Considerations on the House of Koopa

Okay, taking my last post and running with it...

Koopas, like all reptiles in the Super Mario Universe, are a hermaphroditic species. There are no "female" or "male" Koopas; the concept of gender was only recently introduced to them through cultural exchange with the Mushroom Kingdom. Koopas that have visible gender identifiers are just imitating humans.

Koopas don't mate for life, which is why Bowser's never been seen with a mate. Instead, he's had several partners who sired his children like so:

1st mate: Ludwig
2nd mate: Roy and Morton
3rd mate: Wendy
4th mate: Iggy and Lemmy
5th mate: Larry

As for his last child, Junior, Bowser decided he wants an heir to mold perfectly in his own image, so he somehow impregnated himself, possibly with the aid of his Magikoopas. This is why Junior looks almost exactly like Bowser did as a child: he's basically a clone.

Why does Bowser keep abducting Princess Peach? Not because he's physically attracted her. It's purely symbolic in that he's holding the heir to the Mushroom Kingdom hostage. His occasional attempts to force her to marry him aren't for the sake of procreation but just to consolidate his power over both nations.

Why does Junior occasionally refer to Peach as his mommy? Because he's a dumb kid who doesn't know where hatchlings come from.

So there ya go. Irrefutable proof that I need to get my brain checked.

Mario Musings

It's kind of weird how King Bowser has like eight kids but we've never seen their mother. I got to thinking, though...

Yoshi is referred to as male, but lays eggs.

Birdo is supposed to be biologically male, but spits eggs out of her mouth.

Is there something we don't know about reptiles in the Super Mario Universe? Could gender be merely a social construct to them? Does Bowser lay eggs?

I... I think I broke my brain. :(

16-Bit Memories

I'm honestly not a big video game player. I get bored quickly and I don't really have the patience to play through a game with an intricate story from beginning to end. That said, I was into video games back in the early-to-mid '90s on the NES, SNES, and N64, and to this day I enjoy the culture of video games, especially through the Let's Play phenomenon on YouTube.

Anyway, this YouTube channel has a plethora of tracks from recent video games, but the ones I like best are the songs from Super Smash Bros. Brawl, Nintendo's nostalgia-laden masterpiece. Most of them are revamps of classic video game songs, and I just wanted to share some of my favorites.




The Legend of Zelda: The Ocarina of Time was one of only two games with really involved narratives that I ever got into (the other being its sequel, Majora's Mask). The medley here brought some great memories flooding back.

Click here for more!

Apologies

Sorry for the lack of activity, folks. I've been in a real funk for the last month, largely due to unemployment and the first anniversary of my father's death this past Saturday. I've been consuming about the same amount of pop culture, but I haven't felt up to writing much about it. I've kept active following my friends' blogs, but mine has gone fallow.

I'm just posting to let y'all know what's up with me and why I haven't been around much. I'm not giving up blogging, but expect activity to remain on the low side for the foreseeable future.

While I'm here, I also felt like sharing this keen portrait I found of one of my favorite video game villains, Porky Minch from Nintendo's classic RPG, EarthBound.


Porky Minch -Practice- by ~Bagatelle on deviantART

Très fly, Monsieur Minch. I find the sheer repugnance of an obese 13-year-old asshole strangely refreshing in a field dominated by whiny, conflicted pretty boys. If you have the time, I highly recommend this guy's playthrough (with commentary!) of EarthBound, one of the shining gems of the Super Nintendo.

So yeah, that's all I have to say for now. Excelsior, y'all.

Who is Waluigi, anyway...?

The Genealogy of Mario: As Explained to me by Japanese 6-year-olds.

Just a cute, funny read I found on the Internet.

When Cosplay Goes Right

Cosplay - dressing up as fictional characters, usually at fan conventions - is not something I'm into. I don't engage in it because of the negative associations that most people hold toward the hobby, because I just don't have the body type to pull off most characters, and because I just hate being in front of a crowd. That said, I recognize that while most cosplay is crap, some of it is actually pretty good. There's bad cosplay, and then there's good cosplay.

