I know the 1920’s had a great multitude of problems, both in hindsight and in ways that were clear to any educated person at the time, but it’s still remembered fondly enough in U.S. culture that we call it “the roaring twenties”.
I have a feeling we’re just going to call the 2020’s “the new twenties” or something until we’re a whole generation removed from the twentieth century, but I propose we all start making things shitty as fuck in the U.S. so we can call it “the whimpering twenties”.
Jake: If this is the future, I want to go back.
"Elfangor": Too much for you?
Jake: No. I want to go back so I can stop all this from happening in the first place. I can win this war without sacrificing my friends, without sacrificing the things we're supposed to be fighting for the in the first place!
"Elfangor": Victory without sacrifice? You know better than that.
Jake: You don't always have to give up your principles to win. Isn't there always an alternative to sacrifice if you just step back, look at the big picture and -
"Elfangor": You know better than that.
I always love reading this and thinking about the end of the series. Gives me only happy feelings. No tears required.
Tangentially related to yesterday’s post, if I had to pick the worst part about growing up, I’d say it’s letting your parents know who you actually are in a non-awkward way. And yes, this post is going to demonstrate a lot privilege. It’s been noted. I’ve “checked” my privilege, if you will.
I don’t really care for holidays, and I’ve always felt like, at least for me, birthday parties were more for my family than me. My mom would ask me what I wanted for my birthday, and the answer was often nothing, but that didn’t really feel like an actual option until I was about 16 (I pitched the idea when I was turning 10 or so, and it was dismissed).
None of this really came up when I was a young child, and I suppose that for many years, my mom assumed I liked to do all this stuff. It was a little scary to come out as an atheist to my mom, but that doesn’t compare to the agonizing awkwardness of telling her that so much of the stuff she spent so much time and energy on when I was growing up didn’t really make me any happier.
I once heard that if you have to walk on eggshells around your friends, they’re not good friends. I sometimes feel like I’m at least slightly in such a situation, but the thing that makes it still quite lovely is that my friends and I know when and how to just apologize. We do some shitty stuff to each other, we recognize what our faults were in the situation, and we apologize, forgive, and move on.
And I think that’s what the adage really warns about. It should take more than a minor argument to ruin a friendship.
The Ellimist is a fucking asshole ok
'i'm all powerful and all knowing but i'm not gonna help because ~prime directive bullshit'
'OH, but i can take you and a few other people to some alien version of noah's arc and leave the rest of the earth to die'
All part of the game.
hesitant to tag this as animorphs
but I definitely brought up animorphs
fun fact: I don't know shit about the backend of publishing.
I could totally write a teen romance novel with that pen name.
That said, I don’t think the “Initials LastName” pen name formula works as well as it used to, at least for female authors. I guess the narrative many people followed with Harry Potter was “JK Rowling’s a cool guy. Wait, she’s a woman? That pen name sure fooled me.” I, however, was a bit late to the game when it came to hearing about the series, so when I heard the story, it was, “JK Rowling is a woman, but you should be surprised by that.” Combined with KA Applegate, who wrote the series that I was raised on, and whose real name is spoiled on the copyright page, the conclusion I came to more than anything was that authors who use initials are probably women. (I was suprised to learn that JRR Tolkein was actually a man)
Initials are very gender-neutral. Unless you’re unlucky enough to have the initials XX or XY, people probably wouldn’t assume anything about your gender if they saw them in a vacuum. I know the idea is to place them into a certain context and let your mind fill the gap. I see a cool fantasy novel, cool fantasy novels are a “boy” thing, so I assume the author is a man.
But that whole process breaks down when the context changes. Everyone knows Harry Potter was written by a woman. So was Animorphs. However much people weren’t supposed to assume that when they picked the book up, eveyone knows it now. It’s not even a poorly-kept secret at this point. Most of the best-selling YA series today are written by women that don’t even bother with a pen name.
And yet, every once in a while, I see a lesser-known book on a shelf with those initials. And every time, I think, “you’re a woman, aren’t you?”
None of this is really a bad thing, and in fact it’s definitely good that women have visibility in popular literature, but I guess my point is that it seems kind of pointless. The genie is out of the bottle. If you really want to obscure your gender now, you’ve pretty much got to out-and-out lie.
Unless you’re a man. Then using the initials will make me think you’re a woman, at least.
Something that I’ve always wondered about Animorphs: what happened to all the voluntary Controllers after the war?
They’d be complete social pariahs, I’d think. I mean, of course, there were people like Chapman, who agreed for the sake of his…
Even the worst people in the country are defended by a lawyer. Not because the lawyer wants to defend them, but because that’s the only way we can guarantee a fair trial.
Idk about the controllers after the war though, I’d imagine they would keep quiet about it for their personal safety, I mean, they sold out their entire species.
If some Yeerks were allowed to stay on Earth as controllers, then the need for Kandrona facilities would make it pretty clear who the voluntary controllers are, and there’d probably be a lot of abortion clinic-style constant protesting outside of any Kandrona facilities (note: I am only comparing yeerks with abortions insofar as there would be protests. I’m not trying to draw any other parallel.).
Ignoring that possibility, I see this going a more Red Scare route. Former non-voluntary controllers would remember who was relaxing away while they were packed into cages. So there becomes a system of “Who, me? No, I wasn’t a voluntary controller. I can prove how much I hated the whole thing by throwing a few people under the bus who were, though.” (Again, only drawing parallels to the Red Scare to demonstrate my idea.)
dawn of the planet of the apes
rise of the planet of the apes
So, chimpanzees. They’re very smart. They’re very similar to humans (the most similar, in fact). That said, if you called a human a chimp, you’re probably making fun of them.
