My name is Charlie, but if your looking for my work, I go by C. E. Dorsett. I write scifi, fantasy, and a touch of horror. I like to play with gothic, steampunk, decopunk, epic fantasy, and wuxia. I love to tell stories and talk about books, movies, series, and music.
Review: Star Trek
I was a little afraid to see the new Star Trek Movie. All of the materials they sent me to hype the movie either bored or annoyed me. I started getting a little excited about the movie after the early screenings started returning good reviews. Sitting in the theater as boring trailers, my anticipation ramped up as film crept ever closer. I love Star Trek. It is probably my favorite franchise. I really hoped they wouldn't mess it up.
It took me a while to write this review, because I wanted to make sure I got past my fanboy response to the movie and was able to talk about the movie with a bit more distance and clarity.
What should Star Trek be?
Gene Roddenberry's concept of Star Trek was a simple formula:
- Basic wants and needs
But it should also tackle all of the most important issues of the day. (You can read more about this in my post: More Proof J. J. Abrams Doesn’t Get Star Trek). The early publicity left me with many concerns.
Addressing early concerns
Prequel/Sequel/Reboot [reus name="Star Trek iFrame"]
I was really confused about the nature of the film when they started calling is a prequel/sequel/reboot.
That is a strange thing to say, and alone, a statement that doesn't make sense, but for this film it works.
- Spock starts on Romulus like he is in the Next Generation
- The first Federation uniforms we see are right out of Star Trek Enterprise.
- Time travel story
- Young versions of the characters
- Establishes an alternate timeline for Star Trek
I am not sure I like the classification of this movie as a reboot. Battlestar Galactica was a reboot, this was more of a return to the core of what made Star Trek great in the original series. If this is a reboot so was:
- The Animated Series (added more exotic alien races)
- The Motion Picture (changed the Kligons forever)
- Wrath of Khan (Brought back the Action/Adventure quality of the series.
- Voyage Home (The crew of the Enterprise mess with the timeline)
- The Next Generation (updated the series for a new generation of fans)
- Deep Space Nine (Star Trek without exploration but with more military elements)
- Generations (Kirk is ripped from the timeline)
- Voyager (Star Trek without the Federation)
- First Contact (The Borg and the crew of the Enterprise mess with the timeline)
- Insurrection (The Federation is not perfect)
- Enterprise (Star Trek before the Federation without superior technology)
If you would count each of these major revisions of the setting as a reboot, than this movie is a reboot. To me, this sequel/prequel.
Turning Star Trek into Star Wars?
Abrams, Kurtzman anf Orci all said they wanted to turn bring more Star Wars into Star Trek, but I don't think they got there. I love both series, and I am familiar with the main qualities of both, and I don't think they brought much if anything from one to the other.
I was afraid that is was going to be more of a Lethal Weapon in Space, Speed: Warp 10, Star Wars: The Vulcan Chronicles, or Cloverfield 2: The Future of the Beast (WTF Star Trek Super Bowl Ad!?!). There is not a scene in this film that I could see easily fitting in one of the earlier films or the original television series.
Maybe they originally thought of Nero's ship as a sort of Death Star, but it is no more than Probe from The Voyage Home, V'ger from the Motion Picture, or the Son'a ships from Insurrection. Other than that, I just don't get it.
Uhura in her off hours
I was excited when I saw the clip of Uhura telling Kirk off in the bar. I hoped Kirk would get his butt kicked and he so did. I was concerned about the stripping clips of Uhura in the trailers but I love the way the dealt with her.
I loved the relationship between Uhura and Spock. It made sence, and it served to dehumanize Spock in an interesting way. The juxtaposition of her emotions and his total lack of emotions really hilighted the difference between humans and vulcans.
I know there are a lot of people who didn't like her depiction in this movie, but Uhura was always a more laid back member of the crew.
Addressing new concerns after seeing the movie
Kirk's Vaccine reaction
I loved the adverse reaction that Kirk had to the Vaccine that McCoy gave him. It was a flashback to the kind of humor the original series thrived on. It was silly, light hearted and interfered with the characters ability to do what they needed to do.
