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Orlando, In The Light Of Upraised Wands

The following article discusses my experience at the New World Magischola LARP on the weekend of June 16-19. This post is not a LARP design look or even a real recap, but addresses other issues going on internally for me during this game. For those playing future runs of the game, this post may (though I am not sure) consist of spoilers. Also, this post is LONG. Please be advised.


 

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I do not pack light.

I was sitting in my bedroom, packing up a suitcase to hit the road again. I spend a lot of time on trips to gaming events and conventions, so much so that packing is nearly mechanical by now. I know what I need to bring under normal circumstances. This trip, however, wasn’t normal circumstances. I wasn’t heading for a gaming convention. Rather, I was heading to wizarding college.

I’d been lucky enough to snag a ticket to the opening weekend for New World Magischola, a live action roleplaying event run in Richmond, Virginia. For one weekend, I was going to portray Thessaly Kane, a thirty-something professor of Magical Theory and Ethics of the Arcane. Into my bag I packed my best rebel witch turned responsible professor clothes. I packed my quills, my signet ring, my wand. This kind of packing wasn’t very odd to me either. Two years ago, I’d braved a long journey to Poland to attend the first weekend of College of Wizardry, the blockbuster LARP that then inspired New World Magischola here in the US. Both were first weekend events, the inaugural, the very first. I felt privileged to have a chance to be at both. I was excited. But something had me distracted.

Only a few days prior, the world witnessed the tragedy that occurred in Orlando, Florida. 49 people were killed and 53 injured when a gunman walked into the Pulse nightclub on Latin Night and opened fire. The perpetrator’s motives were simple, though they’d be made more complex by charges of connection to international terrorist organizations and questions of mental stability. But to most of the world, the heart of this attack was the unbridled hatred that the shooter had for the LGBTQ community. This attack was the deadliest single shooter incident in history and it occurred on June 12, 2016.

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The victims of the Orlando mass shooting. Collage by Buzzfeed News/Facebook

The Pulse shooting was still on my mind two days later when I started packing for Magischola. I’d spent the days before like many others who identify as queer: in a state of emotional upheaval and disarray. I’d done my crying, shouted, vented, lay in bed unsure what to do. I kept crying some more. My mind turned, as it does, to inspiration about better ideals, about the utopias people hope for and the practical compromises we end up with. I’d been listening to Hamilton and started reading David McCullough’s 1776. I watched HBO’s John Adams, and then the musical 1776. I thought about the words “We hold these truths to be self evident, that all men are created equal.” I thought about the liminal spaces between those words, the gaps which we fall into when we are not men, when we are not considered equal, when these truths are no longer considered self evident to those who can pick up a gun and deprive someone of their life, liberty and pursuit of happiness. Of their life. Of their life.

Suddenly I wasn’t so sure I wanted to go to a wizarding larp anymore.

I questioned the rightness of going away to escape for a weekend. I’d get in a car with friends and go down to a college campus and pretend to wave a wand for days, and for a while, the world of the Mundane (as the real world is called in NWM) would be replaced by the world of the Magimundi. I’d worry about wendigos and snipes, gorecasters and house points. I was on my way to someplace far beyond democratic filibusters on gun control in the Senate and screaming fits on Facebook about the rights of people to have AR-15’s sold in Walmart for less than it costs to own a smartphone. I felt wrong for going out to larp in the shadow of a tragedy that weighed so heavily on my heart.

Plenty of people kept using the hashtag #IamOrlando in the wake of the tragedy. Lots were allies. But so many were queer people showing their solidarity to those killed. Because in the eyes of so many queer people I spoke to, it wasn’t just a gesture of solidarity. They walk the same spaces as those killed, exist in the same gap between “self evident” and “created equal” that the patrons at Orlando fell into. They are queer in America, and they were bleeding.

I was bleeding.

***************

It’s no secret that I’m queer. I’ve been public about my bisexuality for years, having come out in college. But I’ve always been a private person in terms of expressing my sexuality, and that led me to shy away from pride spaces. I’d had difficulties feeling welcome as a bisexual woman who often dated men, of being misidentified as straight in queer spaces, in grappling with my own very religious upbringing in relation to my queer identity. Only in recent years through my involvement with the gaming community had I found a place to meet people and discuss queer identity with an alibi that made me comfortable to be public. Through gaming, I found a voice for my queer self. It was that knowledge that helped me go down to New World Magischola in the wake of Orlando. Because, even though in my heart I was bleeding, I knew there would be others who might be there too. Who I could speak with. Who might know what I was feeling.

And lo and behold, one of the first conversations I had upon getting into my dorm room on campus was about Orlando. In the sprawling chaos of getting ready on Thursday for the start of game, I ended up in a room full of several queer players, and the topic of Orlando came up. We wondered whether the events of the real world were a part of the modern-day magical game we were about to play. We wondered if some of the themes of bullying and prejudice that are underlying in the magical game would be de-escalated because of the events. And all the while I wanted to just jump up out of my wheelchair and shout aloud, “I don’t know how to do this. I don’t know how to play today. I don’t know what to do or what to feel. I don’t know if I want to do this.”

Instead, I promised to ask staff about the real life events question. Whether or not, as queer people, we’d in character have to deal with the Orlando event.

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Introductions in the Great Hall

So during the opening announcements I was gratified and humbled when our organizers addressed the shooting directly. They wished that we would make this a safe place to play, even when things might be hard. They offered ears to listen, whatever support was needed. I raised my hand and asked the question: were the events at Pulse in character as well? The answer was yes. I left the opening announcements to go to workshops, meant to prepare us for the roleplaying we would do all weekend. Some were about how to de-escalate a scene if it became too intense. One was about making sure to default to ‘they’ as the proper pronoun. That “created equal” liminal space seemed to be shrinking in the face of such understanding.

I went to meet with the other faculty players, and broached the subject of how to handle Orlando in character. It was decided to let student-players take the lead and organize themselves, to give people the option of opting out of interacting with such heavy real-world content. There was room in game to experience grief as a player, as a character who was queer, but there was also a space for those who came to get away for a while to not have the events revisited. There was room to breath, and I felt it, for maybe the first time in a few days.

The game had a lot of amazing, wacky, bizarre, and unreal things happen. The very first night, a freak storm hit the area that slammed down heavy winds and dropped a tornado. Trees were downed, we all sheltered in place, and we lost power. I remember racing through the night with a friend of mine from New York, trying to get to my dorm before the sky opening up and ending up stuck in the operations building with staff while the sky opened up with all its fury. We stayed mostly out of character and waited for the skies to close, and chatted about life. Here, with people I barely knew, i braved one of the things that scare me most in the world: terrible storms. And still, in the back of my mind, I had a clenching in my chest. What was I doing, roleplaying when there was so much going on back home? When I had this burning question inside me, shouting all the time: why does this keep happening? Created equal. CREATED EQUAL. WHY?

I needed a place for that screaming little voice to go. So, I did the only thing I could. I took it in character.

*********

Thessaly Kane is an Ethics professor. Her aim was to introduce ethical questions of real world importance to students. She was also a werewolf, a Lycan, bitten when she tried to defend the werewolf community from an attack by a magical hate group. Lycanthropy, you see, is a disease you can transmit to others that makes you transform uncontrollably during the full moon. Because of this, Lycans are illegal in the magical world. If someone is discovered as a Lycan, they can be hunted down by the magical police, the Marshals, and killed. They are denied proper educations, jobs, places in society. They are outcasts, hated, feared, turned away. The potion that can help them control their transformation, the Romulus Lunar Shield, is held patented by a company that prices the potion so high, it’s not accessible to many desperately in need. My professor hid what she was to get a job at a university, intent on living a normal life despite the threat of being discovered.

There were a lot of ways I could have played Thessaly. I could have had her be self-protective, hiding what she was. A more Remus Lupin kind of character, bearing the brunt of the issue of lycanthropy alone. But something in me was ticking, kicking around, shouting loudly. I was teaching Ethics. There was no way I was throwing away this chance (this shot, for those Hamilton lovers), to use the class as a place to talk about the issue of lycanthropic rights. So I built my class around talking about the rights of non-humans and started talking about lycanthropy, about the rights of those infected. I let the students talk about their feelings. I asked them what their ethics said. I even gave them homework.

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Hand-written student essays for Magical Ethics II

And it was hard. It was so hard to listen to a conversation about the rights of people to be free, to live, in a society. It was hard to hear a discussion whose parallels to issues in the queer community were so startlingly clear. The issue of lycanthropy being infectious and segregating the population based on that echoed eerily to the issue of AIDS in the 80’s and the bigotry aimed at those infected with HIV. The question of segregation, registration, sterilization, and finally annihilation all ended up discussed. All the while I sat back to let the student players discuss, and argue, and only pushed the conversation along where needed. But inside my chest there was that little voice, pushing against the confines of my character, urging me on. Play this to the hilt, it said, and see where it goes.

I probably would have balked at pushing the storyline too far. Realistically, it was becoming emotionally hard to push those buttons, to hear people speak about bigotry so openly and not want to shout. But I was playing a professor, and restraint was needed. I probably would have gone easy on myself, focused more on other plot… if not for another player who was caught up in the Lycan story arch too. Their name was Jaiden in character and they were a Lycan student, who was forcibly outed and targeted by other students as subject of a non-consensual medical experiment. Several students believed they could cure lycanthropy and wanted a test subject. They wanted to try it on Jaiden.

It’s important to note here that this plotline, though dealing with non-consensual medical testing on a person in character, was consensually agreed upon by the players involved. Everyone was on board and even excited to tackle such a difficult storyline and see where it went. And I was front row. Jaiden’s plight drove Thessaly Kane, a werewolf in hiding, into action. Where she might have stayed hidden otherwise a while longer, Professor Kane wouldn’t let Jaiden be outed alone. She wouldn’t let her stand alone against whatever happened. It lit a fire inside her that she’d long since thought gone, one that was driving me crazy as a player too. She knew she could be arrested or killed. But that old saying from 1776 bounced around inside my head: give me liberty, or give me death.

Yet all the while I was terrified. I was afraid that in character the storyline would go dark. That in the end, bigotry would win out. Jaiden or Thessaly would be killed. The vampire characters also in hiding would be hurt. That their fellow students and faculty would turn against them. That darkness, even in a magical world, would win. I stared into that liminal space, into the space that led back to all that hurt and rage from the real world, back to the 12th and everything it had brought up in me, and I silently said a prayer for a happy ending.

And for once, the LARP gods were kind. Because a happy ending is what we got.

When Jaiden was outed, I watched their entire house rally around them. Voices rose up: “If you want them, you have to go thru me.” When I stood in front of a Marshall to defend another Lycan they’d come to kill, I looked around and found nearly three dozen students standing around me. One by one they stood beside me, around me, and we said that the Marshall would have to go through all of us. We recited our names, and said they’d have to kill us first.

