Satire vs. Potentially Defamatory Factual Statements: An Illustration

Earlier today, author John Scalzi posed this question:

TLDRItsBadParody

I am incapable of passing a question like this without answering it. Moreover, as luck would have it, I just finished a brief on the subject yesterday.

So: here is the short answer. The book title is almost certainly parody protected by the First Amendment, because an audience familiar with the circumstances would recognize it as parody and not as an assertion of fact.

Now: cry havoc, and let slip all the ones and zeroes.

The book cover — here on Amazon — has its roots in an ongoing war of words between Theodore Beale, self-styled as Vox Day, and John Scalzi. I will spare you an assessment of who started it or who is continuing it. Nor will I discuss at any length how I generally like Scalzi and his writing (though he's considerably to the left of me) and how I hold Beale and his admirers in low esteem. That's my bias.

Some time ago, Scalzi wrote an essay in the voice of a rapist thanking conservative politicians who seek to limit the ability of rape victims to secure abortions. Nobody rational could interpret it as Scalzi admitting to rape. Whether you agree with it or not, it's clearly a satirical broadside against a particular political viewpoint that parses which rapes are "legitimate" and which aren't.

Beale and his admirers, as a rhetorical device, launched a tendentious and tiresome meme treating the piece as serious and accusing Scalzi of actually having done the things he talked about in the satirical piece. Scalzi discussed it here.

Amazon self-publishing has become a popular method of pandering to audiences. Recently various figures have begun publishing elaborate manuals on how brave people can stand up to the terrible Social Justice Warriors who will mock and criticize them and such. To me this is a paradox: if you need a manual to stand up, no manual will help you. But never mind that. This e-book — titled "John Scalzi is a Rapist," and echoing various memes that Beale followers like — is part of that trend.

Here's why it's almost certainly protected parody.

The Law

Only a statement of fact can be defamatory. “Rhetorical hyperbole,” “vigorous epithet,” “lusty and imaginative expression of contempt,” and language used “in a loose, figurative sense” are all protected by the First Amendment. (Greenbelt Pub. Assn. v. Bresler (1970) 398 U.S. 6, 14.)

How do you tell the difference? A court will look at the "totality of the circumstances" — that is, not just the statement in isolation, but all the facts and circumstances surrounding and leading to it. The court will also look at the statement in the context in which it was made, not in the abstract. Finally, the court will look at the statement from the perspective of the audience to which it was directed, taking that audience's knowledge and understanding into account. (Seelig v. Infinity Broadcasting Corp. (2002) 97 Cal.App.4th 798, 809-10.)

That's why satire and parody are protected even when directed at a fairly narrow audience. For instance, when the proprietors of WorldNetDaily sued Esquire for a parody suggesting they were withdrawing one of their birther tomes, Esquire won because the piece was viewed from the perspective of someone familiar with Esquire's history of satire and WorldNetDaily's history of nuttery, not from the perspective of a person encountering all these figures for the first time. Similarly, my post about the case is protected satire even though I made up excerpts from the D.C. Circuit opinion suggesting that WorldNetDaily staff routinely molests walruses.

Many other factors also contribute to determining whether something should be treated as hyperbole, insult, and satire or as a statement of fact. Those include the tone (measured tones are more likely to be taken as fact, fiery and bombastic tones as opinion), anonymity (anonymous or pseudonymous statements are less likely to be treated as factual), the formality, the intelligibility, whether it is labeled as fact, whether the author suggests a basis for knowledge or evidence to support the statement, whether the statement is specific rather than general, and whether the statement is in the context of a dispute that one would expect to generate heated rhetoric. California courts have recognized that internet dwellers are less likely to view statements online as assertions of actual fact, especially when they are in a forum known for bloviating. That doesn't mean that everything on the internet is automatically opinion rather than fact: things on the internet can still be treated as fact when they contain factors like assertions of lack of bias, assertions of specialized knowledge, labeling as fact, specifics, signals of reliability and factual nature, etc. (Bentley Reserve L.P. v. Papaliolios (2013) 218 Cal.App.4th 418, 433.)

So. If someone wrote an article saying "Ken White's legal analysis should be disregarded because dresses up in a rubber suit on the weekend and hunts ponies with a handmade crossbow," and says it on their trash-talking blog, to an audience that knows them and knows about my blogging here, it's almost certainly parody, because the relevant audiences would be familiar with our in-joke about responding to spam emails with rants about ponies and would therefore not take it seriously.

The Facts Here

Here the factors point very strongly to the book being treated as parody, and protected by the First Amendment, rather than as a defamatory statement of fact. With all respect to Scalzi, his question is wrong: you can't analyze the book title in isolation. You have to look at it in the context of the whole. In that context, the intended audience (both fans of Beale and fans of Scalzi) would recognize it as a reference to Beale's tiresome meme. Plus, the Amazon description explicitly labels it as "a blazingly inventive parody," and the descriptive text is mostly nonsensical and evocative of ridicule of "SJW" concerns, and references some of the topics that anger Beale's coterie in connection with Scalzi like the Hugo Awards.

I think this one is protected parody, and I don't think it's a very close call.

