First off, it has been noted that the de-ranking wasn’t limited to GLBT issues and erotica, but also notably affected books on disability and sexuality as well as feminist books, books on sexuality, and books on topics such as suicide prevention and rape.

In terms of the massive PR fail that has been going on, Amazon went from the vague and not very credible “glitch” explanation to this:

This is an embarrassing and ham-fisted cataloging error for a company that prides itself on offering complete selection.

It has been misreported that the issue was limited to Gay & Lesbian themed titles – in fact, it impacted 57,310 books in a number of broad categories such as Health, Mind & Body, Reproductive & Sexual Medicine, and Erotica. This problem impacted books not just in the United States but globally. It affected not just sales rank but also had the effect of removing the books from Amazon’s main product search.

Many books have now been fixed and we’re in the process of fixing the remainder as quickly as possible, and we intend to implement new measures to make this kind of accident less likely to occur in the future.

Here are some good posts that point out the flaws with Amazon’s explanation:
This Is Not A Glitch, #amazonfail
Seattle PI has new #amazonfail statement
Amazon’s censorship sparks angry protests
Amazon Rep: This was not a “glitch”
Amazon Is Embarrassed By “Ham-Fisted Cataloging Error”

There’s also the disconcerting parallel between the pattern of the feature/glitch/whatever showing up on books from smaller presses first and only after some time has passed does it start showing up on books where people are likely to notice. As Lilith Saintcrow explains:

Now. Do you remember the Amazon POD fiasco? Cliffs Notes version: Amazon tried to take over a significant chunk of the print-on-demand industry by quietly removing “buy” buttons from small-press POD publishers who didn’t use Amazon’s POD service. The buttons would come back–if you switched to Amazon’s POD service, in essence giving them a bigger cut. It was greed pure and simple, and they started it with smaller presses and only backed off when there was a bit of a hullabaloo and larger presses (who still use POD technology) banded together to tell Amazon where to stick it.

We have the same pattern with AmazonFail. First very small press/authors are targeted, probably to gauge how big of a stink they’ll raise. If Amazon is not convinced the outcry will outweigh the (perhaps perceived) profits, it slowly mounts until Amazon has captured what it wants. The fact that Amazon has shot itself in the foot with this does not mean it wasn’t a deliberate step taken with another end in mind.

We also need to examine the implications behind Amazon having paid someone money to code this feature — regardless of whether this incident was a policy, a “glitch”, a mistake or whatever. Patrick does this in his post Amazonfail & The Cost of Freedom:

Think for a second about what Amazon did here. In the world of ecommerce, the search is king. Almost everybody who shops online visits a site to find a specific product. By intentionally obscuring and manipulating the search results of your site, you are making a clear statement: We don’t want you to read these books. I can tell you from experience that if something is difficult to find through a search, it will not sell. Not only was this a suspicious action on Amazon’s part, it had the potential to be very “successful” (ie, it would’ve greatly decreased the sales of those titles).

After quoting the above, Lilith Saintcrow responds with:

Exactly. This powerful weapon was created FOR A REASON. No company spends money on a tool that powerful that they don’t intend on using. A huge squawk over it being used improperly one time will not stop it from being used improperly in the future as soon as the hubbub dies down–but greater choice in Internet suppliers might.

In terms of how I’m feeling about the issue, Amazon isn’t getting my money even if it does offer an apology. I feel pretty much the way that are pretty much summed up in Kelley Eskridge’s take on Amazonfail from a managerial perspective:

Amazon is perceived right now as everything from deeply clueless to desperately stonewalling to deliberately deceptive. And of all the errors you can make as a manager, this is the worst — to communicate in a way that distances people even further. Amazon will never fully regain credibility with many of its customers, and they have no one to blame but themselves. They gave a generic “Daddy’s working on it” answer to a deeply divisive situation; they communicated “at” stakeholders instead of directly to them, on their own online turf; and they have so far refused to engage with the notion that people aren’t just curious or concerned, they are offended.