Little cracks in my heart started to heal.

I saw players and characters struggle with but ultimately embrace using a neutral pronoun all weekend. I saw players defending one another when bigotry about class (Unsoiled heritage versus Mundane born) was an issue. I saw students in my Magical Ethics class change their minds about their accepted conservative views and start talking with others. I saw them challenge one another, stand up for each other, fight against bad actions that would hurt others. Stand up for their convictions. I saw people stand up.

And I thought about Luis Vielma, the 22-year-old  who lost his life at Pulse that night. He worked at Universal Studios Orlando on the Harry Potter and the Forbidden Journey ride. He was a Gryffindor, and by all accounts a wonderful, sweet nerd. He lost his life that night at Pulse for being out enjoying music with his friends. He loved Harry Potter. And I wondered what he might have thought about a weekend with wand-waving on a college campus.

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Luis Vielma, 22. May his memory be held high.

I thought about the tribute given him by his co-workers and park attendees who stood, wands upraised, as Universal Studios shut down the ride to commemorate their loss. In the shadow of Hogwarts castle, people celebrated the life of a young man who was gone too soon.

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The tribute at Universal Studios Orlando. Photo by: USAToday.com

Sometimes, our tributes come where they can. Sometimes they live inside the magical spaces we create. Sometimes, they’re enough to give us a little solace for the nightmares we experience in the real world. And sometimes, they provide a catharsis you didn’t expect, plan, or even understand you needed. In my fellow players, I found the solace I needed to remember that light in dark places exists once more.

*********

On the last night, thanks to a loophole in the school’s rules, the faculty was able to push through a law that allowed Lycans, vampires, and even chupacabras to study and teach at New World Magischola. It was the culmination of two and a half days of facing down bigotry, of keeping quiet and living in-character in fear. Of that little rabbit inside my chest kicking every time I heard something said that was bigoted. Of living in the closet again.

As I stood up out of my wheelchair to step behind the podium at the school ball and make the announcement, my hands were shaking. I looked out on the faces of students and told them that those hiding would be able to come out and study in safety and peace. I outed myself as a Lycan in front of the whole school, and said that though the fight wasn’t over, not by far, in New World Magischola we had carved a place of safety.

And the cheering was so deafening, so joyous, I nearly broke down crying right there.

Because in that moment, we did carve out a space of acceptance. We said that in our fictional worlds, at least, we could make a beautiful moment happen and celebrate the right for those who were locked away to come out in safety. To be who they were and have the same chances. To be open with their friends and colleagues. To have a home. In our tiny fictional space, we made light out of darkness. And that liminal space between “created equal” and “life” seemed to close, if only for a little while.

The night ended for me in a shouting match with one of the other professors, one who believed Lycans were dangerous and should not be equal. If the conversation had happened earlier in the game, I think I would have been cowed in character, afraid to move forward, afraid of being found out. Instead, Professor Thessaly Kane raised her chin, looked her opponent in the eye, and told him that she was his equal, and always had been. That theirs was a world forever changed, and if he wanted to stand against everyone and the forces of history, that was his choice. But that the time for his bigotry had passed and she would never stand aside for him or anyone else anymore. His time, she said, was over.

And when I turned away, head high, I could not stop smiling.

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*********

I’ve been home for over twenty-four hours now. I’ve come back to my messy room, my pile of work. I’ve come back to Facebook fights over progressive ideas and conservative ideologies. About whether or not what happened in Orlando was terrorism and governmental bi-partisanship blocking gun control laws. I’ve come back to a world where those gaps I keep thinking about in between those self-evident truths are still wide enough to be nigh-abyssal, ready to swallow whole hope if you look into them too long.

But then I look into my suitcase, still yet unpacked, and see the essays written for me by students in my Ethics classes (of course I gave them homework, what kind of professor wouldn’t?). I read these hastily scrawled essays about the ethics of bigotry against lycanthropes and what each student would do, if they had the power, to change the world. And I think about that moment at the Ball, and realize that for a little while, in a fictional place that only lives for a few hundred people pretending to be wizards, we did.

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Epic post-larp bedhead

Our Hateful America

This post originally began as a Facebook update after I woke up to the news about the mass shooting at Pulse in Orlando, Florida. It came as the first response I had to the tragedy, and I’m adding to it now. This is part of my Not Ready To Make Nice series, and the raw response of someone horrified by the devastating tragedy of last night.


 

 

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The scene outside Pulse on June 11 2016 (photo by AP)

There are no words.

I don’t have them, folks. I’m a writer, and a storyteller, and for once I’m out of words. Last night a man walked into a gay club called Pulse in Orlando, Florida, and shot over one hundred people, killing 53 as of the time of this writing. It’s being declared today the worst mass shooting in American history.

The worst mass shooting in American history. Isn’t that what they said last time? And the time before that? The numbers just keep growing. And every time we think that the toll can’t get worse, it’s another place where we can have our innocence shattered. A school? A college campus? A nightclub with your friends? These are our new battlefields, where we don’t take ground for some obscure cause like nationalism, but where we stand our ground to fight for our freedom to be who we are just by showing up. Where we hope a fun night out with our friends won’t end with a slur, a punch, a bullet. 

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Go out into the world today in America, and you see more people standing tall then ever to be who they truly are. And yet for every time that happens, you see a tragedy. Just this week, someone set a pipe bomb in the bathroom of a store that support letting people pee in peace. And a man is able to buy assault rifles legally to walk into a nightclub where people were celebrating Pride, and murdered forty people. Because of his ignorance. His hate.

Their ignorance. Their hate.

Because he’s not alone. No matter what people will say later, he’s not a ‘lone wolf’ shooting people. He’s part of an infection of ideology that lets small people try to make themselves large by turning their hate into violence. It’s a tale as old as time. A person feels small in their own life, so they hook into an ideology, one full of hate and blame for everything that’s wrong with today. And they look at someone else, someone different, and say, “They’re wrong and they must die.” They want their pain to mean something. They make it mean gravestones and tears, and suffering in the heart of our country. We remember their names when the names of the victims fall by the wayside. In a way, they win. They are the faces of the plague of hatred that has infected America, and is eating it alive from the inside out.

Only an infection denotes a sickness, something you suffer from. Hatred, bigotry, is a choice. And these people chose to end lives with their hatred. They chose to be the poster children for the worst that humans can be.

I won’t share their faces. I won’t share their names. They are small people. They are a symptom of the larger disease, the only disease you opt into and then pass on with bullets, and explosives, and excuses about rights (to guns, to religious ideas) while ignoring the basic right to life that others have. These men don’t deserve to be remembered.

These are the photos I will remember. This is the face of what needs to be held onto in the wake of such tragedy.

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Photo by: The Orlando Sentinel

There’s a line from The West Wing that was given after a terror attack on the show, and the speech its from is oddly prescient, so I’m linking to it below. But as I read about pride performers climbing out of air conditioner ducts to save their own lives while their friends hide in dressing rooms, praying not to be murdered, while patrons who came to their show lie dead on the club floor behind them, I remember this quote. “The streets of heaven are too full of angels tonight.” And its our hateful America, not religion, or belief, but the hate of men, that sent them there. Our hateful America, that which renders what could be a great country so low. We are not Great when such hatred exists.

The streets of heaven are too full of angels today. And our hateful America sent them there.

 

 

Update: Buzzfeed is compiling a list of the victims of the shooting, including messages from family and friends as well as photos. Let us remember them during this time and strike from memory the man who did this. Let us remember the victims, not the shooter.

Yes, HYDRA were Nazis and No, I Will Not Forget It

[[Spoilers ahead for Captain America: Steve Rogers #1]]

569e646046152So apparently, Captain America is a HYDRA agent now. And everyone seems intent on telling me how I should or shouldn’t feel about it.

If you’re not sure what I’m talking about, let me fill you in. Captain America, the star-spangled hero that’s graced the comics since the 1940’s, has had a rough time of it in recent years. First, Cap got aged to an older man thanks to some shenanigans, and had to retire from being Cap. Steve Rogers handed the shield to his friend Sam Wilson aka Falcon. For a time he became the head of SHIELD and even went on to still try to be cap, even in his elder years. But events in the comics recently gave him back his vitality and youth, and he took the name Captain America again to kick some Hydra ass.

Except it turns out, thanks to the new comic Captain America: Steve Rogers, that Cap isn’t the Hydra ass kicker we thought. You see, according to the first issue written by Nick Spencer, Captain America is apparently a Hydra agent.

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“There’s also no Santa Claus.”

Now, I know what you’re going to say. “But it’s a comic book! There’s clearly some mind control going on, or reality changing, or whatever nonsense is going on. This is a gimmick, a ploy to sell first issues!” And yes, all these things may be true. Cap’s youth was returned by an incarnated cosmic cube named Kubiq, and that may account for the odd changes to Cap. But it isn’t just the modern Cap that’s apparently jumped on the squid-faced bandwagon. No, Captain America #1 has a flashback sequence through the book that shows little Steve Rogers with his mother when she’s rescued from her drunk, abusive husband by a woman who radicalizes her into Hydra. The indication then is that not only is Cap a Hydra agent, but he has been for a very, very long time.

The first issue of this Spencer run landed on shelves with a proverbial bang in a week when Marvel needed to score serious press attention. DC was launching the rebrand of their entire company through their event Rebirth and might have otherwise dominated the news cycle. But thanks to this huge heel turn, Marvel drowned out DC’s launch in a big way. And of course they did. Because the hero of America has become the vehicle of a fascist organization, a tool of everything he ever fought against. So, the internet went nuts.

The fan response has been, to my eyes, almost completely negative. A great example of the responses I’ve seen comes from TC Curly, a friend of mine, who said:

I wouldn’t mind a marvel character heel turn, but having cap join hydra is like having aqua man join the Aryan nation. It’s bizarre, It’s drastic, and it just feels really dirty.

Even Chris Evans, the Marvel Cinematic Universe’s Captain America himself, got in on the concern about the recent reversal, stating on Twitter:

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hail-hydra-shot-my-parents-chimichangas-hahah😂-if-you-2586866There’s been quite a lot of articles about how this is a desecration of everything that Captain America stands for. Plenty more are talking about how this is a gimmick that will just be reversed, although Time magazine’s interview with Cap’s creative team basically says it’s not. Still others point out, rightly so, that having Cap turn into an agent of an organization that were associated heavily and born in the comics from the Nazis is spitting in the face of the origins of the character. Specifically, Captain America was written by two Jewish men, Jack Kirby and Joe Simon. And now, he’s being retroactively written as being a tool of the regime that supported Hitler’s Nazi regime.

And this is where the conversation online has taken an interesting turn. Because while there are thoughtful articles pointing out the problem with associating Cap with Nazis, other articles have taken the time to distance Hydra as an organization from the Nazis and their activities. Specifically, they point to the origins of Hydra in fascism across the globe rather than in the Nazis in specific. And it’s this attempt to bend over backwards to save face for the Spencer storyline that’s got me frustrated and a little angry.

