2200: Happy Birthday, Tsunako

0200_001

Tsunako is the artist responsible for the character designs in the Hyperdimension Neptunia series, and consequently she is responsible for bringing more joy into my life than pretty much any other visual artist I can name. (Which isn’t all that many, admittedly, but from the moment I got into Neptunia I liked the art enough to find out who was behind it.)

In celebration of it being Tsunako’s birthday today, I thought I’d take the opportunity to share a selection of favourite images. Most of these are from the Neptunia series since I haven’t yet got around to experiencing other series she has worked on such as Fairy Fencer F or Date A Live and thus don’t know enough about them to be able to comment with any real authority.

Without further ado, then…

companep
The first image you see in the original Hyperdimension Neptunia and its Re;Birth1 remake. Pretty much sets the tone of what to expect.
cpus
This image, from the alternate universe in which Hyperdimension Neptunia Victory and Re;Birth3 take place, pretty much sums up the relationship between Neptune and the rest of the cast.
candidates
The “CPU Candidates” — little sisters of the main characters, representing the PSP/Vita (top left), Game Gear (top right) and DS (the twins)
makers
These characters, from Re;Birth1, are the “Makers”, personifications of various software companies. Like most characters in Neptunia, their designs beautifully encapsulate their source material.
kiss
mk2 and Re;Birth2 made the implied yuri in the series a little more up-front.
nepschool
For me, one sign of a good character is being able to put them in a new situation/outfit and they still be recognisable; I think you’ll agree that the goddesses in school uniforms still have very clear personalities.
noire
One of my favourite images of Lastation’s leader Noire.
purpleheart
Neptune’s transformed CPU form Purple Heart, demonstrating Tsunako’s biggest strength, so far as I’m concerned: her ability to draw curves to die for.
vert
While much of Neptunia is self-consciously moe, there’s little denying that Vert goes beyond “cute” into “beautiful”.
neppurp
This image is not lewd at all, and if you think it is you are the one who is the pervert.
miku
And here’s a Tsunako-drawn Hatsune Miku, just so this gallery isn’t entirely Neptunia.

2199: Ever-Late to the Party: Fringe

0199_001

Couldn’t get to sleep the other night and didn’t quite feel like I had the mental capacity to watch something in Japanese (i.e. anime) so instead I trawled Netflix for a few moments and eventually settled on a show I’ve been meaning to watch for a long time: Fringe.

I knew very little about Fringe going into it, save that it seemed to be pretty well-received, and that my acquaintance Chris Tilton, who had appeared a couple of times on the Squadron of Shame SquadCast, had assisted creator J.J. Abrams’ regular partner Michael Giacchino on the soundtrack. Other than that, I was going in pretty much blind, and had managed to remain unspoiled to date.

Turns out it’s a fantastic show, and exactly the sort of thing I enjoy, so I’m well and truly hooked.

For those who, like me, have somehow let Fringe pass them by until now, here’s the pitch: FBI agent Olivia Dunham becomes involved in investigations of weird happenings collectively known as “The Pattern” after she starts looking into the inexplicable melty-face issues that struck an inbound flight from Hamburg to Boston. In order to investigate these strange occurrences, she enlists the help of Dr Walter Bishop, a somewhat eccentric but clearly brilliant man who had been locked up in a mental institution for the preceding 17 years. In order to get Walter out of the institution, she also has to enlist the help of his son Peter, who has a past that can be charitably described as “checkered” and together, if you’ll pardon the cliche, They Fight Crime.

If this setup sounds a little X-Files-ish, you’d be absolutely right, though rather than going in the “aliens!” direction, Fringe instead looks at seemingly paranormal phenomenon through the lens of “fringe science” — being able to explain them through scientific theories that may appear ridiculous to the layman, but which Walter proves time and time again to have some basis in reality. Or at least the reality that Fringe depicts, anyway.

Fringe’s biggest strength is in its characters. Olivia is, in many ways, the most “normal” of the bunch — at least in the initial episodes — and the perfect foil to the somewhat tense relationship between Peter and Walter. Walter, meanwhile, is downright fantastic, punctuating his explanations and hypotheses with seeming non-sequiturs; sometimes they end up being relevant, and sometimes he really is just commenting on how much he enjoys a glass of milk fresh from the cow he keeps in his laboratory “because they’re the closest thing to humans, genetically, which makes them ideal test subjects”.

