While this song makes me merry, Tyrian purple dyes many a hue From magenta to berry And a true purple too.
But fun as it is to watch this poetic race The answer is staring you right in the face: Roses are red and violets are blue Because nothing fucking rhymes with purple.
Buckle in, because this is going to be a LONG post. And I’m going to talk about BOG MUMMIES.
For reference, the hair in question:
This updo was actually what convinced me to grow my hair long in the first place (back in ye old 2008), and it has been strongly influential in my personal aesthetic ever since.
The story starts in 1938. Actually, it starts even earlier than that. In ~280 B.C., a woman died, and her body was placed in a bog, where it stayed until it was discovered in 1938, so well-preserved that the hair was still there.
This bog mummy is referred to as the Elling Woman. Here’s a bit about her.
The article talks a bit about her hair, but it’s kind of an unsatisfactory description. I found out about it when the article reached the Long Hair Community Forum in 2008, resulting in a 40-page (and counting!) thread wherein a bunch of long-haired women figured out how to recreate the hairstyle.
The ladies of LHC looked at the images of the hair, and were like: “Yep, that’s a rope braid.” “Here’s how you could do a 7-strand braid with 2-3-2 sections.” Etc. And basically, they tested out different versions, and came up with something that was cool-looking, comfortable, and practical.
Here’s the ~official~ reconstruction on the Tollund Man website:
And here’s a (very confusing) diagram of how the style is supposedly constructed:
There are several different recreations of the style floating around the LHC and youtube and the wider internet. The style also looks and works differently with different types of hair. I had to grow mine out until I could make a waist-length braid before I could really successfully do it with my hair, but my hair is medium-thick and fairly fine, so YMMV. Some people on the LHC did it with much shorter and thicker hair.
The LHC thread about it is a fun read, but it’s a bit long and meandering, and there are several conflicting sets of instructions there, so I’ll just talk about the method that I use. If you want a video aid, what I do is basically this, except I do rope braids for the bottom 2/3s instead of English braids, and I finish it by wrapping the thick braid around the middle braid, like this (I’ve never actually tried that particular method for forming the big braid, but finishing up the bun is the same).
Here’s a written description:
Take the top 1/3 of your hair and braid it in a basic 3-strand braid (a.k.a. an English braid) down to a little past your neck. Tie it off so that it stays braided while you braid the rest of your hair.
Separate your remaining hair into two sections (each about 1/3 of your total hair), one on the left side, and one on the right.
Braid each section into a rope braid (a two-strand braid that’s made by twisting both sections in the same direction, then twisting them together in the opposite direction). Tie them off so that they stay braided. Also, I’ve found that it’s better to make the rope braids so that they’re coiled in opposite directions.
Take the two rope braids, and braid them with the top/middle section of your hair that you’d braided into an English braid. You’re basically making one big English braid. After I’ve started braiding it, I slip off the elastic tie that I’d used to hold the middle braid together temporarily.
Braid it as a 3-strand (that’s made up of two 2-strand rope braids, and one one-strand section that started as a 3-strand braid, so it’s sort of a 7-strand braid!) English braid all the way to the end of your hair. Take out the elastic ties around the two rope braids when you get to them.
Tie the whole thing off with a single elastic tie at the end.
To make the bun, you lift up the simple English braid (the one you made in step one), and you wrap the thick, complicated braid around it in a spiral.
Tuck the end in as best as you can, and then secure it with whatever you want. I’ve used everything from a hair stick, a hair comb, a few bobby pins, and even a single barrette before.
You’re done!
There wasn’t any evidence of any hair pins or anything like that to secure the hair found with the Elling Woman’s body. If your hair is very oiled and/or very unwashed, it might be able to hold itself in place without needing to be tied or secured. As it is, this style does work better if your hair has been oiled, or hasn’t been washed for several days.
This hairstyle is really cool for a lot of reasons, but it’s also extremely comfortable! The middle braid essentially holds the whole thing up, so you don’t experience any of the pulling you feel with some buns.
Basically, if I had to wear the same hairstyle for thousands of years, I’d definitely pick this one. It’s beautiful, versatile, comfortable, and has a really cool backstory.