And then there's pikminlink.



Without a doubt the best cosplayer I've ever seen, pikminlink brings Link from The Legend of Zelda to life. Thanks to the intricate detail of the costume (which must have cost a small fortune to make), you can really believe that everyone's favorite elf-boy has stepped out of Hyrule and into reality. It's not just a costume, it's art.

And guess what? She's a girl.

Check out her deviantART gallery for her in several variations on Link's costume and as several other characters, plus some original art.

Gray Gamers

This is a very interesting article on the subject of senior citizens who play video games.

I'm not much of a gamer - I haven't spent much time with a video game since I beat The Legend of Zelda: Majora's Mask almost ten years ago. I have lots of friends who are into gaming, though, I enjoy watching gameplay videos on YouTube (ProtonJon is awesome), and the gaming subculture is pretty much ubiquitous online so it's not like it's a foreign concept to me.

Anyway, one of the things that bothers me about the gaming subculture is the constant undertones (and overtones...) of ageism, sexism, homophobia, transphobia, and general smallmindedness. There's an assumption among a lot of gamers that the only demographic that matters is the 18-to-25-year-old straight males and that anyone who doesn't fit in there has to identify has a "girl gamer", a "gay gamer", and so on. Games that are marketed specifically towards women are insulting in how stereotyped they are. When games include strong female characters who aren't eye candy, male gamers complain about the lack of T&A; if a game ever included a strong gay character, there'd be rioting in the streets over "the fags" ruining "our video games"; and as of today the only transgendered video game character I'm aware of is Birdo.

It's good to know that there's a place for senior gamers - according to the article, 19% of gamers are 50 or older, and that was in 2005. It's proof that games aren't a fad, but have become a legitimate, mainstream form of entertainment just like movies and sports, and as the current target demographic ages, the percentage is destined to keep growing. For my part, I look forward to the day when I can sit down with my nieces and nephews and grandkids and play some Final Fantasy XXV while waxing nostalgic about the halcyon days of A Link to the Past and Super Mario World.

MOVE FASTER, POKEY!

I swear, this brightens my day every time I watch it. That poor dude!!!

13 Posts: Frankennerd

Well, here it is nearly two weeks after Halloween, and my 13 Posts project is at its end. And wouldn'tcha know it, I missed an update in my first week at this? Guess I'll have to double up.

First... well, it's gotten to be a running gag at this point. Here's James Rolfe one last time, in his signature role as the one and only Angry Video Game Nerd, reviewing several really bad video games based very (very) loosely on Mary Shelley's classic novel, Frankenstein, and meddling in That in Which Man Was Meant Not to Meddle along the way. Fair warning: Lots and lots of profanity ahead.

13 Posts: Repercussions of Evil

Only one more post to go! I'm running out of steam, honestly, so I'll keep this one short.

There's not much to say about this video. It's a surreal recitation of the hilariously bad Doom fanfiction, "DOOM: Repercussions of Evil" (which has since vanished from the Internet), typos and all, set to music. If that isn't horror, I don't know what is.



Truly the work of a fevered mind.

Mama mia, my thumbs...

Mario Kart DS is a funny thing. Ultimately shallow and meaningless, yet brutally addictive. Once you start, it is almost impossible to stop, no matter how bored and tired you become.

Just one more lap... one more race... one more tournament... I promise, I'm almost done...

The Man. The Myth. The Legend.

SEGATA SANSHIRO.

Caramelldansen feat. Super Smash Bros.

I seriously can't get enough of this video, just 'cause I'm a huge Super Smash Bros. dork. It's so joyous!

For those curious, the song is "Caramelldansen," by the Swedish band Caramell. The original non-remixed version is here. It's just a fun, nonconsequential dance anthem in the style of "The Locomotion."





I love how Ganon's all, "Screw you guys, I got my own beat!"

And Mister Game & Watch is just kinda freakin' out there.

