There's something mesmerizing to me about kig wearing a mask on top of the mask.........
(link to post)
You called?
pictures by Abbie, and MachikadoKig on bsky.

JBB: An Artblog!

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oozey mess
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@eyrexyz
There's something mesmerizing to me about kig wearing a mask on top of the mask.........
(link to post)
You called?
pictures by Abbie, and MachikadoKig on bsky.
I NEED TO LEAVE YOU ALL FOREVER
I NEED TO LEAVE YOU ALL FOREVER
THE THEME OF GOD IS IN MY HEAD
A BURNING LEITMOTIF
A GOLDEN LOVE THAT'S TURNING RED
Eyesparkle - a compilation of chiptune tracks first performed in Bristol, UK between July 2024-January 2025 - is dark, moody + really gay. It took me 2 years start to finish, and I'm rlly rlly happy with it.
Happy Bandcamp Friday!!
Is Kigurumi Growing? A casual analysis of some data I found
This weekend a friend asked me about my new hobby. They're competent at sewing, prop and costume creation, and admitted to wanting to get into Kigurumi for years. Though they lack funds, time, and access to a 3D printer at present, they had at some point tailored a hadatai-like garment for another project, and they don't lack the will or skills to DIY their own mask.
I confidently told them that while kigurumi meets in the UK are growing - and faster than organisers anticipated a few years ago - probably still fewer than a hundred people in the UK actively practice the hobby at any one time.
But how many people know about it and want to give it a try? And why has growth as observed at meets been so steep and consistent?
Bugged by these questions, I've sat down to compile a few sources on the scale of the growth of the hobby, which I'll present here without too much commentary or detail. As a newcomer myself, I don't feel it's my place to speculate as to what many of these sources indicate, least of all to make recommendations for organisers or experienced performers; to that end I'll happily take questions for follow-up investigations if they're interesting/someone else is interested.
Timeframe, Sources, Annoyances
I've tried to look first and foremost at data from January 1st 2018 onwards.
Sources I'm using include wikipedia pageviews, Google Trends, publicly available Thingiverse download stats, records of UK meet attendances, as well as Answer The Public.
Where possible I'll limit data geographically to the UK. Note that in some cases. Kigurumi visiting the UK from abroad will not be accounted for specifically, or ruled out of numbers.
Kigurumi-adjacent data including furry, furkig and kigurumi onesies has proven impossible to separate or fully account for on several occasions. While I'm definitely curious about growth in these hobbies too on principle, I'm not going to explore them on this occasion.
This is a half-assed, back-of-a-napkin analysis. I'm very sleepy. I make no promises, both as to my own rigor, and as to things I could have spotted about these sources and reported on. If you're curious to pull more from the data than I have, you should definitely do your own investigation, because there will be things I've missed, that I could have done better.
I'm going to yap about DIY at every opportunity because that's the route I took getting started, and it's a path I'm curious to learn more about from the perspective of someone looking back.
Wikipedia Pageviews
My elders and betters in the various comms teams I've worked or volunteered in over the years have generally encouraged me to be wary of pageviews. They can be exaggerated, they don't account for double viewing, bots aren't necessarily separated from real users, etc.
This said, people go to Wikipedia intending to read text. Wikipedia is usually arrived at via search results, and it tends to be a common first step in working out what something is.
Pageviews for the wikipedia page 'Animegao Kigurumi' between January 2018-March 2026 (limited to just 'User' agents)
Discounting outlying months, the mean pageviews in 2018 was 2259. In 2025 it was 4170 - an 84.6% increase.
At present, users choose to read a basic introduction kigurumi 80% more than they did 8 years ago.
Google Trends
Google Trends measures interest in something with this really annoying and ambiguous metric which they describe as follows:
Search interest over a specific time period, displayed on a relative scale from 0 to 100, where 100 signifies the peak interest for the time period of the chart. A value of 50 indicates half the popularity of the peak and 0 suggests insufficient data.