Like this new storyline or not, the Spencer storyline has given people a chance to discuss a really difficult situation: the use of Nazis in a major plot arch through Marvel comics. Like it or not, Hydra was introduced as a major fascist bad guy faction that had its start associated heavily with the Nazis. One only needs to think hard about the very first major HYDRA bad guys and the first one that probably pops to mind would be The Red Skull. Who, in the comics, looked early on a lot like this:

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Yup, that’s pretty blatant there. Swastika and all. Nazi.

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That armband ain’t just a fashion accessory.

Then there’s Baron Von Strucker, a major Aryan ‘purity of races’ kind of guy who was a major part of HYDRA for years. While comics tried to back-track away from Von Strucker’s Nazi associations too over the years and dropped a bunch of his white-power motivations, the guy still sported the ol’ red armband for a long while.

Over the years, Hydra did branch out to back other fascist regimes worldwide in the comics, but a huge part of their past remains with the Nazis. Red Skull remained that swastika wearing presence in the comics, a constant reminder of the genocidal birthplace of the group in comics. Later writers tried to back Hydra away from the Nazis too, but the presence of them in Hydra’s past remains. And while the Marvel Cinematic Universe worked hard follow that distancing tactic, going as far as having Hugo Weaving’s Red Skull give a diatribe about how Hydra was only using the Nazis in Captain America: The First Avenger, that cannot divorce the history of the Nazi’s fictionalized presence in the comic book organization.

[[On another note, the MCU doesn’t always separate the Nazis from HYDRA so much. Agents of SHIELD bad guy Daniel Whitehall actually was a Nazi scientist named Rinehart who experimented and dissected people on the show. All while looking like this.

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“I just got this Iron Cross from a re-enactment event weekend. Really!”

Still questioning whether Hydra is associated with Nazis? No? Me neither.]]

Apparently people can try. Because articles are taking their time now to do so, making it very clear that Hydra is more than just Nazis. But why now? Why have this in-depth discussion about how these genocidal, world-dominating, fascist-supporting aren’t really Nazis now? Because Captain America is now being associated with Nazis. And if they can’t deny the storyline is happening, then at least they’ll deny that the organization is that bad.

It’s this hair-splitting that is leaving a bad taste in my mouth. Guys, Hydra were Nazis. Red Skull was this guy for years. This guy. Right here.

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And instead of just accepting that Marvel is associating our star-spangled hero with the Nazis, people are bending over backwards to explain how its not that bad and mincing whether or not Hydra itself is Nazis. That might be even more insulting to me than what’s going on with Cap. People are having legitimate emotional responses to seeing their beloved hero becoming a Hydra agent. Some of those reactions have to do with the horror of seeing Captain America be associated with the Nazis. For Jews especially, it smacks of an emotional ignorance about the hero Cap was to those who look back at WWII and see the specter of the Nazi holocaust overshadowing their families.

Plenty of folks are having legitimate emotional reactions and saying no, it’s not okay. Instead of acknowledging that emotional response and how it might be insensitive to Jewish readers, people are in a rush to say “They aren’t Nazis! You’re over-conflating it!” It’s comic-splaining at its best and bordering on gaslighting. “You’re seeing Nazis where they aren’t!”

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Ahem. Really? So that swastika is just a tibetan good luck symbol on Red Skull there, huh?

This response smacks of so many cases of people white-washing and ignoring the legitimate concerns of Jews over representation and insensitive treatment that it infuriates me. While I don’t necessarily think the situation is anti-semetic exactly, it feels careless in its consideration of how this plotline might impact those for whom Nazis have a more personal hatred.

I remember showing my grandmother, a Holocaust survivor, Captain America in the comics when I was younger. I told her in the comics that he first showed up punching Hitler in the face. I remember her laughing and shaking her head at it, in this kind of bitter way. I wonder if she thought how funny wish fulfillment art is, though I never asked her how it made her feel. I wonder now how this comic would make her feel, seeing Cap turned to the dark side. Mostly, I wonder how all these “well, actually…” articles about Hydra would make her feel. “Well, actually they’re not Nazis. They just wore swastikas and supported Hitler’s actions in World War II before moving on to be fascists elsewhere. But they’re totally not Nazis themselves. Really!”

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Yup. No Nazis here.

 

 

My grandmother passed away when I was sixteen, so she’s not here to ask how she feels. But I know how I feel about the Captain America thing. I’m going to keep reading so I can see where Nick Spencer and the Cap team is going with this plot. But mainly, I know how I feel about these articles trying to drive away any feelings of discomfort by Jewish readers by comic-splaining away the Nazis. As opposed to listening to those fans’ feelings with compassion and understanding, people would rather we shut up and stop associating Cap with one of the most genocidal groups of all time.

Funny, I would like to stop associating him with them too. Only now, thanks to the comics, I can’t. So let me have my feelings, thanks, without explaining to me why I should sit down and be quiet about it. My comic nerd rage is valid too, especially when it’s fueled by personal history and real-world religious bigotries.

LARP Traveller Diaries: Just Fly

Hello blog readers! It’s your old friend Shoshana Kessock returned to her website from a long hiatus away from blog writing. I’ve had a lot of projects on my plate keeping me away (which I’ll cover in another post) but right now I’m debuting this brand new idea I’ve had for organizing the thoughts that I toss out there into the internet-world.

A while back I came up with a heading system for the blog, with a series of posts called Not Ready To Make Nice about issues I wanted to speak about. Well, here’s the second heading, called LARP Traveller Diaries. Here I’ll toss out some ideas about LARPing and experiences I’ve had at conventions and games wherever I find them. I’ll share thoughts on individual games, experiences, and larp theory that comes up in my head.

We’re going to start right off the bat with my first post of the series. Let’s dive in!


 

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“I can schedule a freak-out five days from Sunday.”

I have a crazy looking calendar. These days with a lot going on, I schedule my life down to the hour sometimes. 8AM wake-up, groan for ten minutes about waking up, medication self-care time, up to breakfast, on to work, etc. As someone who used to be very willy-nilly about their time management, I learned the uses of scheduling and it’s improved my appreciation for my time and everyone else’s. Scheduling taught me the value of a little preparation giving me the jump on all the things I want to do in my life.

So it’s a little surprising even to me that when it comes to going to LARP events, I like to approach things completely the opposite.

I enjoy going to big event LARPs, the Nordic or Nordic-inspired LARPs that provide big budget experiences for one weekend. They’re the equivalent to me of going to a five-star restaurant as opposed to going to a favorite joint or cooking at home. With these big-budget LARPs costing a pretty penny, most people will only go to one or two in a long while, and the LARP becomes a major experience. It becomes an event that I look forward to on my calendar, the weekend when I go and immerse myself in a weekend of BIG LARP FUN. And of course, other folks start to get excited too. Months in advance people online are talking about the game, getting hype for the fun we’ll have.

And then… then for me comes the anxiety. See, for me, hype can go over the line from fun to anxiety.

I recently signed up to play New World Magischola, the wizards-and-wands Harry Potter-inspired American LARP created after the monumental success of College of Wizardry in Europe. The company behind NWM, Learn LARP, has worked diligently to create a hell of an experience, and for months in advance there’s been Facebook groups, applications to fill out, and character connections to make. There’s not a single day I’m not waking up to a new message about the event on Facebook, especially as the game date approaches. At first, the messages helped build up excitement in me. Everyone else is so into this, I said, it’s going to be great! I saw players I knew from LARP communities around the world were signed up for my weekend, and I started to read more about the setting, the costumes. I got picked to play a professor, and I was jazzed to bring my brand of Magical Ethics class to the unsuspecting students, mwahahahaha.

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Not this evil. I promise. Really. Don’t be afraid.

But as time went on, and there were more and more posts, I found myself falling behind. I’d recently got a new job with John Wick Presents writing full-time and I was working on a myriad of other creative projects including my own LARPs. I cut down on the time I spent on Facebook and focused on work and friends. Then, when I had time, I’d check in on the NWM prep, only to find so much information I’d already missed. People were playing scenes online, plotting previous character relationships that lasted years. I started to get a creeping feeling in my stomach: was I going to be unprepared for game? Was I going to come in at a disadvantage?

I started to feel like I was actually a kid heading to a new school for the first time.

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Nobody wants to be the kid who forgets their homework, or the kid who doesn’t have a place to sit at lunch because everyone’s already with their friends. And nobody wants to be the LARPer who travels to a brand new game only to find everyone’s already buddies and you’re on the outside, looking in at the fun. As time went on, the New LARP Butterflies started to kick in.

It’s about then that I instituted my handy-dandy anxiety-busting New LARP rule list.

  1. Was I excited about the game? Yes.
  2. Did I like the premise? Yes.
  3. Did I have any concerns about the safety of the game? No.
  4. Was the game accessible to me? Yes.
  5. Did I have any other conflicts that would make me concerned about my experience? No.

With these questions answered, I instituted Emergency Anti-Larp-Anxieties Answer #1:

Just Fly.

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The quote comes from the first Christopher Reeves movie, when Superman catches a distressed plane in his very first heroic act. The co-pilot is freaking out trying to figure out what’s going on, how they’re not crashing, wants to know all the details. The pilot, who spotted Superman under the wing, can barely believe what’s going on. But he’s not going to look a gift flying-man in the mouth and tells the co-pilot, “Fly. Just… fly.”

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Repeat after me: I do not have to be a perfect LARPer person.

LARP anxiety, especially in new groups, I believe is rooted in the old performance anxiety with a dash of first day at a new school-itis. You don’t know what to expect, not only from the game setting and mechanics or from your own roleplay, but you don’t know how you’ll interact with those around you. Will they accept me? Will I have a good time in this new place? Is it going to be worth all the work I’ve put in? Will I be disappointed?

It’s been my experience that disappointment usually occurs when reality and expectations don’t meet. When the hopes I’ve had about a LARP experience don’t mesh with what actually goes on in game, I walk out with a sense that something was missing. Except perhaps there was nothing missing at all! Maybe I just wanted one thing and got something that was equally awesome, but I was so busy worrying about what I wanted that I didn’t embrace what I had. Planning before a LARP for me then becomes a series of ways to set expectations which then distract me from what happens, right then, in the moment. It makes the game about what will be, instead of what is during play.

I had this issue during College of Wizardry and I wrote a lot about it in my article about how LARP can turn you into an asshole. A lot of my difficulty with College of Wizardry is because the adventure of the weekend didn’t meet my rosy-cheeked optimism of playing in a Harry Potter world. I wanted to be the plucky heroine, and ended up playing the kid who got picked last for dodgeball. Instead of embracing the play right then, I got stuck on what I’d prepared for and thought of and worked for before game. I questioned whether if I’d prepped more, played more scenes with others, built more relationships, if I wouldn’t have had a better time. In the end, I recognized that it was expectation that had soured my experience, and that’s where my rules of New LARP were born.