Could the meme be defamatory if uttered in a different context? Yes, potentially.

Gamer Gate vs Anti Gamer Gate A Civil Discussion on Inclusiveness

Consider this post a teaser trailer. Randi Harper, author of a Gamer Gate block bot and I will be debating discussing the thesis

"are the virtues of an open society / inclusiveness / debate best served by excluding those who are not in favor of full inclusiveness?"

(I think the answer is "no").

Randi's busy for a week or two (and so am I), but hopefully next week she and I will have the email discussion, which will then be tidied up for formating and posted here.

In Randi's words:

this is going to be fun. ;)

Two Kinds of Freedom of Speech (or #Strangeloop vs. Curtis Yarvin)

Two kinds of freedom of speech

I've argued a few times (sometimes conveying my message successfully sometimes not), that freedom of speech is not merely a legal issue centering on the first amendment, but also a cultural issue, centering on our willingness to tolerate the presence and the words of those we disagree with – even when we know that those ideas aren't merely foolish (e.g. preferring Chocolate ice-cream over a good French Vanilla), but actively destructive to individuals, families, and nations (take your pick – abortion pro/con, immigration pro/con, etc.) ( I note in passing that I've been called an "Enlightenment fundamentalist" by one of my Popehat co-bloggers for my willingness to engage with people outside the Overton window, and, no, he didn't intend it as a compliment; quite the opposite.)

I've even argued for years something sillier – silly because it should have to be argued at all – that we should enjoy non-political products by people that we disagree with politically (I gave as an example how I read books by China Mieville – a member of the International Socialist Organization and Socialist Workers Party).

Culture considered more important than law

In my earlier Gamer Gate post I talked about "entryism":

As a poet once said: Cthulhu swims slowly, but he only swims left. Isn't that interesting?

The blue team has made amazing progress over the last three hundred years. Occasionally by force of arms, but usually by a much more clever strategy: entryism.

Entryism, for those not hip to the lingo, is "a political strategy in which an organization or state encourages its members or supporters to join another, usually larger organization in an attempt to expand influence and expand their ideas and program. In situations where the organization being 'entered' is hostile to entryism, the entryists may engage in a degree of subterfuge to hide the fact that they are an organization in their own right."

Since World War II the Blue team in the US has entered into the stodgy old universities (taking advantage of the GI Bill and the resulting explosion in size of secondary education institutions), and taken them over completely. It has taken over the media (now called the "mainstream media" or MSM by the red team), because of this. It has taken over many corporate boards (although not all attempts have succeeded).

Over the last few years blue team has been rolling up red team's flank in a new battle: the tech world (or, pace Scott Alexander, they're actually trying to roll up the flank of a minor Red faction / ally that should perhaps be called "Gray": techno-libertarians).

This is a really smart move for Blue, as much of the economy has stalled out over the last ten years, and tech is the only area of growth. Who wants to own 90% of a stalled boat, when you could own 90% of a boat that's going somewhere?

Entryism is not a political or legal or economic mode of warfare ; it is a cultural mode.

But what are politics, law, and economies other than cultural structures?

Once you control Harvard Law, you control the courts. Once you control the courts, you control the laws. Once you control the laws, you control the people.

Or, alternatively: once you control the technology conferences you control the team leads, once you control the team leads, you control the engineers, once you control the engineers, you control the tech industry, once you control the tech industry, you control the 21st century economy.

(Godwin lulz: you know who else tried to take over education?)

If enlightenment law is destroyed, but enlightenment culture survives, we can rebuild the law.

…but if enlightenment culture is destroyed, then law necessarily follows, and there is no foundation to ever rebuild the lost freedoms on.

Thus one mote in the eye of the culture of free speech bothers me more than a beam in the eye of the law of free speech.

An anonymous email

Perhaps because I've written about free speech, or perhaps because I've written about "Urbit" twice before, or perhaps because of both I received an email with a pastebin URL.

The timeline

As best I can tell the the timeline of events is this:

Some time on or before 1 June the Strangeloop tech conference threw open its submissions process and Curtis Yarvin of the Tlon corporation submitted a proposal about his Urbit network / functional programming language. (Note: the Urbit talk description is at archive.is, because it's been memory-holed at the StrangeLoop website).

On 3 June Alex Miller of the Cognitect corporation sent told Curtis that his proposed speech was interesting enough to be worthy of being heard by "the creators and users of the languages, libraries, tools, and techniques at the forefront of the industry."

Then around 1pm on 3 June @bobpoekert noticed, in a relatively calm way, that Curtis had some off beat politics.

The calmness didn't last; @aphyr declared

And @bodil perceives that an error – the error of tolerance – has been committed, and hopes that it occurred only by accident, and will soon be corrected:

@joescii wonders how such an error of tolerance could possibly have happened

And @kf suggests that the tolerance was accidental – perhaps the Party merely forgot to do its due diligence and failed to ask software engineers if they are now, or have ever been, a card carrying member of any party right of center:

And one social justice warrior, @steveklabnik noted that

…oh, that's odd … the tweet is gone and the account is protected.

