Culture Feature

Post-Ironic Media: How We Memed A President Into Office

How irony functions in the Information Age.

In November 2018, a bunch of Internet trolls banded together to combat their greatest existential threat to date―"thots."

They united beneath the banner of #ThotAudit ("thot" stands for "that ho over there") with the stated goal of reporting girls with premium Snapchats to the IRS, based on their assumption that online sex workers don't pay taxes. Their "movement" picked up steam on Facebook, then 4chan and various corners of Reddit. Proponents delighted in sending "thots" harassing DMs and sharing screenshots of completed IRS tip forms.

Even infamous pick-up artist Roosh got in on the campaign, encouraging reports with a tweet highlighting a 30% cut of any profits retrieved from IRS tax dodgers as the result of whistleblowing.

All of this ultimately culminated in absolutely nothing. There wasn't a single confirmed case of a #ThotAudit tip leading to an IRS takedown of a sex worker. All the outrage simply ended up being yet another excuse for angry right-wing men to harass women, much like #Gamergate.

But perhaps this shouldn't have been a surprise, considering the entire effort started as a cruel joke. While David Wu, the conservative Facebook user who started the whole thing, definitely believed in the ideology behind #ThotAudit. He never thought anything would actually be reported to the IRS. In essence, it was just a "troll idea" until someone actually did it, at which point it became a legitimate form of harassment and everyone who was "just trolling" was still entirely on board.

At the same time, subreddits dedicated to making fun of right-wing reactionaries had already started making their ironic memes. But in many of the related threads, something strange happened––some people were responding to the satirical memes unironically. For example, in this thread from r/gamersriseup, a subreddit predicated on users roleplaying as "gamers" who think they're being oppressed by society, one person responded to a presumably ironic post about #ThotAudit by asking, "why is this subreddit unironic now" and received over 40 upvotes.

While the entire debacle played out through small spats on niche corners of the internet, it nicely illustrated a much larger point playing out all across society: the decontextualization of ironic media.

Irony Is Not Dead

Despite the phrase's commonality, "irony is dead" is an incorrect assessment of a complex phenomenon.

If irony truly were dead, that would mean people were no longer utilizing ironic humor or interest in ironic culture. That, of course, is patently untrue. Everything from the existence of ironic meme subcultures to the prolific status of bad movies stands as evidence to the contrary. People still love ironic media, especially in more niche parts of the internet. The problem is that due to the nature of the internet and the unfettered access it gives to people from all walks of life, ironic media can no longer be trusted to remain in its ironic context. Instead, we get "post-ironic media"––press that may or might not have initially been ironic, but functions as genuine regardless.

Take r/gamersriseup for instance. While the subreddit is explicitly intended to make fun of right-wing "gamer" reactionaries, at least 40 people saw one such "ironic" post about #ThotAudit and genuinely thought, "yeah, that makes perfect sense." In that capacity, to those 40 people, r/gamersriseup was unironic in spite of its intent. In other words, an ironic sub unintentionally pushed the exact sentiment it was making fun of due to certain users earnestly believing said sentiment.

This begs the question: does the intent behind content creation matter if people are going to interpret it seriously anyway?

Does Intent Matter?

"Ironic media" exists purely within the context of its consumption. For instance, a poorly made movie can be viewed either ironically or unironically. An unironic viewing might point out the ways the movie fails and deem it "bad." Whereas an ironic viewing would specifically relish in the movie's failures through the lens of "so bad it's good." Ultimately, the enjoyment and appreciation for the movie doesn't derive from whether or not the director intended the movie to be "good" or "bad," but rather how the viewer approaches it.

That same sentiment can be applied to any form of "ironic media." If a non-racist person makes a racist meme ironically to show how stupid racists are, there's a good chance that their non-racist friends will view the meme as similarly ironic. There's also a good chance that an actual racist would see the meme, agree with it, and reshare it unironically with other people who would agree. The result, regardless of the original poster's intent, would still be spreading racism.

The Internet's greatest benefit is also its most significant drawback––everyone has access to everything. This means that even when something is posted in a community meant entirely as a joke, such as r/gamersriseup, someone will always approach it sans context. Short of completely closed and controlled environments, creating and sharing ironic content still runs the risk of genuinely spreading ideas you disagree with.

