of this stuff to fund a move? how many of my books will I need to part with?

And then come the anxiety attacks, because my serotonin levels are low, and my new health insurance plan is very good at being expensive and little else, and then there’s the crippling debt I now face, and all the glib responses from well-meaning colleagues how it should be so easy to just pick up and go, change everything, choose life, get out of this country before the GOP turn it into a wasteland, did you hear Clint Eastwood got into an argument with an empty chair and lost?

So yes, fantasy novel, I choose thee. Of all the things giving me insomnia, you are the least unpleasant at the moment.

The other is Final Fantasy VII, which I mentioned I was replaying. That’s going well, except the problem with videogames for me at a time like this is their machine logic is precisely the opposite of what I need. Simon Parkin once wrote (and it’s still one of my favorite essays of his to date) that games (and especially JRPGs) “function how we want the real world to function”:

“Because, while the battles may be random, the war’s outcome is always predestined,” I continue. “You’re predestined to succeed. Just so long as you keep going. And jeez, that may be escapism or a gross oversimplification of the reality we live in, but isn’t that sense of… of justice the yearning of every human being? Are not JRPGs maps of perfect worlds where everything behaves how you expect it to.”


“Because, when your life turns to shit and people let you down, or when you study hard but still flunk your exams regardless, or when you work your ass off and your boss doesn’t notice…. Or, or even if he does but is too preoccupied with his own quests to congratulate you… I mean, that’s sort of a broken system. It certainly feels that way. That’s just not how things should be. JRPGs counter all that disappointment and unfairness with dependable justice. They reward you for your efforts with empirical, unflinching fairness. Work hard and you level up. Take the path that’s opened to you and persevere with it and you can save the world. You can fix the things that break…”


“No, wait. They give you that power, sure. But more than that, they give you consistency. This world, and the people in it, do not. JRPGs are, well, er, I guess they’re sort of like heaven in that regard. Except with, like, improbably large swords and nuclear-grade hair gel.”

It’s one of my favorite heartbreaking little rambles in any piece of New Games Journalism to date, and 99% of the time, I agree with it.

Right now I just want all the numbers to go to hang themselves. I toil at leveling up these little masses of polygons, meeting all the necessary quotas to advance stats and limit breaks and fill out all the necessary check boxes on every unnecessary sidequest and the only persistent impression I get is that I’m fumbling to connect, that the virtual world on the other side of the screen isn’t ever going to come alive because of numbers or command combos. Its story is a dead thing unless you let the machinic part of it go. Otherwise it’s just… hell, it’s just Confucianism.

Because I really don’t want the world to be fair, just now. I want it to be extremely unfair in my favor. Not for very long; just to make it through the next month or two. That would be nice. FF7’s new PC version even accommodates that very kind of cheating, which throws Parkins’s “heaven” for a hell of a loop. Not that I could bring myself to partake in it if I did have the funds to spend juicing characters in a game I’d already beaten a half-dozen times. But I wouldn’t mind a Character Booster for my own life. Or even just something to let me sleep.

I had the most curious dream.

Now– before you start clicking away, this isn’t your usual recounting of some bemusingly vivid decoupage of pop culture and personal psychology that usually accompanies someone’s desire to tell you their dream.

It’s more about a certain tendency I’ve noticed within media studies. Something that started itching in the back of my brain when I was writing my thesis in 2008, and which emerged from my head fully formed a couple weeks ago during my MA exams.

In the dream I was browsing through a website that was participating in yesterday’s SOPA/PIPA blackout web protests. The website had left up most of its text articles but taken down most of its multimedia, such as embedded video, replacing them with a brief encyclopedic description of their function, development history, and appearance. Each format was given a Latin name with genus and species.

It was the perfect illustration of an argument I had made repeatedly in my MA exams, which is that we have a tendency to imagine all the various media -especially new media, but any time texts speak about media “in transition”- as on its way to becoming some particular thing, as if we know its destiny. On the contrary, history is full of examples of divergent yet coexisting media “species,” each adapted to the specific habitat in which it developed.