This isn’t to downplay the ongoing narrative and its stranger aspects, meanwhile; J.J. Abrams has proven on numerous occasions — Alias springs immediately to mind — to be good at stringing out mysteries with apparently supernatural elements to them, and Fringe is no exception to this. Over the course of the first few episodes, we’re introduced to a number of elements, some of which appear again in subsequent episodes, but which aren’t explicitly pointed out to the viewer. Already I can see it’s a show that would reward a repeat viewing knowing the full truth — which, only five episodes or so in, I have no idea of yet — because you’ll doubtless spot things that you wouldn’t have given a second thought otherwise.

I’m really intrigued to see where this series goes. And yes, I know I’m late. But I’m watching it now, okay? (Also, it’s inspired me to go back and play Cognition again thanks to its thematic similarities. So that’s good! I never finished the fourth episode, after all…)

2197: Putting the New WordPress App Through its Paces

 

0197_001.png

I was helpfully informed by my WordPress dashboard that there’s a new WordPress app available for the desktop, so I figured I’d put it through its paces. I’ve used the mobile app for both iOS and Android a fair bit, so I was interested to see what benefit — if any — making use of a desktop app would have over just loading the site up in Chrome and making use of it.

Well… frankly, there’s not a huge number of benefits, at least not for those who primarily make use of blogs hosted on WordPress.com. The main benefit is that the app contains the whole of the main “new-style” WordPress dashboard in local format, meaning that you can theoretically 1) use it offline and 2) write without the distractions of other browser tabs. It’s also responsive to the window size, so you can scale the display according to what, exactly, you want to do with it: do you want to keep an eye on notifications, or do you want to write a full-on post?

You’ll notice I pointed out that it makes use of the “new-style” WordPress dashboard, and that’s an important distinction to make, because the new-style WordPress dashboard is emphatically not the same as the traditional wp-admin view. It’s a lot simpler and cleaner, sure, and you can do most of the things you can do in wp-admin in the new dashboard, but there are, frankly, a number of issues that WordPress so far hasn’t fixed with the main site that remain — and arguably are even more prominent — in the app.

Most notably, there are a significant number of flaws in what WordPress refers to as the “improved posting experience”. Having been using this a fair amount since my initial reactions to it, I’ve noticed that there have been a fair few improvements and additional functions added so that now it is, roughly speaking, in line with the wp-admin-based editor. There are still some irritating factors, however, chief among them (for me) being the fact that even with the window at 1920×1080, the word counter is scrolled off the bottom of the screen so I have to manually scroll down to view it — sometimes even if my post is longer than a screen in height. This is just plain bad design, and seems to have been fixed in the Web-based editor through the use of a floating word count window in the lower right of the viewport. Apparently the locally stored version of the editor page used in the app hasn’t taken this particular update on board, however; as I type this, my word count is once again disappearing out of the bottom of the viewport.

Another big flaw that requires less discussion is the fact that the Insert Hyperlink option does not include the option that the wp-admin-based editor does to search through your previous posts and link to them without having to look up the URL yourself. The absence of this from the “improved” posting experience is mildly irritating, and I have to wonder exactly why it was removed, since this is the exact opposite of an “improvement”.

A few things do seem to work a little better in the standalone app, mind; when using the editor in Chrome, I’ve found that sometimes the cursor keys and modifiers behave in somewhat strange and unpredictable manners: sometimes attempting to move to the previous character or word with keyboard shortcuts inexplicably jumps to the end of the paragraph or somewhere completely unexpected, particularly if there a few different items of formatting (such as links or italics) used in a paragraph. So far, at the time of writing, as I type this, I’ve encountered no such issues — that doesn’t necessarily mean that they’re not there, but they shouldn’t really be in there in the first place, so I’ve tended to assume they’re a Chrome issue rather than a WordPress issue.

Since I originally looked at the “improved posting experience”, too, I was pleased to discover that drag-and-drop images now work as they should: in other words, you can drag an image directly into the editor window and have it appear where the cursor was, rather than this simply being a shortcut to opening the “Add Media” window. So good job there!

Elsewhere in the app, you have access to the other features the WordPress dashboard offers, most notably site statistics and insights, allowing you to see at a glance how your most recent posts have been performing, which days you’ve been posting on and suchlike. The WordPress Reader system is also integrated into the app, allowing you to catch up on WordPress blogs you’ve subscribed to all in one place rather than having to remember to visit a bunch of sites. This is a helpful feature, but like everything else in the app, I’m not entirely convinced of the benefit of having it in a standalone app rather than just visiting the WordPress site in my browser.

