Orlando

I. Miranda.

I was born in an age of plague and grief
Called God’s wrath on sinners across the land
When leaders laughed at our pleas for relief
Content to murder us by their idle hand

How distant now those dark and bloody days
The plague now lies quelled (if it’s not quite gone)
The fallen forgotten, the past a haze
We are risen; we thrive; the world goes on

But Orlando reveals the past lives still
(I hear the truth through tears and broken breaths)
In all who would slay us, or urge to kill
And in the honeyed lies that meet our deaths

We were ready to believe love had won
To cast off our cares, dance for joy and pride
A dream ended soon as it had begun
As the pulse of our hope shuddered and died

II. Caliban.

Love wins, we crowed! It was a pretty lie
Doesn’t the truth make for a bitter pill?
Love freely, love well, and yet you may die
You are hated, and feared, and outcast still

They call us monsters, stoke the people’s fears
(Easier to rule those fore’er afraid)
Thus they cut by the inches, down the years
Hoping all we’ve fought for might be unmade

If you can, take solace in this small fact:
In death, those in power may spare you thought
And offer prayers – but they shall never act
Nor will all our deaths convince them they ought

In wide-eyed innocence they will proclaim
That they never meant our blood to be spilled
They’ll soon forget the latest face, or name
And think the wages of our sin fulfilled

III. Prospero.

And what damned use to anyone am I
Who stands idle as others die by fear
“The blood is on your hands!” I shriek and cry
And yet: I do not stand unbloodied here

I have sworn my heart and my soul to peace
(The Rede: An it harms none, do as thou will)
But what good’s my oath when they will not cease
When they bully us, shun us, beat us, kill?

O from certain fathoms beneath the Earth
Let me fetch my staff, its breaking reverse
Darkling magics I conceive, and would birth
O grief, o rage, now give me arts to curse!

From the depths of my despair, my ire
From the places where heart and soul go strange
Let my words be swords, my anger, fire
To break hostile hearts, and in breaking, change

IV. Puck.

Fair lords and ladies, we’ll merry still
Betimes we will jest, and make you smile
But if we die, by your act or your will
Trust we’ll suit deed to bitter bile

Every death or cut: let a price be paid
If done by bloody deed, or unkind turn
Or by a hateful law our betters made
Let us pay what consequence they might earn

Let Pulse be our pulse, our spirit, our hearts
Let it stoke the fires deep in our core
Let it fuel our marches, our deeds, our arts
Until all our kindred suffer no more

From this dream we must now forever wake
Spurn our erstwhile foes, our falsest friends
Skip hence, and what they will not give, we’ll take
From grief arise, and let us

pay

amends

After the Hugos (or: Did I Hear You Say That This Is Victory?)

Last week, fans in Spokane, Washington and around the world gathered to watch the presentation 73rd Annual Hugo Awards, one of the greatest and most notable honors bestowed for achievement in the genre of science fiction. It’s been a tense year. Two separate but linked reactionary movements, the Sad Puppies and the Rabid Puppies, made substantial gains in the nominations, successfully crowding out the sort of nominees that would generally be selected by the community at large. The Rabid Puppies enjoyed particular success due to a cult of personality centered on Theodore “Vox Day” Beale, who encouraged his followers to vote in lockstep. This practice was meant to counter the machinations of an imaginary cabal of liberal elitists who had been corrupting the soul of science fiction. In fact, it succeeded so dramatically because most fans not involved in the slates were already voting their conscience and nominating works they simply liked. Against this scattershot approach, lockstep voters were bound to succeed.

But the practices that allowed the Puppies of both houses to overwhelm the nominations could not allow them to carry the voting on the awards proper, particularly not after a record number of people bought supporting memberships in Sasquan, the 2015 Worldcon, and voted according to their consciences. For some, this meant ranking No Award – always an option, in ANY year – above nominees placed by the Puppy slates, whether because they disagreed with the reactionary politics or because they disliked slate voting on principle. For others, this meant reading all the works and judging them on merit. For myself, it meant rejecting some works that stank of particularly odious politics and personalities, or of obvious self-promotion (I rejected nearly anything published by Castalia House as Vox Day leveraging his political rhetoric to feather his own cap, for example), while attempting to review the rest fairly. I covered the nominees I considered worthy of consideration in The Dogcatcher Post, though due to limits on my free time and revised opinions on some of the nominees, I did not live up to my own standards as set out there.

In the end, No Award was given in five categories, doubling the number of No Awards given out in the entire history of the Hugos. The tension between the Puppies and the community at large did not abate. Victory was declared by some, defeat by others, and bad feelings continue to simmer all around. I have a few thoughts on how things shook out. The short version is that I’m not pleased, and worried about the short term, but optimistic for the long term. I’ll get into more detail, but before I do, I’d like to share my own final Hugo ballot, as registered on July 31st, noting the nominees in the order of my ranking (top to bottom) and the winners in bold.

Best Novel

1. The Three-Body Problem by Cixin Liu; Ken Liu, translator
2. Skin Game by Jim Butcher
3. Ancillary Sword by Ann Leckie
4. The Goblin Emperor by Katherine Addison
5. The Dark Between The Stars by Kevin J. Anderson

Best Novella

1. No Award

Best Novelette

1. “Championship B’Tok” by Edward M. Lerner
2. “The Triple Sun: A Golden Age Tale” by Rajnar Vajra
3. “Ashes to Ashes, Dust to Dust, Earth to Alluvium” by Gray Rinehart
4. “The Day The World Turned Upside Down” by Thomas Olde Heuvelt; Lia Belt, translator
5. No Award

Best Short Story

1. “Totaled” by Kary English
2. “On A Spiritual Plain” by Lou Antonelli
3. “A Single Samurai” by Steven Diamond
4. No Award

Best Related Work

1. No Award

Best Graphic Story

1. Ms. Marvel Volume 1: No Normal, written by G. Willow Wilson, illustrated by Adrian Alphona and Jake Wyatt (Marvel Comics)
2. Sex Criminals Volume 1: One Weird Trick, written by Matt Fraction, art by Chip Zdarsky (Image Comics)
3. Rat Queens Volume 1: Sass and Sorcery, written by Kurtis J. Weibe, art by Roc Upchurch (Image Comics)
4. Saga Volume 3, written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics)
5. No Award

Best Dramatic Presentation, Long Form

1. The Lego Movie, written by Phil Lord & Christopher Miller, story by Dan Hageman, Kevin Hageman, Phil Lord & Christopher Miller, directed by Phil Lord & Christopher Miller (Warner Bros. Pictures, Village Roadshow Pictures, RatPac-Dune Entertainment, LEGO System A/S, Vertigo Entertainment, Lin Pictures, Warner Bros. Animation (as Warner Animation Group))
2. Captain America: The Winter Soldier, screenplay by Christopher Markus & Stephen McFeely, concept and story by Ed Brubaker, directed by Anthony Russo and Joe Russo (Marvel Entertainment, Perception, Sony Pictures Imageworks)
3. Guardians of the Galaxy, written by James Gunn and Nicole Perlman, directed by James Gunn (Marvel Studios, Moving Picture Company)
4. Edge of Tomorrow, screenplay by Christopher McQuarrie, Jez Butterworth, and John-Henry Butterworth, directed by Doug Liman (Village Roadshow, RatPac-Dune Entertainment, 3 Arts Entertainment; Viz Productions)
5. Interstellar, screenplay by Jonathan Nolan and Christopher Nolan, directed by Christopher Nolan (Paramount Pictures, Warner Bros. Pictures, Legendary Pictures, Lynda Obst Productions, Syncopy)

Best Dramatic Presentation (Short Form)

1. The Flash: “Pilot”, teleplay by Andrew Kreisberg & Geoff Johns, story by Greg Berlanti, Andrew Kreisberg & Geoff Johns, directed by David Nutter (The CW) (Berlanti Productions, DC Entertainment, Warner Bros. Television)
2. Orphan Black: “By Means Which Have Never Yet Been Tried”, written by Graham Manson, directed by John Fawcett (Temple Street Productions, Space/BBC America)
3. Game of Thrones: “The Mountain and the Viper”, written by David Benioff & D. B. Weiss, directed by Alex Graves (HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)
4. Doctor Who: “Listen”, written by Steven Moffat, directed by Douglas Mackinnon (BBC Television)
5. Grimm: “Once We Were Gods”, written by Alan DiFiore, directed by Steven DePaul (NBC) (GK Productions, Hazy Mills Productions, Universal TV)

Best Professional Editor (Short Form)

1. Jennifer Brozek
2. Mike Resnick
3. Bryan Thomas Schmidt
4. No Award

Best Professional Editor (Long Form)

1. Sheila Gilbert
2. Anne Sowards
3. Jim Minz
4. Toni Weisskopf
5. No Award

Best Professional Artist

1. Julie Dillon
2. Kirk DouPonce
3. Nick Greenwood
4. Alan Pollack
5. No Award

Best Semiprozine

1. Lightspeed Magazine, edited by John Joseph Adams, Stefan Rudnicki, Rich Horton, Wendy N. Wagner, and Christie Yant
2. Strange Horizons, Niall Harrison, editor-in-chief
3. Andromeda Spaceways In-Flight Magazine, Andromeda Spaceways Publishing Association Incorporated, 2014, editors David Kernot and Sue Bursztynski
4. Beneath Ceaseless Skies, edited by Scott H. Andrews
5. Abyss & Apex, Wendy Delmater, editor and publisher

Best Fanzine

1. Journey Planet, edited by James Bacon, Christopher J Garcia, Colin Harris, Alissa McKersie, and Helen J. Montgomery
2. No Award

Best Fancast

• Did not vote in this category, as I did not have time to properly listen to the nominees.

Best Fan Writer

1. Laura J. Mixon
2. No Award

Best Fan Artist

1. Spring Schoenhuth
2. Elizabeth Leggett
3. Steve Stiles
4. Brad Foster
5. Ninni Aalto

The John W. Campbell Award*

1. Kary English
2. Wesley Chu
3. No Award

*The John W. Campbell Award is, as has been repeatedly mentioned, not a Hugo, but it is awarded with them and selected by Hugo voters. The nominees must be writers who have enjoyed their first professional publication within the last two years.

So. What have I learned? Well.

Lesson One: The Puppies Nominated A Lot Of Garbage

All right: it would, perhaps, be fairer to say they nominated a lot of material I simply didn’t care for. Not for political reasons, mind. What I read was simply…not enjoyable. I ranked plenty of their nominees in many categories regardless, because I wasn’t really thinking in terms of anything beyond the pool of nominees I was given, to be quite honest. But the best I can say about the majority of the slates’ nominees is that they were competently written. I had an awful time even attempting to read through most of them, and while the reactionary politics do them no favors, at this point, I’m mostly angry with the Puppies for making me read that dreck.

The bright spots were the Best Dramatic Presentation categories. Even the Puppy nominees in those areas were generally pretty good, and I actually think both The Lego Movie and the pilot of The Flash were excellent and deserving of awards. I am not terribly broken up about Guardians of the Galaxy and Orphan Black winning, though I don’t feel the episode nominated was the most Hugo-worthy of the lot.

The low point was Best Novella. By a long shot.

Lesson Two: I Should Not Have Given Lou Antonelli The Benefit Of The Doubt

Between harassing a critic of his actions at his workplace, writing the Spokane police about David Gerrold, setting his fans on Carrie Cunin, and generally whining and complaining in the aftermath of Sasquan (surprisingly, if you go into a convention where everyone thinks you’re an utter prat, you should not expect sweetness and light from those around you), he’s shown himself to be an absolute ass who cannot be trusted to conduct himself in polite society. This post goes into more detail on his rather disturbing pattern of behavior. I actually thought his short story mildly interesting, if not the best I’ve ever read, but now that I see him revealed for the bully he is, I shan’t be ranking him again. If he’s nominated in the future, in any category, I will rank him below no reward. Someone who goes around trying to call hell on other members of the SF community does not deserve one of its highest honors.

Lesson Three: I’m Mostly Happy With The Results…

I’m glad that Best Novel went to a worthy author, and that it was a historic award to boot. I’m absolutely stoked that Lightspeed Magazine took Best Semiprozine (and “I’d like to thank the patriarchy” was one of the best lines of the night). I can’t tell you how happy I am that Ms. Marvel‘s first volume took Best Graphic Story, in part because it’s a genuinely good book that I thoroughly enjoyed, and in part because I hope John C. Wright’s face looked like he’d just eaten a whole raw lemon. If anyone happened to snap a photo of him in that moment, I’d pay good money for it.

I love Orphan Black, I love its writers, I love its cast, I especially love Tatiana Maslany, and the show deserves a Hugo, even if that specific episode wasn’t my favorite. Guardians of the Galaxy was, while not my first choice, a great, fun film, and the fact that it won despite being a slate nominee shows that the voters were willing to set their feelings aside to reward quality work. At least in one case. More on that in a second.

The No Award to Best Novella was well deserved. I think the No Award to Best Related Work was, too. The No Award to Best Short Story was, perhaps, slightly less so, though I can see how many voters thought the quality of the nominees sub-par compared to the stories pushed off the ballot by the slates.

Lesson Four: …Except When I Wasn’t Happy At All

In retrospect, I think Best Novelette should have been No Awarded. I hate to say it, because Thomas Heuvelt is clearly so happy about his victory, but I didn’t think The Day The World Turned Upside Down was very good at all. As I look back on the nominees, none of them felt like the best work of the year. There were differences in their relative quality, but I wasn’t thrilled with the choices I was given. That’s my personal opinion, of course, and hindsight is 20/20, but in future years I think I’ll put a lot more thought into whether or not nominees deserved to be on the ballot in the first place.

But the hardest blows of the evening were, to me, the Best Editor awards. I don’t think either of them deserved to be No Awarded, and here, I think, the Puppies have a point about voters voting for political reasons. That said, there were a lot of new voters this year, and Best Editor is a tough category for the layperson at the best of times. It is somewhat easier with short form editors, because they are not only responsible for helping an author improve a story, but (perhaps more importantly) they are curators, assembling material into anthologies and magazines. A short form editor can be judged by their good taste.

In the long form, an editor’s work is invisible to the reader (at least if they’ve done a good job), and they may or may not have been responsible for selecting material for their publisher. The nature, level and impact of their input can vary widely. I make a point of reading authors’ acknowledgements, so I knew that Sheila Gilbert (my first choice) had edited Seanan McGuire’s work, and Seanan had expressed her deep gratitude…but not everyone bothers to read such things. I’ve seen a couple proposals to remedy this, and a couple calls to remove the Best Editor (Long Form) category altogether, but I haven’t made up my mind on the issue yet.

Regardless, though both categories were filled with Puppy nominees, they were worthy nominees who do excellent work. It is not just that no award was given in either category. It reflects poorly on the community. I do not celebrate these results.