Tags:
#hair #the more you know #neat #history #I am probably physically capable of doing this #but I don’t think I enjoy decorating myself enough for it to be worth the effort #(this was in fact my first thought upon seeing the picture) #(and reading the instructions did not change my mind) #that being said I’m glad this exists for people who are into that sort of thing
Prior to the Industrial Revolution, fabric was EXTREMELY time consuming to make, and as such, was extremely valuable. You have to grow your fiber, either in the ground or on an animal. You have to process the fiber. You have to spin the fiber. And spin, and spin, and spin. Spinning technology prior to the late Middle Ages consisted of a drop spindle. It takes forever and a day to spin enough thread to make fabric using a drop spindle – 10-30 times longer than to weave it, depending on how thick your yarn is and what weaving technology you are using. Then, once you are done with that endless task, you need to weave it. The examples in this post are all from Greece, where they used the warp-weighted loom, which is actually a rather efficient piece of weaving technology, but it’s still not as fast as the treadle loom (another late Middle Ages invention) and in no way comparable to a modern industrial loom (essentially the same machine as a treadle loom, but automated (except warping, which is still hell on earth even in 2018)). You know the saying “women’s work is never done”? That saying refers to the fact that unlike, say, field work, or mining, or smithing, spinning and weaving were started before dawn and carried on until after dusk, every day of the year, and there was always, always need for more.
After all of this, every piece of fabric that is made represents literally hundreds of hours of work. It is so valuable it was a standard form of currency before the invention of money. Egyptians piled linen high in their tombs as a show of wealth – and that linen was stolen by the grave robbers along with the gold and other precious artifacts. Textiles were one of the most valuable things you could steal when you pillaged a city. A primary reason for the warfare and raiding that was a consistent part of pre-modern Mediterranean/Near Eastern history was to acquire female slaves to produce textiles. Yes, cooking, cleaning, and sex were also reasons to acquire female slaves, but the economic reason was for textile manufacturing.
So if fabric is that valuable, you’re not going to waste it. You’re not going to make something tightly tailored, because as anyone who sews can tell you, cutting fabric to fit produces a lot of waste. In addition, the cloth of the ancient world was often much more loosely woven than cloth today, which is partly to do with weaving technology but most to do with the fact that the denser the cloth, the more threads there are in it, which means the more threads you have to spin for it, which means the time you have to spend making it has just gone up dramatically. Loosely woven cloth ravels like hell when you cut it, again as anyone who sews can tell you, and that makes it much more difficult to sew something nicely tailored. Needles and scissors are also items we take for granted, but are, in their modern form, relatively modern inventions and have, historically, been tricky items to make.
Thus, most of the clothing of the ancient Mediterranean/Near East was based on the rectangles of fabric that come directly off the loom. Much of China’s historical dress is similar, at least in the time frames we’re talking about. Throughout European/North African/Middle Eastern history, and in China until silk changed the game (at least for the rich), tailoring skill and technology has lagged behind cloth production skill and technology.
The famous painting from the early Renaissance where the woman is wearing a dress constructed using a truly obscene amount of fabric? That painting is often held up as an example of the sharp increase in the availability of material goods that is the hallmark of the European Renaissance (especially because it is of a merchant family and not nobles), and it is that. But it is also an example of a mode of dress that was difficult-to-impossible to achieve before the invention of the flyer wheel (for spinning) and treadle loom (for weaving), which made cloth take considerably less time to make and therefore considerably cheaper, and which also made cloth considerably more amenable to tailoring.
So yeah. You too would make fashion out of sheets if it took you most of a month of full-time work to produce one sheet.
I also want to point out that much of the historical dress of Sub-Saharan Africa and the Americas (in the places where cloth was used) is similar, it’s just based on narrow rectangles sewn together rather than large rectangles, because these are places where the backstrap loom and/or tubular loom remained the mainstay of weaving technology. Backstrap looms produce narrow lengths of cloth (15-18 inches is usually the limit), so with that weaving technology + some sewing, you get things like Central and South American ponchos and much of the traditional dress of Central and Western Africa.
After Ethan Allen’s death, Ira and Fanny Allen (his brother and widow respectively) fought over his estate for years. Ira wanted the house, which he had built on land he originally bought. Fanny wanted the linens. Let me repeat: Fanny Allen was perfectly fine with ceding her house to her brother-in-law *as long as she got all the linens*. Textiles were that economically important.
Tags:
#found this buried in my open tabs #history #interesting
My favorite thing about my accounting prof is how adorably indignant he is about some of the arbitrary conventions that come with his life’s work. Some representative quotes:
On the topic of materiality: “So at one point someone noticed employees were taking office supplies home and made a new rule that you had to request them from the clerk. To which the correct answer is ‘screw you, stop being a goddamned clown, it’s a 50¢ post-it note, IT’S NOT MATERIAL!”
On the topic of audits: “Of course, if they *were* committing fraud, you would literally never know because they could show me whatever book with whatever coding rules they wanted. One time I DID find an error in the books and I was so excited, I ran to my supervisor to show them, and they said ‘all right, good job, now you write up why it’s immaterial.’ I’ve never been so disappointed.”
