From the ITN Archive, a short interview with some fans at the 1957 London Worldcon. Glad to see the questions weren’t much better sixtyfive years ago. A very young Michael Moorcock can be found lurking behind the woman with the antenna, according to Scott Edelman.
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It’s grim up north
This Arte documentary looks at the impact Brexit has had on cities like Grimsby and Hull, but in the process makes it very clear that Brexit was just the final nail in the coffin after decades of neglect and decay.
It’s easy to be judgmental about somebody like Darren Kenyon, the fisherman featured here. How could he have been so stupid as to believe the lies told about Brexit? How could he have voted to cut his own throat? It’s easy and tempting to do so because it absolves everybody else. Your own fault, you shouldn’t have been so stupid as to trust the Tories. You made your bed, now lie in it. But the reality is that Darren’s company was in trouble long before he voted for Brexit, one of the few fishing companies left in a town that once had thousands. Through decisions made and policies created beyond his control, Darren and thousands like him, not just fishers were left to struggle. No wonder they went for Brexit when it was explicitly sold to them as the one thing that could take away all those obstacles. Somebody like Darren, who started work at 13, not “very educational” as he puts it himself, but who managed to create a small, thriving business with his own hands yet sees it threatened by forces beyond his control, was primed to believe the promises Brexit and Boris Johnson made.
As such Darren and all the other Brexit voters like them are the least culpable for this disaster. Their fault was to trust the media and politicians who lied to them. Decades of tabloid lies about the EU and politicians blaming everything bad on it, but who steal the credit for the good it brought set the stage for the referendum. Then the media, from the BBC on down failed completely to educate and inform, at best just parroting what both sides said with few attempts to actually determine the truth. And even in those rare cases where this was attempted, it once again was reduced to “experts say X but these politicians disagree, we’ll let you figure it out”.
Worse, once Brexit was a reality and the only issue in question was how damaging it was going to be, the media and the political establishment did its upmost best to make it as damaging and hardcore as possible, while sinking any chance of an alternative. It was deemed more important to keep a mild social democrat out of Number 10 then it was to make sure the country wasn’t entirely fucked over. Time and again chances to get a soft Brexit were missed and the end result was the clown show that was the 2019 election, where Boris Johnson was shitefested over the finish line by an united press and political establishment determined to see off the threat of Corbynism. That three years later it has ended with hyperinflation, a crumbling economy and a health service on the edge of collapse is the price they would pay all over again if asked.
On the remain side there’s this annoying tendency to blame Brexit for all of the UK’s woes, but at best it’s a catalysor of already existing trends. Back in 2001 I was doing leafletting in the then elections for the Socialist Alliance in Plymouth and getting to see some of its estates was shocking. A level of poverty I’d never seen in the Netherlands. Again, reading between the lines in this documentary it’s clear that the poverty and misery in places like Grimsby and Hull aren’t recent either, but have been present for decades. This is why people voted for Brexit because it promised to change things and people were desparate enough to take that gamble. We shouldn’t blame them for it.
Ten years ago today
With 4.4 billion views literally more than half the planet has seen this:
Over five million comments. I’m sure there were people in the rest of the world who knew about Korean pop music even in 2012 but Gangnam Style was still very much a novelty hit wasn’t it, driven by the video and dance more than the song itself. Hard to not see the phenomonal success of it, the first video to break a billion views on Youtube as opening the way for Korean pop music and pop culture in general to be accepted in the west. Every so often I find myself watchhing the video again and every time it’s still as good as the first time I watched it.
Lycoris Recoil’s uniquely Japanese right wing paranoia
It’s the near future and the peace of Japan can only be kept by having heavily armed high school girls murder everybody who threatens it.
Lycoris Recoil touches on an uniquely Japanese sort of right wing paranoia. The idea that modern Japan may look peaceful on the surface, but in reality is a criminal cesspitt where monsters and terrorists are only kept at bay through extralegal government directed death squads, usually consisting of cute high school girls. The sequence above, in the opening two minutes of the first episode is particularly blatant in expressing this paranoia. To me, this feels different from similar law and order concerns in e.g. US media. The crime in movies like Deathwish is not hidden, but out in the open. Everybody knows that the city is riddled with crime, but nobody can do anything about it. The police are helpless, tied down by bureaucracy and political correctness and you need a vigilante like the Punisher to step up and take a stand. Which is the second difference, in that the heroes of western fantasies about restoring law and order tend to be outsiders rather than government employees. With the Japanese version you have the fear that there are monsters lurking behind the surface of polite society, but also the fantasy that the government will protect ordinary citizens from discovering this truth and is competent enough to keep the monsters at bay. Not an idea that plays well in America.
It’s ironic that Lycoris Recoil came out in the week in which former prime minister Abe Shinzō was murdered by a guy with a self made shotgun, apparently due to Abe’s ties to the Moonies. Perhaps that paranoia is not entirely unwarranted…
RWBY vs RWBY
Thank you Cyan can for putting the two big climatic Nevermore battle scenes from the new RWBY anime and the original RWBY Flash animation back to back in one Youtube video:
You can see that the battle is roughly the same in both, with a lot of the differences due to translating a 3D scene into 2D animation; much harder to swing the camera around as impressively for example. But there are also differences in the choreography of the battle itself, as well as in what the anime chooses to showcase as opposed to the original. the biggest difference is at the start of the battle. In the anime, the battle is quickly divided into one team fighting the giant scorpion while the other tackles the giant raven. In the original, this all happens much more organically, with various characters switching which monster they fight as their comrades need help until finally you get the two teams established that will remain together for the rest of the battle. (And which will remain teams for the rest of the series.)
Character wise, the anime version keeps a much tighter focus on Ruby, Weiss and Jaune. In both versions it’s Ruby and Jaune who come up with ways to defeat their respective monsters, but in the anime version the other characters have little more to do than just fight whereas in the original they got their individual moments to shine as well. Especially the scorpion’s defeat was much more of a cooperative affair, with Nora playing a much larger role. She just hammers the scorpion’s spike into its head in the anime version, while in the original she was flipped into the air by Pyrrhia, riding her own hammer and giggling. The team work to defeat the other monster also suffers a bit in the anime version, with the original being much more clear about all four members setting up Ruby to launch the final blow.
Neither version is bad, both are very good actually, but in the end I prefer the original. Its choreography and the way it makes everybody shine is just slightly better than in the anime version. A fitting tribute to RWBY creator Mony Oum who created this choreography and who sadly never got to see it in a proper anime, as he died in 2015.