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Text of the page (random words):
of fandom sword and sorcery what began as a quiet community of enthusiasts has been reshaped by ideological tensions cultural shifts and the rise of what i ll call enthusiasm opportunists these patterns while unique in their details reflect broader sociological forces at work in digital subcultures that i find academically fascinating five years ago i saw a similar schism emerge in the robert e howard fandom robert e howard 1906 1936 best known for creating conan the cimmerian wrote widely across genres and some fans wanted to focus exclusively on consolidating his diverse literary output rather than the broader derivative works inspired by him these purists grew frustrated with fans who enjoyed howard primarily through the lens of sword and sorcery a genre howard invented but due to low quality imitations has often carried the stigma of being lowbrow pulp i found myself in an unusual position both an academic admirer of howard s literary genius an english professor who specializes in interwar working class literature and culture and a nerd a fan of the wider unapologetically pulpy sword and sorcery tradition in 2020 i founded an amateur zine dedicated to celebrating sword and sorcery fiction both classic and contemporary for me it was a way to bridge these worlds acknowledging howard s literary artistry while embracing the creativity and energy of genre storytelling there has long been an effort in literary studies to rethink the stark distinction between literary interpretation and production analysis and creation why shouldn t literary scholars also teach creative writing courses aren t reading and writing part of the same literary culture at the same time i continued to contribute to howard scholarship editing an academic journal about his life and work publishing essays in major venues and even giving a ted talk about his literary significance parallel to this the sword and sorcery fandom began to evolve influenced by larger cultural and political trends historically the genre has been criticized for its hyper masculine and violent tendencies it attracts a certain type of writer and reader sensitive yet combative quick to take offense and eager to defend their creative space early on i advocated for a more inclusive approach to the genre particularly in the representation of women and minorities my stance was seen as progressive within the community and i often found myself at odds with reactionaries resistant to change then came another shift a new wave of fans vocal and politically engaged sought to redefine the genre entirely they wanted sword and sorcery to reflect lgbtq identities and progressive values personally i welcomed this and saw my work and the work of several friends as already part of this expanding the genre s appeal and making it more inclusive seemed like a natural and worthwhile evolution however tensions arose as other fans pushed back uncomfortable with what they perceived as activism encroaching on their escapism even more what had once been a niche low profile fandom began to attract broader attention thanks in part to podcasters and other media amplifying our discussions a discord server i started as a low key space for fans quickly grew into a largish community with hundreds of active daily users this growth brought with it a new phenomenon enthusiasm opportunists these individuals exploiting the community s passion began leveraging their fandom for personal gain through kickstarter campaigns and other monetized ventures such as low investment anthologies at one point i observed there was becoming a glut of new sword and sorcery with more books being printed than being read and discussed sociologically this reflects a broader pattern in fandoms the transformation of participatory culture into a marketplace scholar henry jenkins has explored how fan communities initially spaces of diy creativity and collaboration can become sites of commodification the ethical problem lies in how these opportunists blur the line between genuine participation and commercial exploitation undermining the community s trust and shared values jenkins classic book fans bloggers and gamers exploring participatory culture nyu press 2006 offers profound insight into the sociology of fandoms their birth growth and declines over time this monetized culture eroded the diy ethos that had made the fandom vibrant the community shifted from being a space of mutual enthusiasm to one divided between producers and consumers i voiced my discomfort with this shift arguing that the commercialization of fandom was compromising its authenticity however my critique was poorly received particularly by those who tied their monetized ventures to progressive activism my reluctance to uncritically endorse these ventures was cast inaccurately as opposition to their broader causes positioning me ironically as an insufficiently progressive figure at its core this controversy boils down to the dynamics of power and capital within fan communities the introduction of monetization creates new hierarchies privileging those who boldly and shamelessly market themselves while effectively sidelining others authors small presses and editors who emphasize artistic quality over social media visibility this commodification also feeds into performative activism where important causes are leveraged less out of genuine commitment and more as branding opportunities these patterns mirror the broader neoliberal logic of turning every space even fandom into a marketplace reflecting on these developments i m struck by how fandoms can serve as microcosms of larger societal tensions what began as a shared passion for a genre has been fractured by ideological disputes cultural anxieties and the corrosive influence of commercialization while i remain committed to the creative and scholarly aspects of sword and sorcery i find myself questioning whether the communal spirit that once defined this fandom can withstand the pressures of our increasingly commodified culture ultimately the story of this schism is not just about sword and sorcery but about the ethical dilemmas that arise when enthusiasm becomes a commodity can fandom remain a space for genuine connection and creativity or is it doomed to replicate the market driven dynamics of the broader world the answer i suspect lies in our ability to resist the allure of the enthusiasm opportunists and to prioritize the shared values that brought us together in the first place september 24 2024 six principles for old school dungeon masters art by gilead six principles for old school dungeon masters 1 the most important thing a dm should ask the pcs and repeatedly ask is what do you do this question creates the atmosphere that makes d d enjoyable for players directing and redirecting the momentum toward their choices 2 descriptions of situations npcs and scenarios should be concise brief and to the point unless the dm is a talented actor dialogue should be reported rather than directly acted out as dialogue progresses a sort of magic happens and characters naturally seem to converse with npcs without the awkwardness of falsetto voices or fake accents 3 if players have a request or idea no matter how outlandish the dm should provide the possibility for it but they can adjust the statistical likelihood to make it almost impossible for example let s imagine a player asks if their familiar a cat can tear out the throat of