Oh, and nice hips, Luigi. ;P

Symphony in the Key of M

I have to warn you. This may potentially be the most awesome thing you see today. So if you have plans to do or see anything particularly awesome in the next 24 hours, I humbly recommend you put off watching this until after you're done with that just so it doesn't make your planned activities seem less awesome by comparison. I wouldn't want to ruin your day.



Incidentally, my favorite part is the bit with the theme from Air.

Great Minds Think Alike

Regarding Mortal Kombat vs. DC: David Willis agrees with me.

He is an intelligent man, and knows it is wise to do so.

Mortal Kombat vs. DC

In the words of George Costanza, worlds are collidin' here!

Who in the world thought this was a good idea? I mean, it's painfully obvious it's "inspired by" Capcom vs. Marvel. I must say, if a simple crossover was all there was to it I wouldn't mind, but considering that this is the bloodiest fighting game series out there crossed with the poster universe for "Thou Shalt Not Kill," they're going to have to either nerf the MK characters or "grim 'n' grittify" the DC ones, and either way you're losing something.

Move Over, Chuck Norris!

I knew Captain Falcon from Super Smash Bros. was from an old video game called F-Zero, but I didn't know there was a cartoon based on it. Or how awesome the captain was. All I can say is...

With the fury of a thousand volcanoes...

With the might of a thousand battleships...

With the passion of a thousand dinosaurs...


FALCON PUNCH!!!

10 Answers of Doom!

Here it is! Muahaha!!!

1. Alex P. Keaton (Family Ties)
2. Death of the Endless (The Sandman)
3. Drizzt do'Urden (Forgotten Realms)
4. Filby Pott (me!)
5. James T. Kirk (Star Trek)
6. Lex Luthor (Superman)
7. Mario (Super Mario Bros.)
8. Sauron (The Lord of the Rings)
9. The Scarecrow (The Wizard of Oz)
10. Wonder Woman (her own comic)

Incidentally, in a dance-off between Death and Sauron, Death wins every time.

From Swinebread (whose blog I really need to start reading regularly 'cause he's gracious enough to read mine):
if 7 did a cooking show would 1 like it?

Are you kidding? Who wouldn't like Cooking with Mario? He's the Mushroom Master! He puts the "fun" in "fungus!"

From Ami (who totally made this meme worthwhile -- thanks!!!):
If 2, 3 and 6 were turned into Dinosaurs (they still have their intelligence), what Dinosaurs would they be? Who would be eaten first and who would most likely survive past the initial meteor impact and why? :o

Drizzt would be a dromaeosaur (raptor) of some sort, because they're graceful, deadly, and incredibly overhyped. Lex would be a tyrannosaurus, for obvious reasons. Lex chows down on Drizzt before Death shows up, she being the meteor.

1 wakes up being drawn by Ian Churchill at his worst, is s/he happy about this? xD
So Alex is Power Boy, basically? I don't think he'd mind, though he'd need to do something about that hideous chest-hair.

If 4 and 5 were trapped in a desolate world all by themselves as the last people left, how long would it be until they fell in luff? xD
Um... Jim Kirk might be willing to screw anything with two legs, but I think even he would draw the line at Filby. Like srsly.

7, 8, 9 and 10 play Magic: The Gathering, what colours would each play, what type of decks would each play? :D (this is my favorite question)

Matching their colors up with their personalities, I'd say it'd go thusly:

Mario's deck is white (because of his commitment to duty), with a strong artifact presence ('cause he relies on versatile equipment). He's playing for fun, so his deck doesn't follow any particular archetype.

Sauron's deck is black and white because he's completely self-interested yet wants to rule as the ultimate authority (unlike Yawgmoth, who wanted to destroy his enemies, Sauron wants to rule them). He's playing an aggro deck, maybe something like the "Ghost Husk" archetype, tricked out with lots of expensive rares.

Befitting his great intelligence, the Scarecrow is playing mono-blue. He's got a control deck with lots of counterspells and bounce effects.

