MEYERED IN CONTROVERSY: Richard Meyer and his “Diversity and Comics” YouTube Channel have been no stranger on this podcast with his leading the charge of the abhorrent ComicsGate dissention among comic book fandom. After gaining notoriety with his “Dark Roast” YouTube video (since deleted) that accused various popular industry creatives of committing sexual, devious, and illegal acts to get their way to the top, Mark Waid––among others––reached out to Antarctic Press to voice concerns with their decision to publish Meyer’s comic, JAWBREAKERS. After hearing those concerns, Antarctic Press terminated their contract with Meyer and went to the internet to spew bile in response. At the end of September, Meyer sued Waid for “tortious interference with contract” and “defamation.” D. Bethel and resident nerd lawyer, Andrew Asplund, dive back into this cesspool to navigate what exactly is going on throughout this new development.
NOTE: No comment made by Andrew during this episode constitutes legal advice or establishes client-lawyer relations.
TWILIGHT RETURNS: It was recently announced that the previously announced Jordan Peele-produced reboot of The Twilight Zone will actually star Mr. Peele himself as the host for the digital-only streaming service CBS All-Access. Andrew and D. talk about their excitement––and fears! (to make it spooky for Spookytober)––for the upcoming show.
With the first day of StocktonCon completed, Kyrun and D. Bethel begin the second day by getting in the car and driving down the 99 to Stockton. It’s early, they’re tired, they’re going wherever the conversation takes them.
While this morning conversation doesn’t touch on conventions or marketing strategies, they dive deep into a major aspect of comics culture: continuity. It’s at the heart of a lot of stories and in the hearts of a lot of fans, often to the point of taking despicable actions when a creative team makes changes that they don’t like.
They examine their own thoughts about the importance of continuity as well as why, it seems, so many people hold continuity with the highest possible value. Also, for some reason, the conversation dives deep into D. Bethel’s own biases when it comes to mainstream comics and how––and if––he overcame those biases.
Con Artists #01 – StocktonCon, pt. 1 : The drive home from the first day of the show. Kyrun and D. discuss making sales, confidence, and the comics they grew up reading and enjoying.
“Shortcast 45 – The Cure for Canon Shift”: An episode of A Podcast [ , ] For All Intents andPurposes where D. Bethel and Andrew Asplund have a long conversation about the necessity of (or problems caused by) continuity in fiction.
“Shortcast 68 – Swinging Gates”: An episode where D. Bethel and Andrew Asplund discuss “ComicsGate”, the vitriolic (and dangerous) reaction of some fans at attempts by the industry to include more diversity and modern sensibilities in mainstream comic books.
Special thanks to Kyrun Silva for agreeing to this experiment (and for driving us to and from the convention). Thanks to Ben Schwartz of Empire’s Comics Vault for hosting the table.
STOP BEING MEAN: Of the many “-Gates” that exist in the nerd world right now, some ticks in the “good” column happened recently in the fight called “ComicsGate”, an online harrassment campaign against diversity and representation in both the fiction and creation of mainstream comic books (meaning, mainly, books made by DC and Marvel).
OBI-WAN KE-NOPE-Y: It was made known that Lucasfilm has put its anthology series, subtitled A Star Wars Story, on hold after the lower box office of The Last Jedi and, most recently, Solo. While the cause hasn’t been confirmed, there are a few factors to look at, one of which could be the box office performance of these films. Another, more sinister, reason has to do with the cultural backlash to Rogue One, The Last Jedi, and Solo. A segment on the internet is convinced that Lucasfilm has a political agenda it wants to push and it’s using the Star Wars series to do so. These dissenters have responded in a few interesting ways: some have banded together and made an official decree to “destroy” Lucasfilm, others have started a crowdfunding/social media campaign in order to remake The Last Jedi. Either way, it’s a complicated issue that Andrew and D. Bethel try to find the knots of.
E3 tends to throw a lot of information––and games––at the public. D. Bethel has thoughts on a few of them.
Having been a console-first gamer my entire gaming life, I tend to pay close attention to the news and videos coming out of the annual Electronic Entertainment Expo (E3). At this point, I don’t get particularly hyped about the games that get announced (I hear people that hit social media after a press conference exclaiming, seemingly in earnest, “I NEED THIS GAME NOW!” Chill, dude) especially since few games shown at E3 anymore are surprises, having been announced months or years earlier. If anything, being a guy who is way into process, I’m excited to see what state these previously announced games are in and what kind of games they actually end up being. It’s like a big public presentation of the middle portion of the transition from idea to final product.
With that in mind, there a few games really stood out to me, with a few that may have slipped under the larger coverage of the show.
The games I discuss in Shortcast 59 are only from the Sony press conference. Though I’ll be broadening my scope for this Spotlight, there was one game from Sony’s exhibition really got its hooks in me.