I guess Steve didn't like his own words being quoted to show that he like violence? Anyway, no problem, I took screenshots:

Who is this Steve Klabnik, by the way? Oh, just your average rails coder and violent communist!

The point being: Steve really, really, really doesn't like fascism. But initiating violence against his political enemies? That's different, and ggggggreat! And up there with initiating violence is getting thought criminals banned from technical conferences, it seems.

So there was a bit of a tempest in an organic, fair-trade teapot, and after five or so tweets, Alex Miller realized that Strangeloop had invited someone to speak on functional programming languages who might not, in his heart of hearts, agree that Thomas Carlyle was a dead white man who should be forgotten.

And thus, Alex Miller "fixed the glitch": he emailed Curtis and said that even though Curtis thoughts on functional programming were interesting enough to be heard at the conference, because of Curtis's thoughts on Carlyle and such, he was no longer welcome to talk to decent people about functional programming:

http://pastebin.com/e3X5xpNG

From: Alex Miller
Date: Wed, Jun 3, 2015 at 5:45 PM
Subject: Re: Strange Loop 2015 submission "urbit, a clean-slate functional stack"

Hi Curtis,

When your talk was posted on the Strange Loop web site today, I had immediate and vigorous feedback about the fact that you would be speaking at Strange Loop. I do not generally make any attempt to audit or care about the particular opinions or ideology of the people that I accept as speakers; I am generally focused on the content of the talks themselves.

However, in this case it is clear to me that your opinions in areas outside your talk are concerning enough for a significantly large number of attendees that those reactions are overshadowing the talk and acting as a distraction for launching the conference as a whole. Because of this, I am sorry that I must rescind your invitation and I will not be able to accept or include your talk at the conference. My apologies if this causes you any inconvenience.

Alex Miller

Or, to be a precise, it was alleged by an email I received that Alex had said this. Had Alex actually?

I reached out on 4 June and asked Alex if it was true:

Your circuit's dead, there's something wrong. Can you hear me, Alex Miller?

Despite several tweets asking for confirmation, Alex never responded to me. (Or at least that's my belief – I checked my mentions closely, but it's possible that a response slipped through.)

However the next day I saw a link being tweeted around; Alex, it seemed, had finally responded.

Strangeloop conference doubles down

https://s3.amazonaws.com/sl-notes/yarvin.txt

Curtis Yarvin submitted a talk in the Strange Loop 2015 Call for Presentations. The talk went through the review process and was one of about 60 talks selected for the conference out of about 360. The subject of the talk was urbit (attached below). While we use a multi-stage review process, ultimately all final decisions are made by me.

Earlier this week we published the bulk of the 2015 Strange Loop session list, including Curtis's talk. I quickly received feedback that Curtis also has an online persona under the name "Mencius Moldbug" where he has posted extensive political writings.

A large number of current and former speakers and attendees contacted me to say that they found Curtis's writings objectionable. I have not personally read them.

I am trying to create a conference where the focus is on the technology and the topics being presented. Ultimately, I decided that if Curtis was part of the program, his mere inclusion and/or presence would overshadow the content of his talk and become the focus. This would not serve the conference, the other speakers, the attendees, or even Curtis.

Thus, I chose to rescind Curtis's invitation and remove him from the program…

Alex Miller

So there we have it: Alex Miller believes in the heckler's veto:

If several people contact him saying "person X will speak on topic Y, but is bad because of opinion Z which he will not speak on, but I – the emailer – dislike", then Alex will exclude person X from his conference.

I defend Strangeloop on legal grounds

Now, Strangeloop is a private conference, and if Curtis' speech was going to violate one of the Strangeloop policies, I'd entirely support the legality of their decision.

Heck, even though Curtis' scheduled speech was entirely in keeping with every single one of their policies, and Strangeloop blatantly made up policies ad hoc in order to achieve the desired result, I support their right to do so. I've long supported the legal right of free association. The law (i.e. the government monopoly on violence) should not force people to socialize, work, or do business with those they prefer not to.

So, while I might not throw myself in front of literal tanks to keep the government from forcing Strangeloop to accept Curtis, I'd surely throw metaphorically throw myself in front of some metaphoric tanks, while I sit in my easy chair and type.

Side note: Lefties are Ayn Rand Acolytes

I've noticed a fascinating phenomena: ask a stereotypical rightist about some private action he doesn't like, and he'll say "anyone who doesn't like it should take their money elsewhere". As in "if a baker won't make cakes for gay couples, gays should take their money elsewhere", or "if Starbucks doesn't allow open carry, gun owners should take their money elsewhere".

Leftists are often more nuanced than this. Instead of using just a few of the ethical bases that Jonathan Haidt identified, as conservatives do, they use more.

Thus, instead of only embracing the "exit" branch of the "loyalty, voice, and exit" fork, they also embrace the "voice" branch: Whole Foods should stop selling meat, stop carrying Eden Foods products, abjure security guards, and open a new location.

Well, they're nuanced up to a point. It's been my sad experience to run into a majority of lefties who, as soon as you suggest to a leftist that they might change how they're doing things to be more progressive and congruent with the goals of an open and freedom-loving society, turn into Ayn Rand acolytes: "this is my bakery, and if you don't like it, go somewhere else!"