Lesson Five: No One Likes Sore Winners Or Sore Losers

I think the cheering and applause for No Award was out of line.

I was shocked the first time I heard it, and mortified as it happened again, and again. I can understand the instinct to applaud each announcement on general principle. I can understand getting caught up in the moment, the feeling of victory as the voters rejected the Puppies’ agendas again and again, and breaking out into cheers and applause. I can’t honestly say that I would have resisted those impulses entirely. But it was obnoxious. It was rude. There were nominees sitting in the audience who, rightly or wrongly, believed in their work, hoped for a win. They did not need anyone to rub their losses in their face.

And, more to the point, I do not see a No Award as a victory. I see it as the least objectionable outcome under the circumstances (with the exception of Best Editor, as noted above). The appropriate response feels like a somber silence.

Fortunately, the Puppies have conducted themselves abominably in the wake of the Hugos. Mike Glyer at File770 has been rounding up a lot of it. Let me address a few arguments.

• The Asterisks were a slap in the face! So, riffing off remarks that this year’s Hugo winners would have asterisks next to their names due to the extraordinary circumstances surrounding the nominations and voting, ‘official’ Worldcon asterisks were made out of wood and sold at the con for charity. In addition, each Hugo nominee got their own wooden asterisk. Was this in poor taste? Perhaps. But David Gerrold made some beautiful remarks at the ceremony that turned them into more of a tongue-in-cheek symbol of pride at being part of SF history, and fandom has a long and distinguished history of taking the piss out of things, lightening the mood when tension is hanging in the air. This was just another part of that tradition.
• How dare Robert Silverberg joke about Hare Krishnas when ‘offensive’ jokes made by the ‘wrong’ people are roundly scorned! Robert Silverberg spoke near the beginning of the ceremony about a similarly tense Worldcon back in Berkeley, and fondly recalled stepping outside now and then to seek peace by listening to the soothing Hare Krishna chant. He then produced a tambourine and led the audience in said chant, urging serenity and patience for the night ahead. It was an amusing and oddly reassuring experience. Was he insulting the Hare Krishnas? Maybe. I’m not a Hare Krishna, so I suppose I wouldn’t know. But then, I don’t think any of the people crying foul (particularly the Puppies) are among that distinguished number, either.
• George R.R. Martin rented a mansion for an exclusive party and left out Hugo nominees and gave out the ‘real’ awards and conspiracy robble robble robble. George R.R. Martin is entirely within his rights to throw any kind of party he likes. He frequently threw parties for those who were nominated but failed to win Hugos back in the old days; these parties, as he himself has explained, eventually turned into a formal reception that he found rather stuffy. In the wake of the Puppies’ giant stinking mess, particularly in light of the people pushed off the ballots by slate shenanigans, he decided to resurrect the losers’ party, and to give out tongue-in-cheek awards named for Alfred Bester (the Alfies) and made quite literally out of hood ornaments of various rocket-like shapes and sizes. It was a way of honoring friends and colleagues he felt had been shafted. It’s true that some Hugo nominees were not invited to the party, that he had a list of ‘assholes’ he left out, but then, at least one of said assholes has demonstrated repeatedly that he is highly deserving of the label, and again, private party. So I can’t fault George there. It wasn’t a conspiracy. They weren’t the ‘real’ Hugos as awarded by the Secret Liberal Cabal of Social Justice. It was George R.R. Martin demonstrating the sort of kindness and good humor that lures you into a false sense of security before he brutally kills off characters you truly, desperately liked, George R.R. Martin, you unforgivable wretch.
• No Award invalidated my vote! I’m launching a class action suit! I don’t…but…elections don’t work that way…
• THIS WAS A SECRET VICTORY FOR THE PUPPIES! WE GOT THEM TO BURN IT ALL DOWN! Wiser people than I have already compared the Hugos to the climactic scene of How The Grinch Stole Christmas, where Christmas comes without presents, et cetera and so forth. Yeah. It’s a lot more like that. A couple significant bumps in the road, but quite a lot like that.

Lesson Six: It’s Always Darkest Before The Dawn

The Puppies, both Sad and Rabid, have already promised to pull their crap again next year. They will probably succeed, to be honest. There may be more categories going to No Award. More unworthy contenders. More garbage I’ll feel honor-bound to read. The only effective way to counter them would be an anti-Puppy slate nominated in lockstep. I refuse to do that. I won’t take part. I will nominate stories I enjoyed and editors my favorite authors have praised. I will not vote in lockstep with anybody. Because lockstep slate voting is a repugnant concept to me. It ignores everything that makes the fan community great. It replaces word of mouth and the cultural zeitgeist with an organized political movement.

I will not abuse the spirit of the Hugos on a misguided quest to ‘save’ them. Even if it means I have to vote No Award in every single category next year.

But I’m not going away. I’m grabbing a supporting membership for next year’s Worldcon. I’ll be participating in nominations and in final voting (and in site selection, as I’d quite like a New Orleans Worldcon in 2018). I’m just one person with one vote, but I can be part of the effort to resist the Puppies.

Here’s the thing: I agree with many of the Puppies’ most superficial stated goals. I want science fiction to be fun again. I am tired of dystopias, tired of endings, tired of the apocalypse. I want hope for the future. I want inspiration. I want fun. I want the fandom of today to look to science fiction and see ideas they can incorporate into the solutions of tomorrow. I want us to dream of turning our world into a paradise and sailing outward among the stars. We have never needed the hope and promise of science fiction more than we do now. It is as Isaac Asimov said:

Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today — but the core of science fiction, its essence, the concept around which it revolves, has become crucial to our salvation if we are to be saved at all.

The problem, of course, is that few if any of the Puppies’ nominees offered that promise – and that my idea of the utopia we can and should build here on Earth is a place where everyone is allowed room to grow and change as they must, and pursue what happiness they can find in this life, provided they do no harm to others. I don’t think the masterminds behind the Puppies of either camp want a world where I would belong. And so they fight to drag SF back into their idea of a golden age, while the rest of us fight to expand its boundaries into a new one of limitless promise, endless challenges and infinite opportunities. The culture war goes on, and this is just a minor skirmish.

Still. There is hope everywhere, and the Hugos are no exception. Two proposals to change the nomination system were ratified at this year’s Worldcon. If they are ratified again next year, they will be implemented. One, E Pluribus Hugo, creates a multi-round system which should diminish the impact of lockstep nominations. The other, 4 and 6 (sorry I don’t have a link), creates a system where each voter selects four nominees, but six finalists are selected; this could still be exploited by some mildly clever maneuvering, but combined with EPH, it might be quite effective. Though Vox Day in particular insists he has enough support to overcome any effort to block his slates, preliminary data crunching on EPH alone indicates that it would limit the damage lockstep slate voters could do. Data on EPH combined with 4 and 6 is not yet available.

So, in the short term, none of us are going anywhere. We’ll all be watching the entire Hugo process, not to mention next year’s Business Meeting, with great interest. We’re in for another tense and difficult year full of rhetoric. Many suggestions have been made to the Puppies of both camps as to how they might make more reasonable arguments and avoid alienating Hugo voters; I expect them to take none of those suggestions. The new leaders of the Sad Puppy crew seem even more reactionary than their predecessors. This will be unpleasant.

But science fiction is all about the future just beyond our grasp. The best of it is about finding hope there. And I think there’s reason to hope here. The reactionary elements of our community may gain some traction. But, to quote Angels In America, the world only spins forward.

And to paraphrase Firefly, no power in the verse can stop us.

The Dogcatcher Post

It’s been nearly two years since my last post here. Sorry about that. Every time I had an idea and thought about getting back into the swing of things, something came up to distract me. I have lots of updates and lots of ideas for posts, and all of that will follow, but this particular post needs to come first.

In the wake of the Sad Puppies and Rabid Puppies campaigns, I’ve gone ahead and purchased a membership to Sasquan, the 2016 Worldcon, so I can vote in the Hugo Awards. I’ll be doing this with every Worldcon I can support from now on, because if I have the ability to raise my voice and be heard, I should probably do it. With a bit over a month left before the voting deadline, it’s time for me to decide who I’m going to vote for…and that’s a problem which has required a certain amount of research and soul-searching.

It would be easy for me to vote NO AWARD in every Puppy-influenced category, in protest. Some have called for this. It would be just as easy for me to eliminate all the Puppies’ nominees and vote only for those who were not on the slates; some have called for this also. But I don’t in good conscience feel that I can do this. Not everyone on the slates knew they were on them, or knew what they were getting into. There are works that were on the slates which I personally find worthy of consideration despite the ugly politics behind their nomination. (Skin Game comes to mind; while the Dresden Files books can be problematic, I am a fan, and I thoroughly enjoyed Skin Game and thought it was a real return to form for the series.) So I have settled on threading the needle, and I’ve found a distinct lack of resources geared toward voters interested in that strategy.

I’m a documentation nerd, which has been a useful trait in my professional endeavors. If a document doesn’t exist, I’ll dig in and create it. So here it is: my attempt at a guide to threading the needle. The Dogcatcher Post. An attempt to point out Hugo nominees who actively participated in Sad Puppies and Rabid Puppies, or (in the case of works from Castalia House, Theodore “Vox Day” Beale’s publishing house, especially) whose publishers did, as well as nominees who are thoroughly morally repugnant due to racism, xenophobia, homophobia, etc. Anyone highlighted in bold is someone I urge you to eliminate from your consideration, and I’ll explain why at the end of each category. Of course, if you want to use this list to vote only for the nominees I’m calling out for elimination, I can’t really stop you.

This list is constructed based on two principal rules:

The Card-Wright Rule

This is a long-standing personal rule of mine. Simply put, I don’t give money or support to living authors who hate me or mine. I will absolutely not consider people who have engaged in virulent bigotry, called for violence against me or people like me or people I care about, called for us to be openly oppressed and rounded up, and so on and so forth. Am I eliminating all problematic creators under this rule? No. I won’t even pretend to try. This is intended for the worst of the worst, those whose bigotry cannot be ignored or dismissed.

The Beale-Torgenson Rule

This rule is a new one, and in direct response to Sad Puppies and Rabid Puppies. I don’t think people who actively campaigned for these slates and used political ideology to get themselves or creators they publish or profit from nominated should be rewarded. Period. It’s one thing to offer up a list of works you were involved with that are eligible for Hugos – many authors have done this, many publishers have done this – but it’s quite another to incorporate your own work into a moral panic and deliberate crusade. Torgenson gets a little credit for treating the Sad Puppies slate as a set of suggestions…but not enough to escape this rule. Beale told his followers to vote in lockstep. No Hugo for him.

Obviously, there may be information I don’t have. If I come across any new information regarding the character (or lack thereof) of certain nominees, or their participation in Sad Puppies or Rabid Puppies, I’ll update this post accordingly.

Now let’s look at the nominees by category.

Best Novel

Ancillary Sword, Ann Leckie (Orbit US/Orbit UK)
The Dark Between the Stars, Kevin J. Anderson (Tor Books)
The Goblin Emperor, Katherine Addison (Sarah Monette) (Tor Books)
Skin Game, Jim Butcher (Orbit UK/Roc Books)
The Three Body Problem, Cixin Liu, Ken Liu translator (Tor Books)

Ancillary Sword, The Goblin Emperor, and The Three Body Problem were not on either the Sad Puppies slate or the Rabid Puppies slate. This leaves Jim Butcher and Kevin J. Anderson.

I cannot find any evidence that Kevin Anderson directly endorsed the Sad Puppy slate. He is acquainted with Brad Torgenson and has published some of his work, but I’m not going to base my decision solely on guilt by association. I don’t think I agree with Anderson on everything, but that’s not a prerequisite either. I can see no compelling reason to exclude him from consideration.

Jim Butcher does not seem to have been an active participant in S/RP either. He did call Irene Gallo unprofessional for her personal comments on the S/RP crowd (and, well, she was, a bit, but I don’t feel she deserved the goddamned Sword of Damocles crashing on her head), and he’s not without his problems. But I enjoy both the Dresden Files series and the Codex Alera, and I quite liked Skin Game, so I’m going to keep him on my list.

Best Novella

Big Boys Don’t Cry, Tom Kratman (Castalia House)
“Flow”, Arlan Andrews, Sr. (Analog, 11-2014)
One Bright Star to Guide Them, John C. Wright (Castalia House)
“Pale Realms of Shade”, John C. Wright (The Book of Feasts & Seasons, Castalia House)
“The Plural of Helen of Troy”, John C. Wright (City Beyond Time: Tales of the Fall of Metachronopolis, Castalia House)

All of the nominees in this category were on the Sad Puppies or Rabid Puppies slate. Most of them were published by Castalia House, which seems like a blatant grab if I’ve ever seen one, and John C. Wright is just absolutely awful. However, I can find no evidence that Dr. Arlan Andrews, Sr. was involved in campaigning for either slate, and he seems like a decent enough fellow. Through SIGMA, he’s associated with many people I admire. “Flow” should be read and considered.

Best Novelette

“Ashes to Ashes, Dust to Dust, Earth to Alluvium”, Gray Rinehart (Orson Scott Card’s InterGalactic Medicine Show, 05-2014)
“Championship B’tok”, Edward M. Lerner (Analog, 09-2014)
“The Day the World Turned Upside Down”, Thomas Olde Heuvelt, Lia Belt translator (Lightspeed, 04-2014)
“The Journeyman: In the Stone House”, Michael F. Flynn (Analog, 06-2014)
“The Triple Sun: A Golden Age Tale”, Rajnar Vajra (Analog, 07/08-2014)

Gray Rinehart did accept a place on the Sad Puppies slate and appears to be connected to members of the S/RP community; that said, he does not seem to have campaigned on the slate’s behalf, he did not nominate according to the slate himself, and he does not seem particularly repugnant. I do not believe his work should be rejected out of hand, and I will be considering “Ashes to Ashes, Dust to Dust, Earth to Alluvium” in this category.

Edward M. Lerner appears to be casually acquainted with Brad Torgenson and gave his assent to a recommendation. However, he does not seem to have known what he was getting into, he had nothing to do with Rabid Puppies, and, once again, he does not seem actively repugnant. “Championship B’tok” should, in my view, also be considered.

“The Day the World Turned Upside Down” was not on either slate.

I haven’t quite worked out where Michael F. Flynn stands, except that he seems to view the whole brouhaha as a conflict between a ‘settled’ SF community and outside underdogs who have just realized they can buy memberships and vote, and his sympathies are somewhat with the underdogs rather than those who want to condemn Puppy-nominated works sight unseen. Again, however, he hasn’t set off any alarm bells for me. From reading his blog, I doubt I’ll enjoy his work much, frankly, but I’ll read “The Journeyman: In the Stone House” nonetheless.