Sucker Punch is a studio with whom I’m nominally familiar. I never played the Infamous series of games, having been an Xbox 360 owner at the time of their release, but the idea intrigued me enough and the general response to the series was always positive, nor had I touched a Sly Cooper game as 3D platformers never really appealed to me despite the series’ general good regard among the community. With that said, I hold neither Sucker Punch nor their upcoming game, Ghost of Tsushima, to any metric aside from what they show of the game itself.
And what they showed of Ghost is fire.
In fact, it seems like a game made specifically for D. Bethel. According to Sucker Punch creative director, Nate Fox, Ghost is a wholly linear, narrative-focused game that takes the player through 13th century Japan in the midst of a war with the Mongols. With that, teenaged Dan, the Japanese history nerd, perked up. Additionally, it’s a historical samurai action game with no supernatural elements whatsoever as Sucker Punch aimed for “a grounded game.” Comicker D. Bethel, who’s making a western webcomic with no supernatural elements, perked up as well. Combined with the deliberate combat that looked similar (though let’s hope it’s not too similar) to Bushido Blade and Way of the Samurai, super gamer nerd Dan became invested.
Like with Rockstar’s Red Dead Redemption before it, the idea of a AAA grounded historical game that isn’t simply a tactical war game nor an RPG seems like an avenue less explored by big studios; so to see Sucker Punch tackle it (and with Red Dead Redemption 2 out this October!), I’m definitely keeping my eye on this one where, before, it wasn’t in my field of vision at all.
Sable – Shedworks (PC only at the time of this announcement) – Late 2019
Here’s where I walk back my console cred and mention a PC game. E3 held what it called its “PC Gaming Show” that showcased upcoming PC games in the same manner that other press conferences showcased console-focused games. Tucked among those games was Sable, and I can’t believe it’s real.
Games––like any art––start with an idea; often, that idea can be rather abstract.
I’ve watched the trailer a few times and I know it’s a game, but I couldn’t tell you what kind of game it is yet. The visuals stunned me. Surely a lot of people are going to be calling this a “hand-drawn” game, which it obviously isn’t. Instead, it’s doing some high-level and artistic cell shading that eerily––EERILY––evokes the work of French cartoonist, Jean Giraud (aka Mœbius). Most accurately, it seems to be an homage to his long-running Métal hurlant (a magazine Giraud co-created and was published in the US as Heavy Metal) strip, Arzach.
Created by the two-person UK developer, Shedworks, their main source of inspiration seems to be from the strides in open-world development that The Legend of Zelda: Breath of the Wild made than directly trying to interpret the work of Giraud into a video game space. Instead, the game apparently focuses more on the exploration and interaction with this breathtaking landscape rather than on RPG-like character growth and battle. Apparently, there’s no combat at all in the game, which is an intriguing proposition (No combat?! How is that even possible?!?!) that brought with it, to an extent, an internal sigh of relief. Finally, something different aside from just the visuals.
My joy doesn’t come from gleefully pointing out that this game seems to ape Mœbius’ style or comic at all––there’s no joy in that––but that this game vivifies his aesthetic perfectly. This must look like what the artist had in his head from which he could only capture still frames and arrange them on a page. Of all the games being written about, Sable genuinely gave me pause.
Sea of Solitude – Jo-Mei (PS4, XBox One, PC) – Early 2019
As an academic English person––albeit one who specialized in Composition and Rhetoric––whenever popular culture reveals a literary depth to it, it draws my attention with laser precision.
I heard on a podcast––sadly, I don’t remember which one, but probably Waypoint Radio––about a game shown during EA’s press conference that caught people off guard because Cornelia Geppert, the creative director of German indie studio, Jo-Mei, got surprisingly emotional and thoughtful when presenting the game, Sea of Solitude.
While “getting emotional” seems to be a highly subjective term––Geppert comes across as more nervous and genuinely excited to show off her game at the largest gaming trade show in the United States––her candor with the game’s themes andwhat they are trying to say with the game surprised me more.
A major argument in the discourse around games is that they are superficial entertainment, escapist power-fantasy exercises and that’s the baseline level of appreciation for them. Some even argue that such an angle should be our only appreciation of them (“Keep politics out of games!” “Keep your X agenda out of games!” “Games should be more like they were before!” etc.).
The problem with that is games are made by people who think very hard about their games. Like with any creative product (or any product), the consumer doesn’t usually see the majority of effort that went into making it. That’s part of why we are so quick to offer hot takes on games, movies, comics, toys, videos, etc. We are reacting to the product put in front of us, not seeing the complex web of thought, ability, and troubleshooting behind the shiny veneer. To an extent, good games look effortlessly made.