Curious.

But, still, I agree with them.

A call for consistency

I'll make a deal with lefties: I'll keep throwing myself in front of metaphorical tanks to defend their legal right to exclude Curtis and other wrongthink badfun people, if they'll defend a privately owned bakery, or a hobby craft store, or a –

Hey, wait, where are you guys going?

A few questions for Alex and the other conference organizers

Questions for Alex Miller (@puredanger), Ryan Senior (@objcmdo), Mario Aquino (@marioaquino), Nick Cowan (@notetoself_stl), and Bridget Hillyer(@bridgethillyer):

  1. Alex says that he does not "generally" consider political opinions, but – apparently – he does at least on occasion. What are the boundaries of acceptable opinions that one may quietly hold inside one's head while at Strangeloop ? May one hold a belief in a flat income tax? In no income tax? May one be a professed communist, wishing for the proletarians to rise up in armed revolution?
  2. If the organizers of Strangeloop have not read Curtis' political writings, how do you know that his beliefs are outside the bounds allowable at Strangeloop?
  3. If the answer is "significantly large number" of people complain, what is that number? One ? Two ? More ?
  4. Will that numeric threshold be applied in the future? If two or three conference attendees email you to say that some presenter's advocacy of, say, polyamory, or lesbianism, or whatever would make the conference something other than a "safe space", will you disinvite the speakers so that your conference attendees aren't forced to be in the same building as people they disagree with?
  5. Do you support the legal right of other conferences to discriminate against speakers based on characteristics that have nothing to do with their presentations?
  6. As adherents of the dominant (and growing!) ideology in America (Progressivism) do you think that diversity of opinions is our strength, or would you think that we would be better served by an ideological mono-culture?
  7. If you think "no", would that stance change if American society suddenly lurched to the right?
  8. Alex told Curtis that Strangeloop was canceling his talk because "reactions [ to his presence would ] act as a distraction for launching the conference". In light of the last few days, do you (plural) still think that banning Curtis was the most pragmatic approach to keeping attention focused where you wanted it?
  9. As your conference is intended to help curious and open-minded developers "make connections with the creators and users of new languages", and you've decided not to let them meet Curtis or hear about Urbit, where do you suggest they go for more information ?

A few questions for the conference sponsors

Questions for the corporate sponsors of Strangeloop, including Sparx, Machinezone, Cisco, Twosigma, Basho, Engineyard, Wolfram, Criteo, Mandrill, 8thlight, Asynchrony, Oreilly, Oasisdigital, Riotgames, Context.io, and Adzerk:

  1. In any of your HR documents do you describe your firm and workplace as "tolerant", "diverse", "welcoming", or "open"?
  2. Do you ask prospective employees about their personal beliefs, religion, or politics anywhere in the hiring process?
  3. Do you ask employees post-hiring about their personal beliefs, religion, or politics ?
  4. Have you ever found that excluding conservative candidates from your hiring process increases your pool of candidates?
  5. Would you fire an employee for personal beliefs, religion, or politics if you received emails complaining about opinions they held, but never mentioned at work?
  6. Do you think that your sponsorship and financial support of strangeloop is consistent with your corporate culture of tolerance?
  7. What message do you think your sponsorship of Strangeloop sends to conservative or libertarian engineers who are looking for their next job?
  8. What message do you think your sponsorship of Strangeloop sends to conservative or libertarian customers who are considering your products?
  9. Do you think that your sponsorship of a tech conference that excludes people based on their personal beliefs is a net win for your firm?

tl;dr

The legal right of free speech is important and worth defending.

The culture of free speech is important and worth defending.

We all profit in the long term if we tolerate – and even encourage – speech that we disagree with.

We all profit in the long term if we tolerate – and even encourage – non-disagreeable speech from people that we dislike for other reasons.

Tolerating everything except the outgroup is no sort of tolerance at all.

It is valid to use cultural means (e.g. this blog post) to pressure people and groups (e.g. Strangeloop) to advance from the Dark Ages to the futuristic year 1650 and accept Enlightenment ideas.

Further reading on Strangeloop vs Curtis Yarvin

A partial list of news articles and blog posts that have caught my attention:

and finally – and ironically – a blog post by Curtis himself two years ago that is hugely prescient: Technology, communism and the Brown Scare.

Mad Max: Actually, It's About Ethics In Truck Driving

(note: nearly zero spoilers. perhaps actually zero.)

The three genres of the Mad Max trilogy

The interesting thing about the original Mad Max trilogy is that each movie belongs to an entirely separate genre. Mad Max is a 1970s biker film, Road Warrior is a western, and Thunderdome is NFL half-time show. In world-building, yes, they're all post-apocalyptic films (except for the first, which is perhaps during the very early stages of a grinding apocalypse), but genre conventions and associations matter a heck of a lot: they give us a structure to fit the pieces in to and a set of expectations about what comes next.