All in all, then, the main benefit of the new desktop app appears to be little more than speed and a slightly more stable experience than the website under Chrome appears to offer. I suppose offline use is a benefit to those who are composing blog posts on the go using a laptop — or, indeed, catching up on downloaded Reader posts — but for me, this is some minor, not especially useful functionality, since I tend to compose my blog posts immediately before publishing them, which tends to mean that I have a stable Internet connection wherever I happen to be at the time.

I’ll continue using the app for a while and see how I get on with it. If nothing else, its “distraction-free” nature due to its lack of browser tabs is quite pleasant, so it may prove to be a helpful way to concentrate, whether it’s on my daily blogging “duties” or more substantial projects.

You can find out more about the app and download it for free here.

2192: Things That Stopped Me From Sleeping Last Night

0192_001

I didn’t get to sleep until nearly 5am this morning due to a fairly bad anxiety attack. Here, in roughly chronological order, is a probably non-exhaustive list of things that this anxiety attack caused me to worry about.

  • Whether I’ll get a new job in time to make the next mortgage payment
  • Whether I’ll get a new job at all
  • Whether it’s possible to support myself financially through non-conventional means such as Patreon or its ilk
  • Whether I’m a good person
  • Whether our pet rat Clover is all right
  • Whether or not I should be upset over the fact I was blocked without warning or discussion on Twitter by someone I had previously got on very well with on the grounds that I had said “ignorant nonsense”
  • Whether or not I had really said “ignorant nonsense”, or whether this person was an idiot
  • Whether or not I had genuinely upset this person, regardless of whether or not they were an idiot
  • Whether it mattered if I had genuinely upset this person if they were going to just cut all ties with me without even attempting to talk about whatever the issue was
  • Whether I should have gone to sleep earlier
  • Whether it’s worth getting up in the morning
  • Whether I should apply for jobs in the same field I’ve just been looking into, or whether I should be looking elsewhere
  • Whether I should train in a new field
  • How I could possibly afford to train in a new field
  • What it would be like to work in a new field
  • Whether I’d gained weight this week after having a Chinese takeaway and fish and chips rather than sticking to Slimming World (got weighed this evening — I hadn’t, in fact I had lost a pound)
  • Whether I’ll get a new job at all (again)
  • Wouldn’t it be nice to win the lottery?
  • What am I going to do when I come to the end of the period I’m leasing my car? Is it in good enough condition for me to just give it back? Can I just give it back?
  • Whether I’ve made a lifetime’s worth of irreversible mistakes
  • Whether I can get my life back on track
  • What it would be like to put a gun to your head
  • Whether I would have the courage to pull the trigger
  • Whether I want to pull the trigger
  • Whether I was ever going to get to sleep
  • Whether I was ever going to get to sleep ever again
  • Why I can fall asleep in seconds in the morning, but not at night
  • Whether I should feel bad for liking Jeremy Clarkson
  • How much Lily Rank grinding I had left to do in Hyperdimension Neptunia U
  • Whether the meandering course that my friendships and relationships have taken over the years is the “right” path
  • Whether there is a right path for interpersonal relationships
  • Why my friend who had once been attacked by a dogpile of politically-correct nutcases on Twitter now appeared to be one of those politically-correct nutcases
  • Whether or not I should go back to Final Fantasy XIV
  • Whether I’d know if someone broke into the house
  • Whether someone who broke into the house would steal my massive TV, or just something small
  • Whether someone who broke into the house would come into our room and kill us

Anxiety sucks, because everything seems like a massive deal. Some of the things I was worrying about are important, but some of them are not. Last night, everything felt terrifying and disturbing. Last night, everything stopped me from sleeping. I would rather that did not happen again tonight.

2191: On the Objectification of Waifus, and Why Anita Sarkeesian is Wrong (Again)

0191_001

The yawning portal of despair that is Anita Sarkeesian’s mouth once again creaked open earlier today, and as usual a stream of ill-informed rhetoric belched forth, bringing pain and misery to all within earshot. This time around she was mad about arses. She was mad that female characters had nice arses that game developers liked to show off, but she was also mad that male characters had their arses hidden by cloaks if they are Batman.

The above is, of course, a rather sweeping simplification of what she was arguing, but I don’t want to provide an in-depth critique of her latest video, largely because I can’t stomach watching her smug face whining any more. Instead, I want to refute one of the core aspects of her overall argument: the fact that women are objectified in games, and that this is bad.

Actually, no; I’m not going to refute the fact that women are objectified, because they are. And so are men, but I’m not going to focus on that aspect, either; let’s stick to the women. So to speak.