The Larger Context

On 4chan, Donald Trump was always a joke. That's not to say many people on the forum didn't support him––they did, rabidly––but these users weren't in quite the same boat as the middle-aged Christian conservative boomers who voted for Trump. 4Chan users were generally younger and more internet savvy. It's not that they didn't support Trump genuinely––again, they did––but rather they enjoyed the entire Trump presidency through a layer of irony. It's similar to how someone else might view a "bad" movie in a positive light because of how funny they found it. To be clear, the users' racism, sexism, and homophobia were absolutely real, but Trump was a meme, a big joke intended to piss off liberals and "globalists."

That's why when Trump won the election in 2016, they bragged about memeing a president into office. In this capacity, many Trump memes were created ironically, at least in the sense that the person making them didn't necessarily believe the content. Instead, the intent was twofold. Within the 4chan community, a solid Trump meme would inspire laughs from like-minded people who "got it." Outside the 4chan community, the meme could be targeted at and shared by "normies" (4chan's catch-all term for normal people functioning with ease in mainstream society) who either agreed with them and believed the content genuinely or disagreed with them and were therefore "triggered."

So while the number of eligible voters on 4chan might have been largely insignificant, (or at least too insignificant to matter in a national election), their understanding of the internet and its many subcultures gave them extensive reach––enough that they really might have influenced the election by targeting "ironic" memes at people with no barometer for irony.

Post-Irony

So how do we approach "ironic media" in a post-ironic culture where everything can be shared and re-shared far beyond its point of origin?

Ultimately, ironic media isn't going anywhere. Ironic jokes and memes and communities are an inherent part of online culture. Ironically, however, irony doesn't translate well online. The sheer number of people coming into contact with any given piece of public content ensures that someone somewhere will decontextualize it and take it at face value. Knowing this, how can we ensure our irony functions as intended? How do we dismantle ideas we dislike, fully understanding that our action spreads those very ideas? There might not be a correct answer. Even when we limit ironic content to isolated communities where it's most likely to be understood, certain people always find a way to miss the point.

As such, we should always approach ironic media through the lens of skepticism. Just because you find something funny doesn't mean it was intended to be ironic, and it also doesn't mean that others will interpret it similarly. On the other hand, something automatically offensive might have been intended as a joke, so before dedicating your time and energy to a response, try to assess whether or not you're reading it correctly.

Finally, consider the effects of sharing ironic content should it be interpreted genuinely. In certain dedicated communities (ironic meme forums, for instance), the chances are high that most people engaging with the content will be in the same mindset as you. But if not, if people take the material you're putting out at face value, is that something you're okay with? Is that content worth the possibility of spreading ideas and sentiments that might be at odds with the ones you actually hold? Maybe it is. Only you can decide.


Dan Kahan is a writer & screenwriter from Brooklyn, usually rocking a man bun. Find more at dankahanwriter.com



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Gaming

VIDEO GAY-MER | Why do we love visual novels so much?

What do queer gamers/developers love the visual novel platform so much?

Coming Out on Top game trailer

Visual novels are an art form, and when done right, they are an amazing storytelling tool. We've seen a lot of good, queer visual novels in the past years - or games that are about as close to visual novels as you can get. Just last year, we had two instant classics: Butterfly Soup and Dream Daddy, take the world by storm. Not only did they showcase incredible queer stories, but they managed to do it without any ounce of mockery or depressing melodrama.

So, I got curious.

What makes these kinds of games so incredible? And why are there so many? On Queerly Represent Me - a large back log of games with some sort of queer representation within them- 215 games are listed as visual novels. That's the largest genre of games on the list, clocking in at 20%. It doesn't sound like a lot, but it is - and that's significant. What draws queer gamers and developers to these specific type of game? I think that visual novels not only provide a simple, fun escape from the harshness of modern queer depiction, but they are also accessible, and cheaper than most other video games on the market.

In my last article, I wrote about a game called Butterfly Soup - a beautiful visual novel that covered the lives of four queer, Asian woman going through high school during Prop 8-era California. I gushed about it, and talked about how it's unabashed happiness just made me smile. And that's not something that happens in a lot of major games or successful indie games. Even a beautiful game like Gone Home, is mired with intense drama, reminding the audience about how much it can suck to be a queer person. That doesn't exist in games like Butterfly Soup.

There's an inherent layer of sexuality that exists in a lot of these kinds of games.