The original Road Warrior is, it's almost universally agreed, the best of the three, and I think the reason is not just the incredible visceral car chases and wrecks and stunts, but the western format. Echoing perhaps not only Star Wars and a bunch of Sergio Leone spaghetti, but the best western ever (Kurosawa's Seven Samurai) , the plot plays out like this: the drifter encounters a populace in need, insists that he's no hero, reluctantly is converted to serving the cause, and then – ronin-like – drifts away when the moment of need is over.

As a side note, the original Road Warrior also delivers on the important but unspoken requirement of a good western: good cinematography that displays a vast panoramic landscape. The shots where Max is looking down at the refinery camp and the desert looks so huge and empty under the infinite sky is breath taking. Later there's a second shot that always makes me catch my breath: the leaders of the refinery camp are deliberating under a single electric light against a wide purple sky. The juxtaposition of the small bright spark of technology (the first electric light we see in the entire movie, and, I think, the only one) against vast world gone dark is stunning.

Thunderdome sucked (although, after a re-watch recently, not as much as I'd once thought – it's actually the second best movie in the trilogy, and if only a few things were changed could be a lot better) for a lot of reasons, and one of them is that it departed from the Western genre for a Hollywood-ized, big-budget, campy halftime show.

Anyway, I take us down memory lane not merely for the sake of nostalgia, but as a jumping off point to explain Fury Road. Because until you understand what genre the movie is, you can't understand the movie.

A Western Super-Hero Movie

Fury Road has many of Road Warrior's strengths: it is at least half a western, and it is jam-packed with dangerous automotive mayhem.

Crucially, it did not make the same mistake as Thunderdome: taking its huge budget and using it for camp. Or, rather there are a few bits that could be campy in other contexts, but because they're so overwhelmed by gasoline, metal, and anger, they don't register as camp: one moment they're a distant dot on the horizon, and the next they're gone, behind, never to be seen again.

So, how well does Fury Road do as a Western? It does decently, but not great. The drifter arrives in town, he accidentally hooks up with the people in need, and he reluctantly agrees to help them. And then, at the end, like a tumbleweed, he drifts on. It checks all the Western boxes, but it does so perfunctorily, without passion …and, on one occasion, without a lot of sense.

Oh, and about the unspoken rule of good westerns? Yes, the amazing shots of the desert are there – boy are they there. But you knew that already, from the trailers.

If I had to put my finger on the one thing that disappointed me about Fury Road it was that it had a bit of superhero genre mixed in. In watching Road Warrior one feels concern for the protagonists and fear over their prospects. The villains are just real enough – one thinks that, yes, two years after the nukes fell and the gas ran out, the most brutal of the biker gangs and the renegade cops could have come to exactly this. In the first third of Road Warrior we see Humongous and his gang murder, rape, and loot outriders from the refinery camp, so we know exactly what they're capable of. Later, when our hero and his charges venture out into the wasteland and into conflict with the villains we know how it might very well end: the vehicles caught, destroyed, captives pulled out, brutally raped, and then crossbow-bolted when they're of no more use.

In contrast to this level of realism, Fury Road turns the dial one more, to eleven, for that push over the cliff. It was an inspired choice, in a way: I'm glad I saw these insane war rigs, I'm glad I saw the gouts of flame, the grenades, the spiked cars, the white skinned lunatics leaping off of moving vehicles to their certain deaths, and more. I've never seen anything like it before, and it was glorious.

…but necessarily, if you're serving up an apple, you're not serving up an orange.

The scale, the craziness, the everything – all at once, in every direction – is shocking, and aweing, and wonderful. …but because it's so much, and so hyper-real, the movie slips away from being a Western and into being a superhero movie. These villains are not what real biker gangs and real cops could have evolved into in the wasteland: these are comic book crazies. In the real world, no one would actually build these vehicles. No one would actually do these things. No one would actually set up this tribe or this economy.

…and thus, because it's so much larger than life, it is not life. In Blade Runner, when Deckard misses his jump at the very end of the movie and is hanging twenty stories above hard pavement I gulp, because the idea of falling twenty stories is a real one. I can picture it. My heart hammers. My palms sweat.

In Fury Road, when Max is standing on top of a war rig hurtling through the desert I'm mostly curious as to what will explode next. There is not a moment of fear about the shear insanity of standing on top of a moving vehicle doing sixty over rough terrain. Think about that: if you're anything like me, just standing on top of the tanker would scare you to the point of needing new underwear. Yet in Fury Road none of it seems real. The violence was glorious and picturesque and insane…but not once was it scary. …because not once was it real.

Fury Road is a superhero movie.

Who is the superhero?

Fury Road is odd. Unlike the previous films in the franchise, there's not one hero, there are two. And, in fact, Charlize Theron's Imperator Furiosa is at the center of the plot, and at the center of the heart of the film. She drives the action, she drives the truck, she drives the plot. This is a bit odd, given that the movie is called "Mad Max: Fury Road" and not "Imperator Furiosa: Fury Road", but what are you going to do?

That said, Max gets a lot of the action, and even if it's not 51%, there's more than enough to go around.

