Stolen Worlds, Instagram Hacked, and Accountability

You’ve seen these articles around the Internet for some years now. How successful they’ve been in dealing with this matter, I can’t even imagine, and I wouldn’t venture to guess. But sometimes I think there is a place for constructive thoughts, and then a place for venting – and more specifically, a public space to bring a long-standing issue to attention. 

My Instagram got hacked. 

It’s so mundane. So banal. But it’s true. On April 2, I just woke up and a friend of mine messaged me on the platform and wanted help with being voted for an influencer. It seemed pretty legitimate, even though in retrospect it was a formulaic thing. What I didn’t know was that their account had been hacked, and that they basically phished me. 

As a result, they logged me out of my account and took it over. They also enabled Two-Step Authentication and, ingeniously, they deactivated my account and then reactivated and renamed it with a downward hyphen so as to completely eliminate my ability to revert my email back to my account. Basically, what this hacker did – from my understanding and reading up on the subject – was they used a bug in the system to make sure Instagram’s system that would allow me to switch the email back to my account didn’t work. The link simply failed. This was not even fifteen minutes into realizing what happened. 

They switched our phone numbers. They enabled Two-Step authentication. And then they proceeded to use my likewise, like a parasite, like a thief, to try to sell bitcoin to my friends and followers, and also attempt to trick them into giving them their accounts as well. And believe me, I heard about it. I was told by many people, who hadn’t or didn’t read my updates, that my account got hacked.

So, obviously, I informed Instagram about it, and they authenticated me, and got it back for me in one or two days right? You know, once I told them their reversion email link didn’t work. 

Yeah. About that …

If this has happened to you, or you know someone who’s gone through this, you probably know what happened next. Or what didn’t.

When I couldn’t find the second set of security numbers for the Two-Step Authentication the hacker set up, I went to click on another way to get the information. It, of course, linked me right back to the Help Center. The Help Center is a FAQ, that basically tells you what to do, in something of a paradoxical feedback loop that basically amounts to: ask for Support, which is what I did the first couple of times. 

Eventually, I found a way to do Video Authentication. I moved my face to the left, right, up and down, and back again. The first time I did it, I heard nothing back from Instagram in two days. The rest of the times I did this, repeatedly? They “couldn’t confirm” my information. I read that perhaps it was the lighting behind the picture that was the issue, but the actual problem itself is more endemic. The thing is, on the Help Center itself, it is even admitted that Instagram has “no facial recognition software.” In other words, the only way this video will even be acknowledged is by a bot they made, or a systems operator: an actual human being. 

You cannot email Instagram. You cannot phone them either or, rather, you can but they will not transfer your call to a living, organic person. And they will always take you back to the Help Center, which will take you back to the steps that you performed, and that rejected you. At one point, I was able to receive emails from my Instagram account and I tried to reset the password. I kept receiving these emails or friend requests, as though the hacked account itself was mocking me, laughing at me at the activity being shown, but with no available way for me to enter it again. It was getting under my skin.

I found a way to contact Facebook by explaining that my account was hacked. Facebook – or Meta – owns Instagram, and they told me to write some numbers they sent me on a piece of paper, with my name and user name, and send it back to them as a JPEG. I did that. They didn’t contact me for two days. I sent it again. They replied by … you guessed it: sending me back to the Help Center, which is a lot like the Muppet’s Happiness Hotel: in that I wish I could run away from it in the middle of the night, and it scares me to think about what the Sadness Hotel might look like. 

It’s been almost a month. I had my friends and followers Report the account to Instagram. Apparently you need over ten reports to get them to look into the matter systemically. I say apparently because originally I thought after over ten, the account would get locked down, and deleted. I suppose I was wrong, as to this very day my former account is still active and attempting to spread bitcoin and phishes all the way up the wazoo: using my likeness with my links to my writing, my online presence, and this very Blog to do so. 

I think about it, after I eventually put Instagram’s emails to my address into Spam from my former account. All of this could have been avoided if a flesh and blood, live person existed for customer service, like every other organization possesses. This would have been intolerable for a bank. Or any other business. Now, the thing is, a lot of people will add: well, Matthew Instagram is a free service, and you get what you pay for – which is nothing. What did you expect?

And I will tell you, right off the bat, that Instagram is paid for by something. Ad revenue, financial backing, a whole ton of resources and methods I lack the ability or acumen or really the patience to lay out. But someone, or something, funds Instagram, and Facebook, and every free social media platform. And it markets itself as being convenient, free, and accessible. And only two of these qualities, I’ve found, are true. 

Don’t misunderstand. What the hacker did to me was wrong. It was thievery. It was manipulation, and theft. But Instagram’s inability, or systemic apathy in dealing with the issue – which could have been resolved if I’d been able to interact with a living person who could have easily determined I was a living being and not a non-sapient robot – is just as responsible, if not more so for this entire state of affairs. The utter lack of accountability here is not only infuriating, but it is frightening.

Think about it: you are using a free program online, or even a paid one with a Terms of Service that is arcane and would take a legal expert to even begin to fully understand. One day, you get hacked. And you realize that, unlike a bank or business that would shut that down almost immediately and get you to confirm changes in details, you are shut out. You can’t contact Support by email. You can’t phone them. You are utterly stuck. The best you can do is keep Reporting them, or attempt to persist in verifying yourself over, and over, and over again only to have some arbitrary system not be able to confirm your identity when you know that all you need is one person – one staff member – to simply see you move and hold a number – and it would be over. Just like that. 

And if you know someone at Instagram, or Facebook, or you are a major influencer, you might have a chance. And there is nothing fair, or accessible about that. But what troubles me more is while the images I have, and the interactions I’ve had with my friends and followers on there mean a lot to me, it’s the utter lack of following up on Reporting problematic accounts that gets to me. The day that account got over ten complaints should have been the end of it. I would have settled for having that account deleted. Hell, if a nipple had appeared in my images on that account, I am pretty sure Instagram would have neutralized it almost immediately. At one point, when I still owned it – before it was stolen from me – I was having a comments discussion exchanging Scott Pilgrim quotes with a dear friend of mine, only for Instagram to delete one of my comments because of “hate speech” or “violence.” So basically Instagram’s algorithm is effective in censoring a fictional comment, but when an account gets hacked and spreads malware, phishing, and spam, that is somehow okay?

You’ve, no doubt by now, seen a million of these Instagram hacked articles and all the ways it can – and can’t – be dealt with. I am not providing answers. I am just trying to provide a human face to this, and perhaps even show someone working for Instagram the frustration, and the price involved when someone exploits this system, and no one takes steps to deal with it.

Many of these exploits have existed since 2017, when I’ve looked for similar complaints and solutions online. And those are the ones that I’ve found. How many people just gave up? I have pictures of my grandmother’s things – my grandmother who passed away in October. I have images of friends, family, and loved ones. I have had creators – writers and actors and directors – reference me, and that handle, for some of my writing. My Instagram gradually, and perhaps reluctantly on my part, became a part of my online footprint. I was lucky in that I had a friend who screen-captured all of my contacts and I was able to find them again. Otherwise, I’d not be able to even communicate with them. One person on that platform, a friend of mine, has terminal cancers, and that platform is how we primarily communicated and how I knew about her health. 

I can go on. But I know another fact in this situation. Drawing attention to the fall and corruption of my account, and Instagram’s lack of action in dealing with it, also attracts scavengers. You would not believe how many people on my public social media platforms have suggested “counter-hackers” or names, and phone numbers of people who can “help me” as they admit Instagram will do nothing to help in the situation. Getting those comments are pretty much another form of spam in and of itself. 

For me, it’s a rude awakening. It’s one of those moments when you realize that the Emperor has no clothes. It’s worse than the Myth of Sisyphus or Tantalus where the cycle is more than just one of futility, or even having something valuable inches away from you, only to be taken away. It’s that time when you realize that it isn’t so much that God is dead, as it is that They have never existed in this space, and what you have is a bureaucratic, convoluted labyrinth that leads into itself and nowhere, and you will get lost and helpless there fast. Because this isn’t just Instagram that doesn’t seem to have a systems operator there. No angels. No gods. It’s Facebook too. It’s all of them.

And all it will take is one bad day, one poor decision, one exploit, and the next thing you know you are locked out of something that should be trivial to retrieve again. And, unless you are rich or a legal expert, or popular — or all of the above – you will be outside the doors of the thing you helped create, and you will not be able to get back inside as some criminal trashes everything you made, or uses what’s within to do it to your friends and loved ones. And there is no magistrate. And no justice. There is no authority to help you, and everything almost seems senseless afterwards, with not even a single person with which to vent your anger: making it easy to have your concerns and rage gaslit away. 

What you have is this online world of free applications that do incredible things that have little to no accountability attached to them unless you have the temporal power-base, and backing, to get it back. What should be just a minor inconvenience, can easily become something worse. And as these applications grow in power, and popularity, this lack of accountability while people keep supporting them terrifies me far more than any one hacker ever could. 

So if you are on Instagram, for what it’s worth, Report mkirsh3__. That isn’t my place anymore. The hacker made sure of that through their malicious actions. And Instagram made sure of it too through its negligence and lack of action. Maybe I can get enough attention on my former account, and Instagram, to make a difference: or to make their lives as inconvenient, and as stressful as they’ve made mine. It is infuriating to feel so helpless over something that shouldn’t be that big a deal: but it is.

It is a big deal when someone steals something you made, and uses it to try to steal others’ works as well, and misrepresent you, and use your likeness to do so. They have tried to infiltrate your world, such as it is, online. And Instagram, you had years to fix these exploits, or hire live systems operators. You need to do better. You are not accessible. And this isn’t a bug, it’s a feature. And I hope you will deal with this matter, and so many others, and take the time and responsibility you need to make your platform a better experience for your users. Please, do better. 

And I also hope that everyone else finds a way to make Instagram, and Facebook and other platform entities accountable for their actions, or inactions, with regards to their users.

I have said my piece here. I wish I had a place to Report Instagram or Facebook themselves, but this is the next best thing. Something needs to hold them accountable, or make potential users hesitate before ever using their services. And I’ve done what I could. 

A Life Writing Update

I’m glad I was able to open up with a review on this Blog again, never mind it being something of a short article on superhero media.

It’s been a minute. Or a century.

I just thought it might be nice to sit down with you, those that still follow this Blog where I basically free-wheel my writing, and tell you where I have been these days, where I am planning to go, where I want to be, and possibly where I might go regardless. 

As of this writing, I’m going to be forty soon. I was thirty years old when I first started Mythic Bios, back in 2012. I am not where I wanted to be, then, but to be honest I didn’t exactly know where I was going to be in any case. What can I tell you? Since I began this Blog, inspired by the written notebooks I used to keep – and need to keep again – I got published online, and offline, explored some independent scenes, went to New Orleans, went to a Learning Disabilities Workshop, and explored different parts of my life.