Lilith Saintcrow’s amazonfail-related entries is probably the most comprehensive breakdown I’ve seen yet and I would highly recommend reading through all of them.

So, I’m sure everyone has heard by now, but Amazon has recently made the decision to remove the sales rankings of so-called “adult” books in order to ensure that they don’t show up in some searches (like the default search) and bestseller lists.

Their rationale? The censoring books primarily written by and for queer people (and, in the case of erotica, some non-queer women as well) was done “[i]n consideration of our entire customer base”:

“In consideration of our entire customer base, we exclude “adult” material from appearing in some searches and best seller lists. Since these lists are generated using sales ranks, adult materials must also be excluded from that feature.”

Just to be clear, the criteria for the “adult” material that they’re using is pretty damn sketchy:

But as an online petition points out the following publications remain on the sales ranking system:

-Playboy: The Complete Centerfolds by Chronicle Books (pictures of over 600 naked women)
–Rosemary Rogers’ Sweet Savage Love” (explicit heterosexual romance);
–Kathleen Woodiwiss’ The Wolf and the Dove (explicit heterosexual romance);
–Bertrice Smal’s Skye o’Malley which are all explicit heterosexual romances
–and Alan Moore’s Lost Girls (which is a very explicit sexual graphic novel)

while the following LGBT books have been removed:

–Radclyffe Hill’s classic novel about lesbians in Victorian times, The Well of Loneliness, and which contains not one sentence of sexual description;
–Mark R Probst’s YA novel The Filly about a young man in the wild West discovering that he’s gay (gay romance, no sex);
–Charlie Cochrane’s Lessons in Love (gay romance with no sex);
–The Dictionary of Homophobia: A Global History of Gay & Lesbian Experience, edited by Louis-George Tin (non-fiction, history and social issues);
–and Homophobia: A History by Bryan Fone (non-fiction, focus on history and the forms prejudice against homosexuality has taken over the years).

There’s already a push to google bomb them by creating the phrase “amazon rank” as a synonym for being censored in regards to queer and/or erotic material (with careful attention to inconsistent logic). It’s made at least one newspaper, a letter writing campaign, and there’s even an online petition.

Here’s the letter I wrote to their customer service:

To whom it may concern,

I am one of the many who was shocked and disappointed by Amazon’s recent decision to remove the sales rankings of certain books in order to keep them from showing up on most searches and bestseller lists. As I am sure many others have said, the criteria for “adult” that the company has chosen to apply is inconsistent and ill-thought-out. Regardless of intention, the result of this decision was to further marginalize already marginalized groups such as women and queer people while leaving the explicit material of privileged groups such as men and heterosexuals largely untouched.

I find this level of lack of foresight and competence in a company unacceptable. For a web-based company, the decision to change even one part of the fundamental structure of its website is something that needs to be undertaken with great caution, thought, and care. In this case, before anything was done those in charge needed to clearly define the criteria for labeling a product “adult”, doing everything possible to ensure that said definition was as internally consistent and free of bias as possible.

By focusing on queer books (regardless of actual explicit content) and erotica (a genre with primarily female authors) while leaving clearly explicit but more normalized versions of “adult” material intact, Amazon has created an image for itself as a company that supports homophobia and sexism. I may be only one person, but I am still part of Amazon’s “entire customer base” and I do not feel that Amazon took my interests into “consideration” at all when the decision was made to make it harder for me to find books on queer theory, DVDs about the queer experience, and depictions of romance and sex written by women for women.

Before this happened I had intended to make a sizable purchase of various books, DVDs, and games from your site, but I cannot in good conscience support your site while this policy is in effect. I hope that this decision will be rescinded quickly with a full public apology given to the authors whose sales you have hurt and the customers who you have inconvenienced, and that any further consideration into the separation of adult material from non-adult material will be undertaken with much more deliberation and care than was taken with the current policy.