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It’s understandable. I mean, admit it: we all want to be Harry Potter. Above: The minute you realize you are not the LARP protagonist.

I’m going to New World Magischola with just enough prep in place to be comfortable. I have to prep lesson plans, sure, because I’m faculty. I’m going to talk to a few people about how we know one another in advance. But that’s about it. I’m going to read the game document. I’m going to chat online a little. But otherwise I’m approaching play with a “Just Fly” attitude. I’m shucking any comparisons to College of Wizardry because this game is its own creature, and I don’t want to set false expectations by equating the two falsely.

I’m just going to go to New World Magischola and be Thessaly Kane, professor. I’ll show up and I have no idea what’s going to happen. None at all!

And that’s okay. In fact, that’s great for me.

Because otherwise, I turn into THIS.

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Except maybe a little less put together.

Now for some people, the “Just Fly” attitude makes them anxious. Showing up this way makes them feel unprepared and nervous, so prep helps them. That’s cool. As a friend says, you do you, boo. As long as there’s room for both our prep styles, we can both have a kickass time at the game. As long as there’s no expectation that you HAVE TO prepare so much in advance. That one is better than the other. And nowhere have I encountered anyone saying you have to do tons of preparation for New World Magischola. When we arrive game day, we’re all equal in the eyes of the LARP gods, ready to have a kickass weekend.

New World Magischola is coming up in June, and I’m ready to fly. But in the meantime, I got other stuff to do. I’ll pack my bags maybe a day before I get in the car. I ordered a couple of new props and read the rules. And I’m chatting online a little. But otherwise, game will happen for me at game. I’ll come in a blank slate, ready for whatever comes. And that’s what makes me a happy LARPer. Everyone else should do what makes them happy LARPers too, and it’s going to be a great game. As long as we all remember: nobody’s way is better. We all prep for our fun in different ways.

Besides, we all have one worry we can all agree on anyway: how am I going to pack all this stuff for game?!

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“Just one more bag, guys, I promise!”

Ah well, some LARP worries can’t be solved by cool movie quotes. But one problem at a time.

 

 

You’re Breaking My Immersion! Or, How To Inadvertently Enable Ableism

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Image from: Supernatural, Season 8 Episode 11, “LARP and the Real Girl”

In just a few days, I’ll be shipping over to Europe to get on a boat and join the hundreds of other LARPers heading to this year’s Nordic LARP conference, Solmukohta. This is my fourth year in attendance, completing my first progression of attending the conferences in all four Nordic LARP countries – Norway, Sweden, Denmark and Finland. It’s been my pleasure to get a chance to meet LARPers from all over and spend time learning about LARP practices not only from around the United States, but from across the world.

As I’m preparing for the conference, and a couple of talks I’ll be giving there, I ran across an article on LARPING.org that gave me pause. I’m preparing a talk on exclusionary practices in LARP, and this article highlighted one of my pet peeves when discussing LARP accessibility. I’m a big proponent of games being as accessible to people of all kinds, and finding design choices that can enable a game to be more open to everyone. Challenges to accessibility include tackling difficult social issues, economic inequalities and class differences, LARP culture barriers between communities, or even issues of physical accessibility. It’s that last one that I’d like to talk about briefly today.

The article in question that brought this issue up is called LARP Rules! A Mechanics Spotlight, which attempts to deconstruct the mechanization of actions within LARPs and how complex large-scale rules systems can become. The thesis of this article is that there is a tension between the narrative that is being developed in LARPs and the rules sets, since the narratives develop through the diegetic interactions between players while they are immersed in scene. The more complex the rules set, the article suggests, the more difficult it becomes to remain immersed in the narrative and the more disruptive the rules are to play. The article states this idea in what it’s calling the LARP Core Tenants, which looks startlingly like yet another definition of what is a LARP, ala the ad nauseum discussions of ‘what is a game’ that plague game studies conversations the world over.

Meaningful, consequential role-play and immersion is the means and the end. The story is secondary and is the organic, waste byproduct of interactions between players, be it through combat, in game skills, social mechanics, or otherwise. As such, any rules system, being that which defines and dictates actions in a game, should seek to put up as low a barrier as possible to this end, it being understood that a rule designed to represent an action is not the action. This represents a departure from play, and therefore to immersion. This departure is anathema to this end and as such should be as limited in scope as possible.

Aside from the fact that I find the reference to narrative developed by players as a “waste byproduct” a little distasteful, the last part is where I mean to put my focus. Namely, the idea that anything that breaks immersion is “anathema” to play and immersive narrative development between players because, as the quote states, “a rule designed to represent an action is not the action.”

This is further explained later in the article when an example is provided from the NERO rulebook. The article cites a skill called Parry, which is often included in many boffer/live combat rules systems that have skill calls. The text of Parry states that it allows a player to block an oncoming attack by vocalizing the word “Parry” and then goes on to lay out and explain the exact ways in which Parry is used (what kinds of attacks can be blocked by Parry, in what circumstances, etc). In critiquing the skill Parry, the article states that constant vocalization of unneeded skills which can simply be accomplished by physical action breaks immersion further. The article goes on to say:

Parry, on the other hand is one of those effects plaguing LARP rules systems that seek to reproduce an action people are able to safely execute themselves. Remember, the goal here is to impede immersion as little as possible, so in effect, you’re telling someone you dodged an attack that you didn’t actually dodge.

The idea then is that since people can simply dodge an attack with their physical weapon, a skill like Parry is then superfluous. And here is where I disagree, because this is not the first time I have heard this argument against skill calls within live combat/boffer games. The argument goes that if you’re playing a game where immersion is the intent, then using vocalizations to simply say you’re doing something instead of actually doing it breaks the believability of the world. If you’re following this line of logic, as stated above, and “a rule designed to represent an action is not the action” then simply calling out Parry impedes play and should be removed.

Except games with skill calls provide a vital resource to people who do not come out to games prepared to let their entire play experience depend on their actual physical capability. Skill calls allow, through representational game design, for players of different ability levels and physical capabilities to play characters that may be more physically capable then they are in the real world. To put it plainly: skill calls level the playing field and give those who are differently abled the chance to still play the kickass warrior, the powerful paladin, at a comparable capability as a player who comes in more physically able.

This representational aspect of the game, while it does require players to exert their imagination to count a vocalized word the same way they might a whack on the arm, allows the game that includes them to be more accessible to more players. This includes people who might not be as physically fit as the most active, agile, powerful warriors in the game. It compensates for nearly every ability and capability level (barring those who lack the ability or have difficulty speaking). And for those who are disabled, it allows for a game that uses the human body in what is considered its “normal, physically whole state” as the game vector by which you engage with the play space to enter play with simulated tools to put them on the same level as more physically able players.

I find the discussions of how skill can be disruptive a disturbing double standard in the discussion of what is or is not immersion breaking. In a game medium that requires me to look at a person wearing plastic costume elf ears and accept that they are, indeed, elven royalty, or expects me to acknowledge that a human dressed in a nice suit is a vampire prince, others are unwilling to acknowledge that a word spoken is the same as an action taken. Apparently a word is one step too far to stretch the imagination, even if it allows the game to include more people fairly.

Now, the entirety of the article’s discussion about rules being disruptive to narrative play, is not a new one. Game studies thinkers have been publishing articles about this in regards to video games for years (see: Patrick Crogan’s “Blade Runners: Speculation on Narrative and Interactivity”* or Jesper Juul’s “Games Telling Stories? A Brief Note on Games and Narratives“** for further reading). Yet the conversation takes on an entirely more insidious direction when we discuss that tension in regards to representational actions and skills in LARPs. While a narrative may suffer for the limitations and intrusions of mechanics within a video game, the game itself is presumably still playable and the player still capable of interacting with the play space if they are differently abled (the difficulty of controller use and video game medium usage for the disabled aside, as that is an entirely different topic). Yet in the race to provide more immersive, WYSIWYG narrative experiences for LARPs, it seems the proponents for skill-less systems are willing to sacrifice accessibility on the altar of some purist notion of seamless play rather than consider what representational rules do provide for players.

Full disclosure: I am a disabled LARPer who plays in the game mentioned in the article, Dystopia Rising. And thanks to skill calls within that game, I am capable as a disabled woman (who alternates between having difficulty walking and using a wheelchair) to attend game and still participate in combat situations. I utilize skill calls to augment my physical differences to allow me to be an effective combatant, capable of being a part of the play just like any able-bodied player. It’s for this reason that I speak from a perspective informed by experience, and concern for the future of my favorite game medium.

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Can’t run from a bad guy because I’m physically disabled, a skill in Dystopia Rising allow me to call “Escape!” and take steps away from combat unimpeded to simulate what I cannot do. (Photo by Katherine Chartier, Dystopia Rising: New Jersey).

The above article (though in a rather arched and unforgiving tone) offers forth the notion that early LARP design suffered from a complexity born of simulationist roots that should have been outgrown in the race for new and better ways to embrace immersive live play. Yet in the process of advocating for stripped-down systems, this argument and those like it postulate play spaces that restrict interaction rather than make it more available to all, and that are prejudicial to those more physically capable than others. If that is the evolution of LARP, the vaulted future so often lauded, I’m afraid that LARP will not gain more players or become more open to a wider audience (an aim lauded by the article as a much-needed community goal). Instead it will become an even more rarified space, accessible to fewer based on the physical capability of the LARPers medium of play: their human body.

* Crogan, Patrick. “Blade Runners: Speculation on Narrative and Interactivity.” The South Atlantic Quarterly. 101.3 (2002): 639-57.

** Juul, Jesper “Games Telling Stories? A Brief Note on Games and Narratives.” Game Studies 1.1 (2001).

How LARP Taught Me I Am A Bit Of An Asshole

20150131171507-4The Great Hall was packed with people from one wall to another. Everyone was gathered around the long tables where we took our meals, under the banners of the Houses that made up the Czocha School of Witchcraft and Wizardry. We waited in our robes as the teachers gathered, then called up all the first years to stand in front of the student body to be Sorted. I went up with my fellows, an uncertain grin fixed nervously in place.

We first year students had spent the better part of time since our arrival trying to impress the older students in the various Houses, so they’d give recommendations to recruit us into the House we wanted. I had angled myself towards House Molin, the quiet, serious, studious House, whose symbol the Golem was taken from my own real-life Jewish background. I even made friends with a couple of Libussa, a house that seemed high energy, creative and friendly. I went before the whole school and thought, much like Harry Potter: Just not Faust. Don’t put me into Faust.

Names got read off. My friend Josh, playing Clorian Lockhart, got sorted into Libussa, where my friend Abigail was already playing an upperclassman. A new friend got sorted into Molin, and when he went over I was sure I’d be following. Then came my turn.

“Durentius!”