The Engine Room of Doom!
WTF were they thinking when they designed the engine room. It was funny, but I agree with Gwen DeMarco regarding the fate of the writer who came up with the idea for these scenes...
I could go off on a long string blue words, but I will let the others who have already done that do it. I just thought this was a blemish on an otherwise great film.
Nero's ship armament
Brian and I argued about this fro a long time after the movie. Personally, I think Nero was just a MacGuffin to give an excuse for the story to happen. Neither he nor his crew are intgral to the plot and could have been replaced by anyone else with any other motive using any other means. Nero is not important. They obviously didn't give his subplot any thought, and frankly, the movie would have been better without the distraction.
I wish the film would have had a real 3 dimensional villain, but I honestly didn't expect one from a J. J. Abrams movie. He has never done villains well. Every movie and show that he has ever touch has had a weak, impotent, or flat villain. A better director would have insisted on a better antagonist, but the story didn't matter, the action did.
Kirk's Exile from the Enterprise
Some people have complained about Spock having Kirk put in a life pod and jettisoned from the ship. If I really wanted to defend the movie here I would say that this was a symptom of Spock's frustration that Kirk should not be on the ship at all. I think that could be argued.
Once more, this is another symptom of Abrams' half-assed directing style. He needed to have Kirk on the planet to meet Spock and this was the quickest and most "visually exciting" way to do it. Let's be honest, this was an excuse to have Kirk chased by a Cloverfield reject so he could talk to Spock in a cave. It was not thought out.
Nero's motive for attacking Vulcan are nothing less than laughable. He was a stupid man on a stupid ship with the horridly named "Red Matter" who wants to destroy Vulcan rather than save his homeworld.
Maybe he thought he could do both. Rid the Empire of the threat of the Federation and save his homeworld. I think the reallity is a lot simpler.
Like most of the annoying things in this film it just wasn't well thought out. It was a flimsy excuse for a Nero to be a villain and commit a terrorist act without having to think about whether or not he has a good (or at least understandable) reason or not.
Nero is a flat, empty character and I can tell you why. This movie is nothing more than:
Wrath of Khan, take 2
This story follows the plot of Wrath of Khan beat by beat with several notable exceptions:
- Nero is not as scary as Khan.
- Nero does not have a motive for revenge.
- "Red Matter" is not as scary as the Genesis Device.
- Wrath of Khan had better writers and director.
This movie is to Wrath of Khan what the Next Generation episode "Naked Now" is to the Original Series episode "Naked Time." It is a good remake, but it is not as good as the original.
Is this Star Trek?
Let's measure it against Gene's definition
√ Action √ Adventure √ Basic wants and needs √ Tackle all of the most important issues of the day.
That last check might be a little controversial, but I thought the show dealt with the random nature of terrorism and the emotional cost it has on people.
Star Trek's New Phase
I am glad to say that Star Trek has been reborn, much as it was when Wrath of Khan came out. I loved the movie.
- Canon Uniforms
- Spock's relationship with the Romulans
- Characters were perfect
- Not just an action film
- great FX
- sense of humor
- The Engine room
- Lack of a serious villain
- Nero's Ship
- "Red Matter"
- The Alien Monster
- Kirk's marooning
Rating = 10
The Future of Star Trek
Orci and Kurtzmen have already signed on to write the next movie in the series, but that are not sure if it will be a Prequel, Sequel, or Reboot to this movie. They said they are waiting to see what the reaction to this film is. And there is one more thing:
Kurtzman: The very last scene when Spock and Spock meet each other, finally. And elder Spock is convincing young Spock that he couldn't interfere, because it would have diverted [Kirk and Spock] away from their friendship. And that their friendship is the key to the whole sort of shebang.
Orci: He gave him a recorded message from Kirk.
Kurtzman: He [elder Spock] said, "Don't take my word for it." And he handed him [younger Spock] a little holographic device and it projected Shatner. It was basically a Happy Birthday wish knowing that Spock was going to go off to Romulus, and Kirk would probably be dead by the time... (Topless Robots)
That could be the set up for the next movie. Personally, I don't want another movie. I want a TV series.