Sincerely,
Andrea Rubenstein

Amazon’s doing this has, obviously, pissed me off. Even more so because, living in Japan, I don’t have easy access to the kinds of English books and DVDs that I consume on a regular basis and therefore was gearing up to do a major purchase so my dad could bring it to me when he comes to visit. Now I need to take my shopping elsewhere, which will create more hassle for me than working with a company that already has my information on file. But, really, when the decision comes down to hassle versus supporting a company that obviously disdains me and my interests I’ll take the former any day.

For those of you interested in knowing more, here’s a link farm.

Via Tamora Pierce.

I am not a regular reader of The New Yorker, but I have never been a huge fan of their cartoons. Some of them have made me chuckle, some of them have made me roll my eyes, and many more have just provoked a, “Okay…” kind of blah reaction. But, I am sorry to say that they have joined the ranks of all those other jerks who create something bigoted, present it without any obvious criticism, and then dare to call it “satire”.

That cover is not satire.

I understand the reasons why people are calling it satire, but their explanations fall flat when you’ve seen the same arguments used to defend insulting articles/pictures/etc that only serve to reinforce the status quo.

Satire isn’t a synonym for “mockery”. It isn’t something that is easy to do right, and it certainly isn’t accomplished by simply rehashing elements that have been used by a group that’s in political opposition to the person doing the satire. It’s not enough to say it’s satire because “everyone” knows the object of mockery is ridiculous, especially when there are plenty of people who obviously don’t.

The thing that the satire is mocking needs to be blatantly and obviously ridiculous and wrong. And not just to people who already see the subject as ridiculous and wrong. Satire needs to expose the logical fallacies of the object of ridicule, not simply summarize them.

If the satire can reinforce a person’s conviction as easily, if not easier, than it can shake it, then it is not satire. It’s just mockery, and mockery whose target is ambiguous at that.

Via Feministe.

If you have ever criticized an ad campaign, commercial, or anything that’s even remotely related to marketing for pushing a bigoted viewpoint, you will undoubtedly have come up against the argument that of course the reason the product is being marketed that way is because it’s more profitable. A company would never do anything to compromise its profits!

Which is, of course, bullshit. Many people have demonstrated how such campaigns hurt profit margins, rather than help them. The response is, of course, “but it doesn’t make sense for companies to put bigoted agendas over profits (and therefore they must have some secret knowledge about why it’s more profitable to discriminate against non-privileged groups)”. Before now I had never really had a good response to that argument (I was too busy being shocked at the leap of faith required to continue to believe that marketing is doing the best thing in the face of pretty damning evidence). But, thankfully, BetaCandy has recently blogged about her experiences learning to be a screenwriter, which has given rise to a discussion about how a non-profitable system perpetuates itself among industries that are supposed to be driven by profit.

In her post Why discriminate if it doesn’t profit?, she takes on the mindset that explains why the “profits come first” argument is, in fact, a myth:

The question this brings to mind is: why would they discriminate against a group when there’s more profit to be made by doing the right thing? That’s a good question, and one that deserves an answer.

n comments on the above-linked entry, I explained that I think it boils down to ego. Even greed is fueled by ego – it’s the ego that wants more than enough so it feels safe or better than its neighbors. It’s the ego that wants to feel important, unique, successful. Eliminating entire clumps of humanity from the “race” your ego thinks it’s in is a quick way to get rid of competition. It’s the same question you have to ask about store owners and restaurateurs who refused to serve African-American patrons whose money was as green as everyone else’s. They sacrificed profit, and for what? Ego.

But that’s not necessarily the only answer. Laziness is also a factor.

I would highly recommend reading the full post.

I have been feeling rather unhappy with Capcom for a while, but this takes the cake:

Resident Evil 5 producer Jun Takeuchi tells Kotaku that calls of racial insensitivity haven’t affected the game’s design. Takeuchi tells the site that the team didn’t “set out” to make a racist or political statement and he feels there was a misunderstanding about the initial trailer.

Takeuchi says there are Arab and Caucasian targets for Chris Redfield’s bullets in RE5 and insists they were always going to be included in the game — despite the initial trailer showing a less ethnically diverse group of zombies. We’ll have to take a “wait and see” approach on whether Japanese developers will continue to fuel the fires of black/white racial tensions across the ocean.