'Kigurumi' in Google Trends returns the following graph:
Because of Google's annoying metric, we can really only say that 'kigurumi' received more 'interest' from 2024 onwards than it ever had done previously, hitting "86" in October '24, "100" in November '25 and "99" in February '26. Visually though, the trend isn't as pronounced as the Wikipedia data - between January 2018 and August 2024, the biggest spike according to this source was December 2019 with "77".
However!!
The 'Top Queries' behind this graph show a different, less ambiguous or incremental story:
The top 3 most popular searches that produced this graph were for kigurumi onesies.
These seem to have steadily declined across the time period, whereas the more relevant 'kigurumi mask', 'anime kigurumi', 'kigurumi anime' and 'kigurumi cosplay' increased - several by over 100%.
Unfortunately, these related search terms all produce useless graphs - a sea of "0" populated by occasional spikes, indicating insufficient data.
But, we can say that early spikes in the first Trends graph are more likely to have been produced by onesie searches, and later spikes are more likely relevant to this investigation.
Otherwise, the data is super noisy. I stuck a couple of trend lines on it in Calc and couldn't get an R squared value above 0.34 - only around 23% of the variance is explained by a linear regression, meaning we can really only note a subtle, slow upward trend, but not forecast with any certainty.
Thingiverse Download/Upload Figures
For this one, I noted the last updated date and download figures for every kigurumi base shell model in the first two pages of search results on thingiverse, and used these to calculate the average downloads per day for each shell.
There's no change over time over here, just an ugly CSV, and the revelation that every day, between all of the most popular models, free kigurumi base shells get 17 downloads worldwide.
Of course, these don't all translate into finished masks, let alone new kigs on the scene. But, it's interesting given some of the figures that will show up later when we look at Answer The Public.
Sorting by date we see that 2 models were uploaded in 2018, 1 in 2019, 4 in 2022, 3 in 2024, 5 in 2025, and so far 1 in 2026. This shows a clear skew towards recent years, with 2025 being the biggest year on record for new shells uploaded to thingiverse. This could be people deleting their old models as time goes on? But given that there's no real incentive to do this, and that there are many instances of different versions of models remaining uploaded even when the original creator releases a new version, I'm inclined to be confident in this conclusion.
UK Meet Attendance Figures
UK Meet attendance numbers are made public, and are as follows:
A linear regression on these two meets is much more productive, with R squared values of 0.8 and 0.83 in both cases, meaning we can use them for short-term forecasting.
The Christmas Meet attendance is limited by its venue, but we can see that attendance grows by (on average) between 2 and 3 attendees each time, and the Easter meet by between 3 and 4.
There's presently no sign of these numbers capping out or forming an S-curve, and the Easter meet is clearly the fastest growing.
Answer The Public
Answer the Public scrapes search suggestions from a variety of big sites, including Google, Bing, Tiktok, YouTube and Amazon. It also returns relevant hashtags from Instagram, and has some preliminary functionality for doing the same to AI prompts of Gemini and ChatGPT.
It then automatically nudges the search suggestions such that they return comparisons, questions, etc.
The value and reliability of the tool's data is unclear - methodologies, search engines and platforms change so much. The tool is sold to marketers as 'an insight into raw unfiltered consumer demand', and a replacement for creativity on the part of SEO content writers.
But, for the curious, it's a really handy way to get a qualitative sense of what questions people have, and how a topic is perceived.
Google Search Volume
Sits at 2.9k/month in the UK. While this is in the same ballpark as the Wikipedia pageviews, it's notably lower, suggesting the wikipedia page benefits from other sources. This could be repeat visits via URL or bookmark, visits from other wikipedia pages, alternative search engines, or being directed to the page from social media, including kig linktrees.
What are people searching?
In the UK, these are the 25 most popular searches:
Note that searches for kigurumi onesies are few in number, and only appear as the fourth most popular search, vastly outnumbered by relevant results.
Starting at row 21 we start to see searches with specific goals:
To understand what the hobby is (Row 21)
To find a mask base, implying curiosity about DIY (Row 22)
To find a specific maker (Row 25)
What Questions are people asking?