Games––like any art––start with an idea; often, that idea can be rather abstract. This has become more visible as creators have been more vocal with their process. From Hideo Kojima’s thematic and increasingly abstract approach to his Metal Gear Solid series to the small and decisively personal games like Brothers and Papo y Yo, consumers are seeing the level of critical and artistic effort creators put into their games.
Usually we hear these things after a game’s release. That Jo-Mei presented their literary ambition first, before the trailer, partly illustrates why I liked their segment of the press conference so much. This seems like a huge step forward for the developer whose previous games don’t seem like anything that really broke through to the larger critical discussion.
Luckily, the game looks stylish and fun––like LIMBO or INSIDE crossed with a post-apocalyptic anime––I’m excited because it piqued my academic interests while also being a game that––superficially––looks like it’ll be a fun time.
E3 has been particularly exciting this year. After a year or two of the industry being hit hard by extreme successes (2017 was an outstanding year for games) and existential dilemmas (voice actor strike, labor issues, continuing GamerGate behavior), seeing good games at the show as well as developers tackling some of these issues (both positively and negatively) head on puts this E3 ahead in a lot of ways. At the very least, we get good games out of the static as developers, journalists, and players try to move the medium forward and upward.
THE SIDE OF THE FAMILY WE DON’T TALKABOUT: While D. Bethel and Andrew went into recording with the idea they’d do a Week in Geek episode, D.’s offering (Sarah Gadephe’s Shy Boys: IRL documentary) got them off on a wildly different tangent that discusses nerds, politics, sex, and entitlement in the wake of the Toronto attack and this strange comic book controversy involving Antarctic Press and a comic made by a group of less-than-friendly creators.
Kissel, Ben; Marcus Parks, and Henry Zebrowski, hosts. “Side Stories: EARONS & Incels.” Last Podcast on the Left, 02 May 2018. – Interview with Sara Gadaphede, director of Shy Boys: IRL (starts at 27:31).
Whatever your thoughts may be about BioWare’s Mass Effect: Andromeda, there is no doubt that something happened during its development that lead to such a rocky debut, a series of choices so clouded in the public’s questions and shrouded in the mystery a company like EA’s BioWare can afford, the game was otherwise assumed to be relegated to the “well, that happened” category of games and we (as the gaming public) would be forced to move on.
This frankly bizarre secrecy around AAA game development shines a light on a major deficiency in the community––companies can bury “failed” games in mystery because they can get away with it. Though not focused on a failed game, a few years ago the BBC made a docudrama about the legal troubles of rockstar game studio, Rockstar Games, against which the developer filed suit, in a bit of irony. The development of Sony’s long-delayed The Last Guardian was mostly kept behind curtains, allowing the game to speak for itself when its time finally arrived, which had the aggregated conclusion of “it’s fine.” Though these are two of many examples, most of the community has accepted the idea that we will most likely never know how the choices were made, for better or for worse, and these companies will keep their business secreted away behind blast doors.
Luckily, some people are starting to catch on to the fact that “video game history” isn’t relegated to the eighties and nineties alone; it’s happening now. Right now. Mass Effect: Andromeda got a lot of dirt piled onto it. I enjoyed it for what it was and what it’s worth, but the tidal chart of nerd judgement is rather unforgiving. If something doesn’t meet a certain standard (a standard I believe is often rather arbitrary), that game, movie, comic, or tv show is dumped upon. There is no critical middle anymore in popular culture. And such a strong negative reception can taint a studio or franchise for a long while, a stain nobody can afford to live with. So, with things like Jason Schreier’s article coming so soon after Mass Effect: Andromeda‘s release, it can shed some much needed counterpoint onto the conversation.
To be clear, Schreier’s article isn’t an apology for the game. Instead, it’s investigative; he isn’t casting judgement, but instead acknowledging that something happened and the public reacted to it and he simply wanted to find out why:
[To] those who worked on it, Mass Effect: Andromeda felt unusually difficult. This was a game with ambitious goals but limited resources, and in some ways, it’s miraculous that BioWare shipped it at all.
This is an effort to chronicle recent history rather than simply cast it in one light or another, but to try and find out the whole story so historians have all the pieces with which to assemble hindsight instead of waiting for a day when only two or three members of the team are alive to tell the tale. This has actually been a trend I’ve seen recently and it warms my heart to see members of the games press turning a historical eye to the industry instead of being the first to give readers a hot take (not that hot takes and investigative pieces are mutually exclusive). Waypoint published a fantastic oral history of Halo, a genre of historical recording of which I’m growing fonder (more on that in a future episode). Waypoint also published a fascinating look at development documents for what would have been the sequel to the 2012 Square Enix-published Sleeping Dogs. I think the industry needs to be more self-aware, or else corporate red tape could actually contribute in the hindering of keeping this medium from becoming the art form it deserves to be.