I’m not sure where Rajnar Vajra stands on any of this. I will note that he’s one of the diverse writers the S/RP crowd are using to counter claims that they were interested in nominating only white, straight, heterosexual men. Nevertheless, I will be considering “The Triple Sun: A Golden Age Tale”. I quite like golden age SF, actually.

Best Short Story

“On A Spiritual Plain”, Lou Antonelli (Sci Phi Journal #2, 11-2014)
“The Parliament of Beasts and Birds”, John C. Wright (The Book of Feasts & Seasons, Castalia House)
“A Single Samurai”, Steven Diamond (The Baen Big Book of Monsters, Baen Books)
“Totaled”, Kary English (Galaxy’s Edge Magazine, 07-2014)
“Turncoat”, Steve Rzasa (Riding the Red Horse, Castalia House)

All nominees in this category were on one or both slates. “Turncoat” and “The Parliament of Beasts and Birds” were both published by Castalia House. “The Parliament of Beasts and Birds” was written by John C. Wright, who is a proud and outspoken bigot and has attacked (among others) Marvel for introducing Kamala Khan, the new, Muslim Ms. Marvel, and the creators of The Legend of Korra for making a same-sex relationship canon within the series.

Lou Antonelli has defended the slate, describing himself as proud to be on it, and stating that he doesn’t see any problem with it. He has also characterized critics of S/RP as hateful, scolds, Nazis, and claimed that the S/RP crowd has only been vicious in its own defense. He has described the slates and their supporters as a peasant revolt against an SF elite. Prior to the official release of the nominees, he appears to have plugged only his own work (as is fair), but did mention that he was part of the Sad Puppies slate in at least one context. Frankly he’s raising a lot of red flags for me. That said, he has also criticized those elements of the Puppy crowd who want to destroy the Hugos, and his story “On a Spiritual Plain” has been praised by people outside the Puppy community. So I’m still deeply ambivalent on the man himself, and disagree with him on many of the arguments he’s made, but I personally am going to read his story and give it due consideration.

I cannot find any indication that Steve Diamond campaigned for either slate. He seems like an okay guy. I’ll be reading “A Single Samurai” with pleasure.

Kary English agreed to be part of the Sad Puppies slate. Prior to the official release of the Hugo nominees, she did connect Sad Puppies to her discussion of her own nominated work. I disagree strongly with her characterization of the genesis and intent of the slate and with her continued defense of it. However: she seems like the sort of person I would like very much (even if we might disagree on certain points). She does not appear to be a virulent bigot. Her work seems interesting. So I will be reading “Totaled” and giving it my full consideration.

Best Related Work

“The Hot Equations: Thermodynamics and Military SF”, Ken Burnside (Riding the Red Horse, Castalia House)
Letters from Gardner, Lou Antonelli (The Merry Blacksmith Press)
Transhuman and Subhuman: Essays on Science Fiction and Awful Truth, John C. Wright (Castalia House)
“Why Science is Never Settled”, Tedd Roberts (Baen.com)
Wisdom from My Internet, Michael Z. Williamson (Patriarchy Press)

All nominees on this category were on one or both slates. “The Hot Equations” and Transhuman and Subhuman were both published by Castalia House, and there’s our friend John C. Wright again. Hi there, John.

I’ve discussed Lou Antonelli above. He’s an S/RP defender but doesn’t seem as virulently awful as some others (though I disagree with much of what he’s said, and strongly disagree with his characterization of a woman who kicked him off her blog as a Nazi).

Tedd Roberts has defended the slate and attacked its critics (to be fair, he seems angriest at the most outspoken and strident people, the ones calling for categorical rejection for all nominees on the slate). Once again, though, he doesn’t seem awful. He seems angry, and justifiably in my view, that people would reject him for his association with controversy, that they would immediately judge and dismiss him out of hand without even reading his work. Fair enough. “Why Science is Never Settled” is on my reading list.

Michael Z. Williamson seems entirely irreverent and snarky toward just about everyone. I suspect I’d find prolonged contact with him infuriating. I don’t think I’ll like his book very much. But he’s not awful enough for me to strike him from consideration, and he doesn’t seem to have actively campaigned for Sad Puppies – as he tells it, Brad Torgenson asked if he wanted publicity, Williamson said yes, and then he promptly forgot about the whole thing. So I will give Wisdom from My Internet a chance.

Best Graphic Story

Ms. Marvel Volume 1: No Normal, written by G. Willow Wilson, illustrated by Adrian Alphona and Jake Wyatt, (Marvel Comics)
Rat Queens Volume 1: Sass and Sorcery, written by Kurtis J. Weibe, art by Roc Upchurch (Image Comics)
Saga Volume 3, written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics))
Sex Criminals Volume 1: One Weird Trick, written by Matt Fraction, art by Chip Zdarsky (Image Comics)
The Zombie Nation Book #2: Reduce Reuse Reanimate, Carter Reid (The Zombie Nation)

In this category, only The Zombie Nation Book #2 was on either slate. As far as I can tell, Carter Reid was not involved in campaigning and is not an awful person. I’m not going to endorse him over the other nominees, but don’t feel he should automatically be eliminated from consideration.

Best Dramatic Presentation, Long Form

Captain America: The Winter Soldier, screenplay by Christopher Markus & Stephen McFeely, concept and story by Ed Brubaker, directed by Anthony Russo and Joe Russo (Marvel Entertainment, Perception, Sony Pictures Imageworks)
Edge of Tomorrow, screenplay by Christopher McQuarrie, Jez Butterworth, and John-Henry Butterworth, directed by Doug Liman (Village Roadshow, RatPac-Dune Entertainment, 3 Arts Entertainment; Viz Productions)
Guardians of the Galaxy, written by James Gunn and Nicole Perlman, directed by James Gunn (Marvel Studios, Moving Picture Company)
Interstellar, screenplay by Jonathan Nolan and Christopher Nolan, directed by Christopher Nolan (Paramount Pictures, Warner Bros. Pictures, Legendary Pictures, Lynda Obst Productions, Syncopy)
The Lego Movie, written by Phil Lord & Christopher Miller, story by Dan Hageman, Kevin Hageman, Phil Lord & Christopher Miller, directed by Phil Lord & Christopher Miller (Warner Bros. Pictures, Village Roadshow Pictures, RatPac-Dune Entertainment, LEGO System A/S, Vertigo Entertainment, Lin Pictures, Warner Bros. Animation (as Warner Animation Group))

Captain America: The Winter Soldier and Edge of Tomorrow were not on either slate. I’m actually a bit surprised about Captain America, but maybe it’s more subversive than I realized.

The rest…look. Films involve a lot of people. Actors, directors, producers, writers…Brad Torgenson, at least, claims he contacted everyone on his slate and included those who gave him an affirmative response. I don’t know whether or not that’s true (there has been at least one nominee who refutes the story, but Torgenson claims that was an oversight), but I find it difficult to believe that he managed to reach out to everyone involved. And a lot of these movies were very, very good. The Lego Movie was better than it had any right to be. Interstellar wasn’t my favorite film, but it was very well made. Guardians of the Galaxy was tremendous fun. I haven’t seen Edge of Tomorrow yet, but I will. And I’ve heard surprisingly good things.

So I’m not striking any of them. They’re worthy nominees. All of them.

Best Dramatic Presentation, Short Form

Doctor Who: “Listen”, written by Steven Moffat, directed by Douglas Mackinnon (BBC Television)
The Flash: “Pilot”, teleplay by Andrew Kreisberg & Geoff Johns, story by Greg Berlanti, Andrew Kreisberg & Geoff Johns, directed by David Nutter (The CW) (Berlanti Productions, DC Entertainment, Warner Bros. Television)
Game of Thrones: “The Mountain and the Viper”, written by David Benioff & D. B. Weiss, directed by Alex Graves ((HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)
Grimm: “Once We Were Gods”, written by Alan DiFiore, directed by Steven DePaul (NBC) (GK Productions, Hazy Mills Productions, Universal TV)
Orphan Black: “By Means Which Have Never Yet Been Tried”, written by Graham Manson, directed by John Fawcett (Temple Street Productions, Space/BBC America)

“Listen” and “By Means Which Have Never Yet Been Tried” were not on either slate. I’m actually a bit surprised about Doctor Who, but I guess it’s gotten a bit too socially degenerate for the Puppies. Lesbian lizard women and all.

Again, I find it difficult to believe that everyone involved in these productions gave their permission to appear on the slate. At most, maybe the director or a publicist was contacted. And again, a lot of these episodes were quite good. (I don’t watch Grimm. I suppose I’ll be watching one episode, anyway.) So I’m not striking any of them out without giving them a shot.

Best Editor, Short Form

Jennifer Brozek
Vox Day
Mike Resnick
Edmund R. Schubert (Withdrawn; has asked voters not to consider him)
Bryan Thomas Schmidt

All of the nominees were on one or both slates. Theodore “Vox Day” Beale is the man behind Rabid Puppies.

Jennifer Brozek did not campaign for either slate. She seems like a cool lady who does a lot of great work. I will happily consider her.

Mike Resnick, as far as I can tell, only plugged his own work, as you can expect authors and editors to do. I have my issues with him, but do not feel strongly enough to strike him from my consideration.

Edmund R. Schubert withdrew after the ballot closed. He has asked that people refrain from voting for him. I will honor that request.

Bryan Thomas Schmidt seems…all right. He has stated that he was unaware of his presence on the Rabid Puppies slate and would have demanded his removal if he had known. He was aware of his presence on the Sad Puppies slate, but does not seem to be wrapped up in the politics of it. Bit of an asshole and perhaps unprofessional, at least according to Jim C. Hines (who, to be fair, has butted heads with him), but if I refused to have a thing to do with common assholes I’d never get anything done. So, again, I’m going to consider him in this category.

Best Editor, Long Form

Vox Day
Sheila Gilbert
Jim Minz
Anne Sowards
Toni Weisskopf

All of the nominees were on one or both slates. Theodore “Vox Day” Beale is the man behind Rabid Puppies.

Sheila Gilbert has been highly praised by authors I like rather a lot. She has worked hard at DAW and doesn’t seem like a bad person in the slightest. I can’t find her own take on the S/RP brouhaha but I feel she is worthy of consideration.

Jim Minz has edited a wide range of authors and also done fine work.

Anne Sowards edits Jim Butcher and Kat Richardson, among other people. That makes her pretty okay in my book.

Toni Weisskopf has been a consistent Sad Puppy nominee but, again, a fine editor and Jim Baen’s heir over at Baen Books. I’m not going to dismiss her either.

Best Professional Artist

Julie Dillon
Kirk DouPonce
Nick Greenwood
Alan Pollack
Carter Reid

Julie Dillon was not on either slate.

I can’t find a thing about the other artists’ views on S/RP or, really, anything else. I’m going to give them the benefit of the doubt.

Best Semiprozine

Abyss & Apex, Wendy Delmater, editor and publisher
Andromeda Spaceways In-Flight Magazine, Andromeda Spaceways Publishing Association Incorporated, 2014, editors David Kernot and Sue Bursztynski
Beneath Ceaseless Skies, edited by Scott H. Andrews
Lightspeed Magazine, edited by John Joseph Adams, Stefan Rudnicki, Rich Horton, Wendy N. Wagner, and Christie Yant
Strange Horizons, Niall Harrison, editor-in-chief

Beneath Ceaseless Skies, Lightspeed Magazine, and Strange Horizons were not on either slate.

I can’t find a thing about the views of the Abyss & Apex staff in general or Wendy Delmater in particular on the S/RP kerfluffle, so once again, I’m giving them the benefit of the doubt.

The people behind Andromeda Spaceways In-Flight Magazine have stated that they were unaware of their presence on the slate until the last moment, and would have asked to be removed if they had known. Therefore, I am happily including them in my consideration this year.

Best Fanzine

Black Gate, edited by John O’Neill (Withdrawn; has asked voters not to consider the magazine)
Elitist Book Reviews, edited by Steven Diamond
Journey Planet, edited by James Bacon, Christopher J Garcia, Colin Harris, Alissa McKersie, and Helen J. Montgomery
The Revenge of Hump Day, edited by Tim Bolgeo
Tangent SF Online, edited by Dave Truesdale

John O’Neill withdrew Black Gate after the Hugo ballot closed. He has asked voters not to consider him. I will honor his request.

I’ve already addressed Steve Diamond above. In short, I don’t think I’ll end up caring for him, but I’m going to give Elitist Book Reviews my consideration.

Journey Planet was not on either slate.

Tim Bolgeo has been at the center of at least one convention controversy when he was invited and then disinvited as Fan Guest of Honor at Archon. The Revenge of Hump Day is reportedly full of racist, sexist and generally offensive humor. I’ll take a look at it but I don’t expect I’ll like it one bit. I haven’t been able to find anything from the man himself on this or other matters.

Dave Truesdale seems quite clueless, frankly. He circulated a petition against ‘censorship based on political correctness’ in the SFWA Bulletin last year, following its suspension in the wake of a controversy over some problematic language and a problematic cover. He claims that he’s never seen an incident of sexism or racism in the SF community. But he doesn’t seem to be terribly malicious, and he’s well respected. Tangent seems decent. Truesdale described himself as flattered that Tangent was on the slate, but doesn’t seem to have campaigned for the slate at large. So I’m giving it a shot.

Best Fancast

Adventures in SciFi Publishing, Brent Bower (Executive Producer), Kristi Charish, Timothy C. Ward & Moses Siregar III (Co-Hosts, Interviewers and Producers)
Dungeon Crawlers Radio, Daniel Swenson (Producer/Host), Travis Alexander & Scott Tomlin (Hosts), Dale Newton (Host/Tech), Damien Swenson (Audio/Video Tech)
Galactic Suburbia Podcast, Alisa Krasnostein, Alexandra Pierce, Tansy Rayner Roberts (Presenters) and Andrew Finch (Producer)
The Sci Phi Show, Jason Rennie
Tea and Jeopardy, Emma Newman and Peter Newman

Galactic Suburbia Podcast and Tea and Jeopardy were not on either slate.

Adventures in SciFi Publishing was knowingly included in the slate and had Brad Torgenson and Larry Correia on the podcast to discuss Sad Puppies prior to the release of the Hugo nominees. That said, they seem to have done their best to prevent all sides of this and many other issues in the SF community. I’m going to give this podcast all due consideration.

Dungeon Crawlers Radio was included on both the Sad Puppies and Rabid Puppies slate, but I haven’t found anything regarding their views on the matter. Plus their podcast seems pretty cool. I’ll be listening to a sample.

Can’t find a thing on Jason Rennie’s views regarding The Sci Phi Show‘s inclusion, either. I will note that he put the podcast on hiatus earlier this year. He has promised to return, but hasn’t yet. Frankly, this makes me less likely to vote for it. but I’ll try an episode or two.