I know Japan is pretty racially ignorant (from my experiences, but here’s a wikipedia entry on the matter), but Capcom is an international company, serving an international audience. The fact that it seems that their research only involved going to the location (without, you know, spending like 5 seconds looking into the history of black/white relations in the US, where their protagonist is from) is bad enough. Takeuchi’s tactic of “it’s not racist because I didn’t mean it!” is infuriating, but expected. I am also not appeased by the inclusion of Arab and Caucasian zombies, because:

1. An American killing an Arab. UH, HELLO? How is that not problematic given the current anti-Muslim (which, to the average anti-Muslim American translates to “Arab”) climate in America? And, I mean, with the Afghanistan and then Iraq wars, which made international news, it’s not like Takeuchi has an excuse not to know about those tensions.
2. Adding a sprinkling of whities to get gunned down isn’t some magical panacea for racism. It doesn’t address the What These People Need Is a Honky problem, and it doesn’t change the way that the black people, even pre-infection, are portrayed as savages.

I have loved the Resident Evil series, even with all of its problems. I have done my best to play the games, even though I suck at survival horror (mostly because I spend most of the time thinking, “OH NOES TEH ZOMBIE IS GOING TO GET ME!!!111eleven”). I could tolerate stupid shit like Jill being sexualized and put in a dress for RE3, Ashley being completely useless in RE4, and the fact that they apparently thought there’s no difference between Mexican Spanish and Spanish Spanish. I didn’t even mind so much that all of the protagonists were dayglow white (after all, it isn’t like that’s unusual). The abominable trailer for RE5 wasn’t even enough to convince me to not buy the game.

But I can’t take it anymore. I feel like I have no other choice but to boycott Capcom because I simply cannot support what they’re doing.

Capcom/Takeuchi no longer have an excuse. They can’t claim ignorance, because they’ve been made aware of the issues and still chose to ignore it. They quite simply don’t care that their game is problematic from a racial angle. And I can’t support that. I can’t support people who willfully engage in racism even after the racism is pointed out to them by multiple people because they can’t fathom that, in their lack knowledge regarding racial tensions/issues, they could unintentionally create something racist.

I’m about to be twenty-six fucking years old. I’ve grown up. Is it so wrong for me to wish that the games I love would grow up with me?

Wow, a man refrains from violating the terms of his relationship agreement with his wife? Totally worthy of a reward. Give that man a cookie Klondike! <insert massive eyeroll here>

Actual analysis of Klondike’s latest series of commercials can be found over at The Hathor Legacy, in sbg’s post, Normal Behavior Rewarded as Extraordinary.

The BBC has chosen to defend some transphobic comments made by a gay comedian whose show they sponsor. In this clip where he’s talking about Thomas Beatie, he says: “If he hasn’t had genital surgery surely that just makes him a lesbian” and “that thing is still a woman”.

Here’s an excerpt from the response to Selina’s complaint:

I understand that you were unhappy because you felt that the presenter made offensive comments about Thomas Beatie.

I can assure you that no offence was intended. ‘The Graham Norton Show’ features trademark Norton comedy monologues, celebrity chat, eccentric stories and characters, and home-grown weirdness from the great British viewing public. The show provides him with a comedy vehicle to extract humour from people and events that interest him and his audience.

We try to ensure that post-watershed, anarchic comedy series are well signposted. As the BBC is a public service financed by the licence fee it must provide programmes which cater for the whole range of tastes in humour. We believe that there is no single set of standards in this area on which the whole of society can agree, and it is inevitable that programmes which are acceptable to some will occasionally strike others as distasteful. The only realistic and fair approach for us is to ensure that the range of comedy is broad enough for all viewers to feel that they are catered for at least some of the time.

There are so many things wrong with that response that I can’t even begin to address them. All I can think is, “WTF? Why is it that the dehumanization of a person/group of people is still considered funny?”