The key point that Sarkeesian perpetually misses when talking about the depiction of women in video games is that the most popular characters — male or female — are pretty much always popular for reasons other than their appearance. We’ll go into some specific examples in a moment, but it’s also important to acknowledge that appearance is important, and that objectification does occur — it’s just not the sole, driving force that Sarkeesian seems to think it is, and it’s frankly rather insulting to everyone for her to suggest that men are only interested in looking at nice arses and nothing else.

Men are, of course, interested in looking at nice arses, and here’s a key point. Objectification and judging by appearance occurs immediately the moment a player is first confronted with a new character — and particularly when the player is offered a selection of characters to choose from. At this point, the character becomes the “face” of the product that is the game, and it’s perfectly natural for someone to gravitate immediately towards someone they like the look of for whatever reason. Depending on the person, this reason may well be that they find the character physically attractive — but it can also be that they find them amusing or relatable, like the way they’re dressed, remind them of someone else, remind them of themselves or any number of reasons.

Importantly, though, whether the player is inclined to stick with that character in the long term is not determined by objectification and their appearance. It’s all to do with personality, character and capability. A character can be the most gorgeous, hottest piece of ass you’ve ever seen, but if they’re boring, they’re not going to hold a player’s interest.

Let’s consider a few examples. These are based on my personal experiences with these characters, and anecdotal evidence of what I have seen others saying about them.

lightning-final-fantasy-xiii-game-hd-wallpaper-1920x1080-2941

This is Lightning from Final Fantasy XIII. She’s an extremely attractive, striking character, but in an understated rather than self-consciously sexy way. She’s slim but toned, wears a short skirt, has pleasingly tousled hair, has perpetually pouted, parted and moist lips, and wears sexy boots.

She’s also one of the most widely disliked characters in the entire Final Fantasy series thanks to being seen as “boring”. This is partly due to her single-minded nature, partly due to the rather monotone delivery by voice actor Ali Hillis and partly due to the fact that, as the main player-protagonist character in the game, she was pretty obviously kept as a bit of a “blank slate” for the player to interpret and identify with as they saw fit.

I personally don’t think she’s all that bad, but there are far more interesting characters in Final Fantasy XIII. Lightning does, however, act as a suitable proxy for the player to interact with the world and its inhabitants, and in that respect she’s a successful game protagonist. I just don’t see many people declaring her as a “waifu”.

Hyperdimension_neptunia_wallpaper_by_missy28352-d643m0u

This is Neptune and Nepgear from the Neptunia series. They are very popular “waifu” choices, but you’ll note that they both err rather on the side of “cute” rather than “sexy”, leaving aside their plugsuit-style HDD/goddess forms seen in the background of the image above. Actually, that raises an interesting point: those who proudly declare Neptune or Nepgear as a favourite character or “waifu” tend to do so with their human incarnations in mind, not the sexed-up HDD versions.

Why are Neptune and Nepgear popular then? Because they have strong personalities, and are interesting characters. Neptune is one of the most incompetent RPG protagonists the genre has ever seen, although her scatterbrained nature acts as an eminently suitable metaphor for the chaotic way most people play RPGs — putting the world on hold to go and grind out some sidequests — while Nepgear is the perfect foil to her sister, being nice, polite, quiet, intelligent and, frankly, a bit of a doormat to everyone around her.

While I won’t deny that there are people out there who want to sexualise these two (there’s plenty of Rule 34 artwork out there to confirm that) it’s also true that the vast majority of Neptunia fans who pick a favourite — whether it’s Neptune, Nepgear or any of the other main cast members — are doing so not on the basis of which one they want to fuck the most, as Sarkeesian suggests, but rather the one that they simply enjoy spending time with the most.

lara_croft_evolution_new

Here are the various incarnations of Lara Croft from the Tomb Raider series over the years. While Lara tends not to inspire the same sort of fanatical “my waifu!” declarations that female protagonists of Japanese games — and the reasons for that are a whole other matter worth discussing another time — she’s still a popular character, and not because she’s sexy.

Oh, sure, her tiny shorts and enormous rack made for some striking box art back when the original Tomb Raider came out, but if there was no substance to her, she wouldn’t have been able to hold down a series for so long. A series that has been “rebooted” twice, yes, but a series in which she has remained a fairly consistent character, all told: a strong, confident, somewhat posh British woman with a plummy accent, a penchant for gunplay and acrobatics, and a desire to constantly challenge herself.