I stood for a moment, struck dumb. Durentius? I hadn’t really even considered Durentius. I had met two girls who were cool from their House, but I hadn’t interacted with anyone else. I looked towards the other tables as Durentius cheered and I hesitantly went over to their side while the rest of the Sorting went on. A weird look was stuck on my face, I was sure, as I tried to keep my expression from conveying my disappointment. It would be insulting to my new House to look disappointed. I had to give them a chance, didn’t I? But I was failing. My expression was frozen, there were tears in my eyes, and when we went off to our initiation, I dragged my feet. I didn’t understand it. Why didn’t the other Houses wanted me?

I could explain the rest of the evening in detail: the awesome initiation ritual, the great opportunity to get to know new people who were part of House Durentius. Over the next twenty-four hours, I would come to love the House as fiercely as I identified with any Harry Potter house. I came to appreciate my fellow Roosters, even if I felt a little out of place. That was sort of normal for me. I had never been to a regular high school growing up, one with co-ed classrooms and social occasions like balls, or even the ubiquitous experience of asking someone out on a date. I felt painfully awkward, shy, and nervous, and I translated that well into my character, so much that the experience of playing Katarina Iguanis at College of Wizardry was a great exploration of first few days of a terribly neurotic, socially unprepared young woman’s time at college.

It was also a perfect lesson for how I, as a player and maybe as a person, was kind of an asshole.

One of the greatest parts about going into a new live action roleplaying game for me is creating a character. I take a lot of time to craft the inner workings of a character, connecting their personality to the experiences and events that have shaped their lives. I work with the established fiction provided by the game staff and the setting, as well as connect with other players when I can to make backstory connections so we might come into play knowing one another in character. When I step into the game, I might tweak things in terms of backstory or personality if I encounter a particular trait that isn’t working. But for the most part, I come in with a largely developed idea of how my character existed previous to the events of the game.

I also ask myself a single question while creating a character: what does this character express from my own personality? This question is an important one, even though it might sound a little precious. A friend of mine once called me a method LARPer early on when I started up in the hobby, and it’s absolutely true. I use real life experiences and feelings to connect to my characters in an effort to give a better roleplaying performance. In the process, the experience of playing these characters often gives me a chance to explore those very same feelings, reflected back at me in the events of a LARP, in the consequences a character faces. Sometimes, what is reflected back can give me a startling glimpse at my own personality, my privilege, and my life.

And like with the example above, it’s not always a pretty sight.

Going back to my first night at Czocha. I had spent the whole day immersed in the life of Katarina Iguanis, a first year witch at a new school, with all the terrors that first day at a boarding school might bring. She had exams to study for (which I actually had to study for before going to bed), rumors of Death Eaters and monsters on the grounds (there were and it was terrifying), a future career to decide on, and a dance to secure a date for, all while trying to make new friends and navigate a giant, confusing castle. So, typical for a Harry Potter game. But when I went back to my room, I lay awake in the dark after chatting with my roommate Clorian about the exciting day. I felt myself slipping out of character as I thought about what had gone on. I put down Katarina’s mindset and instead inspected the day’s events with the eye of Shoshana, the LARPer. And what I saw about my own behavior gave me a twist of my stomach.

The fact that I’d been disappointed to get into Durentius bothered me. The emotions it raised in me had been intense. Why hadn’t House Molin wanted me? Had I come off as too needy, not smart enough? Was I annoying when I came to talk to them? Or maybe too cocky when I sat down at their table? And what about Libussa, was I too serious or nervous? Was I, as so many kids have worried in their lifetimes, just not cool enough?

These were all pretty typical responses for a student facing disappointment, but the feelings that arose from the Sorting had resonated with me as a player as much as me the character. I had felt disappointed, but more than that, slighted. I felt a roaring sense of anger that I couldn’t have the experience I wanted, because I had been put in a House I hadn’t chosen, nor really considered. I’d seen one or two Durentius running around and wrote them off as frat boys, behavior that I often find irritating in my real life, and so I stayed away from the whole House. This was not the experience I wanted from my LARP. I’d flown from the United States, across an ocean, to Poland to be a part of this once in a lifetime opportunity game. I certainly didn’t want to spend it in a House that felt uncomfortable to me, where I felt out of place. Wasn’t I certainly entitled to the experience I wanted out of such a pricey unique game?
As I lay in the dark, I felt those same feelings rise back up and I got a chance to examine them for what they were: really, really shitty.

It sometimes takes a reflection of yourself, held up in front of you, to smack you in the face about the person you are and what you believe. In the experience of being Sorted into House Durentius, I was forced to face down as a person my own feelings about being rejected, about how I judged people, and the expectations I had about what I should and shouldn’t ‘get’ out of life. I was struck first by the fact that I have always believed that we shouldn’t judge the worth of people as good or bad, but only identify actions that may be harmful. I always believed that gave me the chance to be fairer to people, to not judge too harshly.

Instead I was faced with the fact that I had pretty much written off the Durentius members as not worth my time or consideration because of their boisterous nature. I wrote off in fact the entire group after only seeing one or two of their members! And I also realized, and this was the part that stuck me, that I had snubbed them because I thought their mascot wasn’t as cool as the others. Who wants to stand up and sing a song about a rooster, rather than a lion, a dragon, a golem or a phoenix? This one aesthetic choice had led me to turn away from people who could be new friends, all because I didn’t like their symbol.

Because this is the mighty, mighty fighting rooster. I should respect.
I had forgotten my respect for the mighty rooster. This is the face of a mighty mascot. MIGHTY.

What struck me next was my sense of entitlement. My anger at not getting my way, not getting what I wanted, had been staggering to me. First, I’d presupposed that the people making the decisions had known what I wanted, like they could read my mind. And furthermore, I had just blatantly assumed that I should get what I wanted, automatically. I had come all this way, after all, I was owed something. That was what my feelings were saying, even when my higher brain was screaming what I know for a fact: that in this life, we are owed nothing by anyone.

I had forgotten the rule of being grateful, grateful for what I had been given. I was at a Harry Potter LARP in Poland, experiencing something few LARPers were able to do. I’d traveled there thanks to a generous graduation gift from my parents, and had recovered enough from a brain surgery earlier in the year so I could even be there. I was at the game with three of my good friends from the United States, who had embarked on this epic adventure with me at my cajoling. And we were roleplaying with some of the most awesome Nordic LARPers I knew, making new friends from across several countries. I was in such a privileged position, so lucky to be where I was, and yet I was unsatisfied because I had been rejected from the in character houses I wanted. More so, I had been kind of shitty about it to the other players in my new House, stand-offish and dismissive, when they’d tried to be kind and welcoming.

I was, essentially, being an asshole.

I wanted to be all of this:

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Because who doesn’t want to be more like Hermoine ‘I’m Really The Protagonist Here’ Granger?

When really I had turned into a hell of a lot of this:

Except without perving on boys in the Prefect's bathroom. Because ew.
Except without perving on boys in the Prefect’s bathroom. Because ew.

It took me some time to untangle all my feelings and realize where they came from. I lay in the dark, knowing I should sleep because I had exams the next day, but I wanted to get these feeling sorted. I’d gotten a good look at myself reflected in a mirror, darkly (or maybe a mirror, LARPly) and I didn’t exactly like what I saw. I was intent on trying to address the issues before continuing play the next day.

I can’t in good conscience say that it worked. College of Wizardry was a very intense LARP, full of a lot of character bleed and personal revelation. By the end of the event, I’d cried over being rejected for a date for the ball, had a near anxiety attack over the peer pressure about having to have a date in the first place, shouted down fellow students about dark magic coming to destroy us all, and felt the terror of hiding in the woods from Death Eaters out to resurrect an ancient evil.

Made by the amazing Liselle!
Made by the amazing Liselle!

By the end of the game I had been through an emotional rollercoaster. But thanks to that night of lying in the dark, considering how I’d acted, I spent the rest of the game thereafter letting down my guard to the rest of House Durentius and trying not to be such a shitty new friend. I embraced my fellow roosters in my own socially awkward Katarina Iguanis way, and out of character came to love the House, enough to order a patch of the crest to stick on my bag back home a year after the game. That patch is there to remind me of the lessons I learned playing Katarina Iguanis, lessons that went far deeper than herbology or defense against the dark arts. I’d gotten a good look at myself as a person thanks to that LARP, and I was committed to changing what I saw, for the better.

A year later, I still carry those lessons with me. As I do the lessons of playing every single character I have in the past, and every one I do now. Through LARPing I’ve learned what it felt like to betray a lover, to watch a friend commit suicide, to rig political elections, and to commit murder in righteous fury. With each of these in character experiences, separated from the ‘real me’ by a wall of alibi provided by the game, I have also been given a glimpse into my own feelings and myself. And the look hasn’t always been pretty. But I think that’s one of the reasons I keep going back to LARPing. I’m a big believer that life in all its darkest places, in all the messy and unreasonable and negative spaces, can also be a source of learning. You can’t make an omelet without cracking a few eggs, and maybe (if it’s me who’s cooking) throwing some egg all over the counter and dropping the bowl a few times. Life and learning can be messy. But doing so in a game, where there are barriers between you and your character, where there is the alibi of saying “this is not entirely me who did this” can also give you the perspective to step back and say: “wait a minute, how much of that really was me?” And it’s that lesson that, to me, is an invaluable tool for growth as a person, as well as in character.

LARP can show you, through your characters actions, that out of character you might be a little bit of an asshole. But maybe, it can also show you a path to explore that inner asshole, and reflect on whether that’s where you want to be.

In my case, I embraced my inner Rooster. I sang the song, I loved my House, and I learned that spot judgements about people suck. And I learned a great theme song. I shouted “Valor! Diligence!” at that game and aspired to maybe having those qualities in my life a little more, if only when looking into myself.

Fat Shaming Is Indeed ‘A Thing’, Nicole Arbour: A ‘Dear Fat People’ Response

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Nicole Arbour in ‘Dear Fat People’

This past week, a video has gone around by YouTuber and comedian Nicole Arbour, whose past hits include such titles as “Dear Instagram Models”, “Why Girls Are Crazy” and “Why You Really Got Divorced.” In this video, entitled “Dear Fat People” the wannabe shock-vlogger decided to go after her new target, which was pretty much anyone who is fat.

I won’t link to the video, or pretty much any of her other videos, because I refuse to assist in her channel getting further hits. However, here’s some of the glorious highlights of that 6-minute hate fest.

‘Fat shaming is not a thing. Fat people made that up,’ she says. ‘That’s the race card with no race. “Yeah, but I couldn’t fit into a store. That’s discrimination”. Uh no. That means you are too fat, and you should stop eating.’

‘If we offend you so much that you lose weight, I’m okay with that,’ she says. ‘You are killing yourself. I’ll sleep at night. Maybe I am jealous that you get to eat whatever you want.’