You can read more at Transphobia on Graham Norton and Graham Norton.

After one Starforce scare with Dreamfall (which worked out in my favor because Ubisoft dropped the malware due to consumer outcry), and two wastes of money (one due to SecuROM with Sims 2: Bon Voyage, which I’m going to see if I can ebay for at least part of my money back — I made the mistake of opening the box before checking the copy protection — and the other due to Starforce with Obscure, which I purchased several years ago and almost installed on my computer a few minutes ago) I am at the point where I’m not sure I can continue to be a consumer of PC games.

I am not a criminal.

I am not a pirate.

And yet, companies treat me as if I am. The onus falls on me to make sure that I am not buying malware from so-called legitimate companies, rather than on those companies — and some of the biggest offenders are corporations like EA and Sony — not to silently bundle increasingly invasive and harmful copy protection products with their games. Products, I might add, which always get cracked within a few weeks of their release.

Sure, with a very simple google search I could access step-by-step instructions on how to bypass the software. And you can bet your buttons that I looked into it when trying to figure out if I could salvage the 20 bucks I spent on Obscure. But, in the end, I don’t want to have to jump through hoops just to safely play my legitimately purchased game. I also don’t want to risk damage to my machine, seeing as maintaining gamer-quality computers takes a lot of money.

Which means that I will most likely no longer be making any PC gaming purchases, excepting those that use different approaches to copyright protection such as MMO’s and games such as Galactic Civilizations II. I love PC gaming, but it’s just not worth the hassle anymore. I feel like telling all those gaming companies, “Congratulations, assholes, with your bumbling and futile attempts to stop pirates you have just lost yourself a customer who — despite having the knowledge and ability to pirate — has been making a conscious and concerted effort to be a legitimate consumer.”

Oh well, at least I still have console games.

Now, I’ll be honest here. I think that Brian Crecente is an unprofessional misogynist who doesn’t have the writing skills to match his journalism education. Given his track record, I don’t think he’s fit to write articles, much less be put in charge of a majorly influential gaming news site.

Part of this is personal, seeing as he’s tried to take credit for the Iris Gaming Network that Revena and I founded, not to mention was the source of the misattribution of a quote by Guilded Lily to Iris/Cerise that has caused no end of misunderstandings. Oh, and I was none too thrilled that he felt that it was appropriate to allow commenters to make rape threats about the cover model for the first issue of Cerise, especially since the “model” was my friend who posed as a personal favour to me.

The other part of it is just my general aversion to misogyny, which he’s directly responsible for as the senior editor of the site (it’s his job to moderate both the posts by other editors and the comments by readers) and the fact that he thinks it’s appropriate to refuse removal of a dirty picture, posted without permission, at the request of the model. Really, it doesn’t take very much to earn a place on my “misogynist shit list”, but Crecente has really gone above and beyond the call of duty.

So, you can imagine my snort of disbelief when I was reading Nick Douglas’s article, I’m Not Offended, I’m Just Bored: Why Gaming Journalism Should Stop Treating Women Like Meat (via this month’s Gaming in the Media), and came across this quote:

Gawker Media’s gaming site Kotaku, says editor Brian Crecente, goes out of its way to stop boy’s-club coverage.

So, I follow the link to Feminist Gamers in the Gaming in the Media article (they express a similar disbelief that Kotaku is turning over a new leaf; they also link this article by Amanda Marcotte which is worth reading) and come across the following quote from this article by Crecente:

Wow, there are a lot of hateful women out there. Don’t get me wrong, I’m sure there are just as many hateful men out there too, but none of them have been given the space in large newspapers to spew their anger at video games and the men who play them, so I’ll limit my ire to them in this post.