Best Fan Writer

Dave Freer
Amanda S. Green
Jeffro Johnson
Laura J. Mixon
Cedar Sanderson

Dave Freer called for people to put pressure on Tor and its parent company to discipline or otherwise ‘address’ Irene Gallo for her (admittedly inflammatory) personal comments against the S/RP slate. He also called for a boycott of any Tor author who was not either a Sad Puppy or speaking out against Tor’s inaction if they did not respond. This is the tip of the sword. I’ve been reading through his posts on the subject and find his strident defense of S/RP and his refusal to see the slates’ problems absolutely repugnant. So I’m refusing to consider him. I do not believe he has conducted himself well and I have little interest in handing him any accolades.

Incidentally, Freer is also part of the Mad Genius Club blog collective, which also includes Brad Torgenson, and the next nominee on the list, Amanda S. Green. Who wrote her own open letter to Tor, criticized them for keeping John Scalzi (a ‘straw man’) in their stable apparently based not on the artistic merit of his work but on his personal views, said much the same about N.K. Jemisin, and also called for a boycott. I also find her conduct repugnant and her association with Sad Puppy Central suspect. I will not be considering her for an award.

Jeffro Johnson writes for Castalia House and has been pretty goddamned outspoken against critics of the S/RP slates. He does not appear to have called for boycotts, however, which is a point in his favor. His obsession with File770 and his critics there puts me off, but I’m going to read his material in the voting packet and try to judge it on its merits. I will, however, note that he is just barely on the ‘will consider’ side of the line for me, as Freer and Green are just barely on the other side.

Laura J. Mixon was not on either slate.

Cedar Sanderson is associated with the Mad Genius Club, endorsed the Sad Puppies slate (even as she qualified her statement by urging voters to vote for the BEST works and use the slate as a guideline), and chose to highlight some posts by other writers seemingly calculated to piss off the left wing elements of fandom while endorsing the slate at large. I don’t really care for any of this.

Best Fan Artist

Ninni Aalto
Brad W. Foster
Elizabeth Leggett
Spring Schoenhuth
Steve Stiles

This category was not included in either slate.

The John W. Campbell Award for Best New Writer (not a Hugo but administered alongside the Hugos)

Wesley Chu
Jason Cordova
Kary English
Rolf Nelson
Eric S. Raymond

Wesley Chu was not on either slate.

Jason Cordova is affiliated with the Mad Genius Club, helped campaign for the Sad Puppy slate, and has been laying on some serious denial about what the slate actually entails. Some of his anger is justifiable. But I just can’t get past his involvement with core elements of the Sad Puppy effort. So I’m not going to consider him.

I already addressed Kary English above, but in short, I do not find her ties to S/RP deep enough or her personal views repugnant enough to strike her from consideration.

Rolf Nelson is a Castalia House author who participated in the call to boycott Tor. Frankly, I consider his nomination to be a direct result of Vox Day’s self-interest and tendency toward self-promotion. I am not going to consider his work.

I have not been able to find anything on Eric S. Raymond’s views regarding Sad/Rabid Puppies. While I do not find his libertarian politics repugnant (though I would certainly disagree), he, too, is a Castalia House author. I’m just not giving Vox Day the satisfaction.

*****

So that’s this year. What comes next?

Well, like I said: I’m going to buy a membership to every Worldcon moving forward, as long as I’m able, as early as I can, so I can participate in the nomination process. I’m going to recommend works and creators that I consider worthy of an award, for whatever good that will do. I’m going to share the recommendations of others. I’m not interested in slate voting. I’m not interested in agenda voting. I’m just interested in good SF. And I’m interested in not rewarding people who grab at political zeitgeists for their own gain, or who want me or mine to suffer.

Look, I agree with some elements of the Sad Puppy crowd on one thing: SF needs to be about optimism again. It needs to be about a brighter future, a better future. Our world sucks. We are murdering it. It may be too late to save it. But science fiction has inspired so much already. Isaac Asimov put it best:

Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today – but the core of science fiction, its essence, has become crucial to our salvation, if we are to be saved at all.

I love dystopian fiction as much as anyone. But I’m tired of washed-out grays and browns. I’m tired of oppression and depression. I’m tired of antiheroes and moral ambiguity and shellshock. I want to dream. I want to blast off. I want to soar into an infinite universe full of possibility. And I want the next generation, and every generation after, to dream just as freely.

It’s just that I reject any future that clings to racist, patriarchal standards, and I reject anyone who wants such a future. The world only spins forward. And it should only spin forward.

Twenty Years Of Teenagers With Attitude

In the summer of 1993, I was ten years old. A lot of my memories of that time have grown fuzzy over the years, but I still remember this pretty vividly: I was watching TV with my family when this commercial came on advertising a brand new show on Saturday mornings on Fox. I don’t think I was really watching Fox at the time. I was hooked on Saturday morning cartoons, of course, but I spent most of my time on the big three networks. This, though…this wasn’t a cartoon. This was a live action show about teenagers (or so they claimed; even then I thought these people looked older than the teens I knew) fighting space aliens, driving giant robots, and transforming themselves into an unprecedented fighting force known as the Mighty Morphin’ Power Rangers. It was like nothing I’d ever seen before, and I knew from the moment I saw that first ad that it was going to be pure unleaded awesome. I had to see this for myself.

The Dream Team

So, on Saturday, August 28th, 1993, I tuned in to Fox to see what this was all about. And it was pretty ridiculous, to be honest. I can’t really recall whether or not I thought so at the time. I know it wasn’t long before I realized my obsession with the show was really a little dorky, and the whole franchise was pretty damned silly. But that first episode, regardless of its flaws, was everything I’d been promised and more. It was a flight of fancy that sprawled across genres, touching on everything I was interested in. I was hooked from the moment I heard that pounding theme song. I still think it’s probably one of the best theme songs ever written. It’s just so perfectly suited to the show. Everything that followed – the spandex suits, the superheroic action, the giant goddamned robot/monster fights – was just icing on the cake.

I wasn’t the only one who thought so. Mighty Morphin’ Power Rangers was never intended to be anything more than a stopgap, a stepping stone to bigger and better things for children’s programming on Fox. It could be made on the cheap, using footage imported from Japan’s Super Sentai franchise combined with framing scenes shot in the US, but no one expected it to last. In a matter of weeks, however, its popularity exploded. The companies involved in producing the show (and the toy line) could scarcely keep up with the demand. When the cast made an appearance at Universal Studios, 35,000 people showed up, literally stopping traffic. The ratings would continue to soar until, two years later, this cheap little adaptation was turned into a brand new feature film. The franchise would never quite reach those heights again – Power Rangers has in fact been through several periods of decline, and has nearly been canceled three times – but it’s managed to survive countless cast and format changes, and now, with the twentieth anniversary upon us, the return of a number of adult fans to bolster the ranks of the fans that never left, and Saban and Bandai pulling out at least some of the stops to celebrate the show’s legacy, it’s even enjoying something of a resurgence.

This post isn’t meant to be a comprehensive history of Power Rangers, though. That’s Linkara’s job. Rather, with twenty years of giant robots, morphing sequences, and teenagers with attitude behind us, I want to spend some time reflecting on a question I get every so often: just why do I love this show so much? What, exactly, does it mean to me? I’ve never had a ready answer, really, and I’m not sure I have one now. But I can point to a few things.

I suppose it starts with the fact that the Power Rangers were my first superheroes. That’s probably not the literal truth – I grew up in a geeky family, surrounded by geeky friends, and I’m sure I was at least aware of Superman, Batman, Spider-Man and so on. But the Power Rangers are the first superheroes I remember following. Like all the best superheroes, they lived by a moral code. The core of it is spelled out in the first episode, Day of the Dumpster, after the Rangers accept their powers: never use your powers for personal gain, never escalate a battle unless forced to, and never reveal your secret identity. The rest of it emerged over time, and (the secret identity thing aside), it reinforced the lessons my parents were already teaching me. Together, they taught me to treat others with kindness and decency, to keep an open mind and never stop learning (and never, ever be ashamed of my hunger for knowledge), to use whatever power I might possess to help others, and to do these things not because they might benefit me (though I believe they have benefited me, in the long run), but because it’s simply the right thing to do. I don’t really consider myself all that heroic, or all that brave, really, but I’ve had my moments. And every time I’ve stood up for someone who couldn’t, every time I’ve found the courage to speak out, every time I’ve done something to make the world better, it’s because a part of me still looks at the world in front of me and asks what the Power Rangers would do. I have lots of heroes to look to these days, including more than a few actual people, but you never forget your first Doctor, you never forget your first Starfleet crew, and you never forget your first superheroes. With apologies to the Lone Gunmen, you don’t watch twenty years of Power Rangers without learning a little something about courage.

There were also characters I identified with very strongly. First and foremost was Billy Cranston, the resident nerd. I was a geeky kid. Scrawny, lanky, weak, withdrawn and bookish. I wore my heart on my sleeve, I wasn’t afraid to cry (or wasn’t strong enough to keep from crying, at least), and I preferred the company of girls. As I’ve said before, I was frequently bullied. So it meant a lot to me to see someone like Billy – someone like me – rise to the occasion and become a hero. He was loved, respected, and defended by his friends, and while he did learn to fight over time, to defend himself and others, his intelligence was still his true strength. Time after time, he applied his intellect to the Rangers’ latest problems, saving the day with a clever solution or a new invention. His love of science, of knowledge in general, was not just tolerated but admired. Of course, David Yost, who played Billy, wasn’t treated nearly so well – he’s spoken openly about the homophobic bullying he faced on set – but, as an adult, that just makes his story resonate on a personal level. Knowing that the man behind the Ranger I identified with most strongly was going through similar struggles with his identity and the reactions of those around him means more to me than I can say. I admire his strength and courage in building a life outside of Power Rangers, in finally breaking his silence and speaking out about the problems he faced, in embracing the fan community even after everything he went through, and in joining the ongoing fight for equality.

Then there was Kimberly Ann Hart. Kimberly never got the best lines or stunts; in TV Tropes parlance, she was most definitely The Chick. But she was everything I wished I could be. Outgoing, popular, graceful, friendly…and, though it took me a long time to put it into words, feminine. She was the girl I yearned to be. Maybe she needed to be rescued a little too often. Maybe she never really got to play the hero the way the other Rangers did. But she was still heroic, and at the same time, she was comfortable with herself and her feelings. Like me, she wore her heart on her sleeve. It wasn’t treated as a weakness. It was treated as a strength. Her compassion, her sensitivity, her love for her friends made her fight all the harder. Maybe she wasn’t the best fighter, but she was committed to the fight. And, like Billy, she was loved and respected by her friends for who she was. She didn’t have to pretend to be something else. In those days, though I didn’t yet realize it, I was spending all my time pretending, and I was honestly awful at it. Twenty years later – ten years since I began my transition – I’ve found my own style. I’m not Kimberly, and I never will be. I’m not much of a fighter, but I’m not that graceful or that girly, either. Even so, just as the Power Rangers were my first superheroes, Kimberly was my first heroine. My first role model.

My shrine to the Mighty Morphin’ Power Rangers. Still a work in progress.

Above all else, though, I love the Power Rangers because they represent hope. They don’t give up, even in the face of insurmountable odds. Even if they lose their powers, they’ll keep fighting. And they inspire the people around them to do the same. Linkara has spoken eloquently of the character arcs of Bulk and Skull, two characters who start out as cardboard bullies and comic relief and ultimately stand up as heroes in their own right. The Power Rangers and their friends represent a shining ideal: the radical idea that, with determination, compassion, unity and hope, we really can overcome anything. I’ve struggled my whole life with depression and despair, and I live in a world that is far from what I’d like it to be. But I maintain hope that we can solve our problems, that we can learn to live in peace and mutual respect, that we can face any dangers that may loom ahead of us. That comes from being a Trekkie, in part. It comes from all the science fiction I’ve read and some things friends and family have shown me. It comes from stories of real people committing acts of extraordinary kindness, compassion and courage. But it also comes, at least a little, from the Mighty Morphin’ Power Rangers.

Twenty years later, my beloved franchise is still, by and large, a dorky kids’ show. The quality varies widely from season to season. But I still find myself drawn in to every new episode of Power Rangers Megaforce, even if the dialogue and acting make me cringe now and then. I’m going to Power Morphicon next summer, and I absolutely cannot wait to spend a whole weekend surrounded by my fellow Rangers. One of my most treasured possessions is my Pink Mighty Morphin’ Power Ranger costume, and I plan to add the Yellow Megaforce Ranger as soon as I can. I still love the Power Rangers, and I suspect I always will, no matter how silly I look with my communicator replica and my Power Rangers ringtone when I’m old and gray.

So happy birthday, Power Rangers, and many happy returns. May the Power protect you. Always.

Next Week: The Random Fangirl Live!

I’ve been pretty quiet lately, mostly because I’ve been plugging away at the job search and working on various other projects. Among those projects, however, is a little talk I’ll be giving at Women in Games Boston next week. I already wrote up a description for WIG, so I’ll just repost it here:

In recent years, the transgender community has become increasingly visible, with singers, soldiers, journalists, game designers and more coming out as trans, and trans activists of all ages crusading for equal rights around the world. With numerous trans people involved in the geek and gaming communities, you may easily find yourself interacting with members of this diverse community as co-workers, employees and fans.

This month’s talk will offer a basic overview of transgender identity and a primer on preferred terminology (as well as a few words you should avoid like the plague) before explaining how you can help support your trans co-workers, how you can be the world’s best boss to trans employees, and how you can build trans-friendly and trans-inclusive games. We’ll also touch on games and blogs that can give you some insight into trans identity and the struggle trans people face every day before moving on to an extra-long Q&A to address any lingering questions.

Last I checked, there were still tickets available, and the event is free, so if you live in the Boston/Cambridge area and want to come see me speak, reserve your spot today. We’ll be downstairs at Tommy Doyle’s in Harvard Square from 7 to 10 pm next Tuesday, July 30th, and I’ll be going on at around 8. WIG Boston is a safe, open, accepting space that welcomes women and allies of all backgrounds, whatever their connection to the video game community (developers, students, journalists, fans, you name it), so as long as you conduct yourself according to the party policy, you’re more than welcome to attend.

Want me to speak at your event? Feel free to e-mail me at cassandra dot lease at gmail dot com and I’ll be happy to discuss the details.

Wicked Weekends: Man of Steel

All-Star Superman by Grant Morrison and Frank Quitely

My favorite version of Superman’s origin story comes from Grant Morrison and Frank Quitely’s All-Star Superman. It’s four sentences, eight words, with accompanying visuals: Doomed planet. Desperate scientists. Last hope. Kindly couple. That’s it. And we’re off.