The Fan Spectrum
February last year, I posted for the first time about the Three Types of SF Fans. Reactions were mixed. I have thought about it a lot, and I have realized that their are not really three types of SF fans, these are actually parts of a spectrum.
Fans of the Spectacle
Fans who are interested in action and special effects, typically of Space Opera, Disaster/Monster/Action Movies, usually watches movies, some series, rarely reads the books.
These fans are on the coldest end of the spectrum. They are only interested in being entertained, and simply do not think too much about what they are watching. Think about your friends who thought the Matrix was just a great action movie with cool special effects. You know the ones who didn't see all the questions about the nature of reality and how we perceive it. They are fans of spectacle.
The studios have geared their films more towards this type of fan because there are more of them and they are easier to please.
Admit it though, we all started here. We may have been young, but each and every one of us first got into Speculative Fiction be we enjoyed the spectacle. For me, it was dragons and vampires.
This is the first stage of development of every fan. Our job is to move more people into the second and third phase.
Fans of the Specifics
Fans who are interested in the nitty-gritty details and their accuracy or consistency.Typically of Hard Scifi, Military Scifi, and High Fantasy, usually reads the books, watches the series, and nit-picks the movies
For many Scifi fans, this shift happened with Star Trek or Star Wars. For Fantasy Fans, it is usually Lord of the Rings, and for Horror Fans it was either The Vampire Chronicles or Mayfair Witches by Anne Rice or Buffy the Vampire Slayer.
Many fan bases stagnate here and die off. The Studios have started blaming continuity and consistency for their financial short comings, thus the spate of remakes, reboots, and the dread re-imaginings that crop up every year.
Yes, it is easier to write a story when you don't have to worry about consistency or continuity, but they are not better stories. They are just different.
To move a fan from Spectacle to Specifics, find something in a setting or character they like, and talk to them about it. Encourage them to grow in their fascination, and soon they will delve into the setting more fully, and the spectral shift will happen.
Fans of the Story
Fans who are interested in the story, the characters, and Typically Soft Scifi and Sociological Fantasy, usually reads or watches the series, and watches the movies.
For Fans of the Specifics, the changes George Lucas made to the original Star Wars Trilogy and the prequels went too far. Fans of the Story were able to see how these changes improved and tightened the narrative.
Fans of the Story are few in numbers, but they are the heart blood of fandom. They write/perform the filk, the fan fiction, and fanfilms. They make the fan art, run the conventions, and strive to keep SF on the straight and narrow.
It isn't easy to move from being a fan of Specifics to a fan of Story. For this shift to happen, the fan has to see the complete series as a seamless whole. They have to learn how to see past the trees to the forest. There is no easy way to happen or to bring this about.
When it does happen, it is like magic. Most of us have had this shift happen for at least one franchise. Think about the one series that is closest to your heart. The one you seek out every little tidbit of information about. For that story, you are a fan of the Story.
It is not easy to ask people to make these shifts, or to help other move through the spectrum, but it is vital if fan culture has any chance of surviving. So for the next thirty days:
- Introduce your friends to filk.
- Have a movie night at your house and show a fanfilm.
- Start a role playing group and uses your favorite setting.
- Start having friends over to watch your favorite shows.
- Help just one person find a new series, book, or movie that they will fall head or heels in love with.
If we all do our part, fandom has a long and beautifyl future.
What makes a fan a fan?
In August last year had a bit of back and forth over the definition of a Fan with Eoghann Irving from Solar Flare:
Eoghann Irving has posted an interesting rebuttal to my post, Fandom v The Scifi Channel, where he tackles the question What makes a fan? The critique of my position is an interesting one, and I have to say, I agree with his assertion that it sounds like I am trying to say that fans define themselves by their interest in SF.
While there are some who have adopted the fan culture for themselves, cultural adoption is not a requirement to be a fan.
What is a Fan?
We are fans.
We love music, stories, characters, settings, and images. We know about what we love. We participate in what we love. We support what we love. What we love supports us.