Miscellaneous:
“Land doesn’t depreciate”
“It’s now a lesser truck than it was”
“Is the operating cycle more or less than a year? If they’re selling fish it’d BETTER be less”
“You know, what made the first computers commercially viable wasn’t the Internet or anything cool like you kids do these days, it was that they could do accounting” (I have no idea if this is actually true but it was cute)
“The quick version is that the whole thing is stupid, but I’m going to teach it anyway”
“The statement of cash flows is a pretty pointless report but GAAP made it mandatory soooo here we go”
>>(I have no idea if this is actually true but it was cute)<<
IIRC, it depends on what you mean by “first” computer. Like, not the *first* first computers, but in the 80’s spreadsheet software was a Very Big Deal and an important factor driving computer sales.
*goes to find some stuff on Wikipedia*
Here are the Wiki entries for two of the big spreadsheet programs of the time, VisiCalc and Lotus 1-2-3.
Tags:
#in which Brin is very much [a CS major about to switch to accounting] #(I originally learned the stuff above from a textbook) #I feel like the original post qualifies for the tag #I cannot believe I actually understand this #adventures in University Land #reply via reblog #unfortunately I’m too brainfoggy from a cold to study right now #I might be able to manage working on the household financial statement though #as that is somewhat more informal #illness mention #history
it’s really wild to see how batman has evolved over time as a consequence of writers wanting to change everything while also changing nothing because any comic that lives that long is a shambling stitched-together corpse
early batman is a swashbuckler and he’s having a good-ass time beating up these bad guys, because he existed in the context of organized crime being a big fucking problem. they were coming out of the 1930s. that’s the era of al capone, you know? john dillinger only died five years ago and he was a fucking celebrity. and batman shows up to be like YOU KNOW WHAT’S COOLER THAN SHOOTING PEOPLE AND BRIBING GOVERNMENT OFFICIALS? BEING BATMAN.
early batman could not have been more clearly edutainment, pulpy enough to make kids feel like they were reading That Good Shit but always with a really obvious message (the message was DON’T DO A CRIME). he fights a lot of giants because having to protect yourself from people twice your size is very #relatable to children.
when he adopts robin it’s very clearly to give kids a character to relate to more strongly than they can bruce wayne–FIGHTING CRIMES ISN’T JUST FOR RICH MEN, IT’S ALSO FOR COOL KIDS LIKE YOU. see how cool robin is, kicking the shit out of these dudes? don’t you wanna be cool, like robin? he’s from the circus, that thing you wanted to run away to because that’s a viable life choice in this era!
bruce wayne was rich but his whole cover was that rich people are fucking useless. a man who inherited money? a fucking useless, lazy shit, no question. this was just accepted by everyone, that obviously an heir would never be suspected of doing anything that might take effort. the difference in attitude on a fundamental level toward the idle rich is staggering.
his wealth is also MONUMENTALLY downplayed, in the same way you see in old movies. they deliberately did not film the philadelphia story in an actual mansion because they didn’t think anyone would believe that the rich got to live like that. so bruce wayne ends up looking like he lives in a tract home in a suburb. “is this how rich people live? yeah, sure, probably. who cares, let’s fight crimes.”
they only introduce a backstory after the comic has been going for a while, because at first it’s like? why would he need a reason to fight crime? it’s fun? but i guess they figured they had to create SOME reason for bruce wayne to not be completely useless, as all rich men are. why is bruce wayne the only rich man capable of doing cool shit? because his parents died, that’s why. check out robin kicking this dude in the head. fucking sweet, right?
there’s a whole storyline where batman fights a whole fucking town because it’s corrupt and the cops are corrupt and THE WHOLE DAMN SYSTEM IS CORRUPT so he’s gonna FIGHT THE WHOLE DAMN SYSTEM IF HE HAS TO, FUCK YOU AND FUCK YOUR COCAINE.
then the comics code happens and fucks everything. batman can’t fight, like, systemic corruption and dudes with tommy guns anymore. all the crimes get CARTOONY AS SHIT. the joker isn’t just a murderous jewel thief with a weird face, he’s a fucking clown. he’s a weird clown man committing clown crimes. puns everywhere. suddenly batman is fighting Supervillains, and they’re all insane. but they aren’t, really? they are a cartoon’s idea of insanity, like a wolf in a straitjacket getting hit on the head with a mallet. when a character is insane what that actually means is they’re wacky, they do weird shit, they have no meaningful motivation and do crimes for no reason because the alternative is having them commit real crimes for good reasons and that’s not good for the kiddos. the fact that batman changed so much after the code is fucking WILD because, remember, it was ALWAYS for the kids. it was BLATANTLY for the kids. the code still managed to fuck it just through the culture shift it created.