I’ve gone on record as saying that I don’t see the point in origin stories, at least not where the legends of our time are concerned. We don’t start every new series of Sherlock Holmes movies by recounting how Holmes and Watson came to live and work together at 221B Baker Street. We don’t completely reboot James Bond with each new actor who steps into that venerable role. As much as I love Batman Begins, we know the story by cultural osmosis. It, too, can be distilled into a few words: Happy family. Unspeakable loss. Years wandering. New purpose. Or Spider-Man: Spider bite. Wasted power. Fallen mentor. Great responsibility.

So we know Superman’s story. The last survivor of an alien race, he was sent to Earth as an infant, where he was adopted by kindly farmers, protected and raised with their values. Imbued with great powers through his exposure to our yellow sun, he now fights a never-ending battle for truth, justice, and the American way.

Man of Steel is an origin story. There’s no getting around that. It’s a reboot for the Superman film franchise, taking up the torch from the classic movies starring Christopher Reeve and the cinematic saga that came to a close with the rather tepid spiritual sequel Superman Returns. I’m not sure we needed that reboot. I’m not sure we needed to be told this story again. As a rule, I would rather see the origins of these characters taken as read, so we can just get on with new tales. But it was an enjoyable, faithful, and thought-provoking ride nonetheless.

Yes, thank you, Zack Snyder. GET ON WITH IT!

As sentient beings, painfully aware of our mortality and our ultimate insignificance in the face of eternity, we have been haunted throughout our existence with the same questions: are we alone? Is there something out there greater than ourselves? Do we need to be saved – from ourselves, from forces we cannot control, from forces we cannot yet comprehend or perceive – and, if so, will we be saved? And, above all, are we worthy of salvation? Superman represents a potential answer. Above all else, Superman represents hope that, yes, there is something more out there, a great and benevolent force that sees the good in humanity and will act to protect it. The parallels to religious doctrine, and particular to Christianity, are obvious. It is not surprising that Man of Steel grapples with those questions and draws those parallels, showing human beings at their best and their worst, and depicting Clark Kent’s struggle to find his role relative to our planet and our people in the face of all our complexity and contradiction. The movie’s failures are similarly complex and contradictory: it either goes too far in pursuit of these themes, or not far enough. The Christ imagery is heavy-handed and scarcely worthy of the name ‘metaphor’: Clark is 33 years old when he’s thrust before humanity and compelled to sacrifice himself for all mankind. He has a conversation about whether or not he should sacrifice himself, whether or not it’s the right thing to do, in a church, with a priest, while sitting in front of a giant stained glass window depicting Jesus Christ. At one point he drops through the sky while extending his arms in a Christlike pose. Yes. We get it. (In fact, it appears that Warner Bros. is aggressively marketing the film to Christian churches. I’m not sure what to think about that.)

At the same time, the movie fails to really hammer its points about humanity home. At one point, we see Clark confront a trucker harassing a waitress, backing down when it’s clear that the confrontation will only end in violence – Clark isn’t prepared to use force in this situation, even if the guy is an asshole. Later the trucker walks out of the restaurant to find his rig completely totaled, impaled on multiple telephone poles in an act of destruction and petty revenge that hardly seems in keeping with Superman’s sense of morality and self-control. Maybe the point is that Clark hasn’t quite become Superman yet – and it’s true, he hasn’t – but while the visual was good for a quick laugh, it didn’t feel quite right, somehow. Later, during a vicious attack on Metropolis, we see a Daily Planet intern trapped under some debris, and Perry White, as well as another Planet employee, stay with her even in the face of certain destruction. It’s a sweet moment, but lacks the punch of, say, multiple citizens working together to free her, racing against time, saving the day even without powers.

As for the Kryptonian side of the equation, the situation is similarly muddled. Jor-El’s plans for his son, the last survivor of Krypton, are unclear. In the movie’s story, Clark’s cells have been imbued with the information contained within the Codex, a Kryptonian artifact holding the genetic code for all of Krypton’s future citizens – Krypton now relies on artificial reproduction, you see, and each citizen is born to fulfill a specific role. Clark, as Kal-El, is the first natural-born child of Krypton in centuries, and though Jor-El and Lara clearly care for him, he seems to be an experiment as much as a child to Jor-El, a test of the value of free will. The movie’s antagonist, General Zod, wants to use the Codex in conjunction with recovered Kryptonian technology to turn Earth into a new Krypton, exterminating the human race and breeding new generations of Kryptonians. Jor-El, brought to Earth in Clark’s capsule in the form of an AI, finally confesses his own plan when pressed, claiming that he hoped Clark would eventually use the information contained within the Codex to recreate the Kryptonian race as equals to mankind, and Clark himself, familiar with both Earth and Krypton, would act as a bridge between the two peoples. An ambitious and worthy goal, to be sure, but considering that the Codex is designed to produce Kryptonians only for specific roles, it’s not entirely clear to me how ‘New Krypton’ would be any better than the old one. It’s also not clear to me how the Kryptonians lack free will to begin with. Certainly Jor-El was able to break whatever genetic programming he had to deal with and act in open defiance of the laws and traditions of his people.

Laurence Fishburne and Amy Adams as Perry White and Lois Lane

Still, despite the muddled plot, heavy-handed imagery and occasional lack of conviction, the movie is a lot of fun to watch, and it does shine in several respects. The cast as a whole is solid. Henry Cavill is an excellent Superman, and Amy Adams is fantastic as a 21st-century Lois Lane. She may not be the fast-talking, nickname-tossing, old-school reporter we all know and love, but she’s a bright, clever, determined woman, a skilled investigator, and a dedicated journalist who only stops chasing the man who will become Superman when the potential consequences of her actions become clear. Despite her decision to abandon the story, she’s pulled into Superman’s life again and becomes integral to the fight against Zod. Though she does indeed form a romantic connection with Superman by the end of the story, it feels fairly natural after everything they’ve been through. The movie adds a new wrinkle to the classic story of Clark/Lois/Superman by introducing Clark Kent as we know him (reporter for the Daily Planet and mild-mannered secret identity for the all-powerful Superman) only at the end of the film, after Lois has already tracked down the mysterious ‘guardian angel’ who keeps appearing out of nowhere and saving lives all over the world and stood alongside Superman in both Smallville and Metropolis. In the Man of Steel universe, the Clark/Superman/Lois love triangle simply does not exist. Lois knows his identity from the start. And frankly, as much fun as that triangle can be, it’s been overused and I’m quite glad to see it dismissed completely in this iteration of the Superman mythology. Basically, I love this version of Lois almost as much as I love Dana Delany‘s version from the old animated series, and the movie is practically worth seeing for her alone.

Similarly, Laurence Fishburne is a Perry White for our time. He may not chomp cigars and shout “Great Caesar’s Ghost!” at the drop of a hat, but he’s a perfect foil for Lois, a caring and dedicated boss who isn’t fooled by her shenanigans but quietly supports her in her crusade for the truth nonetheless. Richard Schiff has a small but memorable role as long-time Superman ally Dr. Emil Hamilton. (Amusingly, Alessandro Juliani, who played Dr. Emil Hamilton in the ninth and tenth seasons of Smallville, also has a small role in the film.) Christopher Meloni doesn’t get a lot of screen time, either, but he makes what little he does get count, particularly as the film reaches its climax. And Michael Shannon chews the scenery a bit as Zod, but, well, it’s General Zod, so I can forgive that.

Jor-El on Krypton

Last, but far from least, the movie does not skimp on the eye candy. The Krypton of Man of Steel puts one in mind of Time Lords and New Gods and the Asgard of the Thor movie, with ships and robots and suits of armor that reshape themselves at a thought, impossible architecture, gorgeous vistas, and ridiculous hats to spare. The ideas of John Byrne’s seminal post-Crisis reboot (also titled, in fact, The Man of Steel), are combined with modern cinematic sensibilities into something genuinely beautiful. The powers of the Kryptonians on Earth – their strength, speed, enhanced perception, heat vision and flight – are depicted in ways that, if not precisely revolutionary, are nevertheless decently realistic and fun to watch. The set designers and effects artist have even thrown in a few ‘blink and you’ll miss it’ cameos to reward sharp-eyed fans – notably Lexcorp and WayneTech logos on key props and set pieces.

All things considered, Man of Steel is not a perfect film, nor is it my favorite version of the Superman myth. But it’s a solid film, well-made and a hell of a lot of fun, and it’s saved by stunning visual effects and a charming and talented cast. I can’t wait for the sequel.

Superman Rating: 4 out of 5 capes. Super.

General Film Rating: 7 out of 10. Well worth seeing in theaters, but not the best movie you’ll see all year.

The Ranting Fangirl: Women’s Space. Some Restrictions May Apply.

The concept of women’s space is a recurring theme in trans circles: what it means, who should be included, who (if anyone) shouldn’t be included, and whether it’s okay for our allies to respect, support and/or actively participate in those women’s spaces that include some women (generally cisgender women) while excluding others (generally transgender women). I personally value inclusion, and fundamentally believe that women’s spaces should include anyone who identifies as a woman. This can get tricky where those who do not identify with the gender binary are concerned, of course, though my gut tells me that genderqueer or non-gendered people should absolutely be included in women’s spaces if they want to be. I would also extend that principle of inclusion to trans women who have not yet begun their transition or altered their outward appearance, but nevertheless identify as women, and to trans men who may still face women’s issues (i.e., sexism based on being ‘read’ as the gender they were assigned at birth, and so forth). This is because I’m basically that girl from Mean Girls who wishes she could bake a cake filled with rainbows and smiles and everyone would eat it and be happy.

But there’s always someone waiting to point out that I don’t even go there, or rather, that I don’t belong there, for one reason or another. I have been fortunate to find women’s groups and women’s spaces that were happy to include me, from my college’s student feminist club (which has undergone some name changes, I believe, since my time there; when I was a student, it was Womyn’s Action Group, and I actually helped design our t-shirt for Take Back The Night one year) to the Boston Dyke March (which is explicitly inclusive and trans-friendly) to Women in Games Boston (which welcomes male allies, so it’s not strictly women’s space, but it is safe space designed for women) to the annual ladies’ brunch/girls’ meetup at PAX East. That’s partly down to luck, and partly down to conscious efforts on my part to avoid places where I would not be welcome. I’m a bit of a coward, really. I don’t like confrontation, and I have to force myself to speak out at all – that’s partly why I retreated into ‘stealth mode’ for so long and refused to discuss my trans status at all. So, as a rule, if I’m unsure about any given group’s policies, I politely inquire as to whether or not I’m welcome, and if I’m not, I’ll generally stay away. And if everything happened in a vacuum, I suppose that would be the end of it.

Spoiler alert: nothing happens in a vacuum.

Everything comes with a bright, shiny context all its own. And so, whether it’s the recurring controversy around the Michigan Womyn’s Music Festival (or MichFest), the trans-exclusive Dianic rituals held at PantheaCon in 2011 and 2012 (though it appears that there was not a similar ritual this year, or if there was, it was not listed in the program guide), or the debate over whether or not trans women should be admitted to women’s colleges, or the RadFem 2013 conference over in the UK, these issues keep cropping up again and again. Everyone, in my view, has the right to free assembly and association. Everyone should be welcome to gather in any kind of group they want. But when you exclude people, there are consequences, and there should be. And here’s why.

Trans-exclusive events should not be held in public venues. This is why I don’t really have a problem with MichFest in principle, though I do have problems with it in practice. MichFest is held on privately-owned land, and it is organized by a specific group of people with a specific intention. Their trans-exclusive policy is fairly well established and well known by now, though it was not always so. Now, because they sell admission fairly freely, MichFest may technically qualify as a public accommodation (remember that phrase, we’ll get back to it), and I do believe, as a rule, that trans people should have equal access to all public accommodations under the law. If that became national law tomorrow, then I don’t know how the festival would change, though I’m confident that the organizers could find a way to keep going with the trans-exclusive policy intact if they so desired. I’m not a lawyer, but there are lots of organizations and events that have managed to keep going despite policies that explicitly exclude an entire class of people, so I have to believe there are loopholes to spare.

On the other hand, you have Z Budapest’s rituals at PantheaCon. I am absolutely for freedom of religion, and I rarely feel the need to step into anyone else’s rituals, particularly when I’m not wanted. My own religion is, as I’ve said, a very private thing, though I do consider myself part of the pagan community and I have taken part in open rituals in the past. I do not believe, however, that it is appropriate to exclude an entire class of people from a programmed event at a convention open to a diverse population of attendees (as opposed to, say, a convention that is only open to women, trans women excluded – but I’ll get to that). I do not believe it is appropriate to advertise a ritual that celebrates women in their infinite diversity and then exclude trans people – certainly not without explicitly saying so in the event description. I would personally never do anything of the sort at a convention. I have organized events targeted at specific groups during conventions, but I have always chosen to hold them off site, and I have never sought to list them in a convention program. I could not find any similar events in the PantheaCon 2013 program offhand, and I sincerely hope that the PantheaCon community has reached a similar conclusion: attendees are free to hold private parties or rituals in their suites and invite whomever they like, but the con cannot put its stamp of approval on exclusive events. However, I have not yet had the opportunity to join the PantheaCon community (though I would like to, when money and time allows) and cannot speak to that particular matter.

As for RadFem 2013. Conventions are by their very nature exclusive events, and while I find the conference policies and the viewpoints of many of the participants repugnant, they were at least clear about their rules and their intentions. However, after assorted messages of protest, the venue they had chosen reviewed those same policies and the rhetoric surrounding them, found them troubling, and told the organizers that the conference was no longer welcome there. The venue’s operators were well within their rights to do so. We reap what we sow. The conference’s proponents have tried to claim that men’s rights activists and trans activists colluded to get them thrown out (never mind that men’s rights activists tend not to like trans people very much, either, and the feeling tends to be mutual…though I suppose that hasn’t stopped certain ugly elements of the feminist movement from working with certain ugly elements of the religious right when it suited them), but it’s fairly clear from the statement issued by the venue that the protests merely caught their interest, and it was the trans-exclusive politics surrounding RadFem 2013 that got them booted.

Trans-exclusive policies attract and encourage transphobia and naked bigotry, particularly when challenged. The rhetoric surrounding these events is absolutely repugnant. I know, or I would like to believe, that the most vocal, most obviously bigoted defenders of trans-exclusive policies are in the minority, and there’s a much more reasonable majority that simply hasn’t been moved to speak. But we don’t excuse men for their failure to stand up to misogyny, even if they themselves aren’t actively misogynistic. We don’t excuse heterosexual people for their failure to stand up to homophobia, to so much as say ‘hey, that’s not cool,’ even if they’re not throwing around slurs. And we should not exclude cisgender people for their failure to confront transphobia and naked bigotry. It is not enough to maintain an uncomfortable silence. It is not enough to believe, in your heart, that whether or not trans women belong in women’s spaces, they still deserve respect. All that is required for evil to triumph is for good people to do nothing.