Fans are special. We are more than just enthusiasts who enjoy a piece of work, fans connect with the work. We feel it.
Fans share a bond with the works they love and with one another. Fans' passion is infectious, spreading the the works they love to others.
The love of a fan is a blessing to a responsible creator, but it is a curse to the reckless.
- Farscape fans kept the series alive despite the many attempts by the network to cancel it.
- Star Trek fans helped kept the series alive until the death of Gene Roddenberry when studio pushed the franchise away from its heart.
- Heroes and X-files fans fell in love with disparate aspects of their respective franchises, but when the series lost their way through a lack of focus on the part of the studios.
If a fan's love is scorned or goes unappreciated, the fan reacts in the same way a jilted lover would. If a fan's heart turns cold, it is almost impossible to rekindle it.
Fans know things about the things they love and enthusiasts don’t.
Anyone can quote Star Trek or Star Wars because many of the aphorisms have gone mainstream, but a Star Wars Fan knows who Ulic Qel-Droma and Exar Kun are. They have become such an important part of the Saga. They know the Chewbacca died on Sernpidal during the Yuuzhan Vong war trying to save Han Solo's youngest son.
Fandom is not defined by obscure knowledge. On the contrary, a fans love for a franchise causes them to seek out everything they can from that franchise. We read the books and watch the OVAs. A fan remembers the details and more often than not knows the minutia.
Fans create and enjoy filk, fanfiction, fan films, fan art, costumes and conventions. We often play role playing games, video games and MMOs in the settings we love.
Fan participation is the most commonly mocked aspects of SF fandom. No one mocks a music fan's attendance of a concert or a sport fan attending a game. They don't even mock the wearing of band shirts or sports jerseys, or fantasy football or rock and roll camp. These are not different from conventions, or filk, or role playing, or cosplay.
Fans support what we love. We buy the books, DVDs, and games.
This is where modern fandom is in the most trouble. The studios and publishers have not offered fans the options they want for media they consume. DRM (digital rights management) and region codes restrict how and where media can me viewed.
International fans often have few options for obtaining media other than piracy.
Media companies have to listen to the fans and make media available in as many ways as possible to they do not drive money away. They also must learn that they are not owners of their franchises, they are caretakers and conservators. The tighter they hold on to outdated and outmoded concepts of ownership, the smaller market they will have and the most desperate they will become.
What we love supports us.
Fans often gather insight and inspiration from the franchises they love. In moments of fear, I have found myself reciting the Bene Geseret prayer from Dune. It is also not uncommon for fans to quote dialogue to make a point.
These franchises are not just shows or books we like. More than we realize they are the myths that help us:
- talk about the aspects of life that are impossible to discuss straight on.
- see the connections between our lives and the transcendent mysteries.
- develop a pattern of living with honor, integrity, and purpose.
- react the trial, tribulations, and joyful moments of life.
This is why fans embraced the movie Galaxy Quest. It is a love letter to fandom, showing at its most extreme, but also showing it for what it is. A culture that gives hope and inspiration to millions.
Are you a fan?
Here are a few questions to ask yourself. The more times you answer yes, the better the likelihood you are a fan.
- Have you ever connected with a work on a deep level?
- Have you ever enjoyed something so much you rushed to tell someone?
- Have you ever played a game, watched an OVA, or read a book that is part of the extended universe of a franchise you love?
- Have you ever debated or conversed with someone about an aspect of a franchise's setting or the minutia of a setting?
- Have you ever dressed up as one of your favorite characters?
- Have you ever attended an SF convention?
- Have you ever bought a boxset?
- Have you ever quoted SF to make a point?
The Defining Attribute of a Fan
Eoghann Irving has posted an interesting rebuttal to my post, Fandom v The Scifi Channel, where he tackles the question What makes a fan? The critique of my position is an interesting one, and I have to say, I agree with his assertion that it sounds like I am trying to say that a fans define themselves by their interest in SF.
While there are some who have adopted the fan culture for themselves, cultural adoption is not a requirement to be a fan.