MRA boycott because Fury Road is feminist propaganda

Someone, I think Roosh V, has announced that Fury Road is feminist propaganda and should be boycotted. There are three reasons that I can think to call a boycott.

First, to put economic pressure on someone. Given the size of the movie industry and the size of the MRA world, I can't imagine that anyone thinks that this might work.

Second, to keep out badthink (the SJW tactic of blockbots, etc.). Say what you will about the MRAs, but I don't think that this is their style.

Third, to create a conspicuous cost to being a member of community, thus serving as an initiation ritual of sorts, and binding the members of the community together.

It's gotta be number three, right?

< shrug >

Moving on:

So, is Fury Road a feminist movie?

I can see why the MRAs say so. It does seem to go out of its way to hit a few feminist tropes – I felt like I was reading bad lesbian science fiction from the 70s once or twice.

Clan of wizened "wise women"? check.

…who live a simpler, more peaceful life? check.

…and have peaceful flower-power hippie names ("Initiating Mother", "Vuvalini of the Many Mothers", "Clan Swaddle Dog", etc.)

…and carry a bag of seeds with them, a symbol of the nurturing protective womb? check.

Pro-forma enunciation that women are not property? check.

Kick-ass heroine, because girls can be just as tough as guys? check.

So, yes, there is a bit of feminism shoe-horned awkwardly into the movie. But it's more silly than objectionable. And, in fact, conservatives will find a lot to chuckle over: the maguffin on the entire chase is the group of young breedable women…and yet not once does anyone suggest that they do anything other than breed. No, a just society, it seems, will still have these women cranking out babies…just under (heh) the good guys, and not the Ugly Old Coot.

Yes, but is Fury Road a feminist movie?

No. Not unless "blowing immense quantities of shit up in a vast barren desert" is a new form of feminism I'm unfamiliar with (and if it is, I promise to give feminism another look-see – that'd be a promising development).

To the degree it's got any ideology, it's about ethics in truck driving: "people should not be slaves, nor should they live under corrupt all-powerful kleptocratic dictatorships".

That strikes me as pretty damned libertarian.

Should you see it?

Yes.

In the theater.

Now.

It's not the perfect movie. It's not even the perfect Mad Max movie. But it is a spectacle of the best kind, and there's no substitute for seeing it the way every western is meant to be seen: spread across a screen as huge as the desert itself.

Roosh V's "Reaxxian" Website Kicks Off Exciting Era Of Gaming Ethics And Innovation

[PR NEWSWIRE: IRC CHANNEL "CHATEAU ROISSY"] The worldwide computer gaming community reacted with excitement this week at news that gender relations expert Daryush Valizadeh has launched "Reaxxian," a bold new online platform for game journalism.

Valizadeh, best known by his scholarly pen name  "Roosh V.", built a global publishing empire with philosophical works including the best-selling "Bang Estonia: How To Sleep With Estonian Women In Estonia." He is both the financial backer and editor-in-chief of Reaxxian, which aims to combine the gender-equity social-ethical ontological-literary activism that made his name with his devotion to cutting-edge games such as "Starcraft," "Oregon Trail," and "SimPlaymate." "I see this project as a way to overcome inequities and barriers to traditionally excluded groups," said Roosh. "I want to create a safe space for heterosexual males who play video games."

Roosh V. says he's prepared to invest substantial amounts of his Bang earnings to achieve that goal. "I have hired some of the most cogent and disciplined minds of 8chan.co, and they're coding like mad," Roosh explained. "This is a team of the iron-willed. Blue-pillers need not apply." Planned innovations include a commenting system codenamed TOGTFO, which promotes comments supporting masculinity by bombarding Twitter and Facebook with their content, and sends messages of affirmation, acceptance, and brotherhood to their authors. TOGTFO identifies preferred comments through a complex algorithm that assesses spelling, grammar, capitalization, and frequency of use of common dialetical terms including "cunt" and "panties." TOGTFO's media uploading application will make it easy for female readers to comply with Reaxxian's commenting policy.

Reaxxian also promises to be an innovator in trigger warnings. "As part of our safe space policy, we'll have customizable pop-ups that warn readers of potentially upsetting game content, like flat-chested female avatars, implied universal suffrage, pepper spray, or creepshaming," said Roosh. "When you think about it, the entire concept of 'wandering monsters' in computer role playing games is a form of creepshaming."

Reaxxian emphasizes that this project is not intended to denigrate women, the traditional consumers of video game content, but to promote acceptance of men. In the words of Reaxxian team leader "DieFagsDie," "Isn't it time we had a safe gaming space of our own, without outdated and judgmental socio-gender concepts such as 'stalking?'"

But Reaxxian's lofty goals are not limited to merely reviewing games. "We're going to crowdfund male-positive and heterosexual-affirming games too," confirmed a Reaxxian administrator who goes by the handle "StoP3nis3nvy." At launch Reaxxian unveiled an early version of "Alphas of Gor," a massively multiplayer online role-playing game set in the universe created by noted philosopher John Norman. Reaxxian's readers have eagerly stepped in as game-testers, and Reaxxian forums are busy with constructive criticism of the game's intricacies like "OMG who nerfed negging" and "lolconsent spell cool-down is too long" and "fm merchant npcs standoffish."