an evil necromancer after the party has fallen a 1 in 20 or even a 1 in 100 chance is unlikely but the benefit of the dramatic tension is worth it the inverse the discouragement associated with shutting down the idea is not worth it 4 whether the dm is using a module or creating one the dm needs an objective third party to mediate between their role as dm and the players choices this third party could be a description of a town an npc an encounter or a social scenario to an extent this third element adds concreteness to the world moderating the whimsy of the dm and the tendentious nature of the players creating something approaching an even playing field 5 the dm should strategically adopt an antagonistic stance toward the players this makes the encounters feel as though the stakes are high however the dm should never cheat the players should never suspect the dm of putting a finger on the scales as this might incentivize them to cheat as well instead the dm should make it clear that they will use their resources honestly with integrity and to the best of their abilities within the reasonable constraints of the enemies abilities and potential 6 finally the dm should not retcon any awarded treasure or magical items if a campaign becomes unbalanced due to a mistake it is better to end the campaign than to retcon retconning something that provided the players with a sense of joy risks making future dming sessions feel unreliable dming dungeons and dragons march 23 2024 fire and ice teegra society totalitarianism and freedom i recently read teegra a new comic by dynamite that supplements their ongoing fire and ice prequel series the series explores the events leading up to ralph bakshi and frank frazetta s 1983 animated film of the same name in which the evil ice kingdom and the sorcerer nekron attempt to conquer the world revisiting this world through the comics has sparked my interest in the deeper themes of fire and ice when i first watched the film in the early 2000s i was enthralled by the stunning visuals that combined frazetta s dynamic art with bakshi s rotoscope animation however the story and characters didn t resonate with me as strongly as the visuals now the prequel comics have illuminated what i believe to be a central allegory of fire and ice the conflict between freedom and totalitarianism a vivid reflection of the cold war era in which the film was made this theme was prevalent in popular culture during the 1980s as seen in films like red dawn 1984 and rocky iv 1985 which pitted rebellious american heroes against soviet style authoritarian regimes in the world of fire and ice the ice kingdom represents a dehumanizing authoritarian state ruled by a supreme leader think stalinist russia the fire kingdom in contrast symbolizes a passionate but unruly and disputatious democracy that values personal freedom above all else this allegory is exemplified through characters like teegra who defies an arranged marriage in favor of her own autonomy and her brother whose forbidden love challenges societal norms interestingly this theme aligns with the values often espoused in sword and sorcery fiction the genre s archetypal hero conan the cimmerian rejects the oppressive traditions of his homeland to pursue a life of freedom however while the ice kingdom is both technologically advanced and totalitarian cimmeria is depicted as a barbaric yet authoritarian society bound by tradition in sword and sorcery sorcery often serves as a metaphor for technology and science the ice kingdom s advanced sorcery parallels its totalitarian control while the cimmerians lack of sorcery reflects their primitive yet oppressive society this tension highlights how surprisingly both primitive and advanced societies can be antagonistic to personal freedom in the sword and sorcery genre i am reminded of elric s melniboné robert e howard the creator of conan drew inspiration from theosophical concepts when crafting the world in which his stories were set theosophy a spiritual and philosophical movement established by helena blavatsky in the late 19th century sought to synthesize ideas from various eastern and western religious and occult traditions jeffrey shanks in his article theosophy and the thurian age robert e howard and the works of william scott elliot argues that howard s fictional hyborian age can be interpreted as a reimagining of theosophical prehistory particularly in its depiction of the rise and fall of civilizations the thurian age a period in howard s fictional timeline mirrors the cyclical nature of blavatsky s i e theosophy s founder s root race theory which proposes that human evolution progresses through stages of savagery barbarism and civilization before inevitably descending back into savagery this cyclical model of societal development in howard s works bears a striking similarity to the ideas put forth by blavatsky in her theosophical teachings the fire kingdom in fire and ice doesn t quite fit into howard s savagery barbarism and civilization model it is a kingdom a state and a society but one that is unruly and seemingly respects individual freedom this concept of a society that values personal liberty might have resonated with how some americans utopically imagined their democracy during the 1980s through the lens of popular culture particularly in contrast to the perceived oppression of the soviet union as i delve deeper into the world of fire and ice i find myself increasingly fascinated by how it mirrors the political landscape of the 1980s while also drawing upon the tradition of sword and sorcery fiction and its underlying philosophical influences the dynamite fire and ice comics have not only rekindled my appreciation for bakshi and frazetta s creation but also revealed the thought provoking allegory at its core inviting us to consider the relationship between society and freedom comics fire and ice frank frazetta ralph bakshi sword and sorcery december 21 2023 weird tales of modernity a very personal retrospective in july of 2019 i published an academic book titled weird tales of modernity the ephemerality of the ordinary in the stories of robert e howard clark ashton smith and h p lovecraft academic books typically don t attract a large readership with sales of 100 to 200 copies considered successful in the humanities however the true measure of an academic book s success lies in its influence often gauged by reviews in academic journals my book received two significant reviews the first in the journal of the fantastic in the arts a leading journal for literary studies scholars who focus on fantasy stated carney s book is a valuable addition to the literature on its topic it deserves a wide readership and a prominent place in the scholarship of american fantastic literature in the early twentieth century this recognition was encouraging affirming my book s contribution to 20th century fantastic literature scholarship the second review from american literature a flagship journal in literary studies noted that my book plac es pulp fiction in a broader historical and literary context this suggested that my work could help traditional american literature scholars link interwar pulp fiction with the broader saga of american literary tradition 2019 was shaping up to be a promising year especially as i anticipated the academic year 2019 2020 publishing an academic book in the summer typically leads to opportunities to share work respond to rebuttals and clarify contributions at academic confere...