And now we are here, still in the Pandemic, and yet somehow life still goes on.

It’s been challenging. Three shots in, and a Trans-European conflict, several relationships gone, one partner deceased, and finding out things that I like – and don’t like – about myself, and what I’ve done, or haven’t done, and I can say for sure that these two years really haven’t been how I wanted to spend the last of my thirties. 

But I’ve done a lot too.

I created my Horror Doctor Blog, which I have mentioned before, and myself covering Creepshow there a great deal. Some horror luminaries even follow me. I’ve met friends from socializing on social media with fellow fans of Joe Bob Briggs’ The Last Drive-In, and we have watchalongs, and discussions, and even some Twitch streams. I don’t do as much writing as I would like, but I socialize more now even not going out as often anymore, but I feel that is important: to maintain those connections during this time of change. 

And I even submitted a writing about my experience with Lovecraft to Bobby Derie’s Deep-Cuts Blog. There are probably more things I’ve done too, but I think what I want to really write about is on the employment front. 
A few weeks ago, almost a month now, a friend of mine name-dropped me to their video game studio: where I got a chance to submit a Writing Test to become their narrative designer. I spent a good couple of days working with their prompts, choosing a story arc idea, fleshing out the first part of it, and creating items: including weapons, furniture, and armour. Many of these items were two that needed to be combined into three. I came up with a good plot and a twist, and not only submitted it all on time, but even rewrote elements to make the plot and momentum flow better.

Unfortunately, the studio decided to go with another candidate.

I don’t know how many you have been following this Blog long, but I have been trying to gain regular employment as a writer for some time. And eventually, due to time and also the current zeitgeist of the world, I stopped looking regularly. I’ve had some freelancing jobs in the past, but they have not paid much, if anything at all. And I suffer from anxiety and depression. So for me to submit something, and put all that work into having it seen was a big deal, and I felt like the universe was finally going to give me a break.

And that didn’t happen.

It would have been nice to have a remote job doing something that I am genuinely good at, and to have some gainful income. Then afterwards, someone came forward and offered to look at my work, claiming they were also working for a studio. I have not heard back from them, and I will assume that it didn’t work out, but what they did inspire me to do was put together a Writer’s Portfolio: which I have made into a Page on this Blog now. I may modify and change it as I have friends who are generous, and who I have done work for, that might be able to help me make it fancier, or add more detail.

Sometimes, it’s like what they say about North Americans acting like they are temporarily inconvenienced millionaires: that awkward place between musical chairs where you are caught out of it and everyone else has one, but you. Yet I know a lot of us are in the same boat, and some of us for quite some time. At least I have some more experience now, and I have some more of a foundation of things from which to start looking again for what I know in my bones I can do.

In 2019 I started Neil Gaiman’s Masterclass, and I continued it in 2021 despite everything. I stopped at a rewriting assignment, as I hate rewriting but I have been doing it more besides. It’s been a learning curve, and I hope to get back to this so that I can also continue writing the original work I’d talked about ages ago: the series that I was well into before starting that Masterclass, and – well – another phase of life.

There are so many things I want to do, but I am only one person, and my focus has changed. In some ways I can multitask a great deal, as long as they are all different actions. I miss being able to sit with a fanfic, and just spend most if not all my time developing it to where it needs to be. I am not the same person I was when I started this Blog, or even before it. But you know, that’s okay. That is to be expected.

An alien once said that we all change, and they were right. We are all in process. We all lose things along the way, and we gain them too. It’s navigating all of that which is the challenge. I kept meaning to come back, and talk about this. I’ve been both demoralized, but also encouraged. Having hope snatched away, when it was so close again, is infuriating, and tremendously disappointing, but it can also ignite a righteous fury, a determination to do what you need to do, and even a serenity and clarity to slowly find that entry through the hedge maze that you didn’t see before.

The point is, I will continue doing this. And learning from it. It is a struggle, but I am still going. I hope that you will all do the same. Take care all.

Also, here is my Writer’s Portfolio. Please have a look, if you are interested.

The Child is Star Wars

To all fellow former Infinity Warriors, and that would probably be most of you reading this, don’t read any further unless you have finished watching Season Two of The Mandalorian. Spoiler Alert.

Have you done so?

Good.

I first started watching Star Wars, the Old Trilogy, when I was about twelve. I’ve mentioned how my parents took us to Hollywood Movies, and we rented the VHS tapes. Before that, I grew up with Ewoks and Droids playing on Channel 3 Global Television whenever I went to my grandparents’ place that Saturday afternoon. Around that same time, and in that same area we would visit my uncle’s house and I would play with a giant shelved container shaped like Darth Vader’s helmet. In this container were action figures of Bossk, and IG-88, and a Snowtrooper. There were many toys missing. They looked old and, literally, from another world and another time. And I saw these labels on each alcove: Obi-Wan Kenobi and See-Threepio. It confused me, then. Was Obi-Wan a droid like Threepio?

It’s safe to say that I grew up with a lot of mysteries and a sense of magic in a world that didn’t really make sense, but seemed larger than I could even dream. And this was before I watched A New Hope, The Empire Strikes Back, and Return of the Jedi.

This was before I knew anything.

The Old Trilogy exploded my mind. This space fantasy shaped my brain forever once I saw it: from the crucible of the desert world of Tatooine, to the stark terror and mythology of Dagobah’s Jedi training to the horrifying duel over Bespin, and the redemption and celebration on the forested moon of Endor where my Ewok friends lived in a live-action sense.

And they grew on me: Princess Leia with her assertive power and fierce love and determination, Han Solo overcoming his world-weary cynical nature to save his friends and be a better person, and Luke. Luke Skywalker.

So many of us, I think, from that time saw ourselves in Luke. We followed this young man, this boy, who knew nothing about the world — much like us — as he continued making mistakes, but forever showed his loyalty, always persevering, always wrestling with his emotions to do the right thing. We saw his wonder as he looked at a lightsaber for the first time, the same time that we did. We felt his pain when he saw the charred remains of his aunt and uncle, and that sense of powerlessness in realizing just how brutal the galaxy was. And we were happy when he found his friends, when he started getting better at his Jedi training, and we were worried when Obi-Wan was gone, and wondered just how someone who could barely deflect the blaster bolt of a training remote and then pull a lightsaber to him on Hoth could fight Darth Vader.

I remember just his sense of frustration, and fear. It felt so real to me. But the fear wasn’t just for his life, or the lives of his friends and those he fought for. It was the fear that all he would ever get would be these scraps of a life and a tradition — of great and beautiful arts, powerful cultural tools — that his father had, and that he might not succeed in earning. It was the actual vicarious terror of seeing that there was a chance that Luke might not achieve or realize his full potential, and that he could fail.

Being a perfectionist child with learning disabilities and clear neurodiversity and frustration over my body’s cooperation with my mind, I could feel that so hard, and it made me root for Luke whenever he succeeded, kicked shlebs, and took names.

When Obi-Wan’s spirit told him that he couldn’t — or wouldn’t — help him if went to Cloud City to face Vader before his training, after his failure understanding his vision in the Dark Side Cave, I felt Luke’s frustration. Why wouldn’t Obi-Wan, his mentor and friend, help him against his enemy? And watching Luke lose … so badly, so brutally … I’ve written about it before, how I grew up on eighties and nineties cartoons where the hero always wins their conflicts and the villain runs away to fight another day, or gets put in jail. That didn’t happen. And then the way Luke received that reveal …

Luke didn’t learn from his failure at the Cave on Dagobah. But he learned from his encounter on Cloud City. I knew that Vader was Luke’s father going into this, as it’s been so seeded into the popular consciousness for years, but I didn’t know about Leia. And I didn’t know what was going to happen on the Second Death Star: another subversion of expectations, after so much lead up that ultimately paid off. And then we see Luke at the end: rescuing his father, only to lose him, but not really lose him in a metaphysical sense.

Leia and Han succeeded in their mission on Endor. They became a couple. The Ewoks dominated. The Empire was defeated. Luke had to “pass on what he had learned” and a whole new story began after the ending of an old one. This was in 1983. I watched these in the nineties after being confused about the numbering system.

We did not see another Star Wars film until 1999.

I want you to understand something. Many of us, and I am mostly speaking about myself though I know others felt the same way, wanted to see what happened to Luke, Leia, and Han. We wanted to see Han become a General of the Republic or continue to have adventures. We wanted to see Leia rule the New Republic, and the decisions she would make, and the life she and Han would have together.

And, most of all, I wanted to see Luke become a Jedi Master. I wanted to see him restore the Jedi Order, and what his Jedi would be like. I thought about all the enemies they could face, the challenges, and I just … I wanted to see my friends again.

I just wanted to see my friends again.

And we got that, in a way. We got it through Timothy Zahn’s Thrawn Trilogy, where Obi-Wan’s spirit tells Luke that he isn’t the last of the old Jedi, but the first of the new. We got more of it in further books of varying quality, comics, and video games. Not all of the continuity made sense, but we got the idea that Leia was the Chief of State of the New Republic, Han became a General, and he and Leia had children together that would carry on the legacy and burden of the Skywalkers. And Luke would become a powerful Jedi Grandmaster, and meet with all the remnants of the old Jedi and new Force-sensitives to build something entirely different: exploring the remnants of the old ways, giving us those hints of what time was like before the Empire and when the Jedi were numerous and whole, and showing us just how our hero evolved.

Luke would go on to fight many different adversaries, make mistakes, but always try to redeem those he could from Darkness. He even gets a love interest, after several disastrous relationships, who initially wants to assassinate him but has a son with her. And there were books that took place long after Luke’s time with Skywalker descendants and successor governments to the Republic and Empire, and a myriad of different ideas. There were cool books like Tales of the Jedi and Tales of the Bounty Hunters that fleshed out so much background stuff.

The thing is, this is all we had — for the most part — for literal years, and it was okay. We got to see our friends continue to struggle, but also grow. Was there a sense that nothing could happen to the Big Three? Of course. And I admit that could get tiresome. But they were … they were my friends growing up in a real world that, like I said, didn’t always make much sense. And I would have loved to see them come back in a Sequel Trilogy.

It wasn’t Disney’s fault that we didn’t get to see the Big Three together on film again. George Lucas was the one who made the decision to focus on the Prequel Trilogy. I’ve written on here before about an alternate reality where Lucas and Lucasfilm had made interquel cartoons while he perfected the technology for the Prequels. I sometimes wonder what would have happened if Lucas had made the Sequel Trilogy instead of the Prequels.

Unfortunately, we learned a lot over the years about George Lucas and, while his ideas and insights were good, a lack of oversight made his narratives unwieldy and his character and actor direction even worse. George Lucas wasn’t perfect, and the Prequels certainly were not even though I will always be grateful to him and his collaborators for creating the Star Wars universe.