A huge example is a gay dating sim, Coming Out on Top, a very NSFW visual novel about a young, freshly out, college senior who is looking for love and sex. This game has a huge selection of guys you can seduce, and even goes the extra mile to have you come out to your friends and actively maintain your friendships. All the while, you are treated to some saucy pics and scenes of your gay character actually having/enjoying sex.

It's liberating, because even when queer people are depicted having sex - it's never correct. There's always that one scene where the guy doesn't use lube - and then you cringe, cause you know they got hurt. The visual novels I've played don't have that problem - because they're made by queer developers.

I think queer visual novels exist in such volumes because they can be easier to make than other games like RPGs of even exploration sims.

I can't say I'm an expert on game development, and visual novels definitely have their own set of challenges, but they can be made easily thanks to user friendly game engines. This accessibility allows young, queer game devs the opportunity to start making their own queer stories - and in an industry where people are starving for queer characters, they're bound to find an audience!

Visual novels are also cheaper for queer gamers to buy. Even a game like Dream Daddy, produced by the incredibly popular Game Grumps, went up for only 14.99. And Butterfly Soup is still free. This is worlds cheaper than most AAA games that include very basic forms of queer representation. So, there's a level of financial accessibility available for these types of games that don't exist in other places in the market.

In the end, visual novels make queer characters more accessible to a starving audience by being cheap - and they can empower their audience by giving them an escape from the misrepresentation they receive from mainstream media. These games are about queer characters, and made for queer people - and I only hope that the rest of the industry can follow suit. Until they do though, I'm just going to go and replay Dream Daddy for millionth time and cry about how beautiful Robert is.

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Gaming

VIDEO GAY-MER | Butterfly Soup is the Fun Portrayal of Queer Teendom We All Need

It's so hard to find queer games that are not only accurate portrayals of gay teens, but are also hella fun. This is one of them.

Oh man.

Not going to lie guys, I'm kicking myself in the head for not getting to this title sooner. Most of you have probably heard of Brianna Lei's Butterfly Soup, a visual novel that took the gaming world by storm last year. For those that haven't, it's about four queer Asian-American teens attending their first year of high school in California.

It's astounding writing, characters, and overall depiction of Asian American queer teens have led to other sites like Polygon, PC Gamer, and Kotaku calling it a stand out game of the year. And, after playing through most of it, I can see why.

Listen. I don't like visual novels half the time. Even something like Dream Daddy, which I loved, gets incredibly boring. I suffer through them, because it's where a lot of queer content gets produced It's not because they're bad, I just have a specific taste and I don't want to spend three or four or ten hours just reading text on a screen. But, I was happy to do it with Butterfly Soup, because it's just so fun.

And that should be a given, right? Dream Daddy was fun, wasn't it? And so was Gone Home (which isn't necessarily a visual novel, but close enough)? And Life is Strange (which also isn't necessarily a visual novel, but again, close enough)? That's true, but I think what separates Butterfly Soup from them is that has a sense of honesty without taking away the humor and light-heartedness at all and making it either super campy or super depressing.

As much as I love Gone Home, it focused a lot on the negative experiences of queer youth. You hear a lot about how it's main character struggled with both her identity and helping her partner. While this is a very honest representation of what a lot of young gay folks through - it's not the only experience that we have.

We have a community and we have a lot of queer friends, and often times we surround ourselves with other queer people. That's what happens during the entirety of this game. You are dropped in on the life of a young queer girl and her other queer friends. You see how they interact, and how they find love - and while it does have moments that can be on the serious side - it never gets sad or weepy. We never see these characters go on long monologues about how they can't accept themselves and how they'll never be happy.

This is accomplished through Lei's decision to give the player no control over the story. You occasionally get a few dialogue options, but in the end, you see what Lei wants you to see. You are on a guided tour of the story - not a participant in it. So, you aren't mired in finding extra stuff here or there (although, there are some extra observations you can make when prompted). So, while I did find myself getting bored, Lei managed to reel me back in with some pretty choice story-telling techniques that even AAA titles can learn from.

Throughout the game, you are treated to flashbacks, which show the four main characters' friendship through the years, instead of just one specific point of time. Each one makes the characters more dynamic and provides and insight that informs previous scenes. It's not disjointed and it's all connected.

And aside from the main cast, we are treated to actual diverse characters of different races and sexualities. You have people of color, you have a trans character, bisexual characters - and even if they aren't big, they're still real. Even in a lot of queer-themed visual novels, you usually only get a lesbian or a gay man's story - and while this story does focus mainly on a relationship between two women - we still get a solid cast of fleshed out characters that are not exclusively gay and cisgender.

