Apparently, there are deliberately annoying (male) online “trolls” (in the days of dial-up bulletin board systems, we called them “twits”) who have conspired to promote fake “feminist” Twitter slogans. Their idea was to make feminists as a whole appear to be just as stupid and sexist as these trolls themselves are. They (or at least many of them) got caught.
But also, apparently there are also Twitter trolls who have conspired to promote a made-up meme about “bikini bridges” (defined as an open space under the top of a bikini bottom, between the hips).
But what makes this operation even dorkier is that the same trolls, under a variety of online pseudonyms, are orchestrating fake “grassroots” comments both promoting and denouncing this supposedly “viral” hashtag obsession.
Some people, clearly, have just too much time on their hands.
sony pictures tv via wellesley.edu
I’m still not back to posting Random Links posts (at least not without re-thinking their whole format).
But today, I have some random questions:
A long-delayed batch of randomosity (the first in more than a month) begins with the discovery of the newest local “mainstream microbrew.” Underachiever Lager appears to have begun as a promo vehicle for Tacoma designer-casual-wear company Imperial Motion, but is now being rolled out as its own thang in select local bars.
During our three-week-plus blogging absence, one of the events we failed to note was the demise of one of the unsung pop-culture greats, Samuel W. Petrucci. A logo and packaging designer, he worked on everything from the Charleston Chew candy wrapper to a Lassie lunch box. But he’s best known for the logo and box art on the original G.I. Joe dolls, often using himself as a model for Joe’s face. His daughter Lisa Petrucci is a prominent local “pop surrealist” painter and co-owner of Something Weird Video.
It is the quintessential Northwest cafe—rustic industrial meets cozy 1950s Modern nostalgia in a beautiful, double-height corner space. It manages to feel warm, inviting, and communal all at once, even when the acres of windows are filled with oppressively gray Seattle skies.
…(T)he madness of the GOP is the central issue of our time.
…fraudulently collecting $11 billion in government aid by recruiting low-income students for the purpose of collecting student aid money. Whistleblowers claim that students graduate loaded with debt and without the means to pay off the loans, which are then paid for with taxpayer dollars.
the reason stick at blogspot
the new yorker
Yep, there was another Pride Parade in Belltown, heading toward another PrideFest in Seattle Center.
This year’s installment was even more festive than most, thanks to the U.S. Supreme Court ruling against one specific federal anti-gay-marriage law; following the voter-approved start of gay marriages in this state late last year.
And, as always, the parade provided major companies with a chance to show off just how welcoming they are toward clean-cut, well-dressed, upper-middle-class people with good tastes in music and home decor.
But gay pride, and gaydom/queerdom in general, shouldn’t be about being the “ideal minority” for a segment of corporate America.
It shouldn’t be merely about recreation, food, drink, and other consumer practices.
For that matter, it shouldn’t be about sexuality as a consumer practice.
It shouldn’t be about an all-white “rainbow.”
And it shouldn’t be about imposing an oversimplified straight/gay social construct on top of an oversimplified female/male social construct.
It should be (and, at its best, it is) about universal inclusion. Of all gender-types, gender-roles, and consensual relations. (PrideFest’s ampersand logo this year expresses this with simple elegance.)
It should be about being who you individually are, without imposed identities (even “progressive” imposed identities).
And, of course, it should be about love.
the fullbright company
The Penny Arcade Expo (PAX) is one of the video-game industry’s biggest conventions. Appealing to both fans and industry people, it often sells out its annual occurrence at the Washington State Convention Center.
One game company, with a major new product to promote, won’t be there.
The Portland-based Fullbright Company has a “story exploration” title Gone Home. Set in a large, mysterious Oregon house in 1995, it includes musical tracks by ’90s Riot Grrrl-era bands Bratmobile and Heavens to Betsy.
Fullbright got an invite to show off Gone Home at PAX’s “Indie Megabooth,” a portion of the Convention Center show floor dedicated to games from small developers.
Fullbright’s small staff turned the invite down.
They cite several reasons, but basically they’re offended by stances and “jokes” made by PAX founders Jerry Holkins and Mike Krahulik.
It’s a long story, but here’s the short version:
PAX, as anyone who’s even thought of going to it knows, is an offshoot of Penny Arcade, a web comic by Holkins and Krahulik. The strip is full of in-jokes about games and gamers.
In August 2010, PA ran a strip called “The Sixth Slave.”
The strip was a one-off gag about user challenges in multi-player games such as World of Warcraft, in which users challenge other users to “kill 10 bad guys” or “save five prisoners” in an allotted amount of time.
In the cartoon, a character pleads with another character to save him from slavery:
…The comic features a (white, male) slave begging for rescue from another character. “Hero!” he pleads. “Please take me with you! Release me from this hell unending! Every morning, we are roused by savage blows. Every night, we are raped to sleep by the dickwolves.” The hero tells him, “I only needed to save five slaves. Alright? Quest complete.” The prisoner protests, “But…” The hero interrupts him, “Hey, pal. Don’t make this weird.”
The above description comes from a post by guest blogger “Milli A”, at the feminist/political blog Shakesville. As you might expect, she didn’t like the gag at all.
She explained that she didn’t like any reference to rape in a context of attempted humor. Even in meta-fantasy situations; even with a male victim; even when it’s mentioned as a violent crime, within a list of other violent crimes.
Holkins and Krahulik’s attempted explanation in a subsequent strip merely further annoyed critics. Many of these critics interpreted the explanation as the product of game-geeks who didn’t “get” the experiences of real-life victims of violence.
Holkins and Krahulik’s subsequent responses to the increasing controversy seemed to depict their critics as outsiders who didn’t “get” gamer culture and the strip’s humor (which, admittedly, is sometimes morbid and often requires deep knowledge of gamer tropes).
Krahulik, in particular, seems to have gone “extreme” in condescending Twitter and email “jokes” about the critics. It’s as if he were consciously trying to affirm the common stereotypes of male game-geeks (and of male scifi/fantasy geeks in general) as socially-inept dweebs who can’t relate to anyone outside their own subculture, especially if that anyone is a female who’s not wearing spandex.
This is a shame for many reasons. One reason is that PA and PAX have been supportive of female gamers and game creators in the past.
Can they realize, and once-n’-for-all state, that there’s nothing daringly “politically incorrect” about their past statements?