There is one hard and fast rule that separates Fans from Enthusiasts:
Fans Know Stuff
That is it. Fans know things about the things they love and enthusiasts don’t.
Anyone can quote Star Trek or Star Wars because many of the aphorisms have gone mainstream, but a Star Wars Fan knows who Ulic Qel-Droma and Exar Kun are. They have become such an important part of the Saga. They recognized Asajj Ventris when she first came on the screen in the new Clone Wars film.
I am not saying that fandom is defined by obscure knowledge, but rather, a fan remembers the details and more often than not knows the minutia.
A good analogy is to look at music fandom. Many people may like that one song, but a fan knows the lyrics, the band members, and the albums by that artist.
A fan is someone who has fallen in love with a piece of art, and seeks out more on that subject. What I was trying to say in my last post is that a fan not only craves more, but seeks it out.
Who is a fan?
In the end then this definition works to the extent that it refutes the notion of a splintering fandom by simply stating that they were never really part of fandom in the first place. It’s a reductionist argument which simply eliminates that which doesn’t fit instead of seeking a way to acknowledge it.
And there’s something very defensive about that approach that I don’t like. It almost has the smell of “but we’re better than them” and oh I do so detest cliques (Solar Flare).
What I am talking about is not about cliques or any sense of superiority, I believe many people consider themselves fans when they truly are not.
Eoghann Irving is a fan because, like me he cares enough about this topic to post about it and event to rebut my challenge of his original premise. That is a clear demonstration of the passion I talked about in my last post.
Since he mentioned Cliques, I have to say, every culture and subculture has its own cliques, that is as true of fandom as it is with the mainstream culture. These do exist within fandom, but I don’t believe that they define it.
Project: Shadow Manifesto
To mark the 10 year anniversary of the Project: Shadow Manifesto, we thought it was time to overhaul it again, but this time to open up the project to all of the like-minded fans out there who are tired of the status quo, and who are hungry for something new. Brian and I drafted the original Project: Shadow Manifesto in 1999 as an outline we saw in professional publishing. The original draft was heavy on problems, light on vision, and even lighter on solutions. We took years investigating the limited options available at the time, built the original Project: Shadow, and I started writing.
In 2004, we revised the manifesto, and re-launched Project: Shadow. The new draft focused on the solutions possible through new technologies. The world/culture presented us with newer challenges.
We are fans.
We love our music, stories, characters, and settings. We know about what we love. We participate in what we love. We support what we love. What we love supports us.
At heart, a fan is not someone who enjoys a movie, a song, a band, a book, or a show. A fan feels an intense connection with the object of their love. Fans decorate their homes, offices, and desktops with items that announce their allegiance with their favorite bands, movies, shows, and books.
The problem with our popular culture is that it doesn’t blink at a sports fan wearing a t-shirt emblazoned with their favorite team, or even a replica jersey, but wear a Star Wars shirt or dress like a goth and they think they have the right to mock you.
What is the difference between a fan wearing a jersey to a game or fan bringing a light saber to a movie? Or for that matter, what is the difference between a sports fan painting themselves up to go tailgating or a fan dressing as their favorite character at a convention?
Perception. Pop Culture has classified sports fans as acceptable and speculative fiction fans as geeky. I have to say, it is just as geeky to now all of the stats for everyone who has ever played for a particular sports franchise as it is to know the stats for every creature in the Monster Manual. The only real difference is one fan accepts they are a geek, and the other pretends their geekiness is proof they are a jock.
The disapproval is the least of the problems facing today’s fan.
From Storytellers to Copyright
Problem: People are natural storytellers. We hear a story, embellish it, and pass it on.
Solution: We tell each other stories, sing songs, write books, make videos, and create art to share these stories with each other.
Every story we tell is not original. We like to tell the same stories over and over. We borrow stories from any where and retell them in our own vernacular. It is intrinsic to who and what we are to share stories with each other.
Problem: The only constant in the world is change.
Solution: We ask ourselves the question, "What if," and share the answer with each other.
Problem: Artists and Writers need to make a living singing their songs, writing their books, making their videos, and creating their art.