Wonder Woman is playing a green deck, because she's both nurturing and super-strong. Her deck is mainly huge creatures, buff effects (Might of Oaks is made for Diana), and maybe some protective effects like high-toughness treefolk and life gain.

(As for the rest of the chars, Alex is white/black, Death is black/green, Drizzt is red/green, Filby is blue/black, Kirk is white/red, and Lex is black.)

Who would be ultimately the best player of all 4 in your opinion? (considering stuff like money to spend on cards, creativity, intelligence, guile, etc) :D

Sauron has the most resources at his disposal and is incredibly, um, guilesome, not to mention aggressive, so he's probably the best player. Diana and the Scarecrow would give him a real run for his money, though.

If they had a 4 way match and 8 could pick one format to play, what would s/he choose?

Sauron would choose to play in Vintage Format, 'cause it lets him use his Black Lotus, set of five Moxen, Demonic Tutor, and Necropotence.

Imagine all of your characters had been turned into babies (this idea was given to me by a friend who wants to be known only as a green dinosaur xD) but retain their general intelligence but are subject to the emotional states and instincts of babies :D

Who is the first person to want to find a "cure"? Who is most likely to be the one okay with staying this way? Does nebody WANT to stay this way?

Drizzt would be the first to set out looking for a cure, 'cause he's that kind of heroic type, while Luthor's pride won't let him stay that way, prompting him to help the elf. Mario would rather be an adult, but given that he's saved the Mushroom at least once while in diapers, he can get along. Death would probably enjoy the time off from her responsibilities, but would want to get back to normal.

Would any try to act like things haven't changed and try to find a way to adapt to their normal life? xD

Baby Alex would continue carrying around a mini briefcase and Wall Street Journal, yes.

Who is the first one to cry? :o

Filby.

Who is the first one spanked? >.>

Filby.

What would be each one's favourite toy? :D

Alex: Wall Street Journal: Tiny Tots Edition.
Death: Kid's gardening kit.
Drizzt: Toy sword. Two of 'em.
Filby: Jar of paste.
Kirk: Plastic rocket.
Lex: Pastel blue death ray.
Mario: Game Boy of course!
Sauron: My First Artifact of Ultimate Doom.
Scarecrow: Blackboard and chalk.
Wonder Woman: Golden jump rope of truth.

Imagine their first day of preschool, what does each one do? xD

Alex: Convinces the cafeteria to stop taking lunch vouchers. No pinko social programs in his school!
Death: Plays nice with Diana and takes care of the class hamster.
Drizzt: Beats up some bullies.
Filby: Sulks in the corner 'cause Lex gets away with everything and he doesn't.
Kirk: Kisses Diana on the playground and gets slapped three zip codes away.
Lex: Stages a hostile takeover of the principal's office.
Mario: Helps Drizzt out.
Sauron: Starts building his power base to conquer the day care across the street by corrupting nine other kids with cursed pacifiers of doom.
Scarecrow: Astounds the teacher with his l33t math skillz.
Wonder Woman: Plays with Death then joins in with Drizzt and Mario.

4 has a date with 6's mother. Creepy? Not creepy? xD 8 finds out, does s/he tell 6? 8 finds out regardless, is s/he happy about this? 4 marries 8's mother and becomes 8's parent now, how is their relationship? XD

An evil, wrinkly old hobbit dating Lex Luthor's mother. That about sets the bar for creepy.

Sauron tells Lex, yes, because he fucking hates hobbits.

Um... Sauron doesn't have a mother. He's older than the universe. Unless you meant "6" in the second half in the question, in which case Lex is pretty pissed off to have a lame-ass shadow of himself as his pop-in-law, though he might warm up when he realizes how useful Filbs can be in scheming.

1 and 10 are presidential candidates, which party would each run for? (they can't both run for the same party) Out of 3 and 9, who would each choose for their running mate? Out of their supporting casts (of those 4 characters), who would they choose for a potential secretary of defence, attorney general, surgeon general and secretary of state? xD

Alex P. Keaton vs. Wonder Woman? I can see that. Obviously Alex is a Republican. Diana would prefer to run for the Green Party, but would run as a Democrat out of practicality.