Moreover, she manages to be a female character that doesn’t alienate anyone: she’s not “girly” in an exaggerated manner, but nor is she overly masculine or aggressive. She manages to occupy a somewhat understated middle ground similar to what Lightning’s creator Toriyama was presumably going for, only with arguably slightly better results. In other words, she has appeal elements designed for lots of different people and, despite her “sexiness quotient” being toned down a bit over the years, particularly in the most recent games, she’s still a good-looking lady. But, importantly, that’s not why people like her.

atelier meruru, atelier rorona, atelier totori, kishida mel, merurulince rede arls, rororina fryxell, totoori

Finally for now — I could happily go on with this all day — here is Totori, Rorona and Meruru from the Atelier Arland series. All pretty young things, I’m sure you’ll agree, and all clearly designed to initially draw the player in with their attractiveness — or, perhaps more accurately, cuteness, much like Neptune and Nepgear.

But, again, anyone who proudly declares any one of these girls as their “waifu”, or just as a favourite character, is not doing so because they want to fuck them. No; they’re doing so because they like Rorona’s optimistic but clumsy nature; Totori’s inherent sweetness; Meruru’s lively, bubbly personality. Again, it’s a case of wanting a “relationship” of sorts with these characters — of wanting to hang out with them as people, rather than objectifying them as something to jack off to.


Objectification and aesthetics play an important role in determining our initial attraction to something. But a relationship built purely on physical attraction and nothing deeper is a relationship that will not last long — and a relationship that will be forgotten shortly after it has ended. This is not what modern gamers are looking for — and it is not what the vast majority of modern games are providing.

Men are complicated creatures. No, people are complicated creatures. To boil down everyone’s thinking to “everyone judges everything by appearance” is both reductive and unhelpful. And yet this is exactly what Sarkeesian is doing — just another reason she continues to lose credibility with pretty much everything she says.

2189: Reflections on the Last Five Years, Or: Life After Games Journalism

0189_001

I’ve had a whole lot of thoughts swirling around in my head for some time now about various matters, and I feel as a therapeutic exercise — not to mention an opportunity for some of you to get to know me a bit better — it’s important that I express them somehow. I know all too well how frustrating, stressful and ultimately unhealthy it can be to have unresolved emotions and thoughts surrounding things that have happened to you — particularly bad things — and so this is my attempt to reboot my mind and try to move on a little.

Consequently, certain aspects of this post are more than likely to rub a few people up the wrong way. To those people whose jimmies are rustled I say simply: fuck you, I don’t give a shit, and if you really cared you wouldn’t have done the things you did in the first place.

In the interests of at least a facade of professionalism, I will not be naming individuals who have had a negative impact on my life in this post, though it will doubtless be extremely obvious to anyone who has been following me for a while who the people in question are. I will, however, be naming the companies involved, since that is less personal; everyone knows how unpleasant it is if you Google your own name and find something not terribly complimentary, whereas, unless you own a monolithic corporation, you probably care a little less about someone talking smack about your monolithic corporation. That’s how I’m going to attempt to justify myself about this, anyway.

Also, this post is crazy long, so for the benefit of those who only read on my front page, here’s a Read More tag.

Continue reading “2189: Reflections on the Last Five Years, Or: Life After Games Journalism”

2185: #WaifuWednesday

0185_001

I don’t really have the mental capacity to write anything particularly deep or meaningful today, so here are some pictures of pretty girls.

purplesisters

This is Purple Sister (left) and Purple Heart (right), the HDD/goddess forms of Nepgear and Neptune from the Hyperdimension Neptunia series respectively. This is one of my favourite pieces of official artwork for the series.

ikaruga

This is Ikaruga from Senran Kagura, displaying an uncharacteristically exhibitionist side of herself. Normally very prim and proper, we can probably assume that she is in private while this is going on, but I also have little to no doubt that Katsuragi is hiding somewhere just out of shot.

deviluke

The three Deviluke sisters from the To Love-Ru series. Lala (centre) is the original and best, but she was somewhat sidelined after the first series in favour of her two sisters Nana (left) and Momo (right).

miia

Miia from Monster Musume, who simultaneously encapsulates the inherent sexiness and strangeness of the lamia while also fulfilling the “doting girlfriend” trope nicely. Darling!!

saopantsu

A pleasantly candid shot of Asuna (canonical girl) and Lisbeth (best girl) from Sword Art Online.

nozomi

Nozomi from Love Live, who might be my favourite…

makipic

…although it might also be Maki.

410811-katawa-shoujo-hanako-playing-pool

Hanako from Katawa Shoujo definitely deserves a mention.

2015-10-23_00038

And we’ll close with Amane from The Fruit of Grisaia, who adorns my actual real-life wallet, and so I guess probably tops some sort of waifu leaderboard somewhere.