Solution: We establish systems of Copyright.
The Cultural Cycle
Before the era of Copyright, stories, heroes, melodies, and lyrics belonged to the people. Stories were told, and retold. Numerous visions of each story competed against each other. The best were remembered, collected, retold, embellished, and built upon. The rest were forgotten.
Who told the first story about Hercules? Or Jason? or Troy? Who started the legends of King Arthur? or Beowulf? The first tales and their countless reiterations have been lost, but the best, most iconic stories survived.
Of all of Shakespeare’s plays, only a few comedies have no obvious sources, and even they rely upon well established patterns and archetypes.
This is the Cultural Cycle that keeps important stories alive. Each generation must retell the tales of the preceding generations in their own context to keep them relevant. This cycle has been broken.
- Problem: Companies lobby to prevent Intellectual Property from reentering the commons of the culture.
- Problem: Companies control the instruments of culture, making it harder to engage culture creatively.
- Solution: Fans retell these stories as not for profit tales, films, and songs.
- Solution: Fans organize themselves into clubs and conventions.
These solutions are are not enough. Fanfiction and film relies on the good will of the copyright holders and the fact that the fans do not make money from their works to slip through the thinnest of loop hole in copyright. As a result, pop culture is unaware of the cultural developments and retelling of these new stories. The subculture may be enriched by them, but the culture as a whole is not.
The Creative Commons and the Cult of the Dollar
Problem: Publishers and producers focus more on the commercial and popular value of a work, and the creative energy of the work suffers. Readers/viewers will not become fans, and fans will not continue to accept passionless works of Speculative Fiction.
Solution: Placing honesty over consumerism, we fans must stake out our own home to create and share the works we love. We must stand between the darkness and the light: This is the purpose of Project: Shadow.
Problem: The Companies and Rights holders lashed out against the fair use of their properties.
Problem: Some Rights Holders have lulled fandom into a false sense of security by not suing and even encouraging those who produce fanworks
Creative Commons is one of many proposed solutions to this problem. Others have lobbied for copyright reform. Neither of these is a solution to the problems.
Copyright reform is a doomed enterprise while corporate lobbyists have the power they do over the congress. While it is a goal to work for, it is just not realistic in the short term.
Creative Commons is closer to a solution, but the adoption rate has not been sufficient to even start chipping away at the problem.
The reason Creative Commons is an uphill battle is that it is a major evolution in the way rights holders handle permissions to use their work, and exists without an intermediary form. Existing rights holders have not adopted it because they are unwilling to give up all the rights entailed under Creative Commons.
I approached the Creative Commons Foundation with a proposal for a Fan Works License:
Some of the rights holders I have talked to are reluctant to use the CC because they are concerned they are giving up too many rights to their works. A Fan Works License would allow rights holders to clearly state what they will allow others to do with their characters, content, and settings.
It would be a bit more complicated than a standard CC, stating whether others may make original text, video, music, or art projects based on their works. It would also allow them to set the content rating they would allow fan works to have. This could be aligned with the MPAA ratings or the ESRB ratings system or an original system. The reason for this is so a young adult novelist could set a max rating of PG-13, allowing others to know what standards they would apply to determine whether a fan work is legitimate or not.
The other terms would be the same as in the standard CC.
You may not think something like this is necessary, but the current state of fan works is hazy. While few have been sued in the last couple years, at any time, rights holders could decide to start suing again. By creating a license that covers works with the same characters and settings rather than a particular book or movie, I believe we could get more rights holders to use the license to allow for the creation of fan works, which is a step on the road to open up works to the commons.
They responded with a simple, “CC probably isn't going to be expanding the license offerings, and in fact, over the past few years CC has been reducing the number of licenses.”
I do not believe that a fanwork or Creative Commons license is the ultimate solution, but as a possible stepping stone toward an open culture.
Progressive Speculative Fiction
- Problem: Modern and Post-modern fiction is antithetical to hope, imagination, and community
- Problem: Success is easier through snark, hate, and discrimination.