Alex chooses the Scarecrow as his running mate, whose rustic ways endear him to midwestern voters while his considerable intellect gives him clout among the Wall Street elite. Given that his family is mostly liberal, he instead chooses his cabinet from among the Scarecrow's circle of friends: Secretary of Defense Omby Amby (he's a one-man army!), Attorney General H. M. Wogglebug, Surgeon General Nick Chopper (any man who can chop off his own limbs and replace them all, including his head, with tin prosthetics must have one hell of a head for medicine), and Secretary of State Dorothy Gale. (We'll pretend that non-Americans, non-humans, and royalty/nobility are allowed to run.)

Diana's running mate is Drizzt do'Urden (who is almost as pretty as she is, natch), who provides Bruenor Battlehammer as Secretary of State, netting Diana both the elven and dwarven votes (heh). The rest of her cabinet: Secretary of Defense Steve Trevor, Attorney General Regis Rumblebelly, and Surgeon General Etta Candy (whose constitution always has room for a few amendments).

Who would win a presidential debate? Who would voters most resonate with and why? :o What would the news media say about them? Would each focus more on issues or attacking the other side? :D

Diana's the better and more charismatic debater, but the fact that she's a pagan feminist turns off a lot of people. Needless to say, Fox News savages her. Alex would be more comfortable taking pot-shots at her, but they'd both stick to the issues for the most part.

Would any of those 4 appear on the Colbert Report or Daily Show? xD

Alex and Diana both have a pretty good sense of humor (though Diana's is more understated), so sure, they'd both go on either show. Scarecrow wouldn't hesitate to go on either, but Drizzt's too retiring to do so.

Ultimately who would win and how close would it be? Would the votes be divided by certain demographics or regions?

Alex would win, mainly because of his greater experience in politics, his "traditional values" campaign, and his down-home image. The fact that Diana is way more progressive than the Democratic mainline doesn't help, sadly; she really only makes strong headway in New England and California.

Do you think the winner would be good for America? :D How long until they're impeached, and why (if at all)? xD

Alex isn't the worst that could happen. Imagine Ronald Reagan without the senility, heartlessness toward minorities and the disadvantaged, fundamentalist rhetoric, and foreign scandals, basically. And a lot prettier. And with a laugh track. But just as many jelly beans. Heck, he'd probably be the best Republican president since Eisenhower. I'd still vote for Diana, though.

Diana goes on to successfully run for governor in Massachusetts, introducing sweeping and widely popular reforms in health care, gay rights, and environmental protection. She plans on shooting for the presidency again in 2012. Or 2016. Or 2020. She's immortal, she can wait.

2 and 5 get into a heated argument about something they believe differently in that comes to blows. What were they most likely arguing about? 7 comes in, does s/he pick a side or try to mediate or just turn around and leave? Who would most likely resort to personal attacks first? xD

I really can't see Death and Kirk getting into a fight like that. They're both pretty easygoing. Mario would probably side with Kirk, though.

From Tricia (who came unlooked-for out of the e-ther!):
All ten enter a dancing competition. Who pairs up with who (given that 4 and 5 are a pairing) and which partnership wins?

Filby and Kirk: Filby's lame in one leg, so they're first to be disqualified.
Alex and Diana: To show there's no hard feelings off the political field.
Death and Scarecrow: He's offbeat, and she likes that.
Lex and Sauron: Great evil minds dance alike?
Drizzt and Mario: They got picked last. :(

Alex and Diana win.

Odds and evens are split into two teams and placed on a deserted island/planet/whatever where they have to make use of natural resources and are told they are in competition with the other team for a fantabulous prize. Who wins?

Team one: Death, Filby, Lex, Sauron, and Diana.
Team two: Alex, Drizzt, Kirk, Mario, and the Scarecrow.

I'd say team one has the best thinkers of the bunch, but infighting between Lex, Sauron, and da Filb tears them apart, letting the more well-rounded team two win.

