justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
Very many congrats once again to nerds of a feather, flock together for their very well-deserved 2021 Best Fanzine Hugo win! In the spirit of starting the new year as I mean to go on (read: posting at all about both media and culture), I would like to share the acceptance speech I wrote the night before the ceremony. None of us had really felt up to writing a speech all year, but that night, as covid spread through the con, as I sat, trapped in my hotel room, thinking about how we all got here, I got... mad. And I still want to share that anger and what I wrote out of it. Here's to acknowledging the bad and proceeding with hope and as much a sense of wonder as we can capture.

I want to start by thanking you all for your nominations and votes, and by thanking our colleagues and fellow finalists in this category. And then I want to talk about fractals.

Did you know that fractals, by and large, are not self-similar? We imagine perfectly regular shapes, a small pattern that repeats, building on itself, building copies. Self-replication, many would say, is the essence of life.

They would be wrong. Self-replication, we are all too aware in this harrowing time, is deadly.

The truth is fractals are shapes with non-integer dimensions: not one dimensional, or two, or three, but something in between, straining against the boundaries of definition. They are shapes that, when you look closer, only get more complex. They are a measure of how we do NOT fit in neat boxes, how we can in our roughness and imperfection come together to create strange and beautiful forms spanning to the edges of our understanding and beyond.

Lady Business is a group endeavour. We are a small community inside the fanzine community inside the speculative fiction community inside the global community. We're honored to have been nominated alongside so many other incredible fanzines produced by dedicated and brilliant writing communities, different from us and different from each other.

But we are not just fractals. We are fractured.

In this time where both separation and coming together are tinged with fear and loss, it has only become clearer how many within our communities &emdash; our neighbours, our families, our so-called authority figures and leaders &emdash; use our differences to cause us harm. To cause us death. To drown our very planet in their selfishness.

The year Lady Business did the work we were nominated for was a year millions died, fascism reached out of the shadows, and transphobia gained an international platform. A year where those with disabilities and chronic illnesses, the immunocompromised, the most vulnerable among us, were deemed disposable. A year the Black Lives Matter movement fought injustice, racism, and murder with every breath. Every breath behind a mask.

The speculative fiction community is one of envisioning possibility. Right now, many of us feel deprived of visions, of exits, of anything but stumbling in the dark.

But you've seen fractals, haven't you?

You have seen the intricate threads and whorls that reach out to each other across the blank voids, creating shapes we don't have names for yet.

These losses are part of us now. The voids left behind by those already lost to malice or to murder, to apathy or to ignorance. The void that is the pitiful, vile desolation of empathy left behind by those who have turned their backs on anyone unlike themselves.

THIS is the monstrosity of self-replication.

But we are beautiful together. And we are with you, in the dark.
[personal profile] justira
"This Game Deserves a Hugo" is a recurring feature where we yell about games that totally deserve a Hugo Award. Games have long gone unrecognized in the Hugo Awards even though some of the most captivating and beautiful speculative storytelling today is happening in games. This series will focus on how games deploy interactivity to tell stories in unique ways that cannot be replicated in any other medium. You can follow the campaign to create a games Hugo category here.


This Game Deserves a Hugo:
Outer Wilds


Mobius Digital · $24.99 · 25 Hours · PC, XBox, PS4






Outer Wilds is a love letter to space, to stories, to curiosity, to community. To music and to beauty, to majesty and melancholy, to the glory of solitude and the ache of being alone. To the end of all things. To new beginnings. This is a once-in-a-generation achievement in both speculative fiction and the craft of game-making. It deserves to be discovered entirely fresh, for each surprise to be truly surprising, so if you're one to play a game on the strength of recommendation alone, this is my highest: play it right now.

For a little more information, read on until the spoiler warning, beyond which the game's entire story will be discussed in detail.

Spoiler-free Discussion )







As a palate cleanser: Watch the noclip documentary on the making of Outer Wilds. It's a slightly more spoilery discussion that does not give away the story but gives you a good taste of the effort and craft that went into this game.






Spoilerful Story and Storytelling Discussion



Beyond this point is discussion of the full plot of the game and the means of discovering it.

And— this is going to be a story, about a story. About me. And about you.