So when Disney bought LucasFilm and made the Sequel Trilogy instead, I knew it was too late for Leia, Han, and Luke to be the protagonists. Carrie Fisher, Harrison Ford, and Mark Hamill were older then, and it was a better bet to have them as mentor characters to pass on what they had learned to the next generation.

I think the unease began with me when they rendered what was the Expanded Universe — all those books, cartoons, comics, and games — into non-canon status: into Legends. At the same time, I felt like there was an opportunity there: to tell a new story, and utilize the wealth of material there to do so, which seemed to be the plan.

The Force Awakens was like a breath of fresh air: with characters that had proper dialogue, great chemistry and interactions, much more subdued CGI and just that more lived in world that we had grown up with. And J.J. Abrams set up so many possibilities and questions. What happened to this world? Why was Leia leading a Resistance? Why did Han leave on his own with Chewbacca? And just what happened to Luke’s Jedi students, and Luke himself?

I have talked about this so much. The Sequel Trilogy, I felt, was supposed to be the heir to Skywalker: literally. It was the successor part to the Skywalker Saga. It had that heritage. Even without George Lucas, it had enough material and people working on it — the company that made it — to make it official. I recall hearing about Rogue One, and Boba Fett, and Obi-Wan, and Solo, and while I felt like they would be interesting, they were films that weren’t part of the Skywalker Saga that I grew up with. I thought of them as distant cousins, or relations that could add to the context of the others, but they were cadet branches of the main line: the central heritage. Some of these films, like Rogue One and Solo happened, and they were entertaining. The other two did not. At least, not at the time.

I reviewed The Force Awakens. I also reviewed Rian Johnson’s The Last Jedi. In retrospect, I saw my own experience paralleling this journey. I saw all the other films with other people: my family and friends. I saw The Last Jedi by myself. I saw Solo by myself.

I saw The Rise of Skywalker by myself.

The Last Jedi had some fascinating ideas, and interesting moments, but it is a controversial film, and with good reason. But it wasn’t the issue. It all comes down to the magic of Star Wars, of the Force, of the overarching story, and that sense of continuity. Yes, there were weird elements and oddities displayed throughout the cinematic series, but every scene felt like it wasn’t wasted: like they were telling their own stories, and they were just all interesting. Everything was built up to lead to a particular conclusion of some kind. But when the Sequel Trilogy went on, it became pretty clear that the plan was haphazard at best, and sometimes the message or the moral behind the story became more like transparisteel than actual character interaction, development, and storytelling. When you combine that factor with something that felt standalone added onto other material that led to a conclusion that just … didn’t have the momentum, that wasn’t earned, and felt sloppy and gimmicky, and full of special effects instead the back to basics approach of the first film, the magic was thinning. And the ending …

I think the ending of The Rise of Skywalker is emblematic of Luke Skywalker’s treatment. Because it always comes back to Luke. Imagine seeing a character you relate to, who you grow with, and you know he had a whole ton of stories where he excelled, continued and improved on an entire culture nearly wiped out through genocide, and even had a family and friends and loved ones, and then a company renders that all non-canon. It didn’t happen. And then you are left with someone who has lost everything, including his sense of redemption. And hope.

Luke Skywalker was the New Hope of Star Wars. You could argue Leia Organa was another, but Luke was that optimism despite all the odds, and defeats, that you could just … that many of us could just root for. And an interesting story could have been told about how he lost that hope, and we have a bit of it. Unfortunately … after growing up with the powerful Jedi Grandmaster who made other mistakes, but still recalled the lessons of the past, only to see him repeat them in the new canon films, basically knowing his adventures had been erased and replaced with a characterization that would strike down a boy for something he didn’t even do yet after trying to spare and redeem his mass-murderer father … You can see how it just didn’t sit right.

But around this time, after The Last Jedi and Solo, came … something else.

I didn’t know what to think about The Mandalorian, especially given how ambivalent I was to the idea of a Boba Fett film. I was still struggling with hope that the Sequel Trilogy could find its way after The Last Jedi’s sense of finality, and this series provided a distraction for me, and I imagine for many of us.

It felt … low-tech. It was rendered by Jon Favreau and Dave Filoni back to Star Wars’ roots in its Spaghetti Western influences: its weekly serials. There was just more sense of time. More pacing. So much more space to tell a story, and develop characters from simple premises and archetypes into something more. They had nods and Easter-eggs to Star Wars lore and fandom: letting us in on the Secret Club feeling that is an open secret. But it world-built, and slowly revealed mysteries and details to us about the Mandalorians and Mandalorian culture. And Din Djarin and Grogu … Grogu, the Child, was the make it, or break it element of The Mandalorian. He was an obvious reference to Yoda and his own mysterious origins, but also to the Jedi and the Force that we didn’t know would even be involved in this series. He was there for merchandising and fan service and the neoteny of his cuteness, and it could have been as blunt as a Tusken gaderffii stick to the face.

But it worked. Grogu was iconic for the magic of Star Wars. And Din himself mostly stayed in his beskar’gam, his armour. He could have just been a Boba Fett knock-off, or a video game character whose identity the audience could just assume as a surrogate in experiencing this world. But slowly, perceptively, over time we see these two characters bond. And it is endearing. Even their associations with other characters is just entertaining and heartwarming to watch. So many characters I thought would be enemies, became associates and friends. There would be a new story every week, but one that built into something bigger.

It was a slow burn. Season One was all about protecting Grogu and figuring out what the nine Corellian hells was going on. Season Two was about returning Grogu to the Jedi, whoever they were after the Empire purged most of them out of existence. We got to see different kinds of Mandalorians, disillusionment with the Republic, the general independent nature of the Outer Rim, and the genuine danger of even the Imperial Remnants. And we got to see Din’s humanity, and Grogu’s love for him. I felt more for Din and Grogu than I ended feeling for most of the characters in the Sequel Trilogy. Din was a warrior raised by a sect of Mandalorians called the Watch after his parents were killed by Separatist super-battle droids. He earned all of his skill, and even when we run into him he is still earning his beskar: his Mandalorian ore for his armour.

And Grogu? Grogu is hope. He is a child, young for being fifty years old by his species’ standards, but also something of a sacred living relic that survived the genocide of the Jedi all the way to the New Republic to be found again. He is the old, and the new. He has seen, and survived, darkness. And Din recognizes that, and yet protects him — rescues him after retrieving him for his first mission in the series because, at the end of the day, it was the right thing to do, and he was willing to risk his people’s location and turn against the Bounty Hunter Guild’s Code to do so.

The evolution of the characters these past two years, the Star Wars details and eye for continuity, and the continuing mysteries kept me going. It kept me interested. I didn’t like The Rise of Skywalker. At all. To give you an idea, I never reviewed it. Not once. It took my European friends calling me on Discord one day to even get me to talk about it, and I hadn’t said anything about it in a few days. I hadn’t wanted to talk about a Star Wars movie in a few days. I just felt … tired. Drained. Just let down. I almost didn’t even finish Season One of The Mandalorian around that same time. I was down to the last episode. I thought to myself: what was the point? The people and characters I loved for years were gone. They were desolate and disappointed by life. They were too close to what I was now. I just … didn’t want to think about it anymore. I didn’t want to deal with Star Wars anymore.

But then I watched that last episode with IG-11 heroically sacrificing himself for the Child he attempted to kill in the first episode of the whole series, the death of Kuiil the Ugnaught as he tried to protect Grogu, even Greef Karga’s redemption after the Child saved his life, and the disillusioned Republic trooper Cara Dune respecting Din enough after their first adventure and rivalry to help him save Grogu from the Imperials … I felt it then. It saved a part of me. It saved a part of me that loved that magic.

It saved a part of me that loved Star Wars.

And now, I come to the real reason I’m writing this, and reminding everyone that we were all once Infinity Warriors against the forces of Spoilers. Because I saw the last episode of Season Two.

I was already enjoying the series. Seeing Bo-Katan and Ahsoka Tano, and finding out more about Grogu already made the series great, especially with tie-ins to other potential stories in Ahsoka’s standalone live action series. That line about finding Grand Admiral Thrawn took me right back to Timothy Zahn. Hell, even the ending of the last episode and making us really look forward to “The Book of Boba Fett,” either another series or the next chapter to The Mandalorian more than I had ever been excited for a movie around him, was inspiring. The way they reintroduced Boba again, and showed us how bad ass he really was made up for a lot. And resurrecting Fennec Shand after her ignominious death in one episode of Season One, along with a whole development for the mercenary Mayfield really made me appreciate the storytelling. They could have left it there. They really could have.

But then …

They did it.

I remember seeing the X-Wing. And I knew.

I saw the black hooded figure with the green lightsaber, and I knew.

I was looking for that one black glove. And I wanted it to happen. I was downstairs in my basement, screaming at my computer screen. I was yelling at it. Please.

Please.

Please be him.

Please. Be. Him.

He moved like Darth Vader in Rogue One. But where Vader slaughtered Rebel troops, the figure destroyed insanely powerful Dark Trooper droids like they were nothing. He was the pay off of two episodes ago when Grogu was taken by Din to Tython, the supposed homeworld of the sects that led to the Jedi, to summon a Jedi Knight to protect him.

And Grogu reached for the screen, and it was only later I realized he was communicating with the figure telepathically. By the time he came in, to face Din and his companions, and Grogu …

It was him. It was the person we’d read about in books. It was the individual we’d played in games. It was the man we saw fighting alongside his friends in comics. He was young, just as we remembered him, but he had further growth. He was so much stronger. Much more skilled. He’d taken after his father’s fighting style after dueling him. There was CGI on the actor’s face portraying him but the voice was unmistakable.

We got to see Luke. We got to see Luke fight the way we’d always hoped. We got to see him in his process of rebuilding in a cinematic place where he wasn’t crushed by despair, or dissipating after using one momentous Force technique in a process of great metaphor.

We got to see Luke Skywalker again.

And when Din Djarin took off his helmet, against the Watch’s Code, to let Grogu see his face, and touch it when saying goodbye to him … It broke my karking heart. There was joy and sadness in that parting that will hopefully just be a farewell.

A lot of ossik — a lot of shit — has been happening in 2020. This year had been garbage. It is a far harsher crucible than Tatooine or Jakku ever was. These past four years have been pretty bad. It would be so easy to give up. To not care anymore. To just surrender to cynicism and bitterness and disappointment. To just give up hope.

But for one moment, after every Friday morning looking forward to the next episode, at 3 am in my basement I felt a sense of joy and wonder I hadn’t experienced in years. For just forty-seven minutes, I felt like a child again.

Din Djarin was called The Mandalorian, or Mando before we found out his name. And Grogu, when he wasn’t called Baby Yoda, was referred to as The Child. But The Child was not just literal. It was metaphorical. It’s in The Mandalorian that we find out the Star Wars universe has a name for those beings genetically engineered — either cloned or altered — from a previous donor: a strand-cast.