I have seen defenders of MichFest, RadFem 2013, and other trans-exclusive events throw slurs around like they’re snowballs on a schoolyard. I have seen them say deliberately hurtful things which not only deny the identities of trans people, but our very humanity. I have seen minor incidents like glitterbombing (immature, but ultimately harmless) or a little ink from a marker smeared on someone’s skin blown entirely out of proportion, characterized in some cases as the acts of extremists or even outright assault. I have seen trans people accused of hideous crimes with no justification. I even vividly recall one particularly horrible anti-trans bigot questioning whether a horrific car accident in which lives were lost might not have been a terrorist act committed by trans activists – a baseless accusation, to say the least, and if anyone had been explicitly named as a ‘suspect,’ it might well have qualified as libel.

When the Indigo Girls decided that this year’s MichFest would mark their final performance at the festival until the trans-exclusive policy changed, and announced that they would campaign for trans inclusion during their time on stage, they and the trans community at large were met with ugliness that still hasn’t entirely abated. This for voicing an opinion, and exercising their right to choose where they will and will not perform. Some of the rhetoric put me in mind of the controversy surrounding the Dixie Chicks when they openly criticized President George W. Bush a few years ago. There, too, artists were told that their opinions were offensive, that no one wanted to hear them. Shall the Indigo Girls shut up and sing as well?

I do not believe that going to MichFest, as an attendee or as a performer, necessarily makes anyone a transphobic bigot or a bad person. But, given the negativity surrounding the event, the ugly and sometimes terrifying rhetoric of those who defend its policies, I do look askance at those who go to MichFest without questioning or even thinking about its policy of trans exclusion. I do feel that participation in the event can be a slap in the face to the trans community. And I think the event is irrevocably tainted, at this point, by an aura of bigotry and negativity. If the policy changed tomorrow, I don’t think I’d go. I wouldn’t feel safe there.

And that aura of negativity leads me to say this, too. The Indigo Girls made, or at least announced, their decision regarding MichFest in the wake of a petition asking a number of MichFest performers to reconsider their participation in the event. One of the other artists named in the petition asked for her name to be removed because she didn’t want it affected by the negative energy surrounding the issue – but unlike the Indigo Girls, she plans to continue supporting the event. I am honoring her request to leave her name out of this, but respectfully, I think that if you want to avoid negative energy, you should avoid participating in events rooted in exclusion and surrounded by bigotry and fear.

Trans women are women. There are two arguments that those in favor of trans exclusion love to trot out when explaining why we shouldn’t be a part of women’s spaces. First, there is the privilege argument – the idea that trans women still carry male privilege, behave in typically male ways, and have not faced sexism. Second, there is the socialization argument – trans women were not raised and socialized as women, and so do not fully understand women’s experience.

The privilege argument is ridiculous on the face of it. As a trans woman, I am not a member of the boys’ club. Truthfully, I never was – even when I outwardly presented as male, I was considered a wimp, a sissy, or not really a boy in any number of ways. Certainly I never felt like one. I am viewed either as a woman or a freak. Neither position is privileged. When I began my transition and chose to present as my true self, I surrendered my male privilege, my straight privilege and my cis privilege (which, I assure you, does exist: cis people don’t have to worry about being assaulted for choosing the ‘wrong’ bathroom, for example, or losing their job if they’re ‘read’ as the gender they’re assigned at birth rather than the gender that agrees with their identity and presentation). I promise you, I’m either treated the same as any other woman, or I’m treated like shit for ‘trying’ to be one.

As for typically male behavior? Wow, that’s a fuzzy line, isn’t it? And it sure seems like I can’t win for losing. If I’m outspoken, I’m dominating the conversation, which means I’m not really a woman. If I’m quiet, shy and soft-spoken, I’m behaving according to female stereotypes, which means my gender expression is all artifice and I’m not really a woman. If I’m open about being trans, then I’m not even trying to ‘pass’ as a real woman. If I stay in stealth, then I’m a wicked, horrible deceiver. If I date men, then I’m some kind of artificial woman designed to replace real women and destroy feminism. If I date women (as I strongly prefer to do), then I’m a faux lesbian just trying to get in innocent women’s pants, and really, what is the point of this whole gender identity thing anyway, right? (Never mind that gender identity and expression are not necessarily linked to sexual orientation, or that I prefer to date bisexual women in a desperate effort to avoid offending sensibilities – it doesn’t always work, and plenty of women who identify as gay would be fine with me, but like I said, I don’t like confrontation.) I am who I am: the quiet, shy wallflower who gets really excited and talkative once she’s comfortable with you or you’ve got her on a subject she’s passionate about. The geek girl who can’t get enough baby doll tees, adores Victorian and steampunk styles, and loves to cosplay, but spends most of her days in jeans and glasses, with little to no makeup on, to the point where people express open shock when she shows up in a skirt or a sundress. The trans activist who would really prefer not to have to discuss any of these things, but feels a moral compulsion to do so. The lesbian feminist Amazon who doesn’t quite fit into everyone’s definition of any of those groups.

I don’t know if my behavior is typically male or typically female. I think the range of human personalities is so broad that you can’t really define those traits without resorting to stereotypes, and isn’t feminism about rising above stereotypes? I’m tired of walking this tightrope. No one should have to do it. I am myself. But for the record? I’m rarely read. Even with my horrible, awful voice, which I absolutely hate. So I’ve got that going for me. Which is nice.

Then there’s socialization. This much is true: most trans women were not raised as girls. This is beginning to change, to some degree, as trans children begin to reject their assigned genders at younger and younger ages, and with the help of accepting parents, begin the journey to their true selves in childhood. But I, for example, did not begin my transition until I was nearly 20 years old. I had a very strong sense of my gender identity and preferred gender expression from a young age, mind. I always preferred the company of girls. I begged my mother to let me go out for Halloween as Babs Bunny (we ultimately compromised on Buster; I remember her outright refusing to let me go out as Babs, while she, the last time we discussed it, thought I’d simply changed my mind), I was insanely jealous of my little sister’s American Girl doll (though she had Kirsten, and I wanted Samantha), I campaigned for years for a doll of my own (and eventually got a Princess Jasmine doll, just as I was growing out of them), and so on. My mother, a feminist in her own right, involved both me and my sister in baking, cleaning and various chores. I was bombarded by the same media images, and even before I had a word for what I was, I knew I wanted to be like the girls and the women, not the boys and the men. Funny thing: I never even quite got the hang of peeing standing up. I just wouldn’t or couldn’t do it. I told my mother at the age of twelve, just when I’d learned that there was such a thing as sex change operations, that I wanted one, that I thought I was meant to be a girl. (She got very quiet; later, when I asked her about it as an adult, she didn’t remember it at all, though she was very supportive when I did actually begin my transition.) And I spent night after night praying at my bedside, begging God to make me a girl.

It wasn’t a typical girl’s childhood, no. Maybe it wasn’t a typical trans woman’s childhood, not entirely. My parents resisted some things, but I was never forced into explicitly masculine pursuits, and I was encouraged to express myself. The thing is that I’m not sure I believe there’s any such thing as a typical childhood. We start in so many different places, in so many different ways. We all have different experiences. But even if we assume that there are childhood experiences that those raised as girls will always have, and those raised as boys never will…does it matter? We socialize as women now. Assuming we are accepted as women, we have to deal with many of the same issues of sexism and harassment. And where our experiences differ, we can still be allies, just as those women who have never experienced abuse can still support those who have, or those women who have never felt attracted to other women can support their lesbian friends. I still find it helpful to get away from a society dominated by straight white Christian men and seek the company of other women from time to time. In my experience, my presence does not in and of itself destroy the sanctity of women’s space. I’ve never tried to insert myself where I’m not wanted, of course. But I do feel that you get out what you put in. If you bring bigotry, fear and anger to a space we share, you’re bound to have a bad experience. If you come in the spirit of friendship and compassion, you’re likely to have a better one. I do not believe the mere presence of a trans woman is a pox upon women’s spaces, and I do believe that we need them just as badly.

At least some of this is a load of hypocritical bull. Consider, if you will, the currently ongoing exclusion of trans women from Smith College and other women’s institutions. Yes, yes, socialization, privilege, please see above. As I said, I believe that trans women can benefit from women’s spaces just as much as cis women can, and I do not believe that our presence will ruin everything and destroy feminism forever. Here’s the thing, though: many of these women’s colleges are perfectly all right with the presence of transitioning trans men on their campus. So we’re talking about institutions that exclude an entire class of women, but welcome students who explicitly identify as men. Regardless of what you think about trans women at women’s colleges, doesn’t that seem like hypocrisy?

Now, I don’t want to see trans men kicked out of school, whether or not trans women are allowed, particularly if they started their transitions during their college careers. I started my transition at the end of my freshmen year. I know how hard it can be to do that under the best of circumstances. Forcing students to drop out or transfer doesn’t feel right to me, either. But I do think that policy carries some ugly implications. It implies that biology is destiny – that it’s all that matters – which is directly contrary to the ideals of feminism. It calls trans men’s manhood into question as much as it questions trans women’s womanhood. And it feeds into the mistaken notion that trans men really are ‘still’ women, that they’re just an extreme form of butch identity or some such.

Above all else, I simply believe that students’ gender identities should be respected, and that their needs merit close consideration. It’s true that our government tends to be less than enlightened with regard to gender identity, and it’s possible that women’s institutions could face legal trouble, at least in some jurisdictions, for admitting students who were assigned male at birth. In that case, I absolutely believe the law should be changed. There should be stronger protections against discrimination on the basis of gender identity and expression nationwide, and I concede that these schools’ policies probably shouldn’t change until those protections are in place. But that change needs to happen, and those who sit idly by cannot be excused for their ignorance or their inaction.

All of this trickles down. Lastly, I’d like to talk to you about public accommodations. Public accommodations cover a wide variety of businesses and public facilities, from theaters to restaurants to restrooms. My home state, Massachusetts, passed a law some time ago which prohibits discrimination on the basis of gender identity in employment, education, and housing. This law very explicitly excludes public accommodations, and it does so thanks to rhetoric familiar to pretty much any educated trans person: the Bathroom Bill meme.

The idea behind the Bathroom Bill meme is that we as a society cannot afford to let people use the restrooms associated with their gender identity and presentation. After all, a man could just dress up as a woman, claim to be trans, and go into the ladies’ room, where he would be free to peep and install spy cameras and God knows what else! Besides, trans people should just use the toilets corresponding to their genitals. It doesn’t matter that toilets are unisex by design (urinals are not, sure, but only men’s restrooms have them and no one is required to use them), or that most public restrooms are either single occupancy (usually with locking doors) or have toilets inside stalls (also generally with locking doors). It doesn’t matter that we have laws against voyeurism and sexual assault that could be used to prosecute anyone who went into a restroom with malevolent intentions, regardless of their assigned sex or gender identity. It’s a shame, really, but think of the children. A lot of those trans people are perverts anyway.

I bring this up because it did in fact come up at a public dialogue on trans inclusion that I attended at Simmons College some years ago. One of the women in the audience stood up to proclaim that she would not be comfortable seeing a trans woman in the women’s restroom, though, when asked, she admitted that she wouldn’t feel comfortable seeing a trans man in the women’s restroom, either. While the Bathroom Bill meme is often invoked by conservative (or simply transphobic) politicians, it also comes up in the discussion surrounding women’s spaces. And, once again, we can’t win for losing. Trans people have been arrested for choosing the restrooms that agree with our gender identity, to be sure, but we’ve also been arrested for choosing the restrooms that agree with our assigned sex at birth. If I’m ‘read’ in the women’s restroom, depending on exactly where I am, I could be arrested. Or I could simply be harassed, or assaulted. If I go into the men’s restroom, on the other hand, the very best I can hope for is surprise; harassment, assault or worse could swiftly follow. The only absolutely safe choices are unisex restrooms, but not all places have them, and when they are present, they’re often intended as handicapped or family restrooms, and I don’t want to use a facility that someone else might genuinely need.

So I use the women’s restroom. Because this all comes down to unjustified fear which has been fed deliberately through naked bigotry by people who, ultimately, just don’t like trans people, and prefer to believe the absolute worst of us. Because, as bad as things could get for me in the women’s restroom, I’m quite sure they could get much, much worse in the men’s room. Because I present myself as a woman and am generally seen as such, and only rarely ‘read,’ so the risk to my personal safety is much greater in the men’s room. I’m fortunate to spend most of my time in what we call ‘protected jurisdictions’ – cities and towns where municipal laws offer greater protection to trans people, often including access to public accommodations. But there are places, even in my home state, where I could be arrested just for using the restroom where I’m not as likely to attract attention, where I’m not as likely to face harassment and violence.

That is what exclusion does. It leaves people on the outside. And the outside is a scary, horrible, dangerous place to be.

I face discrimination, naked bigotry, assault and worse every day because of my womanhood. My experiences are not always identical to those of other women. I have concerns that other women may not share, and other women have concerns that I may not share. But I think this is true of any two women you might choose to compare, not just trans women and cis women. My mother always believed in the value of community, and she taught me by example. Time and again, I saw her join with other like-minded people in common cause, whether they were feminists, homeschoolers, or activists of any kind. Our similarities are more important than our differences, and we are stronger together. There should be room in women’s space for all of us.

The Darkness That Claims Us

TRIGGER WARNING: discussion of suicide, violence, transphobia, depression and forced outing.

Let me start, selfishly, by saying that this is not the post I wanted to write.

I’ve been away for a while. You may have heard about this little game I worked on. I was absolutely swamped with testing duties for a few months, and then the project wound down and I was let go (in keeping with the cycle of game development), and somehow I still ended up with more on my plate than I expected. I’d been thinking, over the last week, about writing about trans issues again; it seemed especially relevant because I’m preparing to give a talk at Women in Games Boston in July on the subject of treating trans people with respect, and because the whole Michigan Womyn’s Music Festival controversy recently flared up once more, leaving me with all kinds of thoughts and feelings. So my triumphant return to blogging was going to be a Ranting Fangirl post on women’s space and trans inclusion and letting me pee in peace, for the love of God, in a bathroom where I won’t be harassed and insulted and…this is not that post. It’s not a Ranting Fangirl post, either. I suppose it technically qualifies, but it didn’t feel right to slot this into my own silly little categories.

Last night, my friend Amy pinged me on Steam to ask me what I thought about ‘that IndieGoGo thing’. And that was how I first heard about Chloe Sagal.

That link goes to Quinnae Moongazer’s post on the subject, which you should read. Quinnae explains the facts of the situation well and says a lot of stuff that I largely agree with – enough that I initially thought this post would be redundant. Maybe it is. Still, I’m moved to speak.