The post generated comments such as:

if she wouldn’t be such a c*%t then maybe the child-men she’s hangin with would put down the controller and shag the hell outta that dried up ol prune. — ROYAL_HIGHNESS

Let me guess, last guy she met stood her up for a videogame? I would too lol — IRENICUS-THE ONE AND ONLY

My God I want to slap her in the face. — INTELSILVER

Way to “[go] out of [your] way to stop boy’s-club coverage”, Crecente and Kotaku! I don’t know what I’d do without men like you to champion women’s rights by never bringing up women’s gender when it’s completely irrelevant to the topic at hand, cracking down on threats of violence against women, and distinguishing yourself from other game journalist sites out there by refusing to make inappropriate references to women’s body parts in your titles!

Dove and Axe — which send diametrically opposed messages about women to their target audiences — are both made by Unilever. This video juxtaposes the two campaigns in order to raise awareness of the connection between the two.

Via The Hathor Legacy.

So, ABW wrote a post about NPR and their apparent lack of diversity and NPR responded. While I know that ABW is planning on discussing her own response, I read over the letter and was pretty much floored that a company that purports to need pledge money to survive would allow such a letter to be sent. It was certainly not the worst response to criticism that I’ve ever seen, but it definitely wasn’t the best.

Now, I’m sure most of you are going to be like, “What the heck is tekanji talking about?” (you have read the letter, right?) because there’s nothing obviously unprofessional about it, and in fact it does include a lot of important and valid information in it. But if you hear me out and read the rest of this post, hopefully you’ll be able to see why I think that the letter was more unprofessional than it first appears.

The letter started out really good by answering the challenge with an upbeat and positive, “Look at all the great people we already have!” response. I was reading along, nodding my head, and overall feeling positive about the response. Then I hit the second paragraph.

The tone takes a sharp turn with the opening sentence [emphasis mine]:

Your assumptions about our staff diversity are incorrect. In the last seven years, NPR News alone has more than doubled its staff of people of color – by 106%. That includes 118% increase specifically in on-air diversity staff, 116% in editorial and 92% in production. Currently, the combined diversity staffing in these three areas represents 22 percent of our total news positions.

Was it necessary to say “[y]our assumptions… are incorrect”? It takes her positive and turns it into a negative — instead of focusing on what NPR is doing right, it focuses on what ABW said that was wrong. And, while I can’t speak for ABW, I can’t imagine how that’s a tactic that’s going to make her, or anyone who admires her, think, “Gee, look how swell NPR is, they really do deserve my money!”

In fact, that whole paragraph would have had a lot more impact if it had kept up the positive throughout. If I were to rewrite it, I’d probably go with something along the lines of:

I definitely agree with you that visible diversity in companies like ours is very important. Which is why I’d like to take some time to address the part of your post where you said “I suspect that, if one were to check, 90% of the reporters would be not-black. If we include all PoC in the count, then NPR is probably 75% white.” In the last seven years, NPR News alone has more than doubled its staff of people of color – by 106%.

It starts out by acknowledging the point that was behind ABW’s claim — that visible diversity is important, and that when diversity isn’t visible that it creates the feeling that the viewpoints of POC aren’t properly represented. Then it further acknowledges what she said as important, by emphasizing that the point is important enough to get its own paragraph. All of that primes the reader to be in a positive frame of mind and therefore the following information is seen as a helpful clarification, rather than a grown-up way of saying, “so there!”

The problem continues with the beginning of the next paragraph:

Finally, your description of News & Notes does a disservice to both the program and the African American Public Radio Consortium, the dedicated group of stations that co-created it with NPR.

Again we have the same problem of the negative focus on what ABW is doing/saying in terms of it being wrong instead of focusing on what NPR is doing right. And, I might be alone in this, but the whole, “you’re doing a disservice to these black organizations” kind of reads as the, “you are making other black people look bad” which, as an argument style, tends to put the blame on black people for being discriminated against, rather than on the systems that are allowing/encouraging the discriminating.

Personally, I think the entire letter would be stronger without that paragraph, because the whole paragraph looks like a vendetta against Tavis Smiley the way that it’s worded. Also, it takes the focus off of the positive things that NPR has done and puts it squarely on the negative side, both with what was said to ABW as well as the accusations made against Smiley (which, whether they’re true are not, are certainly not appropriate to discuss in this venue).