The Mandalorian is a strand-cast of the Star Wars Saga, more continuous than Rogue One and Solo, and almost a whole other species but having more in common with its originator than its supposed biological heir in the Sequel Trilogy. Grogu might be The Child, but I feel that The Mandalorian is The Child of Star Wars.

I know there will be more. It isn’t over yet. Even so, I think about how Din Djarin passed Grogu onto Luke: the Mandalorian fulfilling his almost holy quest, the child relic that is more than foregone story but a living, breathing story of possibilities. And all us — my friends that played our homebrew Star Wars game with Lego those after-school afternoons, the child I was with my old Return of the Jedi writing notebook, and my friend who met us in the park in high school wearing Jedi robes like Luke Skywalker — we got to see our hero again, in all his glory, at least one more time. It was all many of us wanted. And there he was.

So much world-building and meaning in just two seasons of an online serial about a warrior, and his child, and all the people they’ve touched along the way.

Because, in the end, as this continues I feel this truth. That this is the Way.

My Curve

My tagline should become “it’s been a while.”

I find so many ways of saying the same thing. It’s been a hard couple of months. Sometimes, it feels like it’s been a thousand years, though I have also read some writers stating that this period in our history is an eternal present: an in-held breath that keeps going until, inevitably, there will be a release of some kind.

In my personal life, I’ve been having something of the same process. March 13 was the last time I’d been downtown. I knew about the pandemic and the quarantine on March 11, but a few days later I went back to my parents’ place, and knew I would be going into hermit-mode again.

I had few illusions about that. I knew it would be more than two or three weeks of quarantine. It was hard in the beginning as I had been going out more. For the first week, I didn’t go outside at all: not even for a walk. I had this plan that I would not go outside at all until all of this was over, or even past it. I’ve gone long stretches of time without going out of my house or wherever I was living, and I thought to go back to it. I lasted over a week like that, before it got too much.

After that, was a string of misfortunes. The end of a relationship, and the death of a pet. Even then, I felt like I was accepting that something was changing, that I was at a shift — or we were at a shift — that once it was done we would never be the same again. And just when I felt like I was beginning to be free, to shed that past dead weight, everything else went side-ways, as a friend of mine used to say.

When Kaarina passed away, I was in this twilight place. I’d known beforehand, as I already wrote about I’m sure, but I was going to bed at seven or eight in the morning. I wasn’t sleeping. I was talking on the phone, or online in an almost drunken manner. Sometimes I could focus, and other times I was out in my own world. It was just these glittering pieces in the dark, metaphorically speaking. I felt both detached, and angry, drifting, and sad. I kept a list in my head of things I wanted to do, or say to people, before the pandemic and I fulfilled them slowly over that time as I began to become more stable again.

I talked with my therapist on the phone, something I should continue to do. My friends have been going through their own losses as well. It’s like the darkest, suckiest stuff that was waiting to happen before the pandemic decided since things were already bad they’d might as well all come out to play.

During this time, I wrote some stuff about Kaarina, did some roleplays with my friends that still can online, and not much else. I marathoned Freeform’s Sirens for a while, and then continued watching Motherland: Fort Salem. I know that for a while, I was dealing with a lot of anxiety, especially in the beginning month of all this — suffocation and being terrified of getting sick. Sometimes, I still cycle through that, and there might be some medical issues I will have to deal with that aren’t related to the plague.

I don’t know when it happened exactly. Once the suffocation, the anxiety, the despair, the empty feeling, the frenzied feeling, all wore off it began to level out. To meet a curve if you want to borrow a popular phase now.

One day, I found out Joe Bob Briggs’ and Shudder’s The Last Drive-In was coming back. I’d missed the last season, as that had been another year of turmoil. I did catch one part where one of the Halloween films was being played, and I had created a theory on Twitter that Dr. Loomis had experimented on Michael Myers already altered physiology and psychology, and that was the reason he wanted to kill him so badly. It never get quoted on the show, but I had fun that night. I’d heard of Joe Bob from James Rolfe’s Cinemassacre channel ages before, and I had to check it out. Also, Diana Prince — who plays Darcy the Mailgirl — was someone I’d started interacting with on Twitter and Instagram along with other fans from time to time.

My usual D&D game days are cancelled for the foreseeable future, and I am obviously not breaking quarantine. I decided to experiment and watch an entire run of The Last Drive-In. I liked the format of the first episode in Season One, with the film Tourist Trap with a telekinetic who likes to create wax beings, and I wanted to see what a live marathon would be like while live-Tweeting.

It was hard. I didn’t pace myself, and there were no commercial breaks. I admit that while I had fun that first episode, the five hours locked my body down, and I didn’t feel well. I considered just seeing one part of the episode next time, and looking at the rest when recorded on Shudder. But then, the next week came and after having most of my food, and some commercial breaks, as well as knowing when take some of my own, I did much better. I absolutely loved Maniac with those creepy mannequins, and it was the first time I’d seen Heathers: and I adored it.

This past week, there was Brain Damage and Deep Red as well, the former I surprisingly enjoyed and make a few good one-liners on Twitter. Deep Red was harder to follow, and I tried to make sense of it, and … maybe one day I might. I really liked interacting with the other fans on Twitter, and just the feeling of watching something, some ridiculous, sometimes awesome films with people while listening to Joe Bob’s anecdotes and facts. I don’t agree with everything Joe Bob says, and certainly I know that I loved A Girl Walks Home Alone At Night more than he seemed to in the earlier seasons — though I do have a weakness to towards “art-films” — but I can appreciate what he brings to the show.

I just, for a few moments, not only did I recapture what it was like to watch strange films, horror movies, with friends, but to have it at a fixed point, to come to that time and actually accomplish it. I know the show is on from 9 pm to 2 am on Friday evenings, and I attend them and get through it, and even interact. It’s a combination of observation, entertainment, writing, and socializing with a good meal. And it helps. It helps to feel that sense of accomplishment in doing that, and that sense of positive reinforcement.

And, whenever I watch The Last Drive-In, or any horror films, I feel like I am watching them with Kaarina: for the two of us. We used to go to the Toronto After Dark Film Festival together, and then watch Twilight Zone before bed. And I curated a whole Shudder account for her when she was in a medically-induced coma in hopes of presenting it to her when she woke up from that surgery. I think it even still exists somewhere on Shudder. I also felt like, for a moment, that I was watching horror movies with my friends again after almost two decades.

It must sound strange, to want to watch things for someone who can’t anymore, but I take comfort wherever I can, and I won’t knock this.

It’s been around this point that I began writing again. I was already feeling the need to return back to the work I began about a year ago, before real life came in. I was so busy going out and socializing that a lot of it fell to the way side to gather dust. And then, the pandemic and all these personal losses accrued. I think it also helps that I don’t feel the pressure of not having a job or still living at home, as I know many people are facing similar situations due to the current crisis. Surprisingly, I’m less hard on myself: even though I still need to sleep properly.

I feel like I could spend more time writing and reading and watching films than interacting with people as much now, but I know there are people in my life that check in on me. I’m definitely not the same as I was before March, and I know I won’t be after all of this is over or at least stabilized. I learned a lot about other people during this time. And about myself.

Right now, I am writing fanfiction but I am thinking about going back to a possible collaboration idea, and that Lovecraft work of mine. I know this seemingly limitless time is an illusion. It will end, one way or another. Life likes to change. I am going to just do the best I can, and I feel like I want to do it again.

It’s late now, for a change. I want to write down one or two more things before this night is out. I don’t know how I will deal with things when they open up again outside, but I can’t really think about that right now. All I can do is enjoy what I have now. That is all I can do.

I’m glad that you can all join me on this venture. I might add another entry after this one. It’s been a while since I’ve done something like that. Until then, my friends.

The Earth is Shifting On Its Axis

Dedicated to Kaarina Wilson. I wish I’d understood what you said then, Ma Petite Rouge. Or maybe, I always did. 

The earth is shifting on its axis, where one eye meets the earth, and the other the sea,
and all war nests are torn apart, fought for, to release the cackling, to let it fly free,
leaving runes, and raspberries to lie there, and grow for all eternity.

The earth is shifting on its axis, where the fox reminds you that you’re responsible, forever, for what you have tamed,
where Wonderland grows again, in outside crawls where unbirthday parties have been named,
and you get become and be yourself, and never again be blamed.

The earth is shifting on its axis, in the place where Time goes to die,
between the looking glasses where twins and doppelgangers hide in shiny corners to spy.
Here, in the centre, you know that all of them are true, and encroaching. None of them are a lie.

The earth is shifting on its axis, tilting inexorably to the end of this rhyme,
like the days of Forbidden, independent in the city, in the heat of our prime
I wish, oh I wish, you were still here, before the centre, asking me if it can still be Bed Time.

The earth is shifting on its axis, in the kaleidoscope you find the sisu — the will of the Finn — you follow it, stubborn, down a cinematic path, with a determined warrior grin.
Before the darkness, you laugh and you shout your parting words, your punctuation. “I win!”

The earth is shifting on its axis, after pointing the way that starry night, in the snow, what you already see,
beyond it you have traveled now, left its meandering ways, its pains, its aggravations, its reality.
The only one left to see the earth shift on its axis now, of the two of us, is me.

Another Year

It’s been a while since I’ve written here. That’s a sentence I’ve said a lot when posting on this Blog these days.

But I thought I would come here this morning, and write something as it is an appropriate day. It’s my birthday today. By the time you read this post, I will now be thirty-eight years old. And since I am now one year older, I thought I’d look at where I am now and update you on what is going on, and what I am doing.

My social life has, well, opened up a great deal. Before the crisis with the coronavirus, I was going outside a lot more, socializing, spending time at Storm Crow Manor, and exploring a whole new part of Toronto: a section of it that was new to me, and one I had began to travel on my own. I’ve enjoyed the Manor, as well as Craig’s Cookies, and I have been considering doing more things.

It’s been a far cry from the time when I would lie in my bed and essentially spend most of my days and nights on my laptop, just existing, hoping nothing would tip the delicate balance, in that state of tension and anxiety. I still have to deal with the latter, of course, but I find when I am doing stuff and actually going out and focusing on other matters, it helps. It helps to facilitate that place where I am not as much in my mind.

I have also slowly been cultivating various friends, and contacts. I know it’s not something that can happen all at once, and I’ve realized that having an extrovert or two as a friend is a boon, even as I can help other introverts who aren’t as comfortable with “party manners” to socialize as well, and traverse the city with me. There was a two week or so period where I was outside a great deal — even making cookies for the first time in over a decade for an event — and I also got a considerable amount of work done.