If you’re really not going to read that post, then the basic facts are these: Chloe Sagal is an independent game developer most famous for the game Homesick, which is available for free. Recently, she launched a campaign on IndieGoGo seeking to raise funds for, as she claimed, medically necessary surgery to prevent potentially lethal metal poisoning. The campaign was canceled by IndieGoGo after she’d raised $35,000, and all the donations were refunded. Afterward, in the face of transphobic abuse from at least some commentators, Sagal posted a link to a Twitch.tv channel where she attempted suicide. Emergency services came to her aid, and she’s reportedly in the hospital recovering.

Following Sagal’s suicide attempt, Allistair Pinsof, who had covered her IndieGoGo campaign on Destructoid, published statements on Twitter and TwitLonger claiming that Sagal had misrepresented herself and her goals for the IndieGoGo campaign, and that she was actually trying to raise funds for genital reconstruction surgery, (or sex reassignment surgery, or SRS). He further stated that he had agreed to conceal that information following a previous suicide attempt on Sagal’s part as well as threats that she would try again if he revealed the truth. After hearing that Sagal had in fact attempted suicide again, survived, and been hospitalized, Pinsof felt empowered to share all the information he had. He did this in direct violation of Destructoid’s social media policy and the instructions he had been given by the site’s staff. In doing so, he forcibly outed Sagal as a trans woman to the entire world.

I hesitate to spread this information any further. I don’t like airing anyone’s dirty laundry. But frankly, it’s already out there. The damage has been done. Allistair Pinsof has caused grave, irreparable harm to Chloe Sagal and, as a secondary consideration, to his own career. He’s been suspended without pay from Destructoid, his staff access has been frozen, and they’re currently investigating the matter and deciding whether or not they will allow him back. Chloe Sagal is in a hospital somewhere, and I can only hope she’s getting the help she needs, though Pinsof claims she complained of mistreatment the last time she was in the hospital. When she returns, it will be to a web full of strangers talking about her. Some will be sympathetic. Many, too many, will be hostile, to varying degrees. Already, if you search for Chloe Sagal on Google, even if you add the title of her game, Homesick, many of the first results lead you to articles about the IndieGoGo campaign, about the scandal and controversy that has erupted as a result, about how she lied and deceived people into showing her sympathy and human kindness. I hesitate to add to the noise. But I find I can’t stay silent.

I don’t know Chloe Sagal. We have never met. I haven’t even played Homesick, though I’m going to have to fix that. I confess that I would never have heard about this situation at all if Amy hadn’t told me about it. I’m not as into the indie game scene as I should be, I don’t follow most gaming news sites, there just aren’t enough hours in the day. But here’s what I think, and feel, and I apologize if it’s all a little disconnected.

First: you never, ever, ever out someone without their consent. I’ve had it done to me more than once. Sometimes it was done with the best of intentions. Sometimes it was done with deliberate malice. It was awful, every single time. I wasn’t always as open about my history as I am now, and I still feel the impulse to run and hide sometimes. In the last couple of years, I have made a conscious choice to speak openly about this part of my life. Nevertheless, I don’t want to be outed to random people. I don’t go around wearing a neon sign that says TRANSSEXUAL. I don’t bring it up in job interviews or casual social situations if I can help it. I discuss it if and when it becomes relevant, or when I feel comfortable speaking about it, and otherwise I leave it alone. Because, simply put, trans people are among the last acceptable targets. We can be mocked and abused with relative impunity. Discrimination laws often fail to protect us fully, or protect us at all, even in states with comprehensive gay rights legislation. In the wrong time, in the wrong place, being trans could get me fired. It could get me thrown out of any business or organization you care to name. I could be assaulted. I could be killed. I am lucky to live in a state where, by and large, trans people are protected under the law, though that law excludes public accommodations (including public restrooms, restaurants, and movie theaters, among other places). I am lucky to spend most of my time in cities like Boston and Cambridge, where municipal legislation provides greater protections. And, as I said, I have chosen to be open about all this, to say it all on the web where a cursory Google search for my name could give the whole game away. It’s still not okay to out me to anyone without my consent. I may not be comfortable revealing that information in all circumstances. You may think that you have my implied permission to out me, based on a talk I gave or I post you read, but you would be mistaken. You need my direct permission. And you need it every time. To out me without my knowledge or express consent is rude at the least and life-threatening at the worst.

And in the case of Chloe Sagal, whose trans status may not have been so widely known (though it does seem she was at least somewhat open about it), and who was already struggling with suicidal depression, it’s unconscionable.

Second: yes, Sagal lied about the precise nature of the medically necessary surgery she needed. But make no mistake: SRS is medically necessary surgery. It is the recommended course of treatment for transsexuals like Sagal and like me. Not every trans person feels the need to get it; some are comfortable between genders, or are fine without the surgery as long as they can present themselves as the gender they identify with. But in my case, I want it, and I need it, and it’s obvious that Sagal does, too. I’ve managed to get along without it, for the time being, while I try to find some stability in my life and carve out a path to completing my transition. Not everyone is capable of that. And thanks to a concerted campaign by people who had no business interfering in the first place, most HMOs don’t cover SRS or any transition-related medical care. This is beginning to change, but only gradually. If you don’t have insurance at all, you’re pretty much screwed. When you factor in all the costs involved, SRS basically costs as much as a car (either new or used, depending on where exactly you get it). It’s true that the body alone is capable of surviving without SRS, but the cognitive dissonance is so overpowering that the stress alone can cause complications, and suicidal depression can result. As it did in Sagal’s case, and as it could have done in mine. Saying ‘well, you can survive without SRS’ is so true-yet-inaccurate that you might as well start with the assumption that we’re all frictionless spheres floating in a vacuum.

Let’s discuss depression for a moment, actually, because depression is another condition that people consider largely psychological even though it can involve physical medical treatment. As some of my friends know, I suffer from chronic depression. For the last few years, I’ve taken medication to treat it – specifically Celexa. I tried seeing therapists, but I found that therapy alone wasn’t effective. Celexa allows me to manage my condition. Without Celexa, I’m not necessarily in a horrible state of mind all the time, but I can fall into profoundly bleak depressive episodes that leave me seriously contemplating suicide or self-harm. In the grips of these episodes, I have acted irrationally. I have threatened to hurt myself. I have attempted to hurt myself. I’m lucky to have survived, and fortunately I was inept enough in my previous attempts at suicide that I didn’t cause any lasting damage.

With Celexa, my moods even out. It’s not that I never feel sad or depressed on Celexa – I do. But the depression doesn’t run as deep. Instead of feeling suicidal, I feel sad, or angry, or bored, or restless. My extended depressive episodes become bouts of ennui, and they don’t generally last as long without outside stressors. It’s unpleasant, to be sure, but it’s manageable.

So many people think depression is all in the brain. And that’s another true-yet-inaccurate statement, though actually there are a lot of factors involved and it’s not necessarily all in the brain. The fact that depression is a psychiatric issue doesn’t mean it’s a purely emotional problem that can be overcome through sheer willpower. It doesn’t mean it’s not a biological problem. The chemicals in my brain don’t work properly. I take medication to manage the symptoms of that problem, just as I take medication to manage the symptoms of my other health problems. The medication is not the only part of my health regimen, but it’s an important part. I would probably get very sick (maybe not physically so, but there would be some physical symptoms and a lot of emotional suffering) or die without it. Similarly, my gender dysphoria is a psychological issue that probably has at least some physical basis (current theories include differing brain structures, hormone washes in the womb, body chemistry, all kinds of things) and is treated, in part, through medication and surgery where indicated. I take hormones to adjust my body chemistry to something my brain can live with. Eventually, I hope, I’ll have surgery to further ease the cognitive dissonance. It won’t be a cure-all, but it will make things better. It will keep me alive, and healthy, and relatively happy.

A few months ago, I was speaking with my father about the various prisoners who have sued to get hormone therapy and SRS while serving their time – most notably Michelle Kosilek, who likewise has attempted suicide while awaiting treatment. I said then that we shouldn’t be asking why prisoners should be getting medically necessary care, including SRS, on the taxpayer’s dime. It would be cruel and unusual treatment to let prisoners go without the medical care they require. We should be asking, instead, why our health care system doesn’t give the same care to free trans people. Why so many trans people have to scrimp and save and jump through so many hoops to get the treatment they so badly need.

That’s a bit of a digression, but here’s my point: we shouldn’t be asking why Chloe Sagal lied to try and raise funds for SRS. We know why: in part, because she obviously suffers from depression and wasn’t acting rationally (and I’ll circle back around to that), but more importantly, because I doubt she would have raised $35,000 if she had told everyone it was for SRS rather than surgery to remove a metal fragment and prevent lethal metal poisoning. The stigma surrounding trans people, our bodies and our needs is just too great. We shouldn’t be asking why Chloe Sagal lied. We should be asking why our society made her feel forced to lie. We should be asking why, when the emerging medical consensus is that SRS is necessary treatment for transsexuals like Chloe Sagal, like me, that it saves and improves lives, we have to work so hard and reach so far just to try and snatch that brass ring.

Third: A related point. All the rhetoric surrounding this feeds into the stereotype of the trans person as a deceiver. You know this stereotype. You’ve seen it play out in commercials, TV shows, movies, plays, books. The cheeky commercial about the ‘man posing as a woman’ who keeps hinting at some deep, dark secret. The comedians’ rants about picking up girls at the club and finding out they had Adam’s apples and body hair. The murdered trans woman who lied and seduced poor, insecure straight men who ended up putting her into a shallow grave, and oh, no, it’s horrible that she died, but if she hadn’t lied, surely it wouldn’t have happened. (Never mind that blunt honesty can also kill us, when someone is already pathologically, homicidally repulsed by the very thought of a trans person.) And now, the trans woman who lied to the whole Internet to get surgery she didn’t really need – I mean, no one really needs that stuff, right? It’s all in our heads, isn’t it? We could get therapy and fix it if we really wanted to, but oh, no, now it’s all trendy to be trans (never mind that we have records of transgender people going back to the ancient world) and everyone wants to mutilate their genitals. Excuse me while I throw up in my mouth.

Yes, deception was involved. No, that’s not good. But it’s wrong to play up that aspect, to sensationalize this story, to feed that stereotype. Not all trans people are like that. Chloe Sagal probably isn’t really like that. In her desperation, she made a mistake. She made a number of mistakes. We are human. We err. She still didn’t deserve to be outed. She doesn’t deserve our scorn or derision. She deserves our sympathy.

And on that note, let me state again Chloe Sagal was clearly under intense emotional strain. As I said, I have experienced episodes of profound, terrible depression, and I have done desperate, irrational things in the throes of it. I do not believe Chloe Sagal can be held responsible for her actions in this case. She deserves our sympathy. She has mine. The IndieGoGo campaign was canceled. Everyone got their money back. And now she’s in a hospital after her second suicide attempt in an alarmingly short span of time. Her reputation is forever tarnished. I don’t know what tomorrow will bring. But I doubt it will be easy for her. We don’t need to make it harder.

Fifth: Allistair Pinsof probably violated journalistic ethics at some point (possibly multiple points) in this whole ordeal. He chose to conceal information that might have been of public interest; he later chose to reveal private information that wasn’t of public interest in what I can only read as a fit of pique.

Pinsof may have killed his career in revealing this information. I don’t know if I would honestly wish that on him. As much as I condemn his actions, as much as I think he made some grave mistakes, I have to acknowledge that he, too, may have been operating under emotional duress. Someone he’d spent a great deal of time speaking with, someone he talked down from suicide, had attempted to kill herself live on the Internet. He was upset, he was angry, and he did some profoundly stupid things as a result. He seems to understand that, now, though I still think some of his thinking on the whole matter is flawed. He’s made a decently heartfelt if slightly flaky apology. I don’t know if that’s enough. I don’t know what I want out of any of this. It’s really not my place to want anything to come of this, save perhaps for greater understanding and greater sympathy among the general public. I wish none of it had happened. I wish this wasn’t a story I’d heard too many times before.

This is such a difficult thing. The world makes it so hard to be trans. Even now, as open as I am about all this, I know that if I could go to bed tonight and wake up in a world where I had always been female, where I grew up as the little girl I should have been and blossomed into the woman I should be today, and I could just forget about all this transgender business, I would. I would never have chosen this, had I been given the choice. Every day, I and others like me have to walk this tightrope, no wider than a bit of dental floss, really, and keep our eyes raised to the heavens and pray we don’t fall. Too feminine and we’re a caricature. Too butch and we’re just men in women’s dresses. Too quiet and we’re invisible and easily trampled. Too loud and we’re read and ostracized or castigated or assaulted or killed. Too shy and we’re alone. Too flirty and it’s our fault if we’re assaulted or raped or murdered. Too close-mouthed and we’re liars and deceivers; too open and oh, God, are we really on about all that trans activist stuff again? Too much of anything and we could be destroyed…but, if I may borrow from Audre Lorde, our silence won’t protect us, either.

We face verbal, mental, emotional and even physical abuse every day. We get all kinds of shit from clueless cisgender society at large, from right-wing zealots, from trans-exclusive radical feminists, from religious fanatics who think we’re going against God’s will, from hardcore atheists and skeptics who don’t think there’s any scientific justification for transgender identity (or believe that it’s a psychological disorder that should be stamped out), from old-school trans people who think you have to cleave to traditional gender roles and stay under the radar, from new-school trans people who think anything explicitly gendered is crap (even if you’re genuinely girly or butch) and those who aren’t completely open about their history are traitors to the cause, and of course, worst of all, from ourselves. I’m my own worst enemy. I bet Chloe Sagal is hers. Honestly, I think it’s the human condition, but it’s so much worse when you have so much reason to doubt yourself already.

I don’t talk much about my religious beliefs, except in the vaguest terms. But there’s a hymn I sing to myself as the seasons change, or when the winter is cold, or I feel lost and alone and I want to think that it won’t always be so. It’s a humble, homely little thing, and I’ve always been a bit too embarrassed to sing it or show it to anyone else. But I drew the title of my post from it, and I’d like to share it with you all now.

Blessed mother, sweet life-bringer
By the waking morn we pray
By the sacred moon we call thee
Let there come another day
Let the sun shine on a green world
Let your loving children play
Do not let the darkness claim us
Let there come another day

This is my life, and the life of everyone like me: struggling, day after day, not to let the darkness claim us. So often, we falter. Too often, we fail. I’ve had so much to say here about my own thoughts and feelings – more than I really wanted to, when this is not my story, but Chloe’s. I can only pray that this, together with the stuff I’ve linked to, gives you some insight and inspires some sympathy.

And for you, Chloe, if you ever read this, I pray that the darkness will never claim you. I pray that there will be many more days ahead of you, and that you will find everything you need, and everything you’ve hoped for. I’m very sorry this happened. I’m sorry I felt compelled to share this, and if you ever ask me to take this down, to take your name and your story out of this, I will. Likewise, if you end up soliciting donations for your SRS, I’ll happily post the link here and share it far and wide. I wish I could tell you it will get better. But all any of us can do is hope, and try our best to help one another, however we can.