then later there’s this shift, again, away from the code and away from kids entirely. late seventies, i think? fuck if i know, i don’t know shit about damn. suddenly they want to be more GRITTY and REAL and DARK. they want REAL CRIME. batman is PUNCHING RAPISTS IN ALLEYS. but this isn’t the era of dillinger anymore. as a society, collectively, we understand more about crime and the societal forces that drive people to crime and so on. there are a lot of alley rapists in this era of comics tbh and this is probably why. rapists always deserve to get punched regardless of class struggle. also at this point we understand more about violence, and people who are violent, who commit acts of violence and solve problems with violence and enjoy being violent. a rich guy having a blast kicking a guy in the head for robbing a bank is no longer great optics.
so batman stops having fun. this is now his dark mission, his grim assignment. he doesn’t like this job, but someone’s gotta do it. he will not smile as he punches a rapist in the head. this is serious business. i don’t necessarily have a problem with this decision, because i think it’s a legitimate course of action to say “in a modern context, these behaviors become unacceptable, and so we will change his behaviors so that he can continue to be a heroic figure”. that’s valid as a motherfucker and i wish more people would remember that the whole point of making batman a grump was so that he could continue to be a good guy, as opposed to the alternative of gleeful violence.
(getting rid of most of the violence is also good–he’s a detective–but these are comics we’re talking about here so lol)
and then there’s the villains. you’d think this would be the point where they say “hey, maybe let’s go back to the way some of our villains were before the code”. you’d think that if they hated the goofy villains so much they’d just move on. but it’s comics so nothing ever goes in the trash for good. and that’s when you have writers who look at a cartoon wolf in a straitjacket and they say “that’s not what insanity looks like! we should make him a sociopath.”
i mean you could have just said “let’s stop calling him crazy and try to find a better motivation for these crimes, like being an asshole” but instead now batman has all these villains with sociopathy and OCD and DID and schizophrenia, because that makes it REAL, because now instead of being cartoon crazy people committing cartoon crimes they are real crazy people committing real crimes!! OH BOY
and at some point someone looks at this and goes “you know i feel like this might be ableist as shit” and writers could have said “yeah in retrospect the only evil clown i’m aware of was legally deemed sane and didn’t actually commit thematically appropriate crimes, so maybe mental health isn’t the issue here” but instead they said “yes, batman is kind of an asshole to be punching these sick people, but he’s a necessary asshole because without him there would be Crazy Crimes and we all just have to come to terms with that i guess”
now we’re at this place where we’re trying to reconcile about eighty years of nonsensical horseshit and all of these decisions that were made because of shifting cultural attitudes or to sell comics or because one writer in particular assumed everyone would love his cool OC as much as he did, and there are writers going “you know, bruce wayne probably has pretty severe ptsd” and there are writers going “what if batman was the REAL villain all along” and there are writers going “lol rich man wears bat costume to punch the mentally ill and poors, did u ever think about that” and there are writers going “hey have you heard of this ayn rand chick because boy howdy i just did and now i’ve got ideas”
but the reality is that heroism and goodness are not static concepts that look the same to all people even within the same era and trying to reconcile every different version of what the popular conception of heroism has looked like for almost a century is dumb as hell and batman should have entered the public domain in 2014
Before we continue, I want to add the usual caveat that I actually don’t want to be right about these fandoms being dead. I like enthusiasm and energy and it’s a shame to see it vanish.
Mists of Avalon
Remember that period of time of about 15 years, where absolutely everybody read this book and was obsessed with it? It could not have been bigger, and the fandom was Anne Rice huge, overlapping for several years with USENET and the early World Wide Web…but it’s since petered out.
Mists of Avalon’s popularity may be due to the most excellent case of hitting a demographic sweet spot ever. The book was a feminist retelling of the Arthurian Mythos where Morgan Le Fay is the main character, a pagan from matriarchal goddess religions who is fighting against encroaching Christianity and patriarchal forms of society coming in with it. Also, it made Lancelot bisexual and his conflict is how torn he is about his attraction to both Arthur and Guinevere.
Remember, this novel came out in 1983 – talk about being ahead of your time! If it came out today, the reaction from a certain corner would be something like “it is with a heavy heart that I inform you that tumblr is at it again.”
Man, demographically speaking, that’s called “nailing it.” It used to be one of the favorite books of the kind of person who’s bookshelf is dominated by fantasy novels about outspoken, fiery-tongued redheaded women, who dream of someday moving to Scotland, who love Enya music and Kate Bush, who sell homemade needlepoint stuff on etsy, who consider their religious beliefs neo-pagan or wicca, and who have like 15 cats, three of which are named Isis, Hypatia, and Morrigan.
This type of person is still with us, so why did this novel fade in popularity? There’s actually a single hideous reason: after her death around 2001, facts came out that Marion Zimmer Bradley abused her daughters sexually. Even when she was alive, she was known for defending and enabling a known child abuser, her husband, Walter Breen. To say people see your work differently after something like this is an understatement – especially if your identity is built around being a progressive and feminist author.