The next paragraph is generally a good one, as it’s about acknowledging that there’s room for improvement, but it reads as kind of cold and antiseptic. My suggestion here, then, would have been to have directly engaged with the underlying message of the post. Talking about the generalities of improvement does nothing to reassure ABW, or her readers, that their concerns, in particular, are being addressed. But doing something such as acknowledging that one of the ways that NPR could improve would be to be more clear and transparent about their current diversity and continuing efforts to improve it, so that listeners like ABW could feel more represented in the future, would have really helped to make a connection.

The last paragraph would need a complete overhaul. It comes across to me as if it’s rubbing it in ABW’s face how wrong she was about the diversity issue and how she should be ashamed of herself. The whole tone is so blatantly passive-aggressive (I mean, come on: “I know how hard they work to bring different perspectives to journalism and I would appreciate them being recognized for their efforts.”? Guilt trips are not high on the “ways to treat your consumers to make them want to give you money” list) and it completely undermines all of the positive points that were made earlier in the piece.

All in all, I have to say that I’m disappointed in NPR. I’m disappointed that they would let such a letter be sent, and I’m disappointed that they made activism look like some sort of petty contest (where there are people who do it “right”, ie. NPR, and people who do it “wrong”, ie. ABW). I’m not a business major, and I have very little practical experience in this area, but even I can see that sending such a letter to someone who is clearly a listener who thinks about donating is bad for business.

I, myself, do not particularly listen to NPR but I have family members who do. And you’d better believe that I’m directing them to ABW’s post, then this one, and then letting them know that NPR may be committed to “diversity” but it sure as hell isn’t committed to treating its listeners, and their concerns, with respect.

So, apparently racist iconography is the new couture. Come on, Disney, ARE YOU STUPID? I have no idea what wires got crossed in the company that they could see this as anything but a very, very bad idea. Especially on the wake of the Jenna Six incident.

I’ve had various problems with the company for a long time, but I think I’m with Sara in thinking that it’s finally time to just say “no” to Disney products. Until that company shapes up and, at the very least, stops actively being racist, I’m through with it.

Via Sara Speaking.

The last thing the NBA wants you to think about while the playoffs are in full and exciting swing is one of its most habitually toxic players pleading no contest and then being sentenced for a misdemeanor domestic violence charge.

Ron Artest is, without a doubt, the single worst role-model when it comes to active professional athletes so it comes as no surprise that though reported, it’s of little concern to the sports world when upsets and game sevens are amuk in the NBA. Artest is also one of the best defensive players in the game and, strictly for his on-court performance, one of the most sought after. So sought after, in fact, that his current team, the Sacramento Kings, agreed to take on Artest after the infamous Malice At The Palace and then stood behind him throughout the entire DV ordeal with talk about “everyone makes mistakes,” “think of the children” and “second chances.” He likely won’t be dismissed from his current team and even if he is, there are always other franchises looking for a gun-for-hire regardless of how they conduct themselves off the court.

Read the rest…

I swear I don’t go looking for these kinds of things, they find me all on their own. I went to VoodooPC’s website to check their tech support hours (in the hopes of me getting my laptop back this century…) and I saw the above image.

When you mouse over it you get this lovely text:

Do I even have to do an image and textual analysis of this for everyone to understand what’s wrong with a North American company (recently bought out by HP, mind you) capitalizing on the fetishization of Asian culture in order to sell its product? Okay, then.

Honestly, if I didn’t have so many things to do already I’d be sorely tempted to make a satire of the above ad using Christianity. The laptop as Jesus, anyone?

The recently published How to Make Money Like a Pornstar comic has been the subject of some controversy on the blogsphere. The comic was given to Karen Healey, a well-known feminist comic’s blogger, (I Can’t BELIEVE They Sent This To Me )as well as to Kevin Church, another well known comics blogger (Review: How To Make Money Like A Porn Star). Their reviews are pretty negative, and have recieved some attention from other comic bloggers (see links at bottom of post).