All we can do is try not to let the darkness claim us.

2013 Boston QUILTBAG Gamer Meetup Is A Go!

Just a quick note to let you all know that, yes, there WILL be a QUILTBAG (gay, lesbian, bi, trans, asexual, ally, etc. etc.) Gamer Meetup during PAX East this year! Sorry for the late notice, but I’ve been scrambling to pull this together in the last few weeks and I just got the details finalized. We’re doing something a little different this year and selling tickets for a little under $17.50 a pop — said tickets include an entree of your choice, soft drinks, and dessert. You can find more information on the FAQ page here on the blog or at the Eventbrite page. Please feel free to contact me with any questions, and I hope to see you all there!

Wicked Weekends: Power Rangers Megaforce

New era, new team.

EDIT: The premiere episode is available on Hulu if you’d like to see it for yourself!

Somewhere around twenty years ago, I was watching something or other on Fox when a commercial for a new show came on — and it was like nothing I’d ever seen before. Five teenagers morphing into heroes imbued with incredible power, wielding ray guns and magical weapons and giant goddamned robots against an army of evil aliens. I knew, from that first moment, that I had to see that show, and though my mother always kind of hated it, I was soon one of the biggest Power Rangers fans around. I drifted away from the franchise somewhere around Zeo, found my way back for Dino Thunder, S.P.D. and Mystic Force, dabbled in RPM, and finally came back for good only recently, sinking more money than I care to admit into toys and prop replicas and a kickass old-school Pink Ranger costume that should be here this week (and that I’ll definitely be wearing to PAX East). With the franchise back in the hands of Saban, the very people who originally adapted Kyōryū Sentai Zyuranger into Mighty Morphin’ Power Rangers, and Saban and Bandai both going all out to celebrate the unbelievable success of the franchise (seriously, how many kids’ shows have lasted two decades and come back from the dead no less than three times?), it’s never been a better time to be a fan.

I have been waiting for this moment MY ENTIRE LIFE.

If Power Rangers Samurai was a love letter to the fans, featuring the return of original supporting character Farkas “Bulk” Bulkmeier and a theme song adapted from the original Go Go Power Rangers, then Power Rangers Megaforce is a big handmade Valentine with glitter and frothy pink trim glued to a box of chocolates and delivered along with the biggest bouquet of roses you ever did see. The Power Rangers fan community was already stoked when it was revealed that Megaforce would be adapting two Super Sentai series at once: Tensou Sentai Goseiger and Kaizoku Sentai Gokaiger, the latter being Super Sentai producer Toei‘s own love letter to its fans. Gokaiger is built around the premise that all the past Super Sentai teams — all of them — fought together against a massive alien empire, ultimately losing their powers in the process. These powers are rediscovered some time later by a crew of space pirates who become heroes in their own right, tapping into the abilities of past teams to supplement their own. Every past Super Sentai team makes an appearance in some fashion, and themes from each past series are woven into the appropriate episodes of Gokaiger. No one was really expecting Saban to do anything so elaborate…but they totally are. In fact, they had Toei reshoot the Legend War scenes from Gokaiger using American Power Ranger teams just so they could weave that footage into Megaforce at some point. Lots of people, myself included, expected that the Legend War stuff wouldn’t come in until the second season, which will reportedly make full use of Gokaiger…but we were wrong. Oh so deliciously wrong.

In the first episode alone, we’re treated to images of past Ranger teams fighting together against a vast army, thanks to the new Red Ranger’s mysterious visions; the Ranger Keys (used by the Gokaigers to tap into their predecessors’ powers) on prominent display in the new command center; the new mentor, Gosei, telling the Megaforce Rangers that he was appointed Earth’s guardian by his mentor, Zordon; and a brand new hangout named Ernie’s Brain Freeze in an obvious homage to the owner of the old Angel Grove Youth Center. Plus there are callbacks to the infamous “teenagers with attitude” line from the original series and Kimberly‘s joke about refusing to become a Power Ranger because the helmet seriously messes up her hair. Like I said — big frothy Valentine with chocolates, flowers, and probably some stuff I shouldn’t spell out on a family blog.

But enough about the past. Let’s talk about the episode itself. There are SPOILERS ahead, so if you’re going to watch Megaforce at all, go find the premiere episode and then come back. For the rest of you, let me sum up.

We’re introduced right away to the aforementioned Red Ranger-to-be, Troy, who wakes from a weird dream about the past Rangers to find that he’s the only one left on his school bus and he’s going to be late for class. In short order, we’re introduced to Emma, a BMX biker with a passion for environmentalism and photography; Jake, the plucky comic relief; Noah, an obvious geek and total technophile; and Gia, a drop-dead gorgeous blonde with a brilliant mind and a whole ton of self-confidence. We get a brief glimpse into their characters thanks to the science teacher posing a thought experiment: of all the life forms on Earth, which is destined to survive the longest? Emma immediately says it’s the insects, hardy and adaptable, who will survive long after mankind has destroyed the planet. Noah immediately objects in a way that leaves me wondering if his character has Asperger’s (not that this would be a bad thing — in fact, a Ranger on the autism spectrum would be very interesting, if handled with sensitivity — but his behavioral tics beg the question), claiming that robots will become the dominant life form. Gia argues that robots aren’t alive, and Noah keeps muttering that they’re wrong, while his best friend Jake is too busy drooling over Gia to offer any further comment. Troy arrives late, and the teacher immediately pulls him into the discussion; in a revealing moment, Troy optimistically proposes that humans will outlast all other life, because if we work together, we can overcome all our problems.

But all is not well on the planet Earth, and Emma’s theory about insects is about to receive a huge shot in the arm, because the evil Admiral Malkor, leader of an army of insectoid aliens called the Warstar, is about to launch his invasion. In an underground chamber, the guardian Gosei senses this threat, and reactivates his command center, instructing his robot assistant Tensou to recruit five teenagers with the attitude necessary to fight the forces of evil. The five teenagers we’ve already met are duly teleported to the command center, where Gosei explains that they’ve been chosen to carry on the legacy of the Power Rangers and defend the planet from Malkor and his goons. Troy immediately recognizes the Ranger Keys displayed on the wall, and we get another brief glimpse of his visions of war, but he doesn’t really explain and Gosei merely says that the figures represent past teams. Gosei wastes no time in passing out colors and animals: Emma is the Pink Phoenix Ranger, Gia is the Yellow Tiger Ranger, Noah is the Blue Shark Ranger, Jake is the Black Snake Ranger, and Troy is the Red Dragon Ranger and the team’s leader. Troy immediately objects that he’s new in town and he’s only just met the others, but Gosei insists that Troy has the character necessary to lead, that he has already triumphed over adversity (which, of note, is never explained either) and he will lead his team to victory in the face of evil. The new Megaforce Rangers get their morphers and the cards necessary to operate them — more on that later — and head out into the field to bust some aliens. They acquit themselves well while still unmorphed, but ultimately have to use their Gosei Morphers (someone has an ego) when the aliens start pulling blasters and Malkor sends a tougher minion down to fight them. But once they’re morphed, the Rangers adapt to their new powers with no problems at all, and very soon the day is saved. They don’t even have to bust out the giant robots. They meet briefly with Gosei back at the command center, affirm their commitment to the Megaforce, and bump fists before uttering the catchphrase of the series: “Earth Defenders — Never Surrender!” Groan.

Okay, let’s break this down.

Gia and Emma: BFFs

Things I Liked

• Gia is REALLY hot. Not just physically (though that too), but she has a smirking self-confidence, she’s tall and physically capable, and she’s clearly damn smart. I think she may be beating out Kimberly, Vida and Summer as my favorite female Ranger. Okay, no one can ever beat Kimberly, but Gia is definitely up there. It’s not hard to see why Jake is so interested in her, or why Noah points out that Gia is generally considered the hottest girl in school.
• Emma is also really hot, but more to the point, she’s extremely charismatic. She’s also obviously intelligent, and while she doesn’t have Gia’s spirit, she still has a lot of confidence all her own. She keeps a cool head and she’s creative in a fight — in the initial battle she uses the flash on her camera to help her take on multiple opponents at once, distracting some with the flash while she takes down their buddies, then cleaning up the rest. This is honestly the first time I’ve liked both of the female Rangers in any given series just as much. I almost always have a favorite, but not this time. Emma’s definitely up there with Gia kicking Vida and Summer’s asses.
• Emma and Gia together are an unstoppable combination. Their affection for one another is obvious. They’re officially acknowledged as best friends in dialogue and in the press packets Saban and Nickelodeon sent out, but I really didn’t need anyone to tell me that. It was obvious from the first moment I saw them together. Yes, I’m already shipping them. But more to the point, it’s easily one of the most compelling friendships I’ve ever seen in this franchise. You feel warm and fuzzy just watching them. It’s adorable, endearing and easily the best part of the show.
• Most of the callbacks to the previous series in the Power Rangers franchise are very well done, clever little winks that make it clear that Saban respects and loves the adult fans who are watching the show. Richard Genelle, of course, is no longer with us, and could not have reprised his role as the original Ernie, but it’s genuinely touching to see him memorialized through Ernie’s Brain Freeze. The initial exchange between Gosei and Tensou about the new team recalls the similar exchange between Zordon and Alpha 5 in a cute, playful way. And, of course, Troy’s visions are endlessly fascinating and tantalizing, and my heart felt like it was going to burst from my chest when I saw those tiny figures of all the past Ranger teams lined up along the command center’s walls.
• The special effects, especially the teleportation effect, are really nicely done.
• Last, but far from least, the writing and acting are much better than they were on Power Rangers Samurai. There are still some clumsy moments, but I can actually watch and enjoy this show as opposed to cringing my way through it just to see the pretty costumes and weapons and robots. It’s not the best show I’ve ever seen, but it’s on roughly the same level as other teen dramas, like Degrassi and South of Nowhere. It’s nice to see that Saban can produce a show of this quality. After Samurai (which was a disappointing follow-up to RPM, to say the least), I was really worried about the future of the franchise. Now my fears have been laid to rest.

By the way, Tensou is about two feet tall. Yeah.

Things I Disliked

• Tensou sounds like Alpha 5 and looks like Johnny Five. There is no excuse for the latter in 2013. When the highly advanced robot assistant looks less advanced than the robot assistant from the show made in 1993, you have a problem. I would have preferred to see a guy in a metal suit. At least then Tensou could have been passed off as an android.
• The basic minions — who are, I am told, called Loogies, and I would really like to know who came up with that name — are obviously guys in spandex. I don’t think I’ve seen costuming this bad since the original Putty Patrollers. Minion costumes on Power Rangers are usually cheap and of obviously poor quality for obvious reasons: you need a lot of them and the budget isn’t big enough for a hundred or so high-quality costumes on top of the special effects and stuff you’re already paying for. But this is still a new low. Honestly, the first appearance of the Loogies brought my enjoyment of this episode to a screeching halt. I got back into it again, but I’m not looking forward to that unpleasant jolt when they appear in future episodes.
• Jake and Troy are both pretty poorly defined. Jake is a comic relief jock with a crush on Gia; that’s pretty much all we get. Troy is the new kid in town with some unspecified adversity in his past. While I appreciate the attention paid to Emma and Gia’s relationship, I’d really like to know more about the other Rangers. Hopefully they’ll see some more characterization soon.
• There is no reason for the Red Ranger to be the new kid in town. It happens in a whole lot of Power Rangers series — Wild Force, SPD and Mystic Force, to name a few off the top of my head — and it just doesn’t work for me. At least in this case, Troy isn’t being promoted over experienced Rangers (as Cole was on Wild Force, and Jack was on SPD), and he even questions why he’s being appointed leader, but it’s still a little grating. Troy could easily have been friends with all the others from the outset. Jason was already part of the gang on the original show. Why couldn’t Saban do the same here?
• Early in the episode, Emma heads out into the woods to photograph the migration of the monarch butterflies, which she describes as a once in a lifetime event. No, actually, it’s a pretty regular event. I realize valid science is a lot to ask from Power Rangers, but could we please have some valid elementary school science, at the very least?
• While I’m on the subject of Emma, Gosei mentions her BMX biking as one of the skills that will make her an excellent Power Ranger. I couldn’t help but think of the BMX Bandit, and there was much snickering involved.
• The morphers. They’re big, unwieldy and used for everything. Even in the middle of battle. See, to morph, the Rangers have to feed these power cards into the things. To summon their blasters, more power cards. To summon their heavier weapons, still more power cards. To combine their weapons, power cards that turn into giant power cards. In Japan, the power cards were sold commercially, used as part of a trading card game. There are power cards on sale with the Megaforce toys here in the US, and a trading card game involving multiple Power Ranger teams to come. Obvious commercialization is obvious. The franchise has always lived and died by toy sales, so I don’t mind a certain amount of commercialization. I do mind that it takes so bloody long for the Rangers to pull out the morphers, pull the power cards from their belt pouches, insert the cards into the morphers, and activate the morphers. It eats into valuable action sequence time, and leaves me wondering why the bad guys don’t simply attack while the Rangers are fiddling with those awful things.

Things I Have Mixed Feelings About

• The color coding is back in force, even before the Rangers receive their powers. This gets a lampshade (Emma notes that pink is her favorite color), but after previous series in which the color coding was not strictly enforced, I find it jarring. That said, it definitely does feed into the nostalgia, and all the characters wear their colors well. Especially Emma with those little pink shorts and Gia with that yellow tank top. Mm.
• Similarly, the color coded personalities are back in force as well: Emma is the caring, sensitive ‘heart’ of the team. Gia is the tall, athletic borderline tomboy. Noah is the geek. Jake is the entertaining jock. Still, the personalities do work, for the most part, and Troy isn’t so readily pegged. He’s appointed leader, but doesn’t necessarily seem like someone naturally inclined to take control. His background is still a mystery — and once again, I hope we get some more clues to that mystery soon.
• The theme song. I love Go Go Power Rangers as much as anyone, and it was nice to see it reprised in Samurai, but I don’t know if I need to hear it again — even if it is pretty appropriate, given Megaforce’s naked nostalgia. After Power Rangers Zeo, the franchise started to mix the themes up a little, writing an original theme for each series. Sometimes there were callbacks — a familiar musical phrase here and there — but generally the songs were brand new. I kind of miss those days now.

Still, despite my qualms, I thoroughly enjoyed the premiere episode, and since pilot episodes are nearly always unsteady, I’m sincerely hoping that the series will only improve from here. I’m excited to see the Legend War (or whatever Megaforce ends up calling it) making an early appearance, and I can’t wait for the legacy of the past Ranger teams to make itself fully manifest. I don’t think I’ve been this excited about a new series since RPM. I can’t wait to see what happens next.

Power Rangers Rating: 4 out of 5 Power Coins. Morphinomenal.

General TV Rating: 6 out of 10. Good, even great in parts, but not spectacular.