Robotech
I try to break up my sections on dead fandoms into three parts: first, I explain the property, then explain why it found a devoted audience, and finally, I explain why that fan devotion and community went away. Well, in the case of Robotech, I can do all three with a single sentence: it was the first boy pilot/giant robot Japanimation series that shot for an older, teenage audience to be widely released in the West. Robotech found an audience when it was the only true anime to be widely available, and lost it when became just another import anime show. In the days of Crunchyroll, it’s really hard to explain what made Robotech so special, because it means describing a different world.
Try to imagine what it was like in 1986 for Japanime fans: there were barely any video imports, and if you wanted a series, you usually had to trade tapes at your local basement club (they were so precious they couldn’t even be sold, only traded). If you were lucky, you were given a script to translate what you were watching. Robotech though, was on every day, usually after school. You want an action figure? Well, you could buy a Robotech Valkyrie or a Minmei figure at your local corner FAO Schwartz.
However, the very strategy that led to it getting syndicated is the very reason it was later vilified by the purists who emerged when anime became a widespread cultural force: strictly speaking, there actually is no show called “Robotech.” Since Japanese shows tend to be short run, say, 50-60 episodes, it fell well under the 80-100 episode mark needed for syndication in the US. The producer of Harmony Gold, Carl Macek, had a solution: he’d cut three unrelated but similar looking series together into one, called “Robotech.” The shows looked very similar, had similar love triangles, used similar tropes, and even had little references to each other, so the fit was natural. It led to Robotech becoming a weekday afternoon staple with a strong fandom who called themselves “Protoculture Addicts.” There were conventions entirely devoted to Robotech. The supposed shower scene where Minmei was bare-breasted was the barely whispered stuff of pervert legend in pre-internet days. And the tie in novels, written with the entirely western/Harmony Gold conception of the series and which continued the story, were actually surprisingly readable.
The final nail in the coffin of Robotech fandom was the rise of Sailor Moon, Toonami, Dragonball, and yes, Pokemon (like MC Hammer’s role in popularizing hip hop, Pokemon is often written out of its role in creating an audience for the next wave of cartoon imports out of insecurity). Anime popularity in the West can be defined as not a continuing unbroken chain like scifi book fandom is, but as an unrelated series of waves, like multiple ancient ruins buried on top of each other (Robotech was the vanguard of the third wave, as Anime historians reckon); Robotech’s wave was subsumed by the next, which had different priorities and different “core texts.” Pikachu did what the Zentraedi and Invid couldn’t do: they destroyed the SDF-1.
Legion of Super-Heroes
Legion of Superheroes was comic set in the distant future that combined superheroes with space opera, with a visual aesthetic that can best be described as “Star Trek: the Motion Picture, if it was set in a disco.”
I’ve heard wrestling described as “a soap opera for men.” If that’s the case, then Legion of Super-Heroes was a soap opera fornerds. The book is about attractive 20-somethings who seem to hook up all the time. As a result, it had a large female fanbase, which, I cannot stress enough, is incredibly unusual for this era in comics history. And if you have female fans, you get a lot of shipping and slashfic, and lots of speculation over which of the boy characters in the series is gay. The fanon answer is Element Lad, because he wore magenta-pink and never had a girlfriend. (Can’t argue with bulletproof logic like that.) In other words, it was a 1970s-80s fandom that felt much more “modern” than the more right-brained, bloodless, often anal scifi fandoms that existed around the same time, where letters pages were just nitpicking science errors by model train and elevator enthusiasts.
Legion Headquarters seemed to be a rabbit fuck den built around a supercomputer and Danger Room. Cosmic Boy dressed like Tim Curry in Rocky Horror. There’s one member, Duo Damsel, who can turn into two people, a power that, in the words of Legion writer Jim Shooter, was “useful for weird sex…and not much else.”
LSH was popular because the fans were insanely horny.
This is, beyond the shadow of a doubt, the thirstiestfandom of all time.
You might think I’m overselling this, but I really think that’s an under-analyzed part of how some kinds of fiction build a devoted fanbase.
For example, a big reason for the success of Mass Effect is that everyone has a favorite girl or boy, and you have the option to romance them. Likewise, everyone who was a fan of Legion remembers having a crush. Sardonic Ultra Boy for some reason was a favorite among gay male nerds (aka the Robert Conrad Effect). Tall, blonde, amazonian telepath Saturn Girl, maybe the first female team leader in comics history, is for the guys with backbone who prefer Veronica over Betty. Shrinking Violet was a cute Audrey Hepburn type. And don’t forget Shadow Lass, who was a blue skinned alien babe with pointed ears and is heavily implied to have an accent (she was Aayla Secura before Aayla Secura was Aayla Secura). Light Lass was commonly believed to be “coded lesbian” because of a short haircut and her relationships with men didn’t work out. The point is, it’s one thing to read about the adventures of a superteam, and it implies a totally different level of mental and emotional involvement to read the adventures of your imaginary girlfriend/boyfriend.