Concept art from early build of "Alpha Males of Gor" by Reaxxian Game Studios.

Concept art from early build of "Alphas of Gor" by Reaexxian Game Studios.

Roosh promises that Reaxxian will feature regular strategy guides for its promoted games. "Theodore Beale — Vox Day himself — is working on a newbie guide to selecting the best race during character creation," an enthused Roosh revealed. "Alpha Males of Gor" is not the only game Reaxxian is promoting; there is also talk of Kickstarting a first-person-shooter to be titled "Divorce Court," a remake of "Custer's Revenge," and a children's game under the working title, "Strawberry Shortcake Gets What She Deserves."

The timing of Reaxxian's launch is no coincidence; it will draw traffic from the game-industry controversy referred to as "GamerGate." Roosh joins other prominent thinkers like Adam Baldwin, Milo Yiannoppouos, and Pat Robertson who have recognized GamerGate as an opportunity to explore the important social and political issues raised by modern gaming.

"We're just very excited that another powerful voice has joined our call for ethics in journalism," said ardent GamerGate supporter and Reaxxian fan Kajira Lisa, speaking with the permission of her master, Chad of the Free City of Bakersfield.

Ken White and Patrick Non-White contributed to this article.

Ten Short Rants About #GamerGate

If you know what #GamerGate is, I don't have to tell you. If you don't know what #GamerGate is, any description I give you will be attacked by hordes of partisans saying that I have described it unfairly and that the sources I have linked are biased. So I'm going to treat you, dear readers, as if you know what it is. Clark wrote a post about it last week. My take is different. I'm not going to offer you a timeline or an attempt at a definitive "what happened" or "who is right." Instead I'm going to rant about ten ways that this controversy illuminates how we're screwed up.

[Read more…]

Love Is Kind Of Crazy With A Spooky Little Movie Like You

Our friends at Quarter to Three, one of the best gaming sites on the web (and one not involved in #Gamergate!) are compiling a list, with detailed reviews, of great horror movies from the past two decades. 31 movies in 31 days. You know all about The Texas Chainsaw Massacre and Night of the Living Dead, but have you seen Audition? Did you know that "The Call of Cthulhu" has been filmed, and that someone, somehow, actually made a decent film based on H. P. Lovecraft?

Great-cthulhu
One of my rituals, every October, is to watch a mix of classic and newer horror movies. The people behind this series know what's good, and I'm looking forward to watching their recommendations. But if you're squeamish, don't click!

Kaiju Dreaming

The road that lead to the next Godzilla movie (release: imminent) was an unlikely one, but not altogether unexpected. 1998’s debacle notwithstanding, Toho is not inherently against being offered what I assume is large amounts of money for licensing. Director Gareth Edwards has never helmed a project whose budget surpassed 500k. But the work he did on that project, Monsters, was extremely promising. He wrote a character drama with a giant monster backdrop. Most importantly, Monsters suggests that Gareth Edwards gets Kaiju. That’s important. It’s tremendously important. To 8 year old me, staring across a summer in a new place hundreds of miles from where I was born and had grown up, it was one of the few things that mattered. I had two passions: video games and monster movies. I had an Atari 2600 and I loved it, but there was nothing quite like an arcade. Arcades sent me into a sort of trance. The world just faded away as I moved from one cabinet to the next, mesmerized. Monster movies were one of the few things that came close.

I don’t know how I developed a taste for either horror or monster movies. I was pretty afraid of the dark as a kid. But I did love dinosaurs, and movie monsters are a natural transition for a kid who is obsessed with dinosaurs. Movies like The Land that Time Forgot, The Last Dinosaur, and Dinosaurus! provided easy transitions into the broader realm of monster movies, and monster movies themselves are just an offshoot (or are offshoots, really) of horror. I can clearly remember my first: The Giant Gila Monster. I was in complete awe after ignoring significant portions of the build up. Effects didn’t matter back then. Here was something like a dinosaur, something impossible, but something that could have been menacing my block. I was impossibly hooked. At that age – 7 or possibly even 6 – I think what I really craved was stimulus for my imagination. Looking back, I think my father had an acute understanding of that. He had found me watching it and sat down to watch with me.  We talked through parts of the movie (I being absolutely terrified, watching parts through my hands).  After it ended, I remember asking him if such things could be real.  I mean, I knew there were no more dinosaurs, I had seen fossils and read many books.  But this was something else.   I can see his expression, sober and somber “It’s a big planet, and I don’t think we know everything there is to about it”. The perfect answer.   Like Star Wars, and Indiana Jones (and later, Dr Who), Monster movies became something we shared.  A secret language we had that nobody else understood.   How could I not have given over my heart, mind, and soul at this point?  I was hooked.

