When last I updated this blog Donald Trump was still the President of the United States, and it would still be a little over half a year before COVID-19 significantly made its presence known in North America. Since then life has undergone drastic, almost unimaginable changes, and as I make my entirely unexpected return to Culture War Reporters I thought it would be fitting to provide updates on the half dozen posts I wrote back in 2019 to underscore the ways in which time has moved inexorably onwards.
It’s laughable to look back on a post that explores J. K. Rowling’s take on representing the LGBTQ+ community given that the author has positioned herself as a bastion against what she views as the dangers of transgender men. How could I have known that at the tail end of the year she would tweet support for Maya Forstater, a British woman who was fired for her comments about that particular group of people? Since then Rowling has doubled, tripled, quadrupled, and so on, down on her stance, in many ways becoming a figurehead for the TERF (trans-exclusionary radical feminist) movement. This has caused a rift in the Harry Potter fandom between those who would demonize the author and paint her entire body of work as being “bad” or “problematic” and others who would defend her writing to the point of adopting beliefs and stances that they might not otherwise.
Michael Chu, on the other hand, is no longer the head writer on Overwatch, and in fact no longer works for Blizzard Entertainment at all. He now acts as Narrative Director at 31st Union, a “San Fransisco Bay Area studio formed with a common purpose of crafting highly engaging entertainment and a commitment to putting fans first.” As far as his former employer, we’ll be digging into that oversized can of worms a little further down.
Posted in art, celebrity, film, internet, lgbt, media, race, television, video games
Tagged 2019, 2022, Black female character, Blizzard, Chris Harrison, F9, Hobbs and Shaw, J. K. Rowling, LGBTQ+, Overwatch, representation, Sojourn, The Bachelor
While the Overwatch League, Blizzard’s high-profile international esports endeavour, is well underway (#RiseTogether), casual players who are in tune with the ebb and flow of the game’s content await with bated breath. With the end of the month fast approaching, history dictates that sometime within the next week or so a new hero will be announced, with the latest addition to the roster going live close to the end of March (see: Orisa and Brigitte’s respective release dates).
A new hero is an exciting prospect for a number of reasons, with competitive players hoping for a chupacabra to finally kill the GOATS meta and lore fiends longing for something, anything, to forward the molasses pace of the universe’s story. It’s also an opportunity for a particular contingent of fans to ask, once again, when the award-winning shooter will finally create a playable Black woman.
Similar to my breakdown of the character of Ned Leeds in Spider-Man: Homecoming and his relationship to Ganke Lee from the comic books, I will be creating a thorough chronology that highlights select dates in Overwatch‘s history, as well as the public outcry for a Black female hero. Unlike the earlier article, however, I will also be providing my own commentary on why this is so important to some (and perhaps should be to everyone).
November 7th, 2014: Overwatch is announced at BlizzCon, an annual gaming convention that celebrates Blizzard Entertainment’s games and their countless fans, marking their first original IP in 17 years. While a cinematic trailer spotlights four key players in the universe’s lore, a gameplay trailer focuses on the 12 heroes currently available at that time.
Notably, even at this early stage the roster featured a surprising amount of diversity, with the Egyptian combat-armoured Pharah and Indian light-bending Symmetra.
March 10, 2015 to November 6, 2015: The remaining nine heroes are announced, rounding the final hero count out to 21.
Lucio (as seen on the right), a world-famous DJ-turned-freedom-fighter, appears to be Afro-Brazilian (and originates from that country).
December 7, 2015: In one of the very first (and soon-to-be heavily memed) Developer Update videos, game director Jeff Kaplan discloses that all future content for Overwatch
(“additional maps and heroes that we’d like to add to the game”) will be free, indicating that the number would not stay 21 for long.
May 24, 2016: Overwatch is officially released. Continue reading
Posted in Africa, America, feminism, internet, media, race, video games
Tagged Africa, African-American, Apex Legends, Ashe, Bangalore, black, Blizzard, character, Doomfist, female, Gita Jackson, Hammond, hamster, hero, Hero 30, heroes, Jeff Kaplan, Lifeline, Orisa, Overwatch, playable, race, video games, woman, Wrecking Ball
It’s the Year of Our Lord 2019 and storytelling is still important. In some cases the stories are the same, like the age-old tale of good triumphing over evil, but they’re being delivered in increasingly more novel ways. Comics are drawn and fan fiction is written and YouTube sketches are filmed, and sometimes the collaborators aren’t even in the same city, let alone country. In other cases the stories, while nothing new, are finally being given the opportunity to be told. The idea of finding yourself isn’t an original one, but the narrative of coming out as gay or lesbian or transgender or any other identity has only recently found a foothold in popular media.