Now, I should point out that of all the fandoms I’ve examined here, LSH was maybe the smallest. Legion was never a top seller, but it was a favorite of the most devoted of fans who kept it alive all through the seventies and eighties with an energy and intensity disproportionate to their actual numbers. My gosh, were LSH fans devoted! Interlac and Legion Outpost were two Legion fanzines that are some of the most famous fanzines in comics history.
If nerd culture fandoms were drugs, Star Wars would be alcohol, Doctor Who would be weed, but Legion of Super-Heroes would be injecting heroin directly into your eyeballs. Maybe it is because the Legionnaires were nerdy, too: they played Dungeons and Dragons in their off time (an escape, no doubt, from their humdrum, mundane lives as galaxy-rescuing superheroes). There were sometimes call outs to Monty Python. Basically, the whole thing had a feel like the dorkily earnest skits or filk-singing at a con. Legion felt like it’s own fan series, guest starring Patton Oswalt and Felicia Day.
It helped that the boundary between fandom and professional was incredibly porous. For instance, pro-artist Dave Cockrum did covers for Legion fanzines. Former Legion APA members Todd and Mary Biernbaum got a chance to actually write Legion, where, with the gusto of former slashfic writers given the keys to canon, their major contribution was a subplot that explicitly made Element Lad gay. Mike Grell, a professional artist who got paid to work on the series, did vaguely porno-ish fan art. Again, it’s hard to tell where the pros started and the fandom ended; the inmates were running the asylum.
Mostly, Legion earned this devotion because it could reward it in a way no other comic could. Because Legion was not a wide market comic but was bought by a core audience, after a point, there were no self-contained one-and-done Legion stories. In fact, there weren’t even really arcs as we know it, which is why Legion always has problems getting reprinted in trade form. Legion was plotted like a daytime soap opera: there were always five different stories going on in every issue, and a comic involved cutting between them. Sure, like daytime soap operas, there’s never a beginning, just endless middles, so it was totally impossible for a newbie to jump on board…but soap operas know what they are doing: long term storytelling rewards a long term reader.
This brings me to today, where Legion is no longer being published by DC. There is no discussion about a movie or TV revival. This isamazing. Comics are a world where the tiniest nerd groups get pandered to: Micronauts, Weirdworld, Seeker 3000, and Rom have had revival series, for pete’s sake. It’s incredible there’s no discussion of a film or TV treatment, either; friggin Cyborg from New Teen Titans is getting a solo movie.
Why did Legion stop being such a big deal? Where did the fandom that supported it dissolve to? One word: X-Men. Legion was incredibly ahead of its time. In the 60s and 70s, there were barely any “fan” comics, since superhero comics were like animation is today: mostly aimed at kids, with a minority of discerning adult/teen fans, and it was success among kids, not fans, that led to something being a top seller (hence, “fan favorites” in the 1970s, as surprising as it is to us today, often did not get a lot of work, like Don MacGregor or Barry Smith). But as newsstands started to push comics out, the fan audience started to get bigger and more important…everyone else started to catch up to the things that made Legion unique: most comics started to have attractive people who paired up into couples and/or love triangles, and featured extremely byzantine long term storytelling. If Legion of Super-Heroes is going to be remembered for anything, it’s for being the smaller scale “John the Baptist” to the phenomenon of X-Men, the ultimate “fan” comic.
The other thing that killed Legion, apart from Marvel’s Merry Mutants, that is, was the r-word: reboots. A reboot only works for some properties, but not others. You reboot something when you want to find something for a mass audience to respond to, like with Zorro, Batman, or Godzilla.
Legion, though, was not a comic for everybody, it was a fanboy/girl comic beloved by a niche who read it for continuing stories and minutiae (and tojack off, and in some cases, jill off). Rebooting a comic like that is a bad idea. You do not reboot something where the main way you engage with the property, the greatest strength, is the accumulated lore and history. Rebooting a property like that means losing the reason people like it, and unless it’s something with a wide audience, you only lose fans and won’t get anything in return for it. So for something like Legion (small fandom obsessed with long form plots and details, but unlike Trek, no name recognition) a reboot is the ultimate Achilles heel that shatters everything, a self-destruct button they kept hitting over and over and over until there was nothing at all left.
E. E. Smith’s Lensman Novels
The Lensman series is like Gil Evans’s jazz: it’s your grandparents’ favorite thing that you’ve never heard of.