Thanks guys! That was fun!!! :D

Gaming Idiocy

A hat-tip to Ami Angelwings.

I think this story pretty adequately sums up just why I avoid video game culture like the plague: It's filled with pathetic, small-minded men with the mentalities of 15-year-old boys.

I think the thing that bothers me the most is that these people don't realize that saying,

"That professional woman deserved to be harassed because she wore cute dresses in front of repressed nerds. She brought it on herself!"

is the same line of thinking that leads to,

"That rape victim deserved what happened to her because she wore revealing clothes. She brought it on herself!"

or, if you want to take it to its extreme (and I realize this is hyperbole),

"That rape victim deserved to be stoned to death in the name of Allah because she inflamed her attacker's passions by her feminine nature. She brought it on herself!"

See what I mean?

Moral Panic and Popular Culture

This is actually a research paper I wrote earlier this year; now that it's behind me, I felt like sharing it. It could use a lot of work, I'm sure, but as the closest thing I'll probably ever get to a scholarly dissertation, I don't think it came out too badly. I've removed the citations for ease of reading.

Moral Panic and Popular Culture

On April 20, 1999, two teenage boys named Eric Harris and Dylan Klebold came to Columbine High School in Columbine, Colorado and gunned down their classmates, murdering twelve students and one teacher and leaving twenty-four wounded. When it was learned that they had planned their attack ahead of time using a popular violent video game as a simulator, the American mass media launched into a feeding frenzy, blaming this game and others like it for the boys' murderous rampage.

Between 1988 and 1989, an introverted print-shop employee, Tsutomu Miyazaki, kidnapped, killed, and performed acts of necrophilia on four girls of preschool age before being apprehended by Tokyo police. When the authorities searched his apartment, they found it filled with nearly six thousand videos, including gory "slasher" films and animated child pornography, as well as many comics of a similar nature. The Japanese media leapt upon the incident, and many soon believed that all otaku – fans of comics and animation – were just as deranged as Miyazaki.

In 1950, a fourteen-year-old boy named Willie was tried and sentenced for the murder of a man whom he supposedly shot from the roof of his building. An avid fan of violent comics about gangsters, Willie had seen many ads in his comics for hunting rifles, and eventually obtained one for himself. Though the case received little nationwide attention, to a child psychiatrist named Fredric Wertham, who had known Willie since infancy, it was symptomatic of a mass breakdown of societal morality caused by trashy comic books.

These are but a few examples of moral panic, that tendency of people to believe en masse that something poses a greater threat to society at large than it actually does. The term was popularized in 1971 by sociologist Jock Young in his studies on drug culture. For the purposes of this paper, we shall focus on the phenomenon in relation to popular commercial culture. We shall see in the end that moral panic directed against popular culture is not justified at all.

At least as far back as the 1790s in Great Britain, growing industrialization and urbanization, mass publication, and the creation of mass transit led to the birth of a nationwide commercial culture, in contrast to the communal pastimes that had previously provided entertainment. Even then there were those who railed against "the poison continually flowing thro' [sic] the channel of vulgar and licentious publications.” By the 1830s, British legislators were speaking out against penny gaffs, inexpensive plays with bawdy or sensationalist content, which were supposedly corrupting "the children of the lower classes" and leading them to crime. Thus, we see that moral panic is nothing new.

A classic example of moral panic was the crusade of Doctor Frederic R. Wertham against American comic books in the 1950s. Comic books were wildly popular in the 1940s and 1950s, having enjoyed widespread popularity among United States soldiers during the Second World War thanks to their colorful heroes fighting against the Axis powers. After the war, comics about masked mystery men fell out of popularity, to be replaced by comics about gangsters and supernatural horror – Tales from the Crypt, still popular today, got its start in this era, then published by EC Comics. A 1950 survey showed that 41 percent of American adult males and 28 percent of adult women regularly read comics; another survey in the same year revealed that 54 percent of comics readers were twenty years of age or older. Comics were even more popular among young people, however: 95 percent of boys and 91 percent of girls between the ages of six and eleven read comics, as did 80 percent of all teenagers.

During the war, the likes of Superman and Captain America had drawn criticism from parents for their might-makes-right message. Intellectuals viewed comics as a drug for children and the mentally deficient, keeping them occupied with colorful characters and black-and-white conflicts settled through brute force. This concern turned to outright panic with the ascendancy of horror and crime comics, which regularly portrayed cold-blooded murder, wanton sex, and supernatural elements such as occultism, vampirism, and walking corpses. Despite being sold to children, however, these stories were written with adults in mind. "We were writing for ourselves at our age level," recalled EC Comics editor and artist Al Feldstein in 1972.

Doctor Fredric Wertham abhorred all this. A German-born New York psychiatrist, Doctor Wertham believed that there was a direct link between comics and juvenile crime. A resident psychiatrist at the free Lafargue Clinic in Harlem, Wertham cared greatly for the mental health of children and was an ardent supporter of civil rights for people of color. Wertham drew many disturbing conclusions from his studies on comics and published them in his 1953 book, Seduction of the Innocent. Wertham was convinced that violent imagery led children to perform violent acts. For instance, one ten-year-old child he interviewed said:

"Once I saw in a science comic where this beast comes from Mars. It showed a man’s hand over his eyes and streams of blood coming down. I play a little rough with the kids sometimes. I don’t mean to hurt them. In a game I said I would gouge a child’s eyes out. I was playing that I was walking around and I jumped out at him. I scratched his face. Then I caught him and sucked the blood out of his throat. In another game I said, 'I’ll scratch your eyes out!'"

The boy later said, “I played such games because I got them from comic books.”

Wertham picked and chose his examples, however, often citing fringe comics with low readership and exceptionally gory content as the norm; none of them were from major, mainstream publishers like DC or Fawcett. He spoke at length about comics leading children to homosexuality, displaying the prejudices of his day. He condemned Batman and Robin for promoting a gay lifestyle and Wonder Woman for partaking in un-feminine activities. He went out of his way to attack the use of onomatopoeic words as "thunk" and "blam," apparently believing that they degraded children's reading skills.

Wertham also never addressed whether his case studies were true of delinquents across the board and tended to jump to conclusions without considering all evidence. His case studies were just a random assortment of juvenile delinquents who all just happened to read comic books.

Doctor Wertham’s accusations toward the comics industry weren’t all hyperbole. For instance, he was immensely troubled by the comics’ depiction of blacks, Asians, Native Americans, and other racial and ethnic minorities as sub-humans and savages. He was concerned with the hypersexualization of women in comic book stories and ads and the effect they had on girls’ self-image. Despite this, however, most of his declarations amounted to alarmist hype.

Regardless, people listened. Senator Joseph McCarthy and the House of Representatives Committee on Un-American Activities, already at odds with EC publisher Lev Gleason due to his leftist political leanings, turned an ear to Wertham. Despite one 1950 congressional hearing that found that crime was actually decreasing when crime comics were at their most popular, Wertham pushed on. A 1953 Senate hearing in which Wertham testified – described by a British comics authority as a show trial much like the anti-communist witch hunts of the era – ultimately fell in Wertham’s favor. In 1954, in response to veiled congressional threats of censorship, a group of major comics publishers formed the Comics Code Authority, a draconian self-censoring committee. Over 100 comics series were put out of publication due to failure to comply with CCA standards. The CCA essentially neutered the industry, reducing comics to harmless fluff for children. Comics sales would not begin to pick up until the introduction of Stan Lee’s popular characters at Marvel Comics in the early 1960s (the Fantastic Four, Spider-Man, etc.), and comics written for adults would not appear again until the “underground” comics late in the same decade, and in either case the damage was done: Comics sales never rose above a fraction of what they were after the war, even to this day.

Japan in the 1980s and 1990s provides an interesting parallel to Wertham's America. Unlike America, comics in Japan (manga) never experienced significant censorship, and by the 1980s they were regarded as a mainstream medium for readers of all ages, much like television or video is in America. Toward the end of the 1980s, pornographic manga was as easily available as adult videos are in America, some of it containing elements of rorikon (from "Lolita complex") – child pornography. It was in this time and place that Tsutomu Miyazaki went on his killing spree.

The Miyazaki slayings would not be the only time the Japanese media turned the spotlight on manga. Media outcry against manga and anime (Japanese animation) repeated in 1995, due to their use as promotional tools by the doomsday cult, Aum Shinrikyō. Aum's leader, Shōkō Asahara, directly lifted some of his ideology from popular science-fiction anime of the 1970s, such as Space Battleship Yamato and Future Boy Conan, and many of his converts were culled from the otaku subculture. Aum was responsible for the deaths of twelve people when they unleashed nerve gas in the Tokyo subway system. The idea that a fevered mind could draw such grisly plans from cartoons shocked parents.

Some claim that violent and sexual imagery in the media is leading to societal breakdown. For instance, one commentator claimed that adults and youth alike receive "inspiration" from television featuring "casual sex and filthy language," leading them to commit acts of molestation and adultery. The same source notes that in 1996, cases of STD infection, divorce rates, and television viewing were at an all-time high in America. Yet in Wertham's America, the rate of murders per year was at an all-time low when comics, then filling the niche that television fills today, were experiencing the highest sales they would ever attain. In Japan, comic books regularly portray acts of sex and violence that make anything American television has to offer seem tame in comparison; yet two 1994-5 studies on crime revealed that Japan experiences about one-tenth as many murders and one-fortieth as many rapes as the United States. Despite the constant barrage of sexuality in popular culture, dating back as far as the erotic ukiyo-e art of the 1600s, people in Japan continue to present an air of staidness and repression. As the commentator above himself admits, "No cause-and-effect relationship can be absolutely proven."

All too often, self-appointed moral guardians use popular culture as a scapegoat, an excuse not to deal with legitimate social problems such as poor education or poverty. Sensationalism is easy: A headline that reads “Gory video game turns boy into killer” sells more papers than “Lonely boy turns against classmates.” Hip-hop music, wildly popular among French youth (the country being the second largest market for the music after the United States) was blamed by some in the media for the devastating Paris riots of 2005, ignoring France’s long history of neglect towards its ethnic minorities. The rioters’ outrage may have been reflected in hip-hop, but it was fuelled by poverty and racism.

Throughout the ages and especially in the past few centuries, popular culture has been blamed for everything from individual acts of violence to the breakdown of society at large. Looking beyond this alarmist hype, however, we see that other forces are at play: Individuals’ personal experiences, cultural influences, and society’s own failure to look after its members. Moral panic, we see, is simply not warranted at all.

References:

Chagall, David. “Television – The Phantom Reality.” The Media & Morality. Ed. Robert M. Baird, William E. Loges, Stuart E. Rosenbaum. Amherst: Prometheus Books, 1999. 259-76.

Dudley, William, ed. Opposing Viewpoints: Mass Media. Farmington Hills: Greenhaven Press, 2005.

McBride, James. “Hip-Hop Planet.” National Geographic. Apr. 2007: 100-19.

Perry, George, and Alan Aldridge. The Penguin Book of Comics. Norwich: Jarrold & Sons, Ltd. 1967.

Schodt, Frederik L. Dreamland Japan: Writings on Modern Manga. Berkley: Stone Bridge Press. 1996.

Springhall, John. Youth, Popular Culture and Moral Panics: Penny Gaffs to Gangsta-Rap, 1830-1996. New York: St. Martin’s Press. 1998.

Thompson, Jack. “Violent Video Games Promote Violence.” Opposing Viewpoints: Popular Culture. Ed. John Woodward. Farmington Hills: Greenhaven Press, 2005.

Wertham, Frederic. Seduction of the Innocent. Toronto: Clarke, Irwin & Company. 1953.