A quick update to start: One of the banks backing PayPal purchases in several currencies has decided to stop processing or accepting Steam transactions, making PayPal unavailable in regions that use those currencies. The slug says that PayPal doesn't support the transactions, but the article is quick to point out that it's actually one of the banks that has withdrawn their support for Steam transactions using PayPal. So we continue to get reminded that if the system of money decides that you're not allowed on their platform, it doesn't matter what the jurisdiction or the law says is allowed or not, you're banned from being able to do anything that involves the banking systems. People in places where cannabis is currently legal have already figured this out, because they continue to be denied access to financial transaction systems, and sex workers and their clients have figured this out, because they're regularly targeted for these kinds of purges and exclusions, but gamers are starting to understand how much their freedom to purchase and play works depends not on the laws or the interpretations of the laws, but on the control exerted by payment processors over the platforms they want to buy and play on.

Valve Corporation said that MasterCard was definitely pressuring them to delist and deplatform adult content, through the intermediaries of the banks and processors, after Mastercard claimed it made no such demands of the platforms. And I'm sure they also didn't say they'd been looking for the excuse once the group that was trying to get their attention did it.And they'd probably deny that they've been at this sex-negative prudery and denying access to their networks for legal, non-obscene content for at least two decades at this point.

A neat thing: a complete run of Computer Entertainer, one of the first video game magazines in the U.S., has been digitized and made available in Creative Commons, by the Video Game History Foundation. Hooray for accessible history!

Also because if you don't have history available to you, you start thinking that the methods of the past are superior to the methods of the present, when what you want is to draw forth the good things of the past into the present. The "90s parenting" being described here is entirely possible in the current decade, without any need for retro objects or such to bring back nostalgia along with what you want to actually do. Such nostalgia often makes people blame things improperly for creating the current world, or to start thinking that simply removing those objects will be enough to bring back the perfect world.

The only way not to build the Torment Nexus is not to build the Torment Nexus, and we have many reasons why we need to stay in the job that's going to build the Torment Nexus. Take care of your souls, and perhaps consider that if you're building the Torment Nexus, you don't have to do it at high speed or efficiency while you look for something that isn't on Team Torment Nexus. (What's also well-noted there is that there are a lot of people on Team Torment Nexus who have rationalized their participation, or who think this really is the way to go,.)

As we move into yet another year of the SARS-CoV-2 pandemic, what's been learned and what best practices are good to continue. Including vaccination, even though, as we'll see in the later parts of the post, the anti-vaccination squad are currently running the health house.

A primer on the history of what the phrase "land grant university" means. More often than not, it's "land seized from Native nations, then sold, and the proceeds used to fund the construction and operation of the university" instead of something like "the state legislature granted land for the university from their own stores and funds."

The civility of the women's game (of football) has some fans of the men's game feeling like they're being fed their vegetables with no chance of dessert. We hear that kind of thing in the States as well, even with a top-ranked women's team. Am reminded of statistics I was quoted that suggest most men believe a crowd of about 17% women is 50% women, and a 33% woman crowd feels more like 90% to them. Because they're focused far too much on the thing they don't believe belongs there that they over-represent it in their heads.

( And the rest inside )

Last out, something good in the technology: the engineers behind the Jupiter camera called Juno have been heating and then cooling the components to fix various radiation-related damage that has been seen on images, and the fixes bring the camera back to within specifications, albeit temporarily each time.

And the increasingly misnamed Sacramento Music Archive, and the progress being made on digitization, archiving, and sharing of concert recordings made by one person and/or the collections that have been given to them, many of which are for groups that never made it big, and some of which are previously-unknown performances, demos, or material for very big entities indeed.

A supposedly easy method for folding fitted sheets that they do fold appropriately and aesthetically pleasing-ly.

(Materials via adrian_turtle, azurelunatic, boxofdelights, cmcmck, conuly, cosmolinguist, elf, finch, firecat, jadelennox, jenett, jjhunter, kaberett, lilysea, oursin, rydra_wong, snowynight, sonia, the_future_modernes, thewayne, umadoshi, vass, the meta_warehouse community, little_details, and anyone else I've neglected to mention or who I suspect would rather not be on the list. If you want to know where I get the neat stuff, my reading list has most of it.)

So, on the recommendation of many (including seeing things related to it popping up in my channels regularly, and a fair number of people who are apparently all-in for the main trio being a trio romantically), I watched KPop Demon Hunters.

Have some non-spoilery thoughts, in no particular order:

• I wonder how ONCE feels about having gotten TWICE to be the group doing the movie credits version of one of the songs played in snippets throughout the movie.


• Daniel Dae Kim and Ken Jeong make perfect sense for the roles they're cast in.


• Speaking of voices, the one they cast for the greater-scope villain was delightfully correct, although the casting direction seems to have suggested that he move in the direction of "clipping syllables in an English-as-Second-Language" way. I don't want someone to speak in something that isn't comfortable to them, or to not sound like themselves, but it felt more like a conscious direction rather than someone's natural cadence to do it that way, and it made the greater-scope villain come off slightly more like a Bond villain being played for a bit of camp than as the greater-scope villain. Maybe I'm reading too much into the delivery, or maybe the intention was for this character to sound just slightly off from the rest of the cast.