Looking only at relevant questions with sufficient search volume to register with Google, questions people ask about Kigurumi include:
How to make kigurumi mask
2. How to wear kigurumi
3. How to make kigurumi head
4. What is kigurumi mask
5. What is kigurumi cosplay
6. Kigurumi where to buy
7. Where to buy kigurumi mask
8. Why are kigurumi masks so expensive
9. Why are kigurumi so expensive
All of these had the lowest search volume rating of 10, except for question 1, which had a rating of 20.
So, notable again is the readiness to investigate DIY as an option for acquiring a mask - both buying and DIY appear twice in this list, but DIY had the greater search volume. This could be indicative of a readiness among the public to DIY their masks, or it could be a product of what DIYing a mask involves - beginning the process involves googling what to do, and reading up.
On Social Media
Honestly this data isn't very interesting. Data from Tiktok and YouTube was productive. People kind of just want to see things - searches for 'kigurumi mask' come top, followed by 'kigurumi fursuit', followed by 'kigurumi animegao', followed by 'kigurumi onesie'. YouTube has more 'kigurumi [insert famous IP here] whereas TikTok gets to this after 'kigurumi mask base' at the 12th most searched phrase. This is the slightest, vaguest, least reliable indicator possible that the TikTok audience may be more curious about DIY than the YouTube one.
On Amazon
The people searching Amazon seem a little bit more informed. Not so informed that they've realised Amazon can't help them, but informed as to the constituent parts of a kigurumi cosplay.
Onesies come back in force here - because of course Amazon can help with those. Once again, further down the list 'kigurumi base' appears before 'cheap kigurumi'.
Most of all, people search for the thing that they've seen, or that they know the name of, presumably hoping to buy it ready made the way they're presumably used to buying lots of things.
A small proportion - between 2 and 9% - seem to learn a bit about the constituent parts of the cosplay form and investigate those further.
Another smaller proportion - between 2 and 7% - express interest in DIY.
At this stage, only 1% actively present as price-conscious, despite that being one of the most common questions themes.
---
Conclusions
I wanted to see if the growth in UK meet attendance was mirrored elsewhere in its sharpness and decisiveness.
Deliberately, I don't really have any clear conclusions. It's 4am and I got curious about a strange question again so now I'm going to feel horrible when I wake up.
I think I've found pretty clear evidence that interest in the hobby is growing? Some indicators - thingiverse uploads and Google Trend spikes - point to sharper recent growth, whereas Wikipedia Pageviews and Google Trend interest over time point to a longer, slower growth.
Synthesizing themes from Answer the Public we see that search engine users are most of all curious about the strange thing and want to learn more. After that, the especially curious are price conscious, and apparently not unwilling to consider DIY.
I'm really grateful to the community for making me so welcome. I relate to how difficult change and growth can be for organisers and friends in niche creative communities.
My hope with this ramble is to shed light on the research journeys people are taking to get to where we can see them, as well as to note the existence of the wide and growing body of people who are aware of what we do, and seem to be curious enough about it to learn the terminology and investigate.
... After all that ...
Am I still missing the Easter Meet?
Yeah... I think I still wish I was back at the Easter Meet :')
shmslf
new single just dropped - a quirky jazzy lsdj chiptune track.
As many of my friends are aware, I like dressing in light up TRON clothes + playing live chiptune on a pair of gameboys.
I made a mask last year as a way to add more ✨theatre✨ to my sets. Underneath it's a complete, separate (albeit scrappy) DIY kigurumi, that then wears the mask that's been a staple of my pfps since 2017.
This clip is like, early beta version of what I want to accomplish in the coming year. The hair was unstyled, the top layer mask came loose, my hadatai was still months from arriving … also I decided to wear two layers of mask?? Did I have a death wish?? It turns out it's really good for performing music with gameboys and helps me not get overwhelmed by stage lights??? It turned out to be a pretty cool set, despite a lot of room for improvement.
secret santa time!! i got to do art for @eyrexyz's motion comic Resilience... what a fun comic to get to draw for. delicious. i loved making this
YESSSSSSSSS IT'S SO AMAZING!!!!!!!!!!!
The sheer number of details and ideas that I recognise, all remixed in this one incredible piece is like, *actually stunning*.