I mean, have you ever wondered exactly what scifi fandom talked about before the rise of the major core texts and cultural objects (Star Trek, Asimov, etc)? Well, it was this. Lensmen was the subject of fanfiction mailed in manilla envelopes during the 30s, 40s, and 50s (some of which are still around). If you’re from Boston, you might recognize that the two biggest and oldest scifi cons there going back to the 1940s, Boskone (Boscon, get it?) and Arisia, are references to the Lensman series. This series not only created space opera as we know it, but contributed two of the biggest visuals in scifi, the interstellar police drawn from different alien species, and space marines in power armor.
My favorite sign of how big this series was and how fans responded to it, was a great wedding held at Worldcon that duplicated Kimball Kinnison and Clarissa’s wedding on Klovia. This is adorable:
The basic story is pure good vs. evil: galactic civilization faces a crime and piracy wave of unprecedented proportions from technologically advanced pirates (the memory of Prohibition, where criminals had superior firearms and faster cars than the cops, was strong by the mid-1930s). A young officer, Kimball Kinnison (who speaks in a Stan Lee esque style of dialogue known as “mid-century American wiseass”), graduates the academy and is granted a Lens, an object from an ancient mystery civilization, who’s true purpose is unknown.
Lensman Kinnison discovers that the “crime wave” is actually a hostile invasion and assault by a totally alien culture that is based on hierarchy, intolerant of failure, and at the highest level, is ruled by horrifying nightmare things that breathe freezing poison gases. Along the way, he picks up allies, like van Buskirk, a variant human space marine from a heavy gravity planet who can do a standing jump of 20 feet in full space armor, Worsel, a telepathic dragon warrior scientist with the technical improvisation skills of MacGyver (who reads like the most sadistically minmaxed munchkinized RPG character of all time), and Nandreck, a psychologist from a Pluto-like planet of selfish cowards.
The scale of the conflict starts small, just skirmishes with pirates, but explodes to near apocalyptic dimensions. This series has space battles with millions of starships emerging from hyperspacial tubes to attack the ultragood Arisians, homeworld of the first intelligent race in the cosmos. By the end of the fourth book, there are mind battles where the reflected and parried mental beams leave hundreds of innocent bystanders dead. In the meantime we get evil Black Lensmen, the Hell Hole in Space, and superweapons like the Negasphere and the Sunbeam, where an entire solar system was turned into a vacuum tube.
It’s not hard to understand why Lensmen faded in importance. While the alien Lensmen had lively psychologies, Lensman Kimball Kinnison was not an interesting person, and that’s a problem when scifi starts to become more about characterization. The Lensman books, with their love of police and their sexism (it is an explicit plot point that the Lens is incompatible with female minds – in canon there are no female Lensmen) led to it being judged harshly by the New Wave writers of the 1960s, who viewed it all as borderline fascist military-scifi establishment hokum, and the reputation of the series never recovered from the spirit of that decade.
Prisoner of Zenda
Prisoner of Zenda is a novel about a roguish con-man who visits a postage-stamp, charmingly picturesque Central European kingdom with storybook castles, where he finds he looks just like the local king and is forced to pose as him in palace intrigues. It’s a swashbuckling story about mistaken identity, swordfighting, and intrigue, one part swashbuckler and one part dark political thriller.
The popularity of this book predates organized fandom as we know it, so I wonder if “fandom” is even the right word to use. All the same, it inspired fanatical dedication from readers. There was such a popular hunger for it that an entire library could be filled with nothing but rip-offs of Prisoner of Zenda. If you have a favorite writer who was active between 1900-1950, I guarantee he probably wrote at least one Prisoner of Zenda rip-off (which is nearly always the least-read book in his oeuvre). The only novel in the 20th Century that inspired more imitators was Sherlock Holmes. Robert Heinlein and Edmond “Planet Smasher” Hamilton wrote scifi updates of Prisoner of Zenda. Doctor Who lifted the plot wholesale for the Tom Baker era episode, “Androids of Tara,” Futurama did this exact plot too, and even Marvel Comics has its own copy of Ruritania, Doctor Doom’s Kingdom of Latveria. Even as late as the 1980s, every kids’ cartoon did a “Prisoner of Zenda” episode, one of the stock plots alongside “everyone gets hit by a shrink ray” and the Christmas Carol episode.
Prisoner of Zenda imitators were so numerous, that they even have their own Library of Congress sub-heading, of “Ruritanian Romance.”
One major reason that Prisoner of Zenda fandom died off is that, between World War I and World War II, there was a brutal lack of sympathy for anything that seemed slightly German, and it seems the incredibly Central European Prisoner of Zenda was a casualty of this. Far and away, the largest immigrant group in the United States through the entire 19th Century were Germans, who were more numerous than Irish or Italians. There were entire cities in the Midwest that were two-thirds German-born or German-descent, who met in Biergartens and German community centers that now no longer exist.