‘Obesity is a disease?’ she asks. ‘Yeah, so is being a shopaholic – but I don’t get a f***king parking pass. It would make a lot of sense if I did. I am the one with all of the bags.’

‘I am not saying all of this to be an a**hole.  I am saying this because your friends should be saying it to you.’

Actually Nicole, you’re just being an asshole.

So let’s start with the facts: fat shaming is a thing. Fat shaming and other forms of body shaming are a way for people to impose society standards and their own upon you and your body. It is a type of discrimination that is rendered against those who are considered overweight, and especially those who are considered obese in our world. It comes in many forms, from advertisements that tell you to lose weight so you’ll be happier (‘just shed those pounds and you’ll be frolicking in this field like me!’) to the poor media representations of obese people, to blatant and outright hatred like that expressed by Arbour above. Fat shaming exists. It also doesn’t work.

This, from Professor Jane Wardle, director of the Cancer Research Health Behavior Center at UCL:

 “Our study clearly shows that weight discrimination is part of the obesity problem and not the solution. Weight bias has been documented not only among the general public but also among health professionals; and many obese patients report being treated disrespectfully by doctors because of their weight. Everyone, including doctors, should stop blaming and shaming people for their weight and offer support, and where appropriate, treatment.”

Yup, that’s a scientific study, Nicole. Stick your fingers in your ears all you want, but the science and years of experience from plenty of fat people out there says that fat shaming does not work. Getting on YouTube and supporting fat shaming in defiance of the scientific evidence puts you right up there with anti-vaccers and climate-change deniers, people so intent on supporting their own bogus viewpoint that they won’t pay attention to actual facts. Fat shaming fits every definition of bullying and does not work.

In fact it has the opposite effect. People who experience body shaming are prone to have more problems, like depression and anxiety, eating disorder issues, body dysmorphia, etc. And to me, that’s a no brainer moment. I don’t have to sit here and think hard about the fact that shaming someone doesn’t increase their overall life quality. That’s not a stumper. The part that gets me is how other people don’t see that.

The good part is, plenty of people did in the case of Nicole Arbour. Her video was pulled from YouTube for violating terms of service, for which Arbour screamed censorship. Next, blogs all across the internet responded with articles blasting the hateful video, and YouTubers began tossing out their own response videos decrying the fat shaming Arbour espouses. My favorite video comes from Whitney Thore of My Big Fat Fabulous Life, whose whole video I’m going to link here at the bottom. But Thore tells it like it is about what it’s like to live as a woman being fat after gaining weight from poycystic ovarian, stating, “You can’t see a person’s health by looking at them.”

Tess Holiday, the fabulous plus sized model had a fantastically dismissive response:

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And that’s where I stand on Arbour and her kind too. Yes, her kind. Everyone’s met one in their lifetime. The self-righteous, hateful kind who hold to the idea that they have a right to shame another human being for how they look. That they can judge someone for how many pounds they are, or what they look like in clothing. You’d think Arbour would have seen one or two after school specials growing up to know that bullying isn’t okay, but clearly the lesson didn’t take.

Arbour says she’s just telling it like it is, and it’s no secret that shock comedians have been doing this kind of thing for a long time. What Arbour and many others still seem to be missing is that the age of ‘all press is good press’ is coming to (if not already at) an end. It’s no longer a game online of just getting your name known. Now people can just Google your work and see what you’ve said, and make their own judgements. Case in point, what happened to Arbour after she posted up this video.

You see, Arbour was relying on the out of line content of her six minute bit to get her attention. And it did. She was fired from a movie after director Pat Mills saw her ‘Dear Fat People Video’ because – wait for it – the movie was about young dancers discovering body positivity! Way to shoot yourself in the foot there. And it’s the response by director Pat Mills of Don’t Call Irene (which I’m going to be checking out in response to this move) that makes me feel like maybe, finally, folks are getting the point.

Arbour certainly didn’t. She responded by defending her video, saying she wasn’t really shaming people. That it was all an act.

“I don’t shame people. It was an act. It was one bit and I do a new bit every single week. I don’t hate anyone. I don’t shame anyone. I don’t actually believe in bullying at all.”

“The video was about obese people. I was very specific that it’s not the average guy with some cushion for the pushin’. [The message is that] we really care about them and we want them to be healthy because I’m selfish and I want them to be around,” she told BBC. “I don’t think it’s a cheap laugh. Twenty million views isn’t that cheap. I’m an equal-opportunity offender and it all goes back to comedy.”

Oh, so it was just acting. And besides, it was about obese people, not regular people who have some “cushion for the pushin'” (which is just the worst term ever, please stop using it right now, this instant). Fact is, if you don’t think that what you said is shaming, Nicole Arbour, I don’t think the word means you think it means. And just because it’s comedy doesn’t mean that people won’t think you’re awful for what you’ve said. There’s a clap back headed your way from a lot of people, Nicole, and it’s pretty awesome.

body-positivity-and-imageThere’s no denying that this issue is a personal one for me. As a woman who has been fat all my life, having hit about two hundred pounds at the age of twelve, I have literally spent twenty years of my life dealing with the stigma of being overweight. I’ve had the unfortunately not so unique experience of enduring callous, hateful, disgusting, often terrifying comments thrown my way. I’ve had people tell me I should kill myself for being fat. I’ve had kids chase me in the subway, snorting at me and screaming ‘fatty!’ while others looked on.

I’ve had people I respect, trust, and love tell me such heartbreaking things that, I’m sure, they thought were just helping. Things like:

  • “When I look at you, I see the beautiful person trapped inside all that fat, waiting to get out.”
  • “If you don’t lose weight, no man will ever want to marry you. Then you’ll never have children, and die alone.”
  • “There’s nothing beautiful about being fat, it’s all just a mess that makes me sad to look at.”
  • “You don’t need to wear a nice dress, nobody’s looking.”
  • “God, I look so bad today. But at least I’m not fat. If I was fat, I’d just kill myself.”
  • And this, when I asked a guy out and he turned me down: “You know how some people don’t like some kinds of porn? I don’t like fat people porn.”

These are all quotes said to me, each by people I know: family members, friends, co-workers. The last was a guy I knew in college that I wanted to date. And you can bet that I remember his name, all right. I remember he was a funny, skinny nerd guy who wrote video game music and lamented about the way he was bullied for being a nerd in high school. I remember him as the guy I never spoke to again, whose name is now synonymous with hypocrisy.

So when I say I’ve heard this all my life, that I didn’t need the science to explain to me that fat shaming doesn’t work, you can trust in my experience. And that this article comes with no small amount of happiness to see the responses

Fat bodies in our society are reviled, belittled, hated, and fetishized. Those who are overweight are ignored, demeaned and shunned. We are expected to accept vile bullying because society still accepts that fat is one of the worst things a person can be. Fat shaming is expressed in every part of our culture, in every place people build communities, even those that are meant to be accepting, inclusive, and safe. And it’s because people still perpetuate the notion that fat is the worst thing that you can be.

But there’s a silver lining in this story. If you google Nicole Arbour now, all the articles that come up as the top searches aren’t about her, exactly. It’s about how she was fired from a movie because of her hate-filled little video. And if you look at nearly all the comments responding to this nonsense, you see people calling out her video for what it is: jealous, narcissistic hatred. Hatred from a woman so trapped within the rat race of societally acceptable beauty that she would turn against other human beings and mock what they look like for the sake of five minutes of fame.

Well, she’s famous now, all right. Only the tide has started to turn, maybe, just a little. And the same #bodypositivity folks Arbour was so prepared to mock might just have a louder voice than she does. Because love of yourself and others does have a louder voice than hate. Afor once, maybe we’re seeing an example of it.

There Is Rape In Our Fandoms, Why Are You Surprised?

The internet this week saw a tremendous uproar after this past week’s Game of Thrones episode, “Unbowed, Unbent, Unbroken.” This is a show that prides itself on its last five minutes being intensely shocking and resulting in furious Monday morning blog posts and fights around the water cooler (or the internet equivalent, message boards and Facebook). Only this week’s fighting has been over something pretty heinous. And this is where the spoilers come in folks, so if you haven’t seen it yet, well, the rest of this article is spoilerific. It will also have discussion of Mad Max in it with some spoilers, so be aware. It will also be pretty triggery for discussions of sexual violence and screen caps from shows that might be triggery, so be warned. Whew, lots of warnings. With that out of the way, here we go.

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This week’s episode of GoT ended with the wedding of Sansa Stark, the redheaded young ingenue of Game of Thrones, married to the sadistic Ramsey Bolton. Ramsey, who has been shown to be probably one of the most heinous characters on the show and in the books, takes Sansa to their bed chamber after the wedding and proceeds to strip of her of her wedding gown and rape her. He does this in front of Reek aka Theon Greyjoy, who he has kept as a pet since he tortured and broke him. The last shot of the show is Reek crying his eyes out over the sounds of Sansa’s cries.

This horrifying scene marks yet another deviation the show has taken from the books in terms of plot. In the books, a young servant girl named Jeyne Poole, who was passed off as Arya Stark (Sansa’s sister), was instead married to Ramsey. In the books, Ramsey makes Reek (himself abused into submission by Ramsey) join in as he rapes Jeyne on their wedding night instead of Sansa. The TV show chose to merge Jeyne’s story into Sansa’s to give her the opportunity to reclaim her ancestral home of Winterfell in the north by marrying Ramsey, and therefore giving her a chance to act as a political character on the show alongside her creepy patron Littlefinger. That choice however sent her on a collision course with this wedding night scene and the show’s choice to make it a non-consensual and violent rape.

The response after the show online was immediate and LOUD. Many people have declared that this is the end of their watching Game of Thrones, and websites like The Mary Sue have chosen to discontinue their coverage of the show due to this creative choice by the writers and designers. They make a very good case as to why they’re doing that here. They site the fact that this is a show that has time and again chosen to include more sexual violence against women, has twisted scenes that were different into acts of rape (such as the scenes with incestuous siblings Jaime/Cersei Lannister in Season 4 or Daenerys/Khal Drogo in Season 1). This latest scene has been the straw that broke the camel’s back, it seems, for many viewers who are fed up with the over sexualization of women on the show and the constant return to sexual violence as a plot point for highlighting how evil and bad Westeros and its residents are. I can understand those feelings and concerns one hundred percent, and I am in support of every person who says the show has an issue with overuse of rape and who choose not to watch instead. I am in support of that assessment as well and wish Game of Thrones would stop including countless unnecessary instances of sexual violence against women.

I am, however, surprised at how shocked and shaken so many fans seems to be over this turn of events.

I took to Twitter myself to discuss the situation, but it took a few days for me to unpack my discomfort with some of the reactions that I’ve seen so far. So let’s start with…

Guys: Game of Thrones is full of rape.

Haven't forgotten this so fast yet right?
Haven’t forgotten this so fast yet right?