The textures, the designs and architecture, repetition of motifs .... it all feels so intensely Resilience 💖🔥
AI-Based Search Engine Targets Fandom-Obsessed 2010s Tumblr Users, Gets $1.1m Funding. Inscrutable Visual Novels Will Save Us All
This morning I discovered Lore - a recently-revealed AI startup designed to "let obsessive fans dive down internet rabbit holes".
Novel AI-based search engines with graphical mapping and connection-forming abilities are yet to hit the mainstream, but fundamentally nothing new.
As early as 2021 I knew a pair of journalists with former connections to the Daily Telegraph who were pitching a machine learning-based connection-finding tool to accelerators and grants, though mercifully they've seen the light, and since pivoted to work in education, developing similar software as a teaching tool.
This is the first though that I've ever the technology applied in a niche, consumer-focused area.
This TechCrunch article was my initial discovery. Once the initial fun of sharing with friends, bemoaning and laughing at the inevitable quirks of the AI bubble wore off, I soon realised that, if this product does somehow take off, purely by coincidence, the no-stakes passion project I've been developing for the last 6 months would go some way to undermining it (more on this at the end).
The following points stood out to me in the TechCrunch article:
The published metrics are ... not amazing
Zehra Naqvi, the founder writes:
“We wrapped up an experiment with over 1,000 logins, nearly 24,000 searches, and a collective eight days, or about 200 hours straight of spiraling deep into obsessions,”
These are continued on her own VC/entrepreneurship blog:
"Early users are obsessed, one user logged 5+ hours on Lore Spirals in 6 days, another went down 25 spirals in one night"
These look great on the surface, but notice the gaps -
How many people were in the experiment? How long did the experiment take? These are basic numbers literally everyone should look for always when assessing statistical claims.
From this data it looks like the average search takes about 30 seconds - (200*60)/24000=0.5
"Obsessed" by early user Lore standards is less than 1 hour a day, or less than half the time the majority of gen z users spend each day on social media. Though, given Lore applies primarily to folks embedded in fan culture, this is arguably less impressive.
'Spirals' is a feature within the app - "25 spirals" could be as little as 15 minutes based on the average time spent on each search calculated above.
"Discord: 13K+ obsessed fans spiraling every day"
Investigating the Discord server, it had 17,625 messages during September. I don't really go in large discord servers anymore, so I asked my friend for some benchmarks - apparently the geometry dash mobile demon list discord server had about 39,000 messages in September in public channels from 1800 members. Because of this, it is reasonable to estimate fewer than 13,000 of those fans were actively "spiraling" at that time of writing.
These articles all also cite impressive viewing figures on Tiktok. I was unable to verify this, beyond what the articles say. Most official Lore accounts all seem to have between 1000-4000 followers.
2. The MVP is a Perplexity wrapper with lots of prominent design patterns encouraging further exploration
Poking around the Discord server I was able to find the 'Spirals' MVP on which the statistics were based.
In addition to being a largely unmodified LLM wrapper, it has a really intriguing graph feature, though it's not really clear what appears on that graph - its only use seems to be another feature meant to encourage further prompting.
Very intriguingly though, it has a leaderboard. From searching once, my rank sat around 560, after searching twice my rank sat around 490.
Spirals seems to have been live since early September. Since then, the most active user has spent 18 hours on the platform.
The MVP's console output indicates it's just sending queries to Perplexity, though Perplexity itself produced better results for the same questions.
3. There's no clear plan to profit
Though this one quote from the founder is revealing...
“How is it possible that I’ve spent probably well over 500 hours reading about Marvel movies over 17 years and no single platform tracks my consumption,”
My first thought was umm ... I don't know. This doesn't warrant detailed analysis - this is an insane question.
Reading their blog, the founder is very, very enthusiastic about making consumer-facing products, but this quote gives me the impression of something else.
Once upon a time I was fortunate to see an acquaintance join a startup with mind bendingly good product market fit. The company could measure the notoriously un-measurable impacts of influencer brand integrations on marketing KPIs.