As I play through - I'm just smiling and relating. I don't feel sad and I don't feel that same sense of, "Man it's so hard being gay," that so much media gives me. That kind of media is important, we should always remember/be reminded of the struggle that people - especially young people - in the community deal with. But it's also important to show that it doesn't always have to be that way. It is possible to be young and happy - even if you're struggling, you can find people who loves and accepts you.

Butterfly Soup is a special game - it uses fun characters and brilliant storytelling to give you an honest and non-sad portrayal of a diverse group of young, queer women in a time where it's very difficult to be a young, queer woman. While it doesn't offer a huge variety in terms of gameplay, it weaves something that leaves you smiling and cheering and laughing.

Please, please, please go play it. You can get it for free right here - and make sure you leave Brianna Lei a damn good review when you're done.

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Gaming

VIDEO GAY-MER | Creating An Experience All Your Own

In a world where queer people don't have experiences of our own, we have to create new ones.

Games are an escape.

Games are an escape from your struggles, whether they be personal struggles or the terrors of the world, they allow us to take a step away and focus on a reality that isn't our own. And as a queer kid growing up in the Southern United States, I retreated to video games for most of my young life. And I've spoken in length in many other articles about how, despite my love for video games, the lack queerness has soured me to them a lot of the time.

Instead of giving you yet another example of the lack of representation present in games, I'm going to talk about a very specific aspect of queer gaming culture. It revolves around a very specific part to a lot of games across many genres: Character creation. We've all done it - whether you've created a Mii or played through Dark Souls III, you've most likely created a character of your very own. Often times, these characters have little to no real back story and are largely designed to be a catalyst for the player.

So, why is this important to queer gamers?

Because these characters can be whatever we queer gamers want them to be. A major, more recent example is that of the Sole Survivor of Fallout 4. After the game came out, I saw a large amount of different players across the internet posting their OCs. They gave them very specific storylines, and a lot of them were queer. They had entire lives not spoken about in the base game. Some of them three the base game out entirely.

The same thing happens across many different games from Dragon Age: Inquisition to Terraria to Sims (on a grander scale). We have to work harder to build a world in which we can escape to - so we project ourselves onto characters that we are allowed to create. For instance, my characters are always good natured gay men, who become heroes in a world that previously didn't accept them.

In Fallout 4, this was the reason I was drawn to the Minutemen and the Railroad. Unlike the Institute and the Brotherhood, the other factions were underdogs. The Minutemen, a militia of the Commonwealth dedicated to the people, starts out the game barely existing and disgraced after what happened in a town called Quincy. The Railroad, a band of ragtag fighters seeking to free the much feared Synths (synthetic humans) from their tyrannical creators.

My character fit so well into these groups, because I wanted to create a queer character that fought for people who got shat on all the time. It wasn't what the game intended, obviously, but one of the very few good things about Fallout 4 was that it didn't matter. You could make your character do ALMOST whatever you wanted (so long as it stayed in their very specific factions, but that's neither here nor there).

Not only could I, a queer person, be a hero to an entire group - but to an entire society. In this game, my character makes history and changes the world for the better. This cathartic experience is one of the reasons I still play Fallout 4 to this day. I do the same thing with Dragon Age: Inquisition, Mass Effect, etc. There's something so powerful about being able to look at this queer character that you, a queer person, created and saying, "You're a hero to all the people in this world."

That level of freedom is so important to a queer audience, because we're so used to hearing straight people tell us that things have to be a certain way. That's why more linear games can often leave a queer gamer bored or annoyed, because we're forced to sit through this character living out another straight fantasy that we always see. Does this mean we hate these games? No, of course not. I love Final Fantasy X as much as the next guy, but it's romance bores me to tears.

When I escape, I don't want to escape into a straight person's fantasy romance or a straight man's power fantasy. If game developers won't give me my own characters, then let me play the games where I can create my own fantasy. Let me make the Inquisitor a gay Elf; Let the Sole Survivor be a queer secret-Synth who has a harem with literally every romanceable companion because they all fell in love along the way; Let ALL OF MY SIMS GET GAY MARRIED!

Sure, it's not the same as giving me real characters, but it's something to keep me going until I get to play next great queer game. So, I guess I'll take it.

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