I was an active kid who loved to play outside, with friends. Monster movies became a drug for me, though, even if they didn't quite rival Arcades. We were fortunate to have a nearby metropolitan area (such as it was) which had a station dedicated to this stuff. I had a couple of summers of monster movie heaven. Viewings snatched and stolen on Saturday mornings and late Saturday afternoons, and occasionally on week days, in between play time spent outside doing whatever (roaming, exploring, playing Star Wars, going hours and hours without every seeing an adult). I watched every one I could get my eyes on. Them!, The Beast From 20,000 Fathoms, King Kong, Mighty Joe Young, Tarantula, Beginning of the End, The Monolith Monsters, Creature from the Black Lagoon. . . no monster movie was above viewing. But few of them managed to get under my skin like the king of all of them: Godzilla. I watched all of the Showa series but one movie, as many times as I could. Even my friends – friends who loved video games, arcades, Star Wars, Tron, Indiana Jones, and Superfriends – thought me odd for this.

And then it was all gone. My father was transferred, and I found myself staring down a summer in a strange, new, location with no means to get a fix in sight. I was shattered. I would get each week’s new cable guide frantically scanning for signs of. . . well life. Civilization. Surely some person in this godforsaken place understood what I needed? VCRs appeared not long after this and there was once a time (the authors of this blog understand it well) where families would rent a VCR for the weekend, and a handful of movies to go with it. I couldn't ever get anyone interested in renting monster movies, though. Eventually proper monster movies and even Godzilla himself, found their way to my TV in this strange land. But there were lean years, before they did. I don't remember when the dreams started. I had been in my new home for longer than a season, though, possibly two. Long enough to make new friends, but recognize that I was very decidedly on the outside of most of the social groups I was around. I don't know what kicked it all off. I had always been prone to vivid dreams and nightmares. But these dreams. . . I wonder if they were inevitable. I wonder if that dry spell did something deep inside the recesses of my mind.  Pulled something loose, as it were.

The first sort was in some ways the worst; I dreamt about scanning the cable guide for monster movies; typically fruitlessly. The banality of these dreams hung in the air even after waking, casting a pall over the day. Sometimes in these dreams I found something, something that was coming on that I would be able to watch. The disappointment on waking up and realizing not merely that there was no new Godzilla fair to watch is surely trumped by the fleeting promise that there was. But these dreams occasionally took strange turns, where I not only found monster movies, but the titles were unrecognizable. What coded Lovecraftian things did I witness back then? Would that the titles had stayed with me on waking, just once (or perhaps it's for the best that they did not). I always *knew* this was some as yet unseen monster movie. And I always knew when they were Godzilla movies (in my dreams, they were never titled “Godzilla vs X”). In truth it was after that sort of dream started that the feeling they left me with turned. Disappointment at these things not existing (and my not even having poor substitutes to turn to) gave way to wonder. The dream of these movies was powerful. The dreams eventually (and only very occasionally, at that) changed. I started to catch glimpses of movies that did not exist, showing Godzilla battling familiar foes in unfamiliar settings, or sometimes even strange new creatures. Years later when I finally discovered Lovecraft, I wondered if perhaps he could have explained all of this to me. I did not have many of these dreams, but they were good dreams.

The dreams again grew stranger and more vivid still, often intense to the point of forcing me awake. There was no middle man this time; I was *there*. Some of them were absurd (twice as a famous actor shooting a monster movie, the monster in question threw a tantrum on set and I suddenly found myself living a part I was supposed to be playing, scrambling to escape impossible doom). Some of them were the genuine article – I can recall frantically trying to convince a general not to go ahead with some absurd plan to try to kill Godzilla. No one else could perceive some threat that I could, and only Godzilla would be able to deal with it. I remember manning another where I manned a sort of watch station on Monster Island, carefully studying the activities of creatures less they become active again. The last dreams, though. . . these I think Lovecraft would have understood all too well I found myself in hilly (if I was lucky, such as it was) or flat but otherwise featureless terrain, in the middle of who-knows-where. *Something* lurked nearby (as much as nearby counts for creatures hundreds of feet tall). I would scramble about looking for any place to shelter but never find it. Tension would mount as the feeling of being exposed would begin to smother me. Sometimes, *something* would shake me to the core (a roar? A thunderous footstep? Glimpses of a monstrous form off in the distance as the moon appears between clouds?) and I would wake with a start. Alone and irrelevant, entirely unsure of my place in any world. These were terrifying dreams. But I sometimes welcomed them.

The dreams stopped coming after a couple of years; after I had finally found monster movies again (if less frequently than I used to). I've never stopped having nightmares, though I don't have them as much as I used to. Some of them have travelled down stranger tides than monster movies. None of them has quite captured that feeling of wandering on a plain, alone, waiting for a titan to come and render me entirely irrelevant and lost, not even knowing myself. I think Lovecraft understood that. I think Guillermo Del Toro understands it. Monsters suggests to me that maybe Gareth Edwards does too. Sometimes I wonder if the dreams stopped because I lost something important. Sometimes I wondered if they stopped because my brain figured out a way to provide me a little cover. I miss them, terribly.

I'll see Godzilla in the next few days. Will the king return to reclaim his throne? I'll go because I have to know. I'll go because I hope to catch a glimpse of that feeling those most terrifying dreams left me with, writ impossibly large. I've been waiting to see Godzilla for months. For true, years. Since almost as far back as I can remember.