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That DC comics thing

"I'm empowered!"

I promised people on Twitter yesterday I’d do a write-up of a guest-presentation by Dan DiDio, co-publisher of DC Entertainment, in my Transmedia Storytelling class taught by Henry Jenkins.

It should be no surprise to either my colleagues or my professor that I’m a bit critical of transmedia. As a structure, of course, it’s exciting. In practice, it’s crass commercialism that doesn’t examine the social malignancy it’s reinforcing. We have had one guest so far this semester who has strongly gone against the hypercapitalist trend, and that is Brian Clark of GMD Studios. Follow him on Twitter. He gives me hope that it’s possible to stay alive and not lose your soul.

But back to the class. I need to reinforce that while I have the utmost respect for my professor and the guests he brings in, I don’t always (or even often) agree with their perspectives. That this results in angry mid-class tweets is intended as a reflection on the systems of marketing men like DiDio represent, not reflections on individual characters.

Dan DiDio was visiting our Transmedia Storytelling class to tell us about DC’s New 52 campaign, wherein they simultaneously rebooted many of their comic franchises. He talked about marketing, imprints and brand recognition, all of which was quite interesting. Apparently they’ve gone into reprints on all of the properties he showed us, which is quite impressive–but he also spoke of the bar for reprinting being a lot lower than it once was, from millions of readers to the tens of thousands. But kudos are certainly due.

My main beef with DiDio’s presentation, however, was this:

“It Can’t Be Sexist, A Woman Worked On It!”

IE, the actual response Dan DiDio gave me when he acknowledged the Red Hood and the Outlaws Starfire controversy.



Look, I’m not going to make assumptions about the women involved in the production of this or any other comic. Maybe this aligned with their vision completely or maybe he’s misrepresenting them. Maybe they weren’t involved the way he says or maybe they absolutely were. It doesn’t matter, because having a woman or a pair of women or a team entirely 100% composed of women does not by some arcane transitive property absolve something of being sexist.

And this isn’t even about whether Starfire’s portrayal is sexist (I mean, pretty much all comic women are depicted this way to some extent, it seems like the outcry around this particular character is how much of a shift occurred). It’s just bad logic and a flimsy, untenable argument to say that the presence of a woman or women on the staff mean all issues of representation are made suddenly less significant or meaningful.

This, for the record, is how this remark was arrived at:

DiDio, in the early part of his presentation, declared that DC was enjoying a bigger female audience than any time in the past.

During the Q&A at the end, I asked what DC were doing to attend to this audience.

He announced they were including more female leads and more female writing and editorial staff. Okay, good. He said that Minx was directed at women. I really have no comment on the matter, but he admitted it wasn’t successful.

I then asked what the reception to DC’s efforts had been. And please note I made no implications to DiDio, or at least I don’t recall making any, that I thought that DC were doing a bad job. That may have been my own personal assessment of the situation at that point, but I wasn’t there to ask some accusatory, leading followup question. He could have at that point rolled out any sort of positive blog posts or niche magazine articles that he wanted and I would have written them down to go do my own footwork, but no–the word on his lips was “controversy.”

I did not bring up Red Hood and the Outlaws either. (I wanted to, and was prepared to, but didn’t have to.) He brought it up on his own initiative, though he didn’t cop to the name until I pressed.

DiDio seemed unwilling to talk about any reception at all, insisting only that controversy was good for the company and that, as I mentioned earlier, two women editors were on the team (ETA: Katie Kubert and Bobbie Chase, now that Eric’s jogged my memory). He contended that issues of representation were debated in-house well in advance, which I believe–what I’m dubious about is what sort of discussion actually took shape, whose voices were heard, at what volume, and what perspective they were speaking from. I’d be happy to read an in-depth post-mortem on the whole thing somewhere, if the team were more forthcoming. I want to know exactly why the Starfire thing is totally cool and not in keeping with the brand’s and the medium’s tradition of objectification. Really, I’m curious!

Just don’t act like having women on your staff is a free pass to do all the entrenched sexist bullshit you’ve been doing for decades.