Then I think about the new Planet of the Apes movies. Many of the apes are called monkeys by some of the less-sensitive humans in the film, and I’m pretty sure this is supposed to be an insult. Monkeys are stupid, right?
Well, yeah, in a comparative sense, but then again, so are non-mutant apes, if you compare them to humans. And the more I thought about it, whenever I think of people not knowing their primates in movies, it’s always them calling some sort of ape a monkey, which always seems to be insulting to the ape. Strange, as I can think of plenty of instances of people in my real life who misidentified monkeys as chimps.
I don’t have any real point to this, except that it seems that whenever we’re trying to draw attention to how smart one species (or superfamily, whatever) is, we just draw a line directly under them and say, “ooh, look at how much smarter they are than those idiots right under the line! Why do we have dogs as pets when pigs are so much smarter!?”
TL;DR: Rise/Dawn of the Planet of the Apes was good.
Made my first anti-sjw comic. Thought I’d share it.
Accurate representation of most triggering incidents on this site.
It’s kind of hard to get a pulse on the fandom of a book series that has only gotten more obscure since it came out to little fanfare as the B-side franchise to a fairly minor hit, hindsight considered. That said, I have sort of gathered that people really hate Christopher from Everworld, and he’s my favorite character.
I know what caused the hatred of him. It was all the racism. And the sexism. And the homophobia. You get the idea. These would all be good reasons to dislike a person. A character, though?
I’m not sure when this thought process became prevalent, or even if this is a relatively new thing, but seriously: When did we start hating characters for being bad people? I have a hypothesis.
All we (using that term loosely) want out of our heroes is virtue. We want to be able to point at the main characters and say, “I sure wish I was like them,” or, at the very least, “I wish I knew more people like them.” And, indeed, there is a place for those types of stories, but if I’m supposed to be inspired to be a better person by art, I’d think that showing how people can become better would be better than just saying, “Look at how awesome Superman is! Why can’t you be that awesome, you stupid, useless turd?”
Because that’s the thing about Christopher: He gets better. He comes to recognize that lashing out at black people, gay people, and women is a bad thing through his experiences in Everworld. This is framed as a good thing. What’s to complain about?
Come to think about it, Hercule Poirot was sort of an ignorant chauvinist, too, and Agatha Christie herself disliked the character, so this probably isn’t as new a thing as I’d like to think. But I don’t like Hercule Poirot, either. Maybe it’s just all about themeing. Hercule Poirot has bad qualities that aren’t examined by the narrative, so he’s annoying. Sherlock Holmes has bad qualities that are examined by the narrative, so he’s interesting. Christopher Hitchcock has bad qualities that are outright deconstructed by the narrative, so he’s a good lesson. There’s also some other stuff that makes Christopher my favorite, but that’s not really the point.
Why the hell am I lumping Christopher in with literary detectives?
I want there to be a sequel to Savers. Digimon Savers 2.
The only way I can imagine a sequel going is a lighter and softer episodic adventure series about Marcus and Agumon’s time in the digital world. That said, I’d watch the fuck out of that. I don’t mind if a story goes nowhere as long as the characters are strong, and Marcus and Agumon are my favorite characters in the franchise.
I guess you could also make a whole new story with Keenan, Kristy, Relena, and some newcomers but that somehow feels more contrived.
I loved the MechAssault series, specifically the first one. It succeeded at something that many games fail at: it perfectly captures a non-standard scale. Think about most games where you’re very large or very small. The scale is usually a bit suspect, if not outright ludicrous. Some things are too small, other things are too big, your character and set pieces don’t seem to move with the weight they logically should. MechAssault got all that shit right. The way the mechs move and fall apart when they break… it was perfect in the first game, and honestly, when they tried to establish scale better in MechAssault 2 by having you get out of the mechs and walk around as a fleshy bag of human, it didn’t help much because of how well it was already done. It’s hard to do in any medium, and it was one of the things a lot of people enjoyed so much about Pacific Rim.
You may have started to notice a theme here, and rightfully so: I really, really like ‘mech shit. Aside from the pure childish intrigue at the prospect of taking a giant robot and wrecking entire buildings with it, there seems to be something of a kindred spirit within the mythology of the pilot. Not so much in the games I’m discussing, but certainly elsewhere in the more story-based mediums. From Gurren Lagann to Gundam to Evangelion to the BattleTech novels, which I actually didn’t read any of until many years after being introduced to the universe through MechAssault, there’s some sort of universal tragedy to the individual forced by circumstance to become a weapon of mass destruction while also being in the same danger as if they were a normal soldier, and we all know how much I love war stories were the focus is on the warrior.
And that’s really the one thing I don’t like about MechAssault. The supporting characters, both pilots to some degree, don’t really angst at all. To them war is fun, and that’s kind of disappointing. And a few years ago, when I realized there was still this big whole in my mech game needs that has yet to be filled, I tried out the older and much more well-known games, MechWarrior. The first thing I noticed is that the feel of being in a mech is realized much better through much stricter adherence to realism than in MechAssault. Piloting that shit is a real task. I’d love to comment more about the scale of the game or whatever, but as it turns out, it’s pretty much fucking impossible to run these games on modern computers in a way that doesn’t fuck up everything 45 seconds in.
I tried MechWarrior Online, which does run my computer, and that’s another good one on the kinaesthetics end. It’d be nice if it wasn’t an online-only game, but oh well.
I’m not sure what I’m getting at with all this, but the takeaway from all this is certainly that I need more mech games in my life.
The most appealing part of it to me is that if I died before the queue ended, I could be publishing shit on Tumblr long after I’ve died.
Sure would be nice if I actually had enough ideas on enough topics to make that many posts.