As usual, I have not finished or even in some cases continued the creative projects that I had sought to undertake, though some still remain in the queue. I have been meaning to get back to writing a piece of fanfiction for a friend’s comic, exploring that world with similar themes, but from different perspectives. I have an Alternative Facts story or two that I want to get out there, which I suspect I’ve mentioned here before. There is also the Lovecraft Mythos story I want to compile out of my notes on paper and from my phone, and send it somewhere: possibly for some grants and scholarships, and a writer’s retreat program.

But I have mostly been writing in roleplays. I am doing a group game where I am a bard, which I am sure I have mentioned before, a Vampire: The Masquerade solo game with one of my partners, and now another D&D game that is set in the plane of Gehena. That last game is something special to me. I mean, all three of them are in different ways. I am mostly the Game Master of the Vampire game, and I create epic level songs and manipulations as my bard in the other.

But in the Gehena game, it hearkens back to when my friend and I — who is GMing this campaign — to the days in our early twenties, even earlier into our teens, when we would play in the sandboxes he created after school and all night. Because of life circumstances, we play these games all on Roll 20, with some help from DnD Beyond, and Discord. But my friend is combining elements of the group game, and my solo game with him together as they belong in a shared universe of our creation: just in different realms. I can’t wait to see the plot points converge, or run parallel.

I don’t know, I just feel like when I roleplay I’m … doing something. I’m helping to shape a world with my actions and consequences. My decisions matter. And it is close to what I always wanted to do with my friends: to create a world and game together. Once, I wanted us to work together: to create games that we would sell. It was a dream of mine, of ours, and I guess if you hold some stock with horoscopes as a Pisces it makes sense that I would be enamoured with playing in, and creating, a world of dreams. Or nightmares.

Really, aside from my socializing and the potential and energy I get from those interactions — as well as meeting new and awesome people — these role-plays are some of the things that excite me the most. They always have.

It’s not been easy for me. For almost a decade, I felt like I was asleep for the most part. I’d been depressed and anxious and holding onto attachments that were long past their time. I’m not magically cured, of course, and I know how any of these elements can quickly change especially in these uncertain times.

It’s been a bit sad knowing I would go back to being inside more often again, though hopefully it won’t be forever, and the current health situation — this pandemic — can be dealt with. I’ll also admit that I have stretched myself out a great deal, perhaps even over-extended my attention. I need to work on sleeping, which I am failing at right now even as I write to you. I should also rest more and take the time to spend it with those that have gone out of their way to do so with me, even if it can only be audio or video at the moment.

In the end, it’s funny. I went to a person once, who told me that I will lose people, but I should not take for granted the people who are still here, and love me. It’s hard, but I should listen to them. I did lose some connections, over the years, some more recently than others. But in a way, they have made me reevaluate and look at the interactions I do still have, and want to take the time to make sure I know where I stand with them and vice-versa.

I am getting better at standing up for myself. For respecting for myself. For watching for those who do not respect me. I have changed since 2012, when I first started this Blog. Where I go is beyond me. I have been thinking about doing some volunteer work, to get out of the house when that is sensible to do so, of course. And I know I am building something, in this life, I just … don’t know what it is yet. But I do think that the social aspect is important.

Perhaps, now, at this time is the moment to really focus on what it is I’m looking for, to enjoy what I have, to take care of myself, and to see where I go from there.

I’m not where I thought I would be at thirty-eight. Some of that is disappointing, but other parts of it have exceeded expectations. I’ve realized it is possible to be sad and joyful at the same time. It’s what I need to do with that energy that is the question.

Some of you have been reading my work, followed me, and have even been my friends — and more — for a long time. Some of you have changed along with me. Some of you aren’t here anymore. But I want to thank you, for taking the time you had, and have, and spending it with me: even by reading this long, rambling journal post.

Like I said, I don’t know where I am going to be. Or what will happen. But I hope I can make the momentum, and use it, to do something really constructive, and satisfying to me and the people that I care about.

In the meantime, I think I will use some of that time to go get some rest. So much for my birthday present being an early bedtime. This was longer than I thought it would be. Always famous last words, for one thing or another. ;p

Until another time, my friends. Take care of yourselves, and each other.

I’m Not Locked In Here With You: Todd Phillips’ Joker

So I wrote an article for Joker on Sequart a little while ago now, but while they eventually will post it, I have some other more personal thoughts on some of the themes in the film: mainly why I like it, and why I relate to it.

I tend to call this Joker, or this earlier phase of him, the Arthur Fleck Joker. He isn’t the same as the Mark Hamill, the Heath Ledger, the Jack Nicholson, or the foolish Cesar Romero depictions. He isn’t even the comics Joker, any of them. This is the phase, the dress rehearsal, before the agent of chaos that we are going to get. I’ve always been fascinated, you see, with watching something in the process of being created, or creating itself. I find the best kinds of art, or artists, are those that you can see are constantly working on themselves. Mark Twain has a quote about knowing the details behind the creation of a miracle, and how it can take away from the simple joys of just experiencing it, yet I am someone who likes to — to borrow a phrase from Neil Gaiman — see the work backstage, and how it adds to the performance that we are given.

This Joker is a moment of realization in progress, of living two different lies at least, and then finding out who he actually is. That is what I took away from this film. Let me be clear about a few things though: I do not romanticize the Joker that kills people for amusement, or is an abuser. The one in this film is very different from those other depictions, though there are some similarities with regards to his more destructive actions.

But I really, like I said, love the process. We see Arthur wearing the clown makeup when he is at his gig helping a shop sell its wares, but a man wearing a clown costume does not a Joker make. Even the nervous, involuntary laughter doesn’t make the Joker. Not even the killing of those abusive rich men out of self-preservation, or the one out of a sense of street justice makes for the Clown Prince of Crime. The flirtation with this image, the sensuality of it in the restroom with blood-splattered on his face, his wig and clown nose gone, and his ragged elemental features at that point are a start. But he’s still Arthur. He still wants to be loved. He still wants to be a comedian, and to stop hurting.

Even the white makeup he has on when he kills the person who betrayed him isn’t quite there yet, and this after he discovers what he is — where he came from, how he was betrayed far worse before — and preparing for what he is going to do. He wants revenge, but he also wants the pain to stop: for the joke that is his life to finally end. That is the tipping point.

I would even say by the time he makes it to Murray’s show — to the man he used to look up as a father-figure before he publicly humiliated his non-neurotypical behaviour on television for laughs, and didn’t think anything of it — and when he decides to kill him instead of himself on national television, he’s still not Joker. But what started as practice in that restroom, and then choreograph when he danced down those flights of stairs, and then self-awareness by putting on a clown mask to hide in the discontent of Gotham’s lower class that made his actions against the rich into a memetic force, followed by one great bellow of selfish vengeance on a man and system that failed him … ends when he gets out of that car crash, and he uses the blood coming out of him to make a bloody smile on the costume whose lipstick had already faded. It was cheap and artificial. Now, the blood makes that twisted smile real.

Watchmen is bandied about a lot in terms of comics references. Hell, it even made it into the title of this Blog post. I don’t need it to sell Joker that’s already sold its own soul to the Devil of our collective imagination. But there is this idea in Alan Moore and Dave Gibbons’ work with the vigilante Rorschach. He starts out with a troubled past of childhood abuse as well, but that doesn’t make him Rorschach. It doesn’t make him Rorschach when Kitty Genovese is brutally raped and murdered publicly and her neighbours do nothing, and he vows to become a masked hero to stop other such incidents. He’s still just Walter Kovacs, an abused child taken to foster care, wearing the mask of Rorschach. Rorschach is still his alter-ego.

It isn’t until he hunts for a kidnapped baby, and finds out that the kidnapper fed the child to his dogs, and he burns the man alive that he isn’t Walter Kovacs anymore. He realizes he is Rorschach. And when he is hiding in plain sight as that Prophet of Doom in the background, Rorschach wears Walter Kovacs as his mask, just as the Joker wears Arthur Fleck’s face as a mask at the end of Todd Phillips’ film.

We can go into how in Star Wars Darth Sidious was the real self of the man who wore the mask of the politician Palpatine, or how Batman’s secret identity is Bruce Wayne — though that last is highly debatable, though appropriate given that this article deals a great deal with his arch-nemesis. What I’m trying to illustrate is that none of these alter-egos becoming true identities happened overnight, or had always been their true selves. Parts of these personalities, these culmination of experiences, were there but there were other circumstances, and reactions to those events that precipitated the processes that made these happen.

That is how I understand a lot of what I’ve been going through this particular year. I don’t romanticize these characters. I think there are aspects of them, as archetypes, that are really fascinating and relatable, but they are not heroes. The Joker is not a good person, even if there are parts of him — of this one, and even his “burn everything bad to the ground” or “watch this flawed, disgusting world burn” attitude that my Id can sympathize with.

I guess the best way to describe it is that 2019 has been a different year for me. I’ve new people. I’ve had some new experiences, or explored them in a whole other way. I’ve been angry, and scared, and frustrated. I’ve delved into that fear. I’ve confronted it. I’ve pushed my comfort zone. I’ve worn my makeup and my masks. But I’ve realized that identities, especially those that we associate with things and events, are fluid. They change. And trauma in particular is a massive force behind some of those changes. There are ways to explore that power — trauma — in controlled environments with calculation and experimentation. Writing is one of those outlets, and the confines of the imagination. But sometimes it’s also trading stories and interactions with like-minded people. Sometimes it’s putting old selves behind you. Sometimes it’s realizing you are angry, and accepting it, and knowing that you are changing.

I think the most painful thing is trying to hold onto the person that you were, with all those experiences — good or bad — to stay in the past, because you will never be that person again. You will keep changing. That’s part of your nature. Some core tenets will remain the same, of course. But you will not have the same experiences again. We hold on out of fear, or resentment, or a genuine sense of overwhelming purposelessness. Where do we go from here? What do we do? And why is it I have this inclination to know where I can go, or what I can do, but not quite get there before … something? Right?

This year, I felt myself let go of a lot of attachments and realize some things are gone. And that they, most likely, needed to be gone. I still have to deal with more of these due to logistics, but I now understand that I don’t feel the same about them as I did. I don’t feel the way I used to, because very naturally I’m no longer that person. And that’s not a bad thing. I can still feel sad about it, even angry, but it doesn’t change anything beyond whatever it is I do next.

I’ve been busy, confronting those parts, dealing with the anxiety. I have fascinating friends and explorations. And I’m lucky. I felt my old self beginning to wane, to fade, but to also be subsumed by my new choices, and activities. It’s sad and you mourn it, but there is no other way to go on: even if you do need to remember to pace yourself. Imagine being Arthur Fleck, though, and realizing that your old self never really existed to begin with. Maybe it’s not that different, as nothing is permanent. It’s not a science, but I will argue with you that it can be art.