Church followed up his review with one discussing possibly fake Amazon.com reviews (Marketing Conspiracy Theory Machine Go!). His sentiment is echoed by simargl_wings (Pass me the tinhat….), but with added controversy: discussion of the Wikipedia Entry for the comic.

I’ve stuck my nose into Wikipedia’s business exactly one other time. An attempt to make the VAWA article comply with Wikipedia’s NPOV policy. Since the controversy is still going on (check the talk page and the history), I wasn’t the least bit successful. This time I didn’t try to modify the page in question, but rather stuck an NPOV tag on it and addressed the issue in the talk page.

Wikipedia can be a great resource for non-controversial subjects, but the nature of it is that anyone can modify a page for any reason. And that includes advertising — even though it is against the rules.

Read the rest…

The post 13 Oblivion mods that should not have been has been getting a lot of attention lately. It’s a great list, but I think the author forgot to include this mod necessary for anyone who wanted to play as a woman and didn’t want a handicap that could potentially affect gameplay: The Oblivion Equalizer.

You think Burger King thought of this possibility when they commissioned their game Sneak King?

All I gotta say is that BK is batting 0 for 2 in my book.

Via Joystiq.

As some of you may know, I’m currently attending language school in Japan. There is a student dorm, but most of the housing is apartments rented out to students. When I first got here, I was a bit surprised to see that there was no elevator, but outside of being annoyed that I couldn’t get my heavy stuff up the stairs easily, I didn’t think too much about it.

But something happened a little over a month ago: a guy who lives in my building got into a car accident and is now in a wheelchair. He was told that, due to fire regulations, he could no longer live in our apartment. You see, even the first floor apartments require going up one flight of stairs and in the event of a fire that just isn’t safe. These apartments, I would like to point out, were built just last year.

And then this caused me to realize that all of the kids in the school are able-bodied. Indeed, I have the sneaking suspicion that they would reject anyone who wasn’t because of “undue hassles” (they kicked out one student who was having frequent panic attacks, but wouldn’t/couldn’t take her to the hosptial because she didn’t have Japanese insurance). My building has an elevator and therefore should be accessible, but the building that’s used for the other program as well as private lessons not only has no elevator, but the easy access is a set of pretty dangerous outside stairs. It’s supposedly going under rennovation because of the influx of students, but I’d be surprised if they added an elevator.

On the one hand, I can sort of sympathize with the school: they are becoming increasingly popular and it’s been hard to deal with the influx of students because there isn’t enough space or teachers to accomodate everyone. I’ve also heard that, in terms of buildings, getting through the planning stages is ridiculously hard. But, on the other hand, I would be surprised if this was the first time a problem like this has occurred. My friend is not the first person who I’ve known has gotten into an accident during his stay at my school.

I just… I dunno. I like my school and sympathize with their plight, but at the same time I’m not altogether thrilled with the way they handle students who have specific health needs.

I don’t think Joe Quesada’s a bad person. I don’t think he hates women. But I do think that he’s digging himself a deep, deep hole on this whole women in the comic book industry thing. For those of you not “in the know,” Joe Quesada is Marvel Comics’ Editor in Chief. This most recent kerfluffle involves him putting his foot into his mouth about the lack of women in the higher ranks of the comic book industry. Ragnell has the scoop on his mediocre response to the question “why hasn’t a women creator made it into the tight circle of Marvel creators?” in her post, Does This Sound Like An Answer?. More commentary can be found here.

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I was very excited to see Pirates of the Caribbean II: The Dead Man’s Chest Friday night; I loved the first film and used to work at the Magic Kingdom theme park where I frequented the Florida’s abbreviated version of the ride. Beyond watching the trailers, I’d remained spoiler free and didn’t know what to expect from Pirates. While queueing at a small town American theater, I studied the poster for the film and saw three brown-skilled men with jeering and perplexed looks on their faces in the lower left-hand corner. Uh-oh, I thought. What am I getting into?

Here ye be warned, this post contains some mild spoilers for Pirates of the Caribbean II.

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