Influencers in their present form are one invention of the early 2010s that, while colonised and pillaged by The Capitalist Machine™ almost immediately, haven't been especially well understood ever since. This startup capitalised on that lack of understanding, and seems to be doing well to this day.
For Lore to be a functional equivalent for Convergence Culture-Utopian-era fan behaviour might make some small amount of sense, allowing users to graph their "rabbit holes", while allowing businesses to do the same behind the scenes for the user behaviour.
There's an 80-20 rule of thumb somewhere that says that most businesses make most of their money from their whales - the small fraction of people that make up most of their user base. Meanwhile, the 'Long Tail' theory has it that "a large number of niche products, when sold in aggregate, can be just as or more profitable than a small number of popular mainstream products".
Understanding and measuring the younger generations' "Long Tail Whales" is a desirable goal for any business ... nudging them in specific directions even moreso.
If it isn't something like this, this looks like some doomed bubble shit. $1.1m isn't even that much money in this environment anymore - nVidia is paying 100,000 times that much to Open AI to get them to buy graphics cards off them. There's no money in nerdy teenagers - they're not going to buy a premium subscription to solve a problem that is better accomplished by having friends, and a semi-competent tagging system.
AI businesses also scale badly due to their infrastructure costs - classic B2B SaaS has 70–90% gross margins, GenAI sits around 30-60%. Where B2B GenAI is likely to have more predictable user demand, consumer businesses are often much more variable.
4. The Obvious Point
This business reminds me of the music AI founder who said that no one enjoys making music anymore.
As an artist, I've long sworn by the importance of rabbit holes, my stated personal motive being to leave behind a good rabbit hole, without ever landing any kind of personal success. I want to be the crazy niche discovery that inspires someone, and I don't want that person to be able to communicate why to anyone else who didn't also pursue the curiosity to look themselves.
Making rabbit holes easy to explore is ... just silly?
Fandom being spread across lots of platforms and highly fractured is the point. We genuinely, truly like it that way??
I'll spend literally days searching up all kinds of nonsense, then spend days more sharing it with my friends in long rambling voice notes because the challenge is its own reward, and fandom is a social process.
I'm the same age as this founder, with a similar background covering the arts, digital entrepreneurship and fundraising (albeit that last one in the charity sector) and I just don't get it.
~~~
For the last 5 months I've been casually developing a self-hostable Instagram clone.
I've done this before - I love designing obtuse and experimental content management systems - my first webcomic still runs in my first one, called 'Hypothetical' to this day.
My newest child 'Galicia' is my own overengineered contribution to the Indie Web, a CMS that allows users to 'flip posts over', revealing procedurally generated scenery, animations and artworks based on posted images that flesh out the world of a visual novel.
The goal was to make something that forced people who cared enough to look to try to find more - rewarding users who bothered to leave large platforms with a game, a world to explore, and rewarding secrets to treasure. Talking to characters, getting them on your side, and exploring new settings unlocks posts that won't show in the main grid for other users, allowing the post author to share secret images, videos, links and music.
It's kinda late and I need to go to sleep ... but not long after my bewilderment began to wear off, I realised something - inadvertently, I've made something almost impossible to scrape.
"Your competence on a ping pong date with blorbo x has been seen as a sign of insufficient loyalty when you went back to speak to glorbo y, who you last encountered living under a fanart dump three months ago. You do not get to access the unreleased album of industrial noise jazz and accompanying lore encyclopedia."
Set up properly, hidden posts will require often-obtuse, honeypotted nonlinear unlock sequences, overseen by server side code prepared to detect scraping and boot it. All together, this would give a site built in Galicia an extremely high per-datum cost, racking up the price of training an AI model on that work, but also making it harder for AI search tools like Perplexity and Lore to find, all without expensive and easily bypassed adversarial noise hacks.
The self-hosted architecture will make it ideal for a small number of enthusiasts (realistically, just me) to host, and an equally small (probably smaller, i.e. no one) number of people to enjoy and experience. It'll make the tool almost impossible for scrapers to prepare for.
My only hang-up about making this tool open source is fear of being judged for my shitty spaghetti code. Otherwise, eventually that's the plan.