And that’s what I’m making. Even if I don’t write as much as I used to, or stay indoors as much in front of my computer, I am still expressing myself, and thus making art. I might have been wearing masks, but they are closer to being who I am now than where I was. And even despite that, masks aren’t false things. They are organic and we are all different people in different situations.

The New Year is coming up. I actually had myself made up as the Joker a while ago, and this great, rumbling laugh came from my chest. I’ve dressed as the Crow, but as people like to quote from that movie and perhaps even the comic from which it came “it can’t rain all the time.” The Crow isn’t supposed to smile, apparently. But I laugh. I love to laugh. But I also like to be between states, and know how the meat is made, or destroyed. I like to hide in plain sight, and plan things out. But sometimes, when I can get past the fear I just go with it accordingly.

I’ve actually liked 2019. It’s so far been a good, but challenging year. I will keep shedding more of the old as I go on, and it won’t be easy. But we all know that “laughter” has an extra letter in front of it sometimes. And it isn’t so much that I’m trapped here with my challenges.

It’s that they are trapped here with me. And, when I can, I intend to have my fun.Laughing Me

Aelith

Written and performed around last Halloween — or the Season of the Dead — by my bard in our Fifth Edition D&D game. 

There is a forlorn beauty within the White Pines,
filled with crumbling husks of majesty, and broken lines.
Now home to beasts, and creatures of many kinds,
it once claimed manses housing High Elven minds.

There were palatial homes almost grown from stone,
of which fabled mounds and toppled pillars are now their bone.
Numerous farms were once tiled by ancients under the trees,
but they, too these Elven farmers’ secrets, were worn away by
Time’s frigid Northern breeze.
This Kingdom, this Empire, spanned from North to West,
this flowering of High Elven civilization at its very best.

Now, there are only broken columns, and archway outlines reaching
for the sky,
as though these few still remain to beseech, and ask of the world … why.
Why did this ageless, noble nation die?

This question is the breadth and width,
of the ancient tragedy of the Temple Warden,
of the High Elven warrior …
Aelith.

Long ago, before the Elves of the White Pines,
the Mountain Dwarves of Mordimeer came out from their mines,
their numbers coming forward, going forth,
to contest the High Elven nation’s claim in the North.
Perhaps it was for the sake of power, or for gold,
that the Dwarves, then, decided to be bold,
or due to eternal grudges that never go away,
for these two long-lived nations set out to, each other, mutually slay.

But in shining raiment, and majestic power,
the High Elves still maintained their longest hour,
until, from the East, came Chaos, came the Orcish Horde, to ravage
and scour.

In massive numbers, the Green-Skins invaded both races first,
but the Elven nation was attacked the worst.
Long-lived and once sedate the Elves had perhaps been too used to peace,
with the Dwarven presence just skirmishes at least,
but spread too thin they didn’t hope to stand the Hordes that never ceased.

Many died, and others hid,
while still more Elves to their Empire farewell they bid,
as they left to form other nations, other cities
into eventual decline they slid.

But that is not what Aelith did.

Tall, and lean, and slender,
stone could not, in good conscience, render
the high cheekbones of her face, the haughtiness of her mien,
her keen slivered eyes that many a battle, more than others of her kind,
had seen.
Her red-gold tresses shone with a beauty that was hard,
overshadowing a gaze that never, once, let down its guard.

Perhaps, once, Aelith had a family, a lover, or a spouse,
but what is known is that towards the end of her nation,
she had been married only to the War God’s House.
Aelith, Temple Warden, had guarded the Warrior Shrine
for centuries, and years,
so when the Orcish invasion came, she was not overcome by fears.

It may be that she warned her people of this day,
that their indolent lives, their complacency would not eternal stay.
But if so, very few in Aelith’s words believed,
and because of this, perhaps, their doom they did receive.

Yet, that fateful day, that fateful time, it was lives that Aelith sought to retrieve.
She and her soldiers, the War God’s children, many orc lives would reave.

With slender fingers calloused by ancient wars, and hands that grappled with her God’s demands,
Aelith, keen-eyed of ken, took her bow of moon-silver, and shot down many a marauder again,
and again.
It’s said that when she killed, her voice sang out, perfect and metallic, silvery with prayer,
as she dedicated the lives of her people’s killers to her God, as their slayer.

But deep down, perhaps Aelith sometimes wondered,
was this wrath inside her, this glory for battle, grief for her people,
or what the War God thundered?
Was it, then, that something in her, a deep surety, a steadfast belief had
gone and, and truly sundered?
For with the others, the Gods of Peace and Pax had fled,
leaving behind only Bloodlust, and inevitable Dread.
And, perhaps, something else in their stead.

Perhaps, something deeper than sentiment, and eternal myth,
had always burned in the breast of Aelith.

Aelith, whatever else, had bought her people time,
but this is not where ends the tale of this warrior archer, farsighted,
in her prime.
It would be easy, to say, that she did indeed — with her warriors — earn
a noble death,
amassing orcish skulls right down to her final breath.

Outsiders continued to terrorize her home, and ruin her lands,
and she still yet fought on, in vain, as her soldiers — too few now —
died under the invaders’ — these defilers’ — hands.

Perhaps, as these final defenders, these Elven warriors made hunters
of thinking beasts,
which blood and viscera became their only feasts,
began to starve and fall without food or game,
the fire within Aelith’s soul fed another kind of flame.
Hungry as they fought, she and her soldiers became
far past the point of any reason for it to tame
Until, driven to very few, to the corners of their Shrine at last,
a desperate spell, an evil curse, they decided upon themselves to cast.

They turned the pool beneath the Shrine, into an abattoir, the heart of a blood-smith,
for their leader to forge, there, the Doom of Aelith.
Perhaps it was their own lives that they sacrificed, through blood-stained orgies,
and profane rites,
though orcish prisoners, long-broken, would have also sufficed.

And, with this, as she tried to control their fate,
all they had left — Aelith and her soldiers — was the power of hate.

Thus with a terrible ken, that made her song more discordant, more keening,
Aelith sought — in her Shrine — to keep on dreaming
for Death their lives never to sever,
as they would defend their Temple, their Home, and fight the Enemy, in eternal war …
Forever.

And when Aelith finally died, and her blood — with others — ran like a crimson river,
it is said that her God — her spouse — by request or curse, bound her soul into her constant companion,
her moon-silver quiver.

It is said, even now, that Aelith still exists,
she and her soldiers now spectres, ghosts, and angry dead whose war continues to persist.
And, if once a year, in the Season of the Dead, lost roads in dirt and thinned veils form anew,
and outsiders find their way to the site of the Temple, of the foundations they would flee
if they only knew,
then the spirits will lure them, as they had their age-old prey,
and take them, to feed their restless bones, where they now lay.

And Aelith, a far cry from her glory,
ancient, and hideous, and far from sorry,
now a withered, and unbearable sight,
will take advantage of the outsider’s plight:
even, and especially if they too possess an Elven light.
Perhaps, long after her kin ignored what she had foretold,
for them and all, her heart had long since grown cold.

Her hunger, now, is that for souls,
as she can, and cause, for others what Death ultimately tolls.
All so she can feed herself, and almost look again alive,
to be young in corpse-light, and terrible for her ageless war
to inevitably survive.
Armed with spectral arrows, from her constant bow, that rot the body,
and assault the mind
this, and her violence, is all of her that is left behind.

For her war song now is the Song of the Banshee, the House of the Dead,
a charnel battle where all should fear to tread.

Who, now, would go so far to guard their home, their way of life, in her stead?
Or keep their lust for vengeance, for violence, perpetually fed?
Or who would dare live the life that she had led?

Who else can’t see that a Banshee’s Song
is only a war that has gone — or will happen before — far too long?

The Elven roads are gone now, beautiful manses and temples long since buried,
treasures plundered, and millennia quarried
over bones, that could have been ageless — but died young, and unmarried?
Even so, in the shadow of the White Pines, in the pall of the Fall, there are few terrestrial, even fewer viridian sith,
that will outlast the keen keening lust and hunger of the Temple Warden, the Warrior,
the Banshee Archer.
Aelith.

(c) Matthew Kirshenblatt, 2018.

Ättestupa

Dedicated to Ari Aster’s Midsommar.

Dani stands at the top of the mountain.

She’s marked the rune stone with her passing, like so many others. Pelle, she knows, is behind her doing exactly the same thing. He has taken the blade across his palm, as she had done, as they had done together. After meeting their meal with the Hårga, they rose to their feet around the high table, pausing, breathing in … Dani still marvels at being able to actually breathe, even after all this time, no longer choking on grief, and pain, and suffering. No longer denying her needs, or embracing her isolation, or clinging to that old sense of incredible fear and self-loathing.

It is just her now. It is her, and Pelle, and the Hårga. Their family. Her family.

It was all a choreograph. Dani can appreciate that. And it had started long before she had ever been found by Pelle, before he befriended her and Christian, and his friends. It even transcended the festival: the ritual that brought them all together almost fifty years ago now. Even before her sister had killed herself, and their parents Dani felt different, felt separate from the daily routines of others, held aloof by fear and anxiety for her sister’s well-being, second-guessing her feelings with her friends, terrified that she was somehow spreading her own neuroses to her relationships — to Christian at the time — and telling herself to be grateful, merely grateful, of being tolerated by Christian’s friends, and an academic environment on a path going nowhere. She found her places in grief and despair. She found herself in the muted places after her family had died, placing her pain in bathrooms, quietly in her bed, away from all the people that simply couldn’t relate to it — or to her — and trying to pass, to always pass as normal and carry on the rote and rut of whatever passed as social existence in North America.

She had talked to Pelle all about it. She had opened up, like the flowers she wore as May Queen — the most beautiful and miraculous May Queen in the Hårga’s history according to the rather unbiased opinion of Pelle — and she realized that she had her own observations, her own legitimate concerns, and her opinions as well. It occurred to her now, standing on the mountaintop, just how much the place she came from didn’t understand grieving. Dani still recognizes that there is some merit to privately dealing with loss, to knowing it as part of the core of one’s identity as an individual. Recognizing one’s mortality, and limits, and the fact that all things are transitory is something that differentiates a human being from the animals. But human beings, Dani recognizes, are still social animals. They are still storytelling creatures. They look for meaning. They make their meaning. And, at their greatest, they made their meaning together.

Western society, Pelle told her once, had forgotten what is was like — as a majority — to have a place for publicly accepted grief. And she agrees. Even now, standing here, with the altitude of the air cooler than before Dani recalls her elective classes. While Christian had been the anthropology student, and poor Josh had been even more dedicated to the field — costing him everything for the sake of curiosity, consumed by personal greed — as Dani told Pelle once, she had been a psychology student. Psychology, she remembers with a faint smile on her face, not psychiatry, her introduction to mind-altering and receptive substances introduced to her by Pelle, and their family. Sigmund Freud had been terrified of “the occult,” some texts had attested, to the point of going into shock around his students, overwhelmed by the possibility of its tides “consuming Western civilization,” or some similar kind of sentiment. But Freud was the product of his time and place, a man scared of losing control and being taken over, being shamed.