That’s your lot for now. Hopefully I will be feeling better tomorrow and have something a bit more substantial to share with you all. In the meantime, enjoy the pics.

2181: Coming to a Head

0181_001

I generally try and steer clear of Internet drama as much as possible, but sometimes it’s impossible not to see what’s been going on when it’s all over a website you use regularly.

Most recently, Twitter has seen some interesting happenings that make it feel like the ongoing culture war between “loudmouthed, self-professed progressives (who aren’t actually all that progressive at all)” and “people who just want to be left the fuck alone to talk to their friends about things they enjoy without being shamed for it” has been coming to a head. And it’s been kind of fascinating to watch, particularly as the most recent happenings make one wonder what role — if any — sites that provide a means of communication, such as Twitter, have in these sort of sociopolitical debates.

The most recent drama surrounds one Milo “Nero” Yiannopoulous, a writer for the conservative/right-wing news site Breitbart. Nero is, to put it mildly, something of a controversial, divisive figure: he’s brash, opinionated, flamboyantly homosexual and vehemently against the rise of “third wave” feminism — that particular ideological offshoot that we’ve seen in the last few years that seemingly concerns itself more with scoring “victim points” than actually promoting any sort of societal change for the better. At the same time, he’s also someone who stands up for what he believes in, protective of people and groups he cares for and willing to go against the grain when he believes that the “grain” is going in the wrong direction.

I find him quite amusing to read at times. I don’t follow him on Twitter, but in my occasional (non-participatory) explorations of what GamerGate subreddit KotakuInAction is up to, I tend to keep abreast of what he’s been up to, and occasionally feel inclined to read some of the things he’s posted on Breitbart. I don’t agree with everything — many things, if I’m honest — that he says, but I do agree with some others. I find his writing entertaining to read, though, and challenging to my preconceived notions about particular issues. His writing makes me think, in other words, and contemplate how feel about something, whether or not it’s the same as what he thinks about the thing in question — and that’s something that journalists should aspire to, in my opinion, wherever they are positioned on the overall political spectrum.

Anyway. The issue is with Nero’s behaviour on Twitter, and with his subsequent treatment. He frequently comes under fire for “harassing” people himself, and for “inciting harassment” by drawing attention to things that people have said by using Twitter’s built-in “quote and comment” functionality that they added to Retweets a while back. So strong is the backlash against him that a couple of days ago, his “verified” checkmark was removed from his Twitter account, seemingly as a punishment for the way he had behaved.

Thing is, the “verified” checkmark is not supposed to be a mark of good behaviour or anything; all it’s supposed to be is an indicator that yes, this particular Twitter account is indeed the person or company that it claims to be. And Nero is Nero, no doubt about that. Taking it away for the way he has behaved on Twitter — whether or not you feel that was justified — is, frankly, insane, because it doesn’t stop him being the person he is.

Naturally, as these things tend to go, the Internet reacted immediately, with a wide variety of Twitter accounts immediately rebranding themselves as “Milo Yiannopoulous” and adopting his avatar as their profile picture, making the timeline an occasionally extremely confusing place to navigate. Alongside this, the hashtag #JeSuisMilo — a reference to the #JeSuisCharlie hashtag movement from around the time the offices of French satirical newspaper Charlie Hebdo were attacked in Paris last year — was launched in an attempt to show solidarity with Nero and disapproval for Twitter’s peculiar (and, as of the time of writing, unexplained) actions.

Various people, including writer and former Conservative MP Louise Mensch, did some digging and discovered the Twitter account of Michael Margolis, aka @yipe, the “engineering manager” at Twitter itself. Examining Margolis’ retweets, likes and replies to people made it look to some like there were some conflicts of interest going on, with many people alleging that Margolis was inappropriately using his position at Twitter to do favours for “progressive” types — such as reporting Nero through means other than the usual channels.

All this is hearsay and conjecture, so far as I can make out, but it raises some interesting questions, for sure. Twitter is intended to be an open, free communication platform for everyone to use. It’s not supposed to be moderated or policed — with the sheer number of users and messages that are exchanged every day, it’s simply impossible to do so. Instead, Twitter operates on the (arguably flawed) assumption that, much like society, people will naturally peel off into their own groups and interact with one another, with any cross-cultural clashes able to be resolved through use of the mute and block functions — or, in extreme cases, through Twitter’s formal reporting processes.