There's something extremely poetic about discovering Lore at a time when I'm imminently anticipating being able to adopt such a tool for the majority of my posting needs - failing one-in-a-million viral success, fictional characters will defend my creative work from human-like machines that would strip me of my artistic dignity.
They'll never take me alive >.<
Apropos of nothing but honestly, Equestria Girls was wild. Imagine finding out that you are the parallel-universe counterpart of a horse. And because of that, you can acquire superpowers but they give you horse features whenever you use them.
Also the school bully is a secret horse in disguise and has been all along. Not even an AU counterpart, she is a horse from the horse dimension who has been pretending to be human for as long as you've known her.
please just go see it guys PLEASE im just begging you all to just trust it and see it
Transfemme Tron Fan Analyses TRON: Ares On Opening Night
My immediate takeaway from TRON Ares was pure joy from start to finish. My worst fears were not realised, my metered expectations were vastly exceeded. The film gives love to Legacy in all the weird ways Legacy operated. The film pays open and explicit homage to the original - something long overdue, that the original fully deserved.
I came away aglow, having seen excellent visuals, heard magnificent sound and music, living in stunning production design, compelled by a genuinely fantastic story.
I'll list my observations below with headings. The headings themselves will not be spoilery, so that anyone who has not seen the film can scroll past safely. The observations will contain spoilers, but I'll keep them mostly very vague.
The Soundtrack is given a lot of space to be what it wants to be
I was excited during the credits to see Reznor and Ross get Executive Producer credits. After the generational success of the Daft Punk Legacy score, you can tell additional freedom and time was afforded to the NIN soundtrack in Ares, and it was worth every second/penny/compromise.
The soundtrack goes hard when it doesn't have to. One of the hardest bass hits of the film lands as the camera switches to ... nerds in a server farm?
Time is afforded to Trent Reznor's vocals in high-pressure moments when the diegesis might otherwise take a pause.
Ares drives towards the camera everything exploding behind him, and the music goes ... calm.
The soundtrack makes choices that force you to empathise more, and remind you that one of the greatest strengths of TRON is its "hyper-flexible mythology".
TRON will always partially be great because of its associations.
Your Dad fell in love with it because the visuals blew his mind when he saw it in the cinema in '82.
You fell in love with it because you listened to the soundtrack while you learned to code, and it always evokes the optimism and love for machines that brings you home every time you sit down to practice your craft.
I love TRON because I fell in love with Daft Punk and whole swathes of electronic music history through TRON while I hand-sewed the EL panels to my first performance outfit, and realised the pure visual awe of wearing clothes that glow.
The Nine Inch Nails soundtrack to TRON Ares says to every fan, new and old "We are the same"
The soundtrack goes calm when Ares escapes his own grid because escaping is easy for him. The server farm gets a banger because in the TRON universe, server farms are exciting places - we know exactly what's about to happen.
We're all frogs boiling in the same socio-technical pot. The TRON Ares soundtrack knows our memories, knows our hopes and fears for the future, knows how we love our machines, and is right there with us on the journey.
Also, Real Ones will notice the Wendy Carlos motifs that I don't think appear in the official NIN soundtrack streaming/store release? I almost leapt out of my seat when I heard them!!
I hope we get a remix album so, so bad.
2. There's no sex, no conventional villains, and that's ok, actually?
Once again, a TRON film is beautifully sex-less.
The two villains are:
A mad loser
That paperclip meme, but they feel pain now
The film does not evoke dislike or fear of either of these people. It does not convey, or so much as leave the viewer with the implication of conventional Hollywood heterosexual love. Instead, it spends much more time exploring loss, and depicting a not-neurotypical character forming friendships.
Protagonists deal with the villains, they don't dwell in them. Eve and Ares would much rather ponder queer readings of Frankenstein, and explore their shared potential for benevolence.
In 1982, it was an innovation for a film about computers to have good guys and bad guys at all, and demonstrate how such bad guys would eventually come to operate.
In Legacy, the film wordlessly depicts characters realising who the villain is (Kevin Flynn), as he finally starts to understand where he fucked up.