Spoilers! )
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira


So the thing is: exaggerated reproduction of oppression is not in and of itself a critique. It is merely reproduction. To make it a critique, you have to actually engage with the mechanisms of oppression.

This is another way of saying: I hate Black Mirror. It is cynical without being smart; shallow while pretending to be deep; and is racist, ableist, and misogynistic even when evaluated within its framework as dystopian media. It's an endless stream of gotchas that bludgeons you with mockery if you have the temerity or — as far as the show seems to think — low taste to enjoy it. It's media that hates you for liking it. The show has nothing but contempt for its own audience.

But its greatest sin in my eyes is that it parrots back the faults in our society, magnified by technology, without interrogating what is it about either the technology or our society that makes these scenarios possible. In the vein of Daniel M. Lavery's immortal episode summary — "what if phones, but too much" — Black Mirror exaggerates social ills thoughtlessly and without examination, straight out refusing to engage with who would be impacted by technological advancement and why. One of the damaging hallmarks of dystopia written by white people, particularly cis white men, is that it tends to take issues that have disproportionately impacted people of colour, women, and people with disabilities — slave labour, eugenics, rape, forced pregnancy — and imagines them onto a magically even playing field, often accomplished by simply not having POC or PWD in the story, ignoring the very real roots of these issues in our actual world. It takes questions marginalized people have grappled with for centuries and poses them as edgy what-ifs for able-bodied white people, and acts like these thoughts are new and, god help us, exciting.

This is the most fantastical element of Black Mirror: Not the gadgets and future-tech ethical issues but that this technology and the issues surrounding it exist in a demographic vacuum. The show is about the impact of technology on society, but it has absolutely nothing to say about who has access to this technology and why, or how the technology impacts different groups differently. In short, Black Mirror is a show about technology and society that has absolutely no understanding of or interest in engaging with society and technology. I think that could fairly be considered an utter failure.

Dystopia is not a "get out of jail free" card for telling negative or morally complex stories, particularly when the supposedly morally complex parts so often just reiterate existing biases and tropes in very unconsidered ways. Neither is "it's satire" some sort of catch-all defense against criticism. The basic insincerity of the show makes it nearly impossible to criticize because anything I say the show has failed to be thoughtful about is inevitably defended as part of the satire. But it's not good satire. Good satire is thoughtful and engages with implications and reasons. Good dystopia examines the means and mechanisms of the negative experiences it portrays. Black Mirror does neither.

And it's not just that Black Mirror fails to write marginalized experiences into its worldbuilding and storytelling. It also fails to cast marginalized actors intelligently, seeming to have no clue what impact an actor's background has on the story they're telling. It matters who we see bad things happening to, who we see perpetrating bad acts. It matters when your heroes are white and your victims and villains are people of colour. Casting your story impacts your story. There's no way around this, and the only solution is to write and cast with awareness.

Self-awareness is not a particularly standout quality of Black Mirror.

I want to just go over some things portrayed on the show, going episode by episode and focusing on the representation choices Black Mirror makes and how those replicate harmful narratives about marginalized people. This will be purposefully out of context, because Black Mirror itself does not care about context. I just want to list what Black Mirror deems necessary to enter your ears and eyeballs while it's doing its thing, sticking to the framing of the episode itself where relevant and using the episode summaries provided on Netflix. I expect this list to be incomplete.




Season 1


Read more )

Season 2


Read more )

Season 3


Read more )

Season 4


Read more )

Season 5


Read more )
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
So it's panel idea submission time for WisCon 44 (May 22-25 in Madison, WI), and I may have gone a biiiiit bonkers about it. Having generated, workshopped, and polished ideas and blurbs with my partners and friends and across two different slacks, I've come out the other end with over 30 panel ideas. I thought I'd share them and talk a bit about the process! And also remind you that you can come to WisCon for $55 and yell about topics such as these for four whole days! Our Guests of Honour this year are Yoon Ha Lee and Rebecca Roanhorse!

And even if you can't come, there's still a weeeee bit of time to submit panel ideas! Panel submissions close at midnight CST on January 19. All you have to do is head over to wiscon.net and register an account. This is free and separate from registering for the con. Log in, click the link to submit programming ideas, and go wild!

I myself have certainly gone wild. All my panel blurbs and some talk about the process are behind the cut!