I have some experience with Twitter’s formal reporting procedures. Some of you may recall a couple of years back I suffered a campaign of targeted harassment from a notorious group of Internet trolls known as the GNAA. At the time, this group were targeting people who were fans of the My Little Pony: Friendship is Magic TV show, and since I’d recently discovered this, I had the word “Brony” (the term for an adult-age fan of the show) in my Twitter profile bio. This, it seems, was an invitation for the group in question to start accusing me of being a paedophile, even going so far as to look up the WHOIS information of websites I’d linked to from my Twitter profile or this site, then phoning up the owners of said websites (which, in this case, were the owner of Games are Evil, a site I was running at the time, and my brother) and repeating said vile accusations.

It was an extremely unpleasant, scary experience, not so much because of the torrent of abusive tweets coming my way — those were easy enough to ignore and block using Twitter’s basic tools — but because it was spilling over into the real world like this. Consequently, rather than simply shrugging the situation off, I reported it to Twitter and to my local police station. The latter were unable to do much about it — I suspected as much, but I thought it was worth doing anyway — and the former were simply useless, claiming that they were unable to intervene in this situation because it amounted to a “disagreement” rather than “harassment” by their definition.

In other words, under Twitter’s definitions, you have to be receiving some pretty damn vile harassment before their formal reporting procedures will actually do anything — or, at least, this was the case back in 2013, anyway. For everything else, you have to just deal with it, or leave the site altogether — which I did for a while, but came back after I felt worse about being alone and isolated than I did about being targeted by trolls.

In a way, I understand the way Twitter reacted the way they did to my situation. I wasn’t directly in danger or anything, and in retrospect the behaviour of the trolls was little more than the sort of casual abuse-hurling you’d get in the schoolyard. This isn’t defending it by any means, of course — I had certainly done nothing to deserve such treatment, and I was genuinely very afraid while it was all going on — but in the grand scheme of things, it perhaps was barely a blip on the radar of Bad Shit happening in the world. By acting upon it, Twitter would be setting a public precedent, and this would then have to be followed up on in future to ensure that their policies were being enforced in an even-handed and fair manner — and I got the distinct impression that Twitter support felt that the whole thing was rather more trouble than it was worth.

This little digression is an explanation of the fact that Twitter is generally very hesitant to intervene in situations where people “disagree” with one another by their definition — and their definition of “disagreeing”, at least as it stood in 2013, was rather, shall we say, lenient. So for a Twitter employee to put across the impression of giving preferential treatment towards particular individuals is not a particular fair and even-handed way to approach the situation. Moreover, Nero’s behaviour in the instances where he was accused of “inciting harassment” wasn’t anything out of the ordinary — he was simply using Twitter’s own tools (in this case, the “Quote Tweet” function) to highlight some things he wanted to discuss or bring to the attention of his audience.

Several interesting questions are raised as a result of this debacle, however. The first is whether or not popular Twitter users such as Nero should be held responsible or accountable for the actions of their followers when they do something to make a conversation or comment public. Twitter does have tools to minimise contact with people you haven’t specifically authorised to talk to you — most notably the ability to make your account private, locking it down to everyone except those who follow you — but at its core it’s designed to be a means of public discourse: the world’s biggest cocktail party, where anyone and everyone is free to wander around, listen in on what everyone is saying and contribute their own thoughts and feelings to a conversation, regardless of whether or not they know the existing participants.

In this instance, Nero was simply using Twitter as intended, so is it his fault if some followers took it upon themselves to be unpleasant little scrotes towards the person he quotes (whom, it has to be said, appears to be a fairly unpleasant little scrote herself — not that this justifies any sort of abuse)? I certainly don’t have an easy answer to that.

The second question raised by all this — particularly Margolis’ alleged involvement, which is yet to be conclusively proven — is whether or not social media companies as a whole or their employees have any sort of obligation to make decisions about users based on political or ideological viewpoints. The argument in this instance is whether or not the removal of Nero’s verified status — his “punishment” — is justified on the grounds that he disagrees (there’s that word again) with the views of third-wave feminism. Or, to take it as a broader picture, whether or not any user should be punished in any way for expressing an opinion that differs from the accepted “norm”, or which some claim to find “offensive”, or which is regarded as “unacceptable” in some way.

You get into dangerous territory with that last section. Twitter is a private company, however, so it is, of course, free to police its platform however it pleases, and if it wants to become some sort of “safe space” where third-wave feminists and their white knight “allies” can happily skip through fields of flowers (not white ones, though, because white people ruin fucking everything, apparently) then that is the company’s decision entirely. Since it has always sold itself as a means of free expression and communication for people all over the world, however, there’s an argument that we are taking a few tentative steps into a somewhat Orwellian area — though it is also worth noting that should Twitter actually decide to go down this route wholeheartedly, the market will be flung wide open for a new, alternative means of communication and expression for people who are no longer welcome under the New Tweet Order.