The world created by George RR Martin, the world of The Song of Ice and Fire series, is a world in which women are considered at best second class citizens and at worst property. They are constantly under threat of having their agency violated and having sexual violence visited upon them. Even characters who are considered the ‘strong’ ones, like Brienne of Tarth, Arya Stark, Daenerys and Cersei face the threat of sexual violence as a matter of course throughout the series. The only women who escape such fates are those who are rescued by men protecting them (Brienne is rescued by Jaime Lannister, who loses his hand in the process) or who rescue themselves (Arya Stark). They often must accept arranged marriages and come to terms with potentially non-consensual sexual situations so that it won’t BE rape (Daenerys deciding to accept the advances of Khal Drogo who she was forced to marry) but overall, the world of Game of Thrones is a hostile place to women in all ways, but especially sexually. There have been more instances of sexual violence against women on the show and in the books than I can even remember, it is so common place. Yet it is this instance of sexual violence, against Sansa Stark, that has everyone angry and shocked.

And I have to ask: why is everyone so surprised?

Cuz this happens. A lot.
Cuz this happens. A lot.

Westeros was written as a world in which rape is a commonplace event, used as a shorthand to represent the barbarism of the people and the evil they perpetrate on one another. In a world where slaughtering one another over a throne is just another day of the week, Martin and later the TV series need a way to punch through the casual violence to make particular instances strike home even further. Therefore, women are sexually violated because rape is still a shorthand for evil. As the Dothraki used to say in the book, “It is known.” It’s as much a part of the world building as the fact that Winter is Coming.

And for those who have only watched the show and not read the books, it’s been a staple of the show since season one. The show has not shied away from continuing that tradition of sexual violence being an explicit part of the Westeros world. I am not making excuses for that creative choice on the part of the show or George RR Martin but simply pointing out this was the choice and it is known to fans. With that in mind, and with the set-up for Ramsey Bolton as a character, it’s no surprise that the creators chose to put this scene into the show. Sansa inherited this awful scene along with Jeyne’s story arc. Fans of the book knew there was a chance this would happen, and it did.

So why is this the scene that has everyone so up in arms? If the act of rape against a young girl by Ramsey Bolton was so repellant, why didn’t these same up-in-arms fans throw the books away when it happened to Jeyne Poole? Or when the rapes occurred to any of the other characters in Game of Thrones in the previous seasons? I know plenty of people who have said, “I had to put the series away after _____ incident because I can’t stand the violence against women in the books/show” and I support that choice 100%. But for the fans who have stuck with the show until now, I don’t see how there are any illusions left about the nature of the world of Westeros. Game of Thrones is full of sexual violence.

What then makes this scene so shocking? I have to come back to one element of this scene, and that is Sansa Stark.

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Sansa Stark Is Not Special

One of the worst moments reading Game of Thrones for me came during the bread riots in King’s Landing. While the Hound rides to the rescue of Sansa Stark and keeps her from being assaulted, another woman character was not so lucky. Lollys Stokeworth is later found wandering the streets, traumatized and naked, after the riots. She had been reportedly torn from her horse and raped by 50 men. She later becomes pregnant and is forced to have her child and then married off to Tyrion’s sellsword, Bronn, who is using Lollys as his ticket to a comfortable life among nobility.

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Lollys on GoT Season 5 – Treated better on the show than in the books by far.

This horrific gang rape is an ‘off-screen’ throw away, barely discussed in the book, yet marks as a singular moment when I nearly put down the book. Lollys had never been treated kindly by the narrative – fat shamed and put down for not being as intelligent, she is largely considered a throw away character who is the butt of cruel jokes. She’s an example in the narrative of how badly women can be treated if they don’t have something to protect them: a strong family name, relatives that care about them, beauty, title, or strength of arms. Lollys is fat and considered stupid and a second daughter, so she’s no one.

Sansa Stark on the other hand is not. Sansa is a main character and a darling of the fandom. She is the beautiful daughter of Ned Stark and the tragic lady who discovers that her tender heart and dreams of a beautiful, romantic future are just illusions when she is introduced to the cruelty of the real Westeros. Sansa has grown from that little girl character into a young woman traumatized by her surroundings but resilient against them, biding her time until she can take back what is hers. She has all the hallmarks of a character growing with every book or season of the show.

Sansa is the beautiful, sweet, thoughtful protagonist character. She is not a prostitute or a side character. She isn’t one of Craster’s Wives, wildling women raped by their own father north of the wall. She isn’t Lollys. And that is why I believe, in part, the outrage has been so tremendous. Sansa gets more empathy because she is the character you are meant to empathize with as part of the overall narrative – you’ve lived through her experiences, you’ve taken her to your heart and read scenes through her eyes in the books. Yet in the grand scheme of things, sexual violence is abhorrent on every level. And the uneven distribution of outrage as we’re seeing it now shows an uncomfortable bit of privilege coming out. The other characters whose suffering was considered less outrageous were often sex workers, lower class characters, or characters from outside groups like the wildlings. They’re women that are window dressing. They’re Lollys.

Fans of Game of Thrones have been watching sexual violence being enacted on women as part of the world setting and plot since the beginning of the series. Yet only when it happens to characters we are meant to empathize with is the outrage so great that we hear it echoing across the internet.

That uncomfortable fact brings me to my largest point, and it’s this:

Sexual Violence Against Women Is In So Many Fandoms And We Don’t Shout About It Nearly Enough

mad-max-trailer-2-inlineThe very same weekend that this episode of Game of Thrones came out, Mad Max: Fury Road was blasting into cinemas across the country. A glorious symphony of explosions and feminism, Fury Road is an old fashioned popcorn movie that is gorgeous in its execution and progressive in its storyline. There are fantastic women characters, an amazing and uplifting story about the fight to rescue trafficked women from their abuser, all while watching effectively a two hour car chase with flame throwers and armored vehicles. It is, in short, a fantastic movie.

And the storyline is predicated on a backstory of sexual violence.

The women in Fury Road are victims of sex trafficking, sold to a warlord as breeders so they could produce for him healthy babies. When we first see them, they are cutting off chastity belts with heinous teeth openings to keep anyone besides their owner from having sex with them. These women have been the victims of rape as they were captives who escape because, as they say in the film, “We are not things.”

"You cannot own another human being."
“You cannot own another human being.”

Fury Road, this movie being lauded as one of the most feminist and progressive films, is built in a world full of sexual violence.

Here’s the hard part to swallow: most of our most progressive fandoms have sexual violence against women in them.

One of the hardest scenes to watch in Buffy.
One of the hardest scenes to watch in Buffy.

Buffy the Vampire Slayer included a scene where Buffy is nearly raped by Spike. Orphan Black featured the unwilling penetration and impregnation of Helena by the Prolethians. Cylons Athena and Six were nearly raped on Battlestar Galactica. Sally Jupiter is raped in Watchmen. Slave Girl is a formerly trafficked underaged sex slave in comic book series Saga. So called ‘historical’ CW shows like Reign included a rape plot for Mary, Queen of Scots. How about we go old school and talk about The Crow? Or Barbara Gordon’s fate in The Killing Joke? Let’s talk about the rape of Mellie Grant on Scandal. Or every forcible impregnation story on shows like Angel or Star Trek ever. American Horror Story. Bates Motel. Downton Abbey. Vikings. Rome. Hellblaizer. The Walking Dead. Heroes. Sons of Anarchy. Mad Men. Oz. Prison Break. Unbreakable Kimmy Schmidt. 24. I really could keep going.

The torture of Gina, the captured Cyclon Six model, aboard the Pegasus on Battlestar Galactica.
The torture of Gina, the captured Cyclon Six model, aboard the Pegasus on Battlestar Galactica.

The fact is, sexual violence is laced into so many fandoms. It’s become so common as a theme that I picked up two book series right in a row (Red Rising by Pierce Brown and new fantasy series An Ember In the Ashes by Sabaa Tahir) and both were fantasy worlds where women were raped or had threatened with sexual violence as a shorthand for how evil a male character was. This is the language that threads through our fandoms because when you have people killing one another left and right, a new awful must be created that is worse than death, dismemberment, explosions and slaughter. So you threaten a woman with rape.

The Sansa Stark scene brought to the forefront a very serious problem in our fandoms, in the fantasy worlds that are created. It highlighted the disturbing trend to use rape as a shorthand for villainy, and it made a huge audience face this horrific trope that we aren’t speaking about enough. It brought to the forefront that this issue has been lacing our fandoms for years, and yet we haven’t spoken about it enough as a whole. Some people have been talking about it, sure, and there are lots of blog posts and sites dedicated to speaking out about it. But now the conversation is bigger because it’s in your face with the case of Sansa Stark. Only it isn’t just about Sansa Stark. It’s about the shorthand that pervades our fandoms and the fact that until it until it happens to a character like Sansa, the mainstream of audiences have been taking it in stride. Because it is expected.

Let me repeat that: it is expected that worlds will have sexual violence in them as a matter of course. Even if those worlds are completely made up. It is expected that sexual violence is a norm of life.

We expect that worlds will have rape in it when they are completely made up. Dragons can fly the skies, slayers can destroy vampires, zombies can walk the earth, but we can’t imagine any of those worlds without sexual violence.

And that’s what rape culture looks like.

Rape In Our Media Is A Choice

The fact is, it is not a foregone conclusion that rape WILL happen in a fictional creation. It is not necessary that it is included. It would have been just as easy, for example, for author Sabaa Tahir to say “In my fictional world, where living masks bond to people’s faces and ghuls taunt people from moving shadows, people don’t think women are objects to be raped or threatened with sexual violence.” Instead, the women characters are considered lesser then men, objects to be abused, even when they are supposedly ‘strong’ and ‘important.’ The same goes in so many other fandoms and in the above mentioned Game of Thrones. It is a choice made by the creators, and a choice that we as consumers can criticize and mark as problematic. And it is a choice that often times is made to represent the fact that sexual violence is a real problem in our world, one that can be explored respectfully and with nuanced detail in a fictional work. It is a choice made by a creator. It should not, however, be a default.

But once that expectation is set, it seems disingenuous to me to be surprised when the expectation is there to begin with. If we look around, we can see that the spectre of this issue has chased us all over fandom, and being all shocked and shaken when it happens to the sweet, innocent princess character feels like it ignores the violence done to all the other women in those works. It’s just the worst now because it happened to a favorite and not a prostitute or a villainess in Game of Thrones.

I for one hope that the creators of the Game of Thrones TV series will take to heart the very violent reaction happening in the fandom right now and take a solid look at why and how they’re including sexual violence in their show. I hope they use this event on the show to explore marital rape as a subject and the shared experience of victimization shared by Reek/Theon and Sansa, now both rape survivors at the hands of the same abuser. I await what comes next.

But I think it also behooves fans to take a good, hard look at the fandoms they support and recognize that these subjects have been around and aren’t new, or shocking. It’s been there all along. Each person just has to decide whether their favorite show handled it in a way that is acceptable or not to them.