And if you have ideas of your own, feel free to share in the comments!

A little about the process )

Panel ideas ahoy! )
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
Spooky Business text in a stylized font where the serifs look like bat wings and the empty spaces have cobwebs



Grief warps our world. The curvature of our private universe must now bend around an absence, the sudden removal of a body that leaves some gravitational well behind: a ghost, a memory, a role unfilled. It's no surprise that speculative fiction has long been a site for processing grief. Whether it is through the creative process or through consuming and interpreting its output, the overwhelming pain and confusion of grief calls for equally reality-bending expressions and interpretations in fiction. And there is an urge, an all too human urge, to make it all make sense somehow. Merely fictional or downright fantastical, we want it to make sense, to find meaning and order in a state and process that is by nature disruptive.

The Haunting of Hill House and GRIS are both speculative stories about grief that engage with the popular model of the five stages of grief: Denial, Anger, Bargaining, Depression, Acceptance. In GRIS — a platforming game — the young female protagonist is grieving for another woman; statues of the dead woman are scattered about the beautiful, often desolate landscape in attitudes of agony and despair, and at certain places near such statues the protagonist can perform mourning actions that garner achievements named after the stages. In The Haunting of Hill House, five siblings struggle to come to terms with their mother's mysterious death twenty years prior, with the memories of their strange, deadly summer at the house continuing to haunt them just as much as the ghosts of the place do. A common and ambiguously canonical interpretation ties each sibling, in birth order, to one of the five stages of grief. Both of these stories frame the perturbed, lonesome landscape of grief as a legible thing, with a narrative arc, known trajectory, and anticipated conclusion, all of which are explored through the lens of the fantastical premise.

Read more... )
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
Thirteen years ago, in 2006, there was a trial attempt at a "Best Interactive Video Game" Hugo category. Then, as now, hundreds of WSFS members were creating and playing analog games, telling stories by touch and by chance, by word and by wit. These experiences were excluded from this award entirely. Since then, we have entered the age of Steam, YouTube, and Twitch, mobile games and the indie explosion. The tools to breathe life into the branching paths of an interactive novel have never been more accessible and sophisticated. We need an award that recognizes the proliferation of games, platforms, creators, and users in the thirteen years since the video game award was last trialled.

It is time for all types of games and interactive media to be recognized in our community. It is time for an inclusive games Hugo Award.

Here's what I'm proposing, and I've put together roughly 100 pages of data, arguments, and case by case analysis to back it up:
3.3.X: Best Game or Interactive Experience.
Any work or substantial modification of a work (such as a game or interactive narrative, demonstration, or installation) first released to the public in the previous calendar year in the fields of science fiction, fantasy, or related subjects in any medium where player/user choice, interaction, or participation significantly impacts the narrative, pacing, play, or experience of the work.

It doesn't matter if it's audiovisual, analog, immersive, or prose. If it's interactive, it's made differently, it's crafted differently. We approach the work in a different way; we shape it even as it shapes our experience. This unifying element of all interactive experiences -- of this utterly unique way to convey a story, a world, an idea -- deserves to be recognized.

With this proposed definition, I want to:
  • Name games specifically. Let's keep it grounded, translatable, and accessible to international audiences.

  • Leave room for all the other amazing things that can be achieved with interactivity.

  • Acknowledge and engage with the uniquely modification-heavy nature of games. We're taking advantage of the concept of "substantially modified," already present in the Best Related Work Category.

Games simply do not fit in Best Dramatic Presentation or Best Related Work, where they're currently eligible. In the BDP categories, not only are games competing with big budget films and TV series, but they also have to be sorted by runtime, which most games don't even have. More importantly, putting them in either category ignores the unique nature of interactive storytelling that blends narrative and play.

The sort of speculative fiction storytelling that games can do is absolutely unique. There is no substitute for imagined planets you can actually explore, for time travel stories where you pick where and when to go, for being given the tools to make your own stories with your friends. Games are uniquely suited to push the limits of interactive worldbuilding (Microscope, Dragon Age, Dwarf Fortress), expand the ways we can tell stories (GRIS, Return of the Obra Dinn, Heaven's Vault), and interrogate the natures of narrative and play themselves (BioShock, Braid, The Stanley Parable, Pandemic Legacy). There is simply nothing like this medium. There is SFF work only games can do.