• The Netflix subtitlers managed not to figure out something that fansubbers of various Asian series have known for decades, and even those who subtitle K-Pop releases: how to properly subtitle songs. Which is a major strike against them for a movie that has an awful lot of singing! We didn't necessarily have to go full-on for the kind of karaoke-style, rainbow, motion-filled subtitles that fansubbers of anime and toku series got (get?) made fun of for using in their releases, but these subtitlers went in the direction of just putting the syllables of the words in the subtitles, or otherwise doing Revised Romanization of the spoken or sung Korean and leaving it at that. So there's no context to those lines, nor what they look like in Hangul (which you can see in one of the shots that is the behind-the-scenes for TWICE recording the song playing over the first part of the credits), nor a translation of what the Korean says into English (or whichever language you want as the subtitles.) Admittedly, it would be more offensive to just put [Korean] or [Speaking/Singing in a Global Language] for those sections, but only just. The purpose of the subtitling there is so that someone can follow along with the audio track and make sure they're not missing anything, and if the audio track includes singing in Korean or rapping in Korean, as it does in this movie, the subtitlers have a responsibility to render it comprehensibly. (Bets on whether Tumblr has a transcript of all the songs that renders them correctly and translates them correctly at this point?)
  
  I'm very unhappy with the job the subtitlers did on this movie, and I think Netflix needs to release a revision to accurately reflect what happens in the movie.


• I suspect there are more than a few things about the movie that I missed, because my understanding of symbology of both Korean cosmology and mythology and the intricacies of K-pop fandom isn't as complete as it should be to fully appreciate what's going on here. (I did at least understand the light sticks, banners, appearances on various shows and the part where the performers are basically on their public game anywhere the public might see them, which includes never ever wanting to say or do anything that would say there was a relationship between idols and anyone at all, including other idols. Not that it stops the fans from shipping them, either in their own groups or possibly with other groups that they're seen with or rivals with.) Most of my understanding of K-Pop comes from people like brithistorian and andersenmom, so thank you for your help and answering the silly questions that I've had over time.
  
  I did appreciate the music through the decades montage at the beginning, and I'm not sure the average watcher will realize just how much Korean music is influenced by American styles of music through those eras, before the phenomenon that we know of as K-pop comes into existence. (And which exchanges/inherits a fair amount of its cues and norms with Japanese pop idol culture, such that we think of them as J-pop and K-pop, at least over here in my neck of cultural existence.)


• Related to this, however, it looks like Sony Animation went with the same general style and animation timing that they used on the Spider-Verse movies at times while I was watching it. While, for Spider-Verse, the animation timing is a deliberate decision and works for the comic-book nature of the multiverse being portrayed, here, the dance sequences that should be smooth as butter in the animation, probably even with some extra key frames to make sure it all goes well, several of them hitched and were otherwise more jerky than I would have expected out of a studio trying to match the intricate choreography that can accompany K-pop. It's possible that these hitches and jerkiness were my Internet connection having hiccups or my computer having a hitch, but I don't think so. Others can tell me how smooth their watch was of the movie, but for the moment, I'm chalking this up to Sony Animation's house style and timing clashing with what you would want animated K-Pop to look like. (There were noticeably fewer hiccups in the action sequences, which is why I think I think it was a style decision rather than a slowdown, because action animation would be more likely to have degradation than the dance sequences, in my opinion.)


• Yes, but what did you think about the plot?
  
  It was a perfectly serviceable plot. You'll recognize all the beats if you watched the first Frozen movie, although it is harsher to the lesser-scope villain than most Disney films would be. This particular version of the movie leans heavier into the "Demon Hunters" part of the title, and I don't know if that was the right decision for the plot, because the plot sets up both a movie where action and stylish fighting, accompanied by singing, will determine the outcome (the direction they took) and a movie where the principal heroines and their principal opposition are in a for-all-the-marbles stakes idol game to be determined by who has the bigger fanbase after the agreed-upon final duel at the Idol Awards competition. That would have made the K-pop part of it much more important, and given them all the tools they needed to wage an epic battle across various releases, appearances, and the rest that wouldn't have to involve all that many attempts at direct sabotage or fighting between the two groups, even if there was an awful lot of things that could be excused as "special effects." I'm pretty sure if the writers had enough experience with how idol systems work and the less than savory elements of the companies and managers of the various idols, they could write a very good movie full of underhanded tactics, diss tracks, "accidental" social media leaks, and all the rest of it. I think focusing on the K-pop aspect would also make the internal divisions and the character conflicts in the protagonist trio work better, as each of them starts giving in to more of their worser aspects in trying to beat their rival team, and that would make the parts of the plot that are about secrets and lies work better, since the character hiding the biggest secret will have had the opportunity to see the very worst aspects of the team and believe such things are their actual selves, instead of their more restrained forms. (Which will also make the ultimate climax portion of the movie work better, as well, to make it much clearer why the protagonist team ends up where they do and the way they do before the final battle.)


• Final thought: The movie could cut the gag about certain members of the trio having heart eyes and popcorn eyes about the prettiness of the pretty boys in the rival group. It doesn't actually contribute to the plot, and it makes the characters shallower in a way that doesn't suit them. They could certainly make commentary on the boys being eye candy, even supernaturally so, because that's how they're drawn to be, but the majority of the movie shows this trio as a focused, work-first, idol trio who want to enjoy their downtime, except for that one member who keeps pushing them to not take their breaks. They're not shown as flighty or otherwise susceptible to that kind of distraction, and they primarily work through it when it happens, so thy could just cut the gag entirely and replace it with something else that would work better. Like an offhand comment about how those boys are trying to get by on their looks, while they're getting by on great songs. And then eventually admit to themselves that the boys have catchy songs, too, but stay primarily focused on making their own, better songs to beat them, since they never really try to change their look to be more attractive to the fans than the pretty boys.