Personally speaking, I would rather Twitter remain completely apolitical, and continue to act as a means of free communication for groups all over the world covering a wide variety of viewpoints and ideologies, many of which would clash with one another if they came into direct contact. It’s been a valuable tool in times of crisis, such as during the massacres in Paris, the assaults in Cologne over the New Year period, and during the riots in Egypt a while back. More than that, though, it’s brought people together who may never otherwise have had the chance to talk to one another. It’s allowed friendships and even relationships to blossom, and it’s allowed differing viewpoints the chance to interact and attempt to understand one another. It’s been inestimably valuable from that perspective, and for it to start pushing one particular political viewpoint or ideology as somehow “superior” or “correct” would go against this openness that has been its most key feature ever since day one.

More than that, though, regardless of whether or not you think Nero is a twat or a genius, removing his verified status as a “punishment” is just plain stupid. What kind of message, exactly, is that supposed to send? “You said the wrong thing, so you are no longer you?” What utter nonsense.

Perhaps this is why I don’t run a huge, successful social media enterprise. Or perhaps the rest of the world really has gone completely and utterly mental.

2172: Happy New Year, 2016

0172_001

Happy new year! It’s the beginning of another arbitrary division of time which we ascribe more meaning to than is strictly necessary. And yet, as always, it’s difficult to resist the allure of thinking that “this time, things will be better”.

2015 was pretty shit. Not just for me, but for a lot of people I know. And that sucks. I hate to see people I know and care about having a shitty time, but it does make me feel slightly better (if a little guilty) to know that I wasn’t the only one dealing with difficult shit.

I don’t know whether or not 2016 will be better or not. I’d like to hope it will be, but realistically I know that there’s no reason it will be. I don’t have anything in particular to look forward to, but at least I don’t think there’s anything I’m particularly dreading either. Compare and contrast with the start of 2015, where it was gradually becoming apparent that I was getting forced out of my job (albeit one I didn’t like anyway) and where my own personal well-being with particular regard to my weight was at something of a low ebb, and the start of 2016 already looks a little more positive in comparison.

2015 wasn’t all bad, of course. I got married, for one thing, and that was pretty great. I met a bunch of new friends, too, and developed my interests further and deeper. I successfully got through what was quite possibly the second work-related nervous breakdown I’ve suffered in my life and out of the other side mostly intact. I lost nearly six stone in weight (though have probably put a bit back on over the Christmas period — we haven’t been terribly strict!) and feel noticeably better about myself.

So I guess I should be feeling all right about looking forward to the new year. There are still lots of things I’m worried, anxious and upset about. But the only thing I can really do about them is keep on pushing forwards and hope things work out for the best in the long term. After all, that approach has got me this far, even if I’m not exactly in the position I thought I’d be in at the age of 34 when I was younger.

Happy new year, everyone. May 2016 be a good year for you, and if you, too, suffered a mountain of stress and other shit in 2015, may it soon be nothing but a distant memory. Thank you all for your support and kind words over the last 365 days, and here’s to many more good times and pleasant chats as we slide inexorably into the future.

2171: Pain

0171_001

There are many types of pain in the world. There’s physical pain, which can range from mildly annoying to excruciating and debilitating. There’s mental pain, which, likewise, can range from occasionally distracting to life-consuming. There’s emotional pain, which ranges from feeling a bit blue to wanting to end your own existence.

Few things compare to the pain you feel when helpless to do anything to help someone you love, though. This pain cuts deep, right through your very soul, and threatens to rip out the very core of your being. It’s as excruciating, life-consuming and debilitating as all of the very worst the other kinds of pain have to offer, with the added joy that there’s absolutely no way whatsoever to treat it. If there were, you wouldn’t be feeling it in the first place.

Mostly this pain stems from a position of impotence: a position of complete powerlessness to do anything to help resolve that which is causing your special person anguish. It’s the frustration at not knowing what to do, and at the things you do try not being enough or not working. It’s the realisation that there really is nothing you can do but watch as someone else suffers, and just hope that people who are better qualified to sort things out are able to sort things out — or, in the worst possible circumstances, that things will just resolve themselves somehow.

I do not know how to deal with that pain, and I am suffering dreadfully from it. And I feel bad bringing it up, because the pain feel is something intangible that is a consequence of someone who is physically suffering. But it’s there, nonetheless, and it probably needs “treatment” of some sort just as much as the physical pain does.

I don’t even know where to begin, though. Let’s hope that the old saying about time healing all wounds is really true.