In my case, I will be watching to see how the show handles the Sansa Stark rape. I hope it ends with Sansa sticking something sharp into Ramsey Bolton. But honestly, a big ol’ shadow could pop up and swallow him whole. Who knows? This is, after all, Westeros.

Announcing ‘Not Ready To Make Nice’

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I recently ran into a situation where a friend on Facebook approached me and asked when I was going to “calm down.” She said that I must get tired being “up in arms” about issues all the time, and that I can’t possibly care about so many issues at once. The fact is, as I’m quite capable of balancing many ideas inside my head at once, I do care about many important issues. And along with being a writer and a game designer, I believe being a person who is literate about and critical of the world around me makes me a contributor to my community at large.

To that end, I’m creating here an ongoing set of articles I’m calling Not Ready To Make Nice. It’s named after the Dixie Chicks song of the same name, which was written after the Dixie Chicks received death threats for speaking out against President George W. Bush. For those who want to just hear me talk about games, or comics, or LARP, I’ll still be posting about that. But I’ll be marking some articles under the NRTMN heading. And I’ll be letting fly with what I feel. In my eyes, the fictional work I do and the game design I do is just a piece of the ways I converse with the world at large.

I believe that the hallmark of a generation is marked by the ability and the willingness for people to be aware of the issues around them and to talk about them in the open. There are places in the world and time periods in the world where the mere discussion of dissent would send people to prison or to their deaths, and yet having opinions and writing about them, speaking out about them, even in the most casual sense has become taboo again in many ways. People don’t want to be bothered. People don’t want to deal with “the drama.” And those who do speak up often have to deal with unspeakable repercussions like threats, harassment, and stalking. People get fatigued, burn out, go quiet.

I was raised with the idea that a person should always learn, study, and become more aware of the world around them to have an opinion. That if you can, ask questions and have conversations to learn more and come to new understandings. And in that way, I am passionate about speaking about important issues that I feel strongly about.

I am passionate about ideas. Not upset. Not furious. I don’t need to calm down. Because passion, unlike is often the case with rage, drives from a place of earnest communication and interest in exploring ideas.

That’s what these articles will be about. I can’t promise they’ll always be nice. I will avoid personal attacks where I can and judgement when possible. I’ll even post trigger warnings and research material where I can about the issue. But I will be pointing a finger at things I find curious or interesting, from politics to media to social issues. It’s whatever strikes me because, hey, this is my blog. And in doing that, I am calm, but certainly not ready to stop writing.

The Black Widow Controversy, Criticism, And How We Are Failing Our Creators

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It’s getting harder every day to be a creator in the age of the internet.

It’s never been an easy thing to put your work out in public, at least not for most people I know. Sure, maybe there’s some folks out there, funny humans with indomitable wills and stomachs of iron, who aren’t petrified by the notion of getting their work in front of an audience. Maybe there are some folks who don’t publish a piece of work, or a blog post, and get that tightness in their tummies, that shortness of breath, that little flop sweat that says, “Please, this is my work, don’t judge it too harshly.” Most people I’ve ever spoken to have some degree of anxiety sharing what they’ve created though, and never has it been harder than in the age of the internet.

Over the last few years, however, it seems like more than ever sharing your work with the world has become a minefield. Put something out for public consumption and be prepared for a tidal wave of backlash, ranging from cutting comments and blog posts to threats of violence and rape. Take a moment to process that. A person creating something today needs to be worried about threats of violence ranging from beatings to home invasion, rape to swatting. They can be doxxed and have bomb threats sent against them. We’re a hell of a distance away from someone throwing a rotten tomato.

082c950c-8ef0-436a-8659-6a23913a3aedTake this week’s latest controversy. Avengers: Age of Ultron debuted this past weekend to stellar numbers in the box office. The movie was a huge success financially, but received some critical responses regarding its pacing and the coherence of some parts of the plot. Overwhelmingly, however, the biggest noise about the film has been regarding the treatment of its heroine, Black Widow.

Critics and fans of the film were vocal about the way the MCU’s biggest heroine at the moment was relegated to the role of love interest opposite Bruce Banner in the film as part of her personal subplot. While other members of the Avengers explored complex issues of guilt and past mistakes through flashbacks and interactions with one another, Natasha was given the love plot as her major character development throughout the film and issues with mommyhood instead. When she was also kidnapped by the villain halfway through the film and turned into a damsel in distress (albeit briefly), this raised the eyebrow of some fans. Those criticisms, along with Marvel’s unwillingness to support the women of Marvel with any action figures or merchandise of the women characters in the film, build a solid backbone for a conversation about Marvel’s difficulty understanding or serving its women characters and therefore their fans.

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Correct face, Chris Evans. Not funny.

All of these, in my opinion, are valid criticisms. A discussion in my eyes ought to be had about the necessity of these plot points included in the film, and the inherent issue that comes from every film pigeon-holing their main woman character as a love interest or sex object. I think there’s validity to fans getting angry over casual comments by actor Jeremy Renner and Chris Evans when, during an interview about the film, they called Black Widow a “slut” and a “whore.” (Renner later doubled down on the mess after Evans apologized, which was even worse). I think its all indicative of a way that women characters are seen in Hollywood and within comic book films, and that there is a real discussion to be had about how to tackle diversification of roles for women in the action film genre. All of these are thoughts I’ve had, that I support, and I’d love to explore further.

What I do not support is threats. Which is not something I should have to say, it’s kind of obvious.

OUu.1280x720Joss Whedon, director of Age of Ultron, faced a firestorm on Twitter that included threats of beatings and murder for the way he portrayed Black Widow in the film. Though the fact is the film went through revisions based on input from Hollywood execs and worked around Black Widow’s pregnancy, despite the fact that Whedon doesn’t control all the aspects of the film, Whedon became the face of the anger many fans felt over Black Widow’s portrayal, and they got aggressive. Articles published streams of Tweets (many since deleted) aimed at Whedon threatening to “beat his ass” for the direction of the film.

It’s not like this is anything new. We live in a world today when creators can be the targets of the worst kind of hate when consumers disagree with their work. This has become especially true when issues of social justice are involved, or when those creators or speakers are people from marginalized backgrounds. Anita Sarkeesian has received years now of the worst kind of hatred because of her work on Feminist Frequency and her Tropes vs. Women in Video Games web series. Women game developers like Brianna Wu have been targeted by this kind of harassment for the inclusion of more diverse content in their material at the hands of the Gamergate movement. This hate movement has spread to other parts of the geek media world where fiction authors, comic creators, and television creators have received harassment for their work as well.

The list of those affected include those on both sides of issues, from progressives to conservatives. The stances may be different but the tactics are the same. And while I do not believe in the equivalency of ideas (meaning, I do believe that in some arguments one side is more right than the other), I believe that the kind of harassment and bullying creators now face online has got to stop.

Why should it stop? We can start from the top by saying because it’s just wrong!

obvious

There’s no ifs, ands or buts about it. Harassment of another person, on the internet or otherwise, is just wrong. You can have differences of opinions all you like, but the moment you threaten another person with violence, the moment that you step over the line into belligerent bullying behavior, you are now at best a vulgar nuisance and at worst a criminal. You become part of the screaming mass of people on the internet who believe that anonymity behind a keyboard makes them powerful and drives them to say anything they wish, believing there are no repercussions. Let me say it one more time: Harassment on the internet for any reason is wrongEnd of line, no further discussion needed, period.

But okay, maybe there’s one more reason why this needs to stop. And that’s because of the state of criticism itself in the world.

Quote_Elbert-Hubbard-on-escaping-criticizm_wwwalexlaughlincom_-p1676_US-1The arts and criticism have always had a tense, contentious relationship to begin with. Artists would live in mortal fear of waking up to read bad reviews of their plays or art shows or books. People would sniff and make snide comments about how “those who can’t create become critics.” As someone who is both an artist and a critic, I’ll tell you that’s bullshit. Sure, anyone can sit down behind a computer screen and type out a screed about how they hated a piece of television. But there are people who actively study media, the history and execution and presentation and social context, and who are capable of presenting valid media criticism from a place of education and experience.

I went to school and got my degree in film studies so that I could produce not only better works of art in the future based on knowledge I gleaned from studying film as a medium, but also so I would have context for criticism I provided. True criticism isn’t about simply emotional response but contextual understanding of an art form, of the society in which it is created and the manner by which it is executed. It takes understanding and in depth consideration. It does not, however, require high-brow consumption and snooty reviews. And it certainly doesn’t require threats.

The era of mass threats to creators, however, has begun to drown out real criticism in the field. Creators can’t hear legitimate conversation when inundated with a barrage of hate-filled noise, and that kind of ratio of good critical content to nightmarish abuse can make a person shut down to any input. Criticism serves a purpose, folks: to respond to media, discuss ideas put forward, and help creators learn from their work and perhaps improve or choose differently in the future. It is not meant as an opportunity to abuse those who have put their hearts into their work, no matter how much you dislike or disagree with them. Hate filled terrorizing of creators is counterproductive and shows no respect for them as a producer of content or as human beings. It also defeats the purpose of trying to get yourself heard, because you won’t be. And neither will anyone else.

What suffers alongside our creators at the hands of these hate mobs is our ability to have discourse about anything relevant. Issues of representation, content, or execution are pushed to the wayside, drowned out by the threats of beatings, the instances of doxxings and swattings, and the bomb and death threats. You have creators afraid to put their work forward, for fear of what might happen to them or their loved ones. Their creative cycles are eaten up by the stress of dealing with such hate-filled sound, and their inability to engage with their fans is damaged. And our world becomes just a little less capable of learning from one another in an age when we are so much more capable of reaching one another then ever before.

120893bfb25c634d7aa87123f62826e65d300e4ea6c69f01a7c75e10f3b663beWe are not bystanders in this issue. Everyone who is a fan, who reads or posts commentary online, who engages in social media, is complicit in this ecology of hatefulness, if not as contributors then as witnesses. We say “don’t feed the trolls” or “don’t read the comments,” telling us to keep our heads down, don’t encourage them, and maybe they’ll go away. But the fact is, they don’t, and the silence only encourages a lack of repercussions and an allowance for bad behavior to continue. By staying silent when we see such behavior, we are allowing ourselves to stay safe while our creators twist in the wind and endure these hate-filled tidal waves alone. We don’t want to attract the attention of the mob, so we hope if we ignore it, it’ll go away. It won’t. They won’t.

You may not have the bandwidth in your life to always engage. I’m not saying you should all the time. That’s how burnout occurs, how you get consumed by the hatefulness and negativity that surges around the internet these days. What I’m suggesting is that we must all take little steps, as we see fit, to combat this environment of hatred. We may not agree with the ideas or creations we fight over, but we can at least agree that threats of violence and hate-mobs against someone are wrong. Right folks? Right? I sincerely hope so.