There is a sweet spot, Dani knows, between psychology and literature, philosophy and myth, the curved bridge of her nose and her forehead according to Pelle’s lips, and spontaneity and the dance. One of Dani’s elective classes at college had been about World Literature. She recalls one work they had to read: a German novella called Tonio Kröger. It had been written by Thomas Mann, where his protagonist of the same name as the title attempts to understand the bourgeois society he was born into: understanding their workings, feeling superior to them, even pitying them, but ultimately being envious of their ignorance of what they were, and to what they participated themselves. But what Dani remembers the most isn’t Tonio, but the scene with the dance and the girl with the dark hair among many blonde girls and boys that tried to move like them, tried to express herself like them, tried to dance like them … and failed.

Despite her pale blonde hair and bright green eyes, Dani knew she had been that girl, deep down, and just didn’t understand that then. Not really. She just didn’t take it seriously. In a performative culture, of any kind, it was just another role, another persona. Carl Jung, Freud’s student, contemporary, and eventual rival had interlap with Thomas Mann in ideology if not personal acquaintance. Jung recognized the importance of culture and mythos as more than simply the supremacy of the phallic over the feminine, as more than just the mindless, black mud of the occult. He saw vitality in the old symbols and archetypes. He saw life.

Just a few minutes ago, Dani had looked in Pelle’s eyes down below around the table with their loved ones. She lifted her cup, as he did his own. The cup is a vessel of the feminine, containing mead and everlasting life. It had been some time since they had dressed in the white robes of summer, but now wore the sky blue tunics of the elders they had become. Pelle’s long hair had become grey, his moustache and beard growing out and marked with white. Dani herself knows her hair, that had been so pale before, had become white itself, the skin around her cheek bones more taut, crow’s feet around her eyes and accentuating the lines of her forehead. She’d hoped she would become as handsome as Siv, the matriarch before her, a fact of which Pelle never forgot to assure her. Her eyes are still green, as green as the day as she had become May Queen, in a summer that will last inside of her heart forever.

All because of the man in front of her, as they sang their last songs to each other. All because of the family that embraced her when she had lost her own.

She looks down at her family below. Their children and grandchildren stare up at her in silent adoration, in anticipation of the next moment, of one more breath. They are so beautiful. She never would have dreamed of their existence fifty years ago during more uncertain times. It makes her think about her sister, and pang of pity goes through her heart. Of course, with such destabilization, with not having that place to understand pain, she just didn’t want to be alone when the time came on her. But the cycles were off. Their parents had more time to go, a decade or two. Pelle’s own parents died, in a fire without ritual or meaning, far too young, leaving him and Ingemar before the latter was fortunate to join them latter in life by the blessing of the Hårga.

They had time with their children and grandchildren. They had time with their friends. She and Maja had also become close. She stands down there, below, smiling up at her, her own red-headed descendants in tow. Dani knows her child, now grown, is the child of Christian but she doesn’t hold it against them … or even Christian anymore. The truth of the matter is that, for it had ultimately been Pelle who had brought her here, if it hadn’t been for her relationship with Christian — if she hadn’t found the absolute rock-bottom, the spiritual nihilism, with him that she did — she would never have known Pelle, or the Hårga, and it didn’t bear thinking about where she would have been at this time in her life: if she would have even been alive … Or if she would have wanted to be.

Dani was never stupid. She knew what Christian was, deep down. She knew it would never have worked out between them in the grand scheme of things, that he held on to their tenuous, rotting, relationship out of a sense of obligation and pity … just as the Western world kept people alive long past the time they should have been gone. It was barbaric and cruel to keep someone in a withered body, their mind eroding, their desires choked in dying flesh and disintegrating faculties just for some misplaced ideal of a “sanctity for life.” Everything has its seasons, and its times, and its cycles.

Like that dance around the maypole so long ago. Dani feels the ghost of a smile on her lips, still tasting of the mead, of the kiss that Pelle gave her the night before as they made love for the last time before their supper, and song, and final farewell. The Hårga is a choreograph. A performance. A dance. They had slowly acclimated her to the rules and rites. They had shown her a place among the women as they baked and cooked and washed and oversaw the breeding of the next generation. She and Maja and all her other sisters danced together. And Pelle. Pelle saw something in her that she, at the time, did not. She had forgiven Christian long ago, the best of him living on in that child, instilled with the respect of the seasons.

Pelle had wanted her to win that dance so long ago, to become May Queen. She had already been part of the family at this point, though it definitely removed her from the lottery held at the end of the festival. He had been charged to bring others back to the commune. But nothing he did had been left to chance. He asked about her field of study when no one else had cared. He tried to talk to her about his grief when she was in pain, to relate to her. He showed her his drawings that he didn’t bother to show the others. Pelle even remembered her birthday. And when she became May Queen, whether she was meant to do so by the gods or mortals, it had been the greatest birthday of all. Dressed in flowery finery, practically waddling in it, surrounded by laughter, Dani felt her face open up. It didn’t close in sadness, but it unfolded in a smile. In joy. Pelle told her that, every day, of every moment they lived until they would leave this earth together, when he kissed the curving where her nose met her forehead that he wanted to see that smile in his mind’s eye forever: that she deserved someone and something that would make her want to smile like that. And by the gods, did she ever.

No, Dani thinks to herself, as she prepares to meet her family one last time, Freud didn’t understand this. Jung did. Jung would have known about the anima and the animus and the archetypes that make human meaning. He would have appreciated the mandala patterns of synchronous movement and placement in the ritual dinner, and daily life of the commune. He would have seen the commune embracing the anima, and the presence — the withholding — of Christian being diminished and sublimated into the procreative role they needed him to serve. Patriarchy had been consumed by occultism, but the Hårga understood too that the harmful elements of the world, such as the legendary “dark one” that made so many others dance to death, perhaps the St. Vitus Dance that once consumed Europe, was appropriated and re-appropriated by the village — by the commune — and even burned in effigy to reaffirm life itself.

A snowflake drifts down, slowly, and gracefully past Dani’s cheek on the mountain as she looks down below at those who love her. She recalls Josh laughing at them when they asked him what the Ättestupa was, only realizing later that it was a product of Nordic satire: a pale shadow of what this, right now, really is. But most of all, she thinks about when she embraced her grief on her own, alone, with no one around her, even when others were physically there, and recalling Pelle’s words about how everyone wants to held.

And the Hårga held her. They held her in pleasure and pain, in agony and in joy. And now, they will hold her one last time: with the man that she loves not far behind.

And as Dani hopes to fall as elegantly as the snowflake, without the pain of the memory of the winter where she lost everything, where she now returns to her other family, praying that neither she nor Pelle will require the mercy or the imperfection of the mallet, wishing she could see one more Midsommar but finding solace in the fact that her grandchildren will have that honour, that they will never feel awkward or out of place in the communal dance of the people they love, the wind sings around her as she leaps towards her fate.

The Neurodivergent Shadows in Us

There are going to be spoilers for Jordan Peele’s film Us, this movie that’s been out for months now, but sometimes that’s just how it has to be, and it wouldn’t make sense if I attempted to do anything else. Also, I am writing specifically about my personal experiences in relating to both this film and the following subject matter with which I try to engage.

Like Terry from his Gayly Dreadful article Tethered to the Closet, I knew practically from the beginning that Adelaide Wilson wasn’t “normal” and that, eventually when I learned about them, she was one of the Tethered. However, the difference I want to make clear is that while Terry related to her as someone coming to terms with being gay, I am not on the LGBTQ spectrum at all, I am also not American, and part of my reasoning for thinking she was one of the Tethered is because I am fairly good at guessing twist endings: being a writer, and a geek.

Yet there’s another reason why I can relate to Adelaide, and the Tethered.

Like Adelaide, I grew up as a child in the 1980s. And like the Tethered, who replaces her, who was the original Red and becomes the Adelaide that we know as the protagonist of Us, I grew up with developmental issues. I’ve talked about them before. These days, I would be called non-neurotypical, or neuro-divergent. My brain is wired differently from some perceived baseline in the mainstream population. I learn and I react in other ways in contrast to the current social paradigm. But, growing in the public school system of Canada and North America itself, I was given another label.

I am learning disabled.

Diagnosis is still relatively confusing to this day. Some of my disabilities could be confused with aspects of what some experts call the autistic spectrum, while many of my challenges have — ironically enough — been classified under the umbrella of nonverbal learning disorders.

Of course, I am not saying that the Tethered are the same — seeming to be clones of citizens created by the American government with their own developmental issues either by accident or design — but some of their characteristics can be seen as symbolic as some kinds of neuro-diverse behaviour. Terry, and other writers examining Adelaide focus on how she has a different, or inverted, sense of rhythm compared to others such as when she’s attempting to snap with the music that her husband Gabe is playing on the car radio. I remember her trying to also show her son, Jason, how to do the same thing: and this feeling I couldn’t describe came over me watching her. She looked both happy, and vulnerable, and awkward but genuine in that moment. It is a situation that the actress Lupita Nyong’o portrays well. She has, to some extent, learned how to match the rhythm, or mimic it enough where she is only slightly off. And aside from not being one for small-talk, no one can really tell the difference. Adelaide seems normal on a cursory glance.

She can pass as mundane.

At the beginning of the film, Adelaide is lost as a child in a boardwalk mirror house on the Santa Cruz beach. When she is found again, or seems to come out of the establishment, she seems to be rendered mute. Of course, we realize later that this isn’t the Adelaide that went in there, but rather the Tethered girl Red who has not learned how to vocalize, and her hand-eye coordination is relatively sloppy and haphazard. Her parents believe that something traumatic happened to her when her father lost track of her. They get her to see a therapist, they enroll her in dance courses — in ballet specifically — and she acclimates after a while.

When I was a child, I didn’t vocalize. Not really. I communicated in gestures, and grunts. It is one of the reasons I couldn’t stay in a mainstream daycare or kindergarten. My hand-eye coordination was also terrible: having what is called motor clumsiness. I didn’t really learn how to walk until later in my developmental period. My parents had me see therapists. I even had physiotherapist sessions where I rolled around on a giant ball and developed my reflexes more. My parents also enrolled me in a specialized kindergarten for children with special needs called Adventure Place. In fact, I had gotten so used to being there that when my parents were told I could attend mainstream public schooling, or I had to, I was so confused by the idea of “recess” and time before class that I got lost my first day at Thornhill Public School. And then, another time, I stayed on the school bus and the driver accidentally drove away with me: completely terrifying my parents even though I had, apparently, dozed off and had a nap.