Kurt Vonnegut wrote a lot about how the German-American world he grew up in vanished because of the prejudice of the World Wars, and that disappearance was so extensive that it was retroactive, like someone did a DC comic-style continuity reboot where it all never happened: Germans, despite being the largest immigrant group in US history, are left out of the immigrant story. The “Little Bohemias” and “Little Berlins” that were once everywhere no longer exist. There is no holiday dedicated to people of German ancestry in the US, the way the Irish have St. Patrick’s Day or Italians have Columbus Day (there is Von Steuben’s Day, dedicated to a general who fought with George Washington, but it’s a strictly Midwest thing most people outside the region have never heard of, like Sweetest Day). If you’re reading this and you’re an academic, and you’re not sure what to do your dissertation on, try writing about the German-American immigrant world of the 19th and 20th Centuries, because it’s a criminally under-researched topic.
A. Merritt
Pop quiz: who was the most popular and influential fantasy author during the 1930s and 40s?
If you answered Tolkien or Robert E. Howard, you’re wrong – it was actually Abraham Merritt. He was the most popular writer of his age of the kind of fiction he did, and he’s since been mostly forgotten. Gary Gygax, creator of Dungeons and Dragons, has said that A. Merritt was his favorite fantasy and horror novelist.
Why did A. Merritt and his fandom go away, when at one point, he was THE fantasy author? Well, obviously one big answer was the 1960s counterculture, which brought different writers like Tolkien and Lovecraft to the forefront (by modern standards Lovecraft isn’t a fantasy author, but he was produced by the same early century genre-fluid effluvium that produced Merritt and the rest). The other answer is that A. Merritt was so totally a product of the weird occult speculation of his age that it’s hard to even imagine him clicking with audiences in other eras. His work is based on fringe weirdness that appealed to early 20th Century spiritualism and made sense at the time: reincarnation, racial memory, an obsession with lost race stories and the stone age, and weirdness like the 1920s belief that the Polar Arctic is the ancestral home of the Caucasian race. In other words, it’s impossible to explain Merritt without a ton of sentences that start with “well, people in the 1920s thought that…” That’s not a good sign when it comes to his universality.
That’s it for now. Do you have any suggestions on a dead fandom, or do you keep one of these “dead” fandoms alive in your heart?
I’m still in the Lensman fandom! It’s trash, but it’s *my* trash.
Tags:
#interesting #long post #history #the more you know #(I’d vaguely heard of Mists of Avalon and I’d heard the name of Lensman but that was about it) #I recommend the other posts in the series too #there is probably some warning tag I should put on this but I am not sure what
Your players are faced with an ancient Sumerian curse! However, since the early ancient Sumerian language was only used for recording tax debts, it turns out to actually be an ancient Sumerian bill.
and therefore they need to get hold of some ancient Sumerian coinage and bring it to the ruins of the ancient Sumerian tax office, because the Sumerians had a pleasingly direct way of preventing tax evasion, namely horrifying curses.
well I don’t have any coin but I have these copper ingots, lovely copper ingots, from a very reputable merchant, never heard a word said against him, very thorough with his paperwork, anyway they’re guaranteed pure copper and proper weight, so can I pay my tax with those?
I just want everyone to take a step back for a second and really think about how we’re using the most powerful knowledge tool in history to make jokes about a specific dude who lived almost 4000 years ago.
So in modern taxonomy there’s a concept called a “type specimen.” This is a preserved corpse, image, or detailed description which defines a type (species or genus). All the other attributes of a type definition basically amount to “is this close enough to Type Specimen XYZ to be called the same thing as it?” In the event that thinking on where the boundaries are set changes (and that happens ALL THE TIME) whatever’s on the same side of the new boundary keeps the old type; anything placed on the other side needs a new name. (And a new type specimen is selected for that new group.)
Now, this is a fairly recent innovation– older taxonomical systems going back to Linnaeus thought things would be more static than that, so they didn’t feel the need to have a system for what to do in the event of changes. Now, the rule for type specimens is that they have to be one the person who originally came up with the species knew / got to examine. For most of the species Linnaeus described, he’d worked from a specific specimen anyway, and at least a detailed description was preserved, so that was OK.
Problem was Homo sapiens. His description of us amounted to, well, “dis us.” So the modern taxonimists trying to retrofit THAT to up-to-date standards had to sit down and have a good think. And what they came up with was “Well… There’s one specimen of humanity we know for absolute certain Linnaeus examined in great detail. And there are images preserved, and we know where the remains are.”
So Carl Linnaeus is not just human… Carl Linnaeus is the one person who, no matter what the heck weird changes may happen in taxonomy, is human by definition.
#World War I #history #our home and cherished land #war cw #amnesia cw #(they really push the memory framing in this article) #death tw #(I know it’s a different format from the other warning tags; it got grandfathered in)
Brinens and Things 