Way back in Episode 58, Andrew and I discussed our (and listeners’) “gateways to geekdom,” accepting that the road to fandom is not necessarily––perhaps rarely––a straight path. A lot of us come to our passions through strange on-ramps or off-ramps from one fandom or medium to another. Popular culture has definitely done this with superheros and their stories with the rise of superhero cinema. It certainly wasn’t the comics industry who were making amazing books that the populace grabbed onto, but filmmakers who loved the comics and finally, finally, started making good movies based on those properties. Does that make cinematic universe enthusiasts any less of a fan than comic book readers? Ultimately, no. A fan of Iron Man is a fan of Iron Man is a fan of Iron Man.
The fewtimes we spoke with friend-of-the-site, Elijah Kaine, he mentioned his initial gateway into comicsdom––of which he has become thoroughly ensconced and well-read––was not comic books but the X-Men animated series, and this was probably the “in” for many X-Men or comic book fans. How many people started reading The Walking Dead because they watched the AMC tv show first? During my teenage years, my severe interest in Japanese feudal history and martial culture could be traced back to things like Teenage Mutant Ninja Turtles or The Highlander. But they were gateways for me to walk through and soak up the world on the other side of the jamb.
Mike Diver’s article hints at something a bit more nuanced. He discusses the fact that he’s learning about DC’s characters by playing the fighting game that uses them. Sure, he’s also jumping online to mine wikis, but the fact is he’s actually getting a strong sense and knowledge of these comic book characters by playing a video game set in that world (but in its own continuity). In fact, it may be fair to say he’s becoming a fan:
Here I am, playing, and learning—and with superhero fiction such a staple of modern entertainment, it’s good to get deeper into its (to me, at least) weirder corners, via the accessible “in” of an easy-to-pick-up fighting game.
This intersectional literacy is probably the most common method of knowledge creation and meaning-making, more than traditional, antiquated, or teacher-centric educational models would lead us to believe. While my previous examples were my gateway to an interest in the topic, sometimes there are non-traditional texts––like video games, comic books, movies, tv shows, etc.––that actually gives the user information that would otherwise only be learned in that actual field. I wonder how many people learned legitimate history from playing games like Age of Empires, or gained a knowledge about different aspects of our world’s cultures from playing Where in the World is Carmen Sandiego? How many learned about the intertwined influence of economics and politics by playing Crusader Kings or Civilization? How many people developed an interest in the hard sciences because they watched Star Trek? The answer to all of these questions is likely the same: many more than you would think.
WEEK IN GEEK: Andrew starts a Starbound server and learns about the administrative side of online multiplayer gaming while D. helps to make a game better by playing the PS4 beta release of Marvel Heroes Omega.
FAR CRYING: The trailer and promotional artwork for Ubisoft’s Far Cry 5 has inflamed a certain demographic of gamers, or has it? Our humble hosts investigate this conundrum.
WEEK IN GEEK: Andrew watched the live action remake of the Disney animated feature, Beauty and the Beast and D. Bethel discusses his experience at this year’s Sacramento Indie Arcade Expo.
REGRESSIVE RESURRXION: First, the comic book news cycle went nuts because the first post-Inhumans vs. X-Men book was released, X-Men Gold, which was then subsumed by the fact that people seemed to like it, which was then subsumed by the likelihood that X-Men Gold artist, Ardian Syaf, may have placed possibly intolerant symbology in not-so-hidden places throughout the book. Then it turned out that he definitely did that. It has been a roller coaster of news and insight into Indonesian politics (where Syaf resides) that has been mostly very sad and upsetting for X-Men fans.
*Extra Bit: Marius Thienenkamp of Comicsversewrote a thoughtful analysis and retrospective of this entire affair.
THE TWO MASTERS: On the threshold of the debut of Doctor Who‘s Series 10, it was revealed that actor John Simm would be returning to the show in his former role as The Master, the longtime foe of the show’s titular hero. Last seen at David Tennant’s departure from the lead role, he returns during the tenure of his successor, Michelle Gomez as Missy. What this means for the episode(s) in which they appear together (the last one or two of the season), we can’t yet say, but both Dan and Andrew are pretty excited about it.
WEEK IN GEEK: Andrew muses on cinematic magic of Fantastic Beasts and Where to Find Them while Dan can’t shut up about the podcast, S-Town.
INAPPROPRIATE APPROPRIATION: Dan and Andrew can’t ignore the strange vortex created by the controversies surrounding the cultural tone-deafness of Netflix/Marvel’s Iron Fist, the backlash to the live-action adaptation of Ghost in the Shell, and the recent shifty comments of Marvel’s VP of Sales, David Gabriel, regarding sales and the recent surge of diversity in the Marvel Universe. What the hell is going on?