There's plenty of games -- not just good but great games -- to nominate every year, and it doesn't have to cost a lot to nominate and vote. It's not a solid wall of expensive AAAs and even more expensive consoles. Analog games are often collectively owned, with one playable set shared among several people. Prose interactive fiction is often free. Indie games, playable on run-of-the-mill PCs and phones, are doing a ton of the heavy lifting in terms of quality and interesting SFF work, and they cost about as much as a hardcover novel or even an ebook novella. For those who can't or don't want to play the games, guided game tours like Let's Plays or "movie versions" of games abound on YouTube and Twitch (I moderated a panel on this very thing at WisCon). Existing WSFS gamers already own or buy the platform and materials in numbers large enough to nominate, and becoming an informed voter ranges from cheap to free.

And existing WSFS gamers are plentiful. Between WorldCon 64 -- the year of the 2006 attempt -- and WorldCon 76 last year, there have been 353 gaming panels, presentations, scheduled gaming sessions, and other gaming-related program items at WorldCons. The percentage of program items that are game-related has tripled, and these have been staffed by 368 different WSFS members and attended by an order of magnitude more.



WSFS members play games, write about games, make games, and are inspired by games. We have always been here. We have always gamed.

And as gamers, we understand that mods, analog or digital, pro or fan, are part of the game. Expansions, rereleases, editions, bundles. DLC, handmade cards, patches, fan mods, house rules. Part of the magic of games is that you can make them your own. Changes to the game can be experienced directly as part of it -- not alongside, but during, the play. A truly inclusive game award must acknowledge game modifications. Including a substantial modifications clause in the award definition not only acknowledges the culture and reality of the gaming world, but also takes the burden off Hugo administrators during the nominations phase.

With a substantial modification clause, Hugo admins don't have to legislate the common cases of expansive expansions, meaty DLC, and top-to-bottom remakes. These are part of modern gaming craft, and when they make a difference, they deserve to be acknowledged. And fans can tell what truly makes a difference. We are simply less likely to nominate mods that don't have meaning when there's so much fresh content to consider. By acknowledging this aspect of gaming culture, we honour the speculative fiction and fannish work being done without creating an undue burden on Hugo admins.

Whether you're a gamer or not, this proposal is about you. It's about what the speculative fiction work we as WSFS members choose to honour.

If you're interested, please take this interest survey -- it does use Google sign-ins to enforce a single-vote policy. If you don't have a Google account, please feel free to join the mailing list, tweet about it using #GamesHugo, email me at contact@gameshugo.com, leave a signed comment here, or talk to me in person at Worldcons, where I will be at the Business Meeting. I've made www.gameshugo.com as a central hub for this campaign.

If you're not convinced, I invite you to read the full proposal, where I put forward full, detailed arguments, reams of data, and a dozen test cases: A Hugo Award for "Best Game or Interactive Experience". There's about 60 pages of arguments, examples, and narrative, about 40 pages of appendices, and a spreadsheet of hundreds of games, panels, and panelists.

I'm Ira Alexandre here and everywhere, and I want to hear about games. Tell me your stories.

[personal profile] justira


Having watched Jordan Peele's second film, Us, I've also been consuming a lot of reviews and takes, and... oh boy. Internet, we need to talk

A lot of reviewers took issue with the movie for not building up its revelations enough, for leaving questions unresolved or plot threads hanging. Here's the trick: Not every piece of art is meant to be immediately satisfying. A lot of art is not meant to be comfortable, immediately or ever. There's a reason Dr. César A. Cruz's quote, "Art should comfort the disturbed and disturb the comfortable," has gotten so much traction. Us has a lot to do with the idea of complicity, with willful ignorance.

Us is a movie that is meant to be digested. In a movie about what kind of people get things handed to them on a silver platter, Jordan Peele is inviting us to question the very feeling of not having information handed to us (on a platter). If there's something you don't know or don't understand by the end of the movie, I think it's worth sitting with that feeling a bit. Jordan Peele may not have all the answers, but I think he asked the right question, and that's the point. And I want to talk about the question, potential answers, and why I think so many people are so damn unsatisfied and uncomfortable.

Note: There will be spoilers. For the whole thing.