- Solution: We will promote, support and create Progressive Speculative Fiction.
What is Progressive Speculative Fiction?
Progressive Speculative Fiction is a story told in any medium which has a "What if" at its core and is filled with hope for the future and promotes a sense of community.
How can disaster fiction be progressive?
Watch a Godzilla movie or either The Day the Earth Stood Stills. If there is nothing worth saving, then there is no tragedy. The heroes must at least try to save someone or something worth saving.
How can horror be progressive?
Watch nearly any horror film made prior to 1990 or for the best example read The Hellbound Heart by Clive Barker or anything by Anne Rice. If life is not worth living or there is nothing worth defending, where is the horror. If life is worthless, then death is merely a release from a nightmare. There is nothing scary about it. If there is no free will, nothing is lost by imprisonment or possession. If sanity is not worth preserving, why bother.
What works are Progressive Speculative Fiction?
There are too many to mention all of them, but to offer a spectrum:
- The Matrix/ The Matrix Reloaded/ The Matrix Revolutions/ The Animatrix
- The Dark Knight
- Final Fantasy - The Spirits Within
- The Lord of the Rings
- Interview with the Vampire, The Vampire Lestat, The Queen of the Damned, and The Tale of the body Thief
Just to name a few.
- Problem: The word "Myth" has become a marketing term.
Homogenized works are released more often by the industry every year. Focus groups and market analysis have replaced quality work, but since the cultural cycle is broken, industry has no alternative. It is safer to release works like the ones that sold last year than it is to seek out new talent/ideas that would be more of a risk.
They know what the fans want. We want myths, stories that speak to us on a deep level while entertaining us. Myths are hard to make. It is easy to add in a wizard or a starship and call it mythology. Fans see through it, but the masses are looking for little more than sex, violence, and humor. Speculative Fiction has been watered down to little more than:
- imitation space opera
- knock-off cyberpunk
- repackaging of the rings
- martial arts boom-boom
- torture porn
They, then, wrap it in a shiny box, slap the word myth, saga, legend, or reboot on it, and wait for the masses to spend their money on it... and they usually do.
We do not need another company driven by profit margins, or another author whose self-important propaganda obscures the art.
We need writers and artists that love what they are doing.
We need fans who are not afraid to speak their minds.
We need places in our towns/cities and online where we can meet and share the few gems that we find from the industry and from the independent artist, writers, and filmmakers who are still following their bliss rather than the dollar.
That is why we are here. Project: Shadow and dashPunk will provide a platform for writers, artists, filmmakers and fans to “follow their bliss.” We are dedicated to finding and promoting the best Speculative Fiction out there: the little/well known writers, filmmakers, artists and works, fostering their talents, and helping them to not only follow their hearts, but to share that vision with others.
But we cannot do it alone!
Fandom Strikes Back
- Solution: We must seek out and support the writers, artists, and producers that encourage and support fan works.
- Solution: We must get writers, artists, and producers on the record about their position regarding fan works.
- Solution: We must live according to our values of hope, imagination, and community.
- Solution: We must build a community around hope, imagination, and community, and reject the rote cynicism that defines the faux-fandom that loves to tear things down rather than build things up.
- Solution: We must spread the stories, videos, songs, and art that speak to us.
Together, We can make dashPunk and Project: Shadow more than an idea or a website, but a vibrant community of fans who share the things we love with each other.
Together, we can make it easier to find and share the things we love and find new things to love.
Together, we can build a community of fans who support and engage one another for our mutual benefit.
Alone, none of us can stand up to the corporate powers who control the music, video, text, and art that we love, but together, our voice will be heard.
Fandom is a vibrant culture with its own music (filk), events (conventions), games, and myths. Until now, we have gathered periodically, or in disparate groups.
Now is the time to bring the great multitude of fan bases together.
Now is your time! Copy this Manifesto. Print it, post it, email it, share it! Tell a friend, and most importantly Make your voice heard.
Project: Shadow Manifesto by Project: Shadow is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. Based on a work at dashpunk.com. Permissions beyond the scope of this license may be available at http://dashpunk.com/about/.