Storytelling and identity are crucial building blocks to our culture, and both are heavily intertwined (as are all things, these days) with the internet (it would be remiss of me not to mention that I chose to do so in a podcast I co-hosted). This is certainly as true for a multi-award-winning online first-person shooter as it is for a series of books that wrapped up a dozen years ago. The Overwatch and Harry Potter universes are like ours in that they are populated by a myriad of different characters, some straight and some LGBT+, but I want to delve into how the similarities, and ultimately the differences, of their respective coming out stories (in both cases the term “coming out” feels accurate, as none of the characters discussed were initially introduced as being anything other than straight).
“Yer a Gay Man, Dumbledore”
Before touching on her approach to revealing one of her characters’ sexual orientations, it’s worth making note of how the billionaire author has reentered our collective conversation. Two years ago a BuzzFeed writer was one of the first to report on a shocking revelation found on Pottermore, a site Rowling created for her legion of fans to learn more about the Wizarding World. Most people online will have come across this by now, but the page in question was about the Chamber of Secrets, and explained that wizards once vanished their excrement in lieu of using toilets. It resulted in one of my favourite Tumblr posts:
The user has since deleted their blog, so no direct link, sorry!
Posted in internet, lgbt, literature, relationships, video games, writing
Tagged Ana, Bastet, Blizzard, books, comics, coming out, Dumbledore, Fantastic Beasts and Where to Find Them, gay, Grindelwald, Harry Potter, J. K. Rowling, lesbian, lgbt, Michael Chu, Overwatch, Pottermore, queer, Reflections, Soldier: 76, Tracer, Twitter, video games, writing
EDITOR’S NOTE: We end each year by each taking a look back and picking our five best posts, explaining both their importance to us and to the world we currently live in. Clicking the banner images will link you to each post, so as 2016 comes to a close join us in remembering how far we’ve come, but also how far we still have to go.
To directly quote my co-writer, “**** this year” has been an increasingly common sentiment as the days tick by, but even given the relentless, overwhelming flood of bad news that 2016 has embodied what’s particularly depressing to consider is how little some things have changed. It’s also telling that in spite of us collectively writing more blog posts than last year I’m left feeling like I wrote less, and that what was written is generally of a lower quality as well.
With that in mind and given the handful of bright spots I managed to find I decided to address this year and my coverage of it a little differently by using the “sandwich approach”. Instead of being presented in chronological order below are two positive aspects to 2016 that bookend what amounts to one singular, continuous problem, and one that I take very personally.
There’s something beautiful about the way a team can run like a well-oiled machine, each of its separate components working in unison to efficiently accomplish a shared goal. While not always my experience with Overwatch those moments, especially when with friends, have been highlights of my year.
With this post I took a closer look at Blizzard’s latest FPS that, since the time of this post being written, has grown the number of playable female characters to roughly 50%, and its place as part of a growing push in video games to expand beyond the male-only titles of the past.
Unbreakable Kimmy Schmidt was a high point of 2015, a Netflix-exclusive sitcom with an unassailably positive young woman at its core. It even took up one of my slots in my last year in review post, where I praised them for including an Asian love interest while scrutinizing how much they truly valued the verisimilitude needed to portray them correctly.
One tragedy of 2016 is that I was never able to make it past the third episode of its second season, the reason being that Tina Fey et al. created twenty-some minutes of television that dragged those who value Asian American representation before running them over with a steamroller, and then putting it in reverse. Friends assure me that it gets better, but how could it not after falling to such great depths? Continue reading
Posted in art, Asia, bizarreness, blog news, race, video games
Tagged 2 Broke Girls, 2016, And the Himmicane, asian, Asian-American, Doctor Strange, female characters, film, Kurt Busiek, Overwatch, review, tf2, The Ancient One, Tilda Swinton, Tina Fey, TV, Unbreakable Kimmy Schmidt, video games, whitewashing, year in review
I began the first installment of this two-parter making note of the long and ultimately wearying experience it has been, starting with Doctor Strange going into pre-production and continuing on to the recent exposure of the Swinton-Cho Letters. While I spent time describing the ups and downs of casting news what I neglected to mention, and what I’m going to focus on today, is the outset and ultimate resurgence of an argument in defence of whitewashing.