Ares (in some ways??) starts to give us answers. Utopian visions for what a digital world could be are absent. Instead, love of craft, love of learning, and love of human experience takes center stage. There's still a place for hope for the future - it's everywhere throughout the film. But, perhaps in this form it's a little harder to corrupt?
3. It's a film about regular people catching up
"Innovation" is best defined by its differentiation from "Invention" - where invention is about making something possible, innovation is about bringing it to the world.
I kind of despise the term innovation for its LinkedIn-ish connotations, but the academic definition of the term is genuinely highly valuable both in a social-scientific context (separated from any one economic system) and for understanding the decisions of the organisations we're surrounded by in our day to day lives (they're all parasites and they're terrible at it).
TRON and TRON Legacy are films about invention. In both films, "inventors" are the "goodies" and "innovators" are the "baddies" - a deserved reputation given the accurate predictions both films have made about the interactions between capitalism and spreading digital technology.
While TRON Ares is told by inventors - we are shown Eve Kim and Julian Dillinger actively inventing during the film's runtime - Ares is a film about innovation. The film's brief maguffin is an invention of Flynn's that both competing companies want to turn into an innovation.
It's no secret that modern TRON aspires to be prophetic, living up to the bar set by the original film in 1982. For that reason, it's ironic, and slightly meta that characters in a TRON film would spend the entire film chasing something that we already know is possible, as characters catch up with the hitherto private adventures of Kevin Flynn.
If Legacy ever felt "detached" from the real world component of the film's subject, Ares made up for that mistake a hundred times over. The balance between the Grid(s) and the real world was swift, seamless, beautiful, and constantly compelling. In this way, Ares is more relatable to our present day-to-day experiences with technology.
While some folks might feel this makes the film more detached from the first two, I would beg to differ. I fully feel that this balance was something TRON always needed. It doesn't make sense for computers to be a Green World anymore. Computers aren't alien, they're everywhere. TRON Ares depicts our own world as no less brutal, and no more natural than the Grid.
Complementing this balance perfectly - a portable Grid laser was the bingo square my poor disappointment-anticipating heart never dared to write down, but a feature in a TRON film I've dreamt about since I was tiny.
4. Characters are missing, but the holes where they could be feel so, so perfect. Here be major spoilers
Be real, Sam was never going to stay put at Encom, and I'm glad they got out with the vaguest reasons possible. This served to detach the film somewhat from the family dynasties of the first films, which I appreciated.
The film ends with Ares possibly (??) setting out to find Sam Flynn and Quorra.
Meanwhile, fans of the Bithell games will know that somewhere on a server, Quorra's people live on. Towards the end of TRON Catalyst, the Arq Grid has a patch delivered to it, but they're not out of the woods yet.
My headcanon has Sam and Quorra vibing somewhere, possibly apart, but both with the potential (but maybe not the will to use) some crazy technology of their own that puts what was shown in Ares to shame.
They could be Inception's Mal and Cobb early in their relationship, building worlds wherever they go, armed with portable grid lasers in USB sticks in their keychains, zipping from grid to grid as the wind takes them.
But given Ares' rather gentle ending, would they?
Maybe their attention is caught by words of the events of Ares, they do some poking around...
Meanwhile, at Encom, Eve Kim clearly wanted to join her sister in her work, but had made sacrifices, permitting her sister to take that role.
Following in the success of Ares and her existing experience bringing back old Encom IP, my headcanon would see her blowing dust off of Alan's old Tron code on the side, maybe speculatively, maybe to bring our absent protagonist into the modern era.
As gaps in a story go, these are fantastic holes to have! They're so exciting!!
In my review of TRON Catalyst, I discussed my flip-flopping over the large ambiguous holes left in the world by the events of Legacy and its accompanying media. The fact that these holes are narrowed by Ares but ultimately remain reaffirms what made me love Legacy so much in the first place.
Ares revels in ending ambiguously. This time though the ambiguity is shaped a bit more, given some more context, and is shared between friends in mutual understanding.
It raises a precedent that other characters could be hoped/imagined to follow. Ares leaves me to hope - I can