The Thing That Lives There: Audience Discomfort and Jordan Peele's 'Us' )
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
When I was at Wiscon 42 I took over 13,000 words of notes. That is not a typo. Thirteen thousand. And since I took so many notes, I thought I would write up the panels I attended as well as the four panels I was actually on. Let's go!

I attended:
I was a panelist on:


Sorry about the huge delay and long break in getting these out! In June I lost my job, then had surgery, spent July job hunting, and somewhere in there started a company to make a fully customizable reading tracking app named Liberry. I have a job again now, and can get back to work here at Lady Business! Woo!

This was one of the panels where I kept track of speakers, but unless something is in quotation marks everything here is paraphrased/summarized. When I attribute lines to the audience, they may be combinations of different speakers — I didn't keep explicit notes on that aspect. All errors and misrepresentations are my own. My own thoughts on the panel and the movie are at the end, past the transcript.

The panel description lists the panelists as Tananarive Due (moderator), Chesya Burke, Alex Jennings, and Sheree Renée Thomas; however, Sheree Renée Thomas did not make it.





Transcript/Summary of the Panel )




My Own Thoughts on 'Get Out' and the Panel )

Thank you to the panelists for a truly wonderful time, and to WisCon 42 for hosting it. Tananarive Due has a class on Get Out at www.sunkenplaceclass.com.
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
When I was at Wiscon 42 I took over 13,000 words of notes. That is not a typo. Thirteen thousand. And since I took so many notes, I thought I would write up the panels I attended as well as the four panels I was actually on. Let's go!

I attended:
I was a panelist on:


This writeup is different from my previous one: I didn't track speakers and will be doing more of a synthesis of points covered than a transcription. During the panel itself the discussion sometimes jumped back and forth between topics. For this writeup, I tried to stay true the overall trajectory of the panel while grouping similar point together, if they were not too far apart in time. My personal opinions and reactions will be largely after a clearly marked break at the end; the first part will be dedicated to conveying what the panel covered.



WisCon 42: 'Redemption And Revenge: Antiheroines And Villainesses Taking Control' )



My Thoughts )
justira: A purple, gender-ambiguous unicorn pony in the style of My Little Pony: Friendship is Magic. (lady business)
[personal profile] justira
When I was at Wiscon 42 I took over 13,000 words of notes. That is not a typo. Thirteen thousand. And since I took so many notes, I thought I would write up the panels I attended as well as the four panels I was actually on. Let's go!

I attended:
I was a panelist on:


This was one of the panels where I kept track of speakers, but unless something is in quotation marks everything here is paraphrased/summarized. When I attribute lines to the audience, they may be combinations of different speakers — I didn't keep explicit notes on that aspect. All errors and misrepresentations are my own. For this writeup, I'm going to intersperse my own post-facto commentary between blocks of the panelists' discussion.

Positive Representations Of Masculinity
The animated TV show Steven Universe and the blacksmithing reality game show Forged in Fire present and celebrate visions of masculinity that emphasize skill, artistry, resourcefulness, calm, and taking care of others. What other recent works explore masculinity in ways that inspire us?
Panelists: M: Jim Leinweber. Seth Frost, Charles Payseur, Nicasio Reed, Samuel Steinbock-Pratt, Brontë Christopher Wieland
#PositiveMasculinity




WisCon 42: 'Positive Representations of Masculinity' )




Here's a roundup of works mentioned during the panel:
  • Adventure Time
  • American Ninja Warrior
  • Black Lightning
  • Black Panther
  • Bob's Burgers
  • Brooklyn 99
  • Check, Please!
  • Cool Runnings
  • Elementary
  • Fantastic Beasts and Where to Find Them
  • Forged in Fire
  • Great British Bake Off
  • My Cat from Hell
  • Queer Eye
  • So You Think You Can Dance?
  • Star Trek: Discovery
  • Star Trek: Deep Space Nine
  • Stargate
  • Steven Universe
  • Ultimate Beastmaster
  • Veronica Mars


Also mentioned:
  • Carl Sagan
  • Hockey
  • Jack O'Neill
  • Jean-Luc Picard
  • Luke Cage
  • Neil DeGrasse Tyson
  • Steve Rogers


And here are some tweets from the hashtag:


Stay tuned for more panel writeups!
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