That’s right, an argument defending what Wikipedia helpfully defines as “a casting practice [. . .] in which white actors are cast in historically non-white character roles.” The very faint silver lining is that the justification here does not revolve around star power and A-list draw, or the idea that “the best person for the role” was hired, the latter of which rarely ever swings in the other direction. In spite of not being deeply rooted in these ways of thinking, however, the argument presented remains deeply flawed.
Before we get into that, however, we should probably get to its origin story.
Like I Said Last Time, “It’s Always Podcasts”
Having to hit all of this again it’s important to be thankful for small blessings, with one being that I don’t need to hear C. Robert Cargill’s voice again due to already having done the research for another post. The person in question was one of the screenwriters for Doctor Strange, and dropped in on the Double Toasted podcast mid-April to answer a few questions about it.
Eventually, and unsurprisingly, the issue of the Ancient One’s casting was brought up. Cargill’s response, as transcribed by CINEMABLEND’s “The Blunt, Yet Difficult Reason Doctor Strange’s Ancient One Isn’t Asian”, is as follows:
“The Ancient One was a racist stereotype who comes from a region of the world that is in a very weird political place. He originates from Tibet. So if you acknowledge that Tibet is a place and that he’s Tibetan, you risk alienating one billion people who think that that’s bullshit and risk the Chinese government going, ‘Hey, you know one of the biggest film-watching countries in the world? We’re not going to show your movie because you decided to get political.’ If we decide to go the other way and cater to China in particular and have him be in Tibet [. . .] If you think it’s a good idea to cast a Chinese actress as a Tibetan character, you are out of your damn fool mind and have no idea what the fuck you’re talking about.”
In essence Cargill chalked the reasons for the casting decision up to politics and economics, implying that having the character played by a Tibetan would cause Marvel Studios to lose out on Chinese box office sales. He also suggests quite strongly that, conversely, having a Chinese actor play a Tibetan would cause a large amount of controversy. This was picked up by sites from IndieWire to ScreenRant to The Hollywood Reporter, with several using words like “reveal” in their headlines, as if a longstanding mystery had finally been solved.
The justifications he laid out were to become the go-to response for every commenter looking to defend the Swinton’s casting, and why not? After all, as one of the screenwriters of the film Cargill should be a direct and dependable source. The answer to that hypothetical starts with what happened a few short days later- Continue reading
Posted in art, Asia, bizarreness, comics, film, geography, lgbt, politics, race, writing
Tagged Ancient One, argument, Asia, box office, C. Robert Cargill, Cargill, casting, China, defence, defense, Doctor Strange, Double Toasted, film, George Takei, justification, Kathmandu, lesbian, lgbt, Nepal, Overwatch, Political, politics, Rogue One, Scott Derrickson, Tibet, Tibetan, Tilda Swinton, Tracer, Urgyen Badheytsang, whitewashing
I don’t think you need to subscribe to a Judeo-Christian worldview to come to the conclusion that people are generally horrible. To be more specific, I find that many of us [myself included] tend to believe we deserve more than we really do, that a good portion of our wants are in fact needs or rights. It was the crux of my post on leaks last year, and recent events have once again brought this issue to light.
The first has to do with Overwatch, a game I informed you has been eating up all of my free time. On August 2nd, after a few mistimed reveals over various platforms, game studio Blizzard officially announced their first seasonal event, the totally-not-the-Olympics Summer Games.
As a playerbase no one really expected this. Yes, there was the expectation of new skins coming down the pipeline, but not new skins and a slew of other cosmetic items, as well as a wholly unique brawl [that, let’s face it, is just Rocket League]. However much of the initial excitement over the upcoming content turned to ashes in players’ mouths when they realized that they would not be able to purchase any of it.
To elaborate, Overwatch is not an F2P (free-to-play) game, which don’t require your purchase and instead support themselves through various optional microtransactions. Blizzard was upfront that Overwatch, after being bought, would be releasing new heroes and maps for free, promising to support the game moving forward. In other words, everything that is essential to playing would cost nothing.
With that in mind, all Summer Games items are exclusively unlocked, from August 2nd to the 22nd, through loot boxes that you can earn by simply playing the game. In contrast, all standard items can also be purchased with in-game currency, which is earned in the same way. Loot boxes can also be bought with cold hard cash. Upon finding out that their means of acquiring these Summer Games items were thusly limited people flipped out. Continue reading
Posted in business, comics, film, money, morality, video games
Tagged Blizzard, cheaters, cheating, criticism, DDoS, entitlement, film, iMDB, items, Overwatch, petition, reviews, Rotten Tomatoes, servers, skins, Suicide Squad, Summer Games, video games, YourMovieSucksDOTorg