I mean, I guess at anyone of those times I could have — or someone like me — could have found myself in one of those subterranean places filled with rabbits not unlike Alice’s Adventures in Wonderland or its original title Alice’s Adventures Underground where I found a Shadow: not unlike those whom are forced to suppress their own feelings and mirror the actions those of their counterparts above ground against their will from the story that Red told Adelaide.

Do you want to know what I remember the most about my time as a child in the 80s, outside of therapy and all encompassing special educational spaces?

I was afraid. All the time.

My main memories of Thornhill Public School, were the dingy, yet antiseptic halls of the school itself with their old copper-coloured rubber glue stoppers, the long grey crooked scissors we used in art classes, and just how dark and old the basement was where the janitors had their office. I remember not wanting to be there, and wanting to be at home. I just wanted to go home.

At the same time, this was the period of the Beetlejuice cartoons, Teenage Mutant Ninja Turtles, Fraggle Rock, and the Dark Crystal comics as well as You Can’t Do That On Television on YTV. Adelaide herself had C.H.U.D., The Goonies, and Michael Jackson’s Thriller in her early life, and while I hadn’t been exposed to 1980s horror and specifically those adventure art movies at that time, they were on my popular cultural periphery and they would have intersected. And I was always both fascinated and terrified by horror in the form of hearing about such movies, and also folktales. I fed off of these elements, and they became part of my intellectual DNA, especially when in my Special Education class with Mr. Phillips I learned how to actually read from Grades 1-3.

They got me through a lot of the fear, but I still remember those halls and that basement: a place not unlike the underground facility where Red — before she was Adelaide — then Adelaide herself having been captured and abandoned by Red — and all the other Tethered clones wandered around aimlessly. It always occurred to me just how easy it would be to get lost in those corridors, and looking at the Tethered, few can be as lost as they.

Even though my perceptions improved, I still had — and still have — spatial difficulties. I get lost all the time, and directions as well as maps don’t always make sense. I also have dyscalculia: a learning disorder that makes arithmetic extremely difficult to do in my head. I can add and subtract, but I am slow at it, and I can’t multiply or divide without extreme challenge, or a calculator.

I also used to fidget a great deal — and I still do. Usually, it is a way to express excitement, anxiety, stress, or all of the above. I’ve learned to control it publicly for the most part, but the mileage can vary depending on the circumstances and my comfort level. Sometimes, when I get into that state, it is a lot like a free-form dancing: and it reminds me of Adelaide’s own dance and ballet classes as she was growing up on the surface.

And then there is communication. Like I said earlier, in the beginning I barely if ever used words to communicate. And, even now, when I’m nervous I will either ramble a great deal to make up for a perceived lack of content on my part, or I will be quiet and utilize few words. Even looking at how Adelaide talks with Kitty Tyler on the beach, or has difficulty talking or expressing her emotions to her own husband reminds me of my own impatience, or discomfort with small talk — which I generally try to compensate by talking about very specific topics of my interest, and not always the other person’s next to me — as well as my challenges expressing myself in a public, or even personal situation.

I know I really felt for Adelaide when she was attempting to communicate with her husband about her feelings: about her lack of comfort being in Santa Cruz, and even her annoyance with him for making fun of her quirks. I’ve had that happen a lot: from children laughing at my slow talking or thinking, and authority figures telling me to stop talking to myself (as if I were embarrassing myself and not them), and even having partners who just didn’t understand why I couldn’t be more like everyone else. That is the social interaction disorder element of some learning disabilities coming into play. It’s frustrating. It is beyond frustrating. When I was in daycare, before Adventure Place, I apparently did not want to talk or interact with my peers. I just wanted to stay in my own world. And I recall feeling a lot of anger and resentment for having to be with others who either made fun of me, or just didn’t understand me at all.

Even later, having gotten more therapy, I would often not cut or make my art the way I wanted to, and I would get frustrated with my tools — with my hands — and my own coordination to the point where I would destroy what I was working on because it didn’t meet my own expectations. My psychotherapist has asked me on occasion whether I sometimes feel toxic inside, or outside: and often I say I feel both for this reason. And I can only imagine Adelaide, especially with her experiences having gotten out of the facility underground, and adapting to the world above, having similar feelings and thoughts.

And I adapted too. I went to Special Education classes, but aside from those I focused on my strengths. Whereas someone like Adelaide delved into dancing and ballet, I attempted to become an artist, and eventually a writer. Overtime, as I went through the ranks of the public school system and university, I weeded out the courses I had difficulty with and focused purely on my strengths. Eventually, in my own mind, while taking advantage of the extra time afforded me because I was a learned disabled student, I came across as normal. I could be like everyone else. I could be “high-functioning.”

I could pass.

But I never really did. And while Terry, in his “Tethered to the Closet” article talks about that deep, dark Shadow secret of his sexuality has he attempted to pass on the sexuality spectrum, I tried to pass on a psychological and developmental one, while knowing — deep down — that there was something in me that set me apart from a lot of my peers: that it was always there, that it will always be there, and I will eventually go back to it.

I did. A lot. I had to ask for extra time. Sometimes I needed further clarification for my tasks. And then, by the time I made to York University, I needed the label and diagnosis to accord me extra time to remain in my Graduate Program just to maintain my full-time status with only half a course load.

Yet that anger, it never goes away. That frustrated, helpless anger. The kind you have in the dark where you can’t talk, or relate. Where you can’t express your emotions. Or the very least, you can’t do any of these things in an acceptable way to the society or space with which you find yourself. People laugh at you. Or bully you. Or worse: sometimes, they just interact with you out of some sense of pity.

So you take those elements of yourself. You face yourself in that mirror much like Red and Adelaide faced each other in that fun house near the beach. You strangle it. You push it down. You chain it to a bunk post, take the T-Shirt, and hope no one realizes that you are an intruder: that you are wrong. But you even when you play along with your parents, as much as possible, even when you find a hobby, find a field to work in and justify your existence — even when you make relationships — that part of you that you thought you could hide, even in plain sight, will always be there. It will always be waiting.

And the society that you grew in? That made you? It does it to control everyone to an extent. It wants you to conform so that you don’t make anyone else comfortable. But it only goes so far. For me, I had all of that “extra help” until I was done with school, or rather school had been done with me.  Then there was no structure, nothing but more antiseptic institutions that arbitrarily help or condemn you like welfare and disability offices and organizations that force you to embrace your disabilities as your identity — the very thing you spend ages attempting to wean yourself away from — while mostly leaving you to wander around like Tethered clones abandoned by their creators when they couldn’t control them, or use them to control others.

The structure is gone. You are just lucky at times to have a place that will still feed and clothe you. And, meanwhile, other people have jobs, families, relationships, and something fulfilling while — often enough — you feel that a lot of them have an emptiness inside of them that mirrors your own, but they are just less honest about it. They have the appearance, the passing, of knowing who they are, and what they are going to be.

And I think at this point, I am talking less about relating to Adelaide and more about relating to the Tethered: to the quiet, angry, sullen, forgotten, grunting, gesticulating horde of people abandoned in the dark, that want more but can’t always find a way to communicate that. And the people above, everyone else who is supposed neurotypical or neuro-conforming? They are part of a society that made you and they are always showing how ideal their lives are in social media, or relying on devices like the Alexa stand-in Ophelia to show how affluent they are. It all sometimes feels like a fun house of distorted reflections, or shadows.

I guess, in this context, I can understand where the fear and the anger, cultivated by Red — by the girl who used to be Adelaide and left to atrophy in her own stunted hatred — would want rise up, while still holding hands together in that Hands Across America gesture from 1986 which is a parody of that superficial sense of belonging that is just, at the end of the day, for appearances. There is nothing sincere about it, nothing warm, or loving. But, in the end it is a gesture of defiance, of anger against the order of things, or the lack of order: of the system’s broken nature.

Just like these words.

So who knows? Maybe a long time ago, I wandered through the dingy, cold hallways of a basement and encountered someone who looked me like having wandered away from falling asleep on a bus, or getting lost not knowing what recess was, and I strangled him and took his place like some changeling in the night. Or perhaps, unlike Red, I actually killed him from the start and — if the conceits of Us are true — then we shared a soul, and that is why I don’t always feel whole. And when you disregard this hypothetical situation as the metaphor it is, there have been many times I’ve had to distance or destroy something in my life to continue to somehow be the person that I want to be.

And sometimes, it doesn’t feel like enough.

Maybe, like the Tethered, I am my own Tethered reflecting the abuses of the unreasonable expectations that I inflicted on myself. And who hasn’t had a time where they have been so angry themselves, hated themselves so much for not performing the way they are expected to, that they don’t want to destroy the system that made these expectations? To burn the whole shallow mess to the ground? Or with a cry of primal, inarticulate rage strangle the part of you that’s angry at yourself, that hates yourself, that you feel is sabotaging both your life, and the relationships of those around like Adelaide, who was Red, finally did to Red who was Adelaide — who she thought she abandoned — in that dark bunk chamber where she thought she left her, her dirty little secret, even her secret in plain sight, for good?

I didn’t even think about it that way, or thought I would write much about this beyond superficial comparisons until I sat down — past five in the morning going six — and realizing just how much this film affected me. Surely there are dark tunnels, and hidden cities in Canada as they are in America. I mean, the North American system probably uses these places, these mentalities, to survive. And I have known people, people I loved or thought I loved, or people who loved me, or I thought loved me — or they thought they loved me — who are so similar to the people that Jordan Peele depict through his version of the doppelgänger as a central monster symbol in Us.

I think it safe to say that, in addition to feeling an affinity to the cognitive difficulties of the Tethered, I have also known, and loved people like Adelaide, and it is amazing how you can be so close to someone because of your shared differences, and so separate from them — and alone — for these exact same characteristics.

I guess I had more to say about Us than I thought beyond the fanfictions, and the film article I wrote a few months back. Certainly, this writing became more personal than even I’d anticipated. At the end of Us, Adelaide reunites with her family after rescuing her son Jason from her double. Jason is her biological son. Learning disabilities and neurodivergence according to some studies are genetic. They are passed down. Jason has always, throughout the film, fidgeted with a broken lighter and loves to hide in a cubbyhole in his grandparents’ cottage. He also prefers to wear a monster mask.

At the end of the film, he seems to realize that his mother is a Tethered, not long after she comes to grips with it herself. She puts her fingers on her lips. Her daughter Zora doesn’t seem to take after her, and her husband still doesn’t understand. Throughout the film, Adelaide is terrified of Jason becoming lost in this world, like she supposedly did, like she actually had been. Jason, for his part, takes his mask and places it back on his face: hiding himself, quiet, yet colourful. Defiant. Adelaide also puts hers back on, but it blends in, it’s unremarkable. She pretends to be mundane again. Jason’s mask, by contrast, still stands out and I think there is something to that. To accept that you are different, and to own it.

Or something to that effect. Personally, I just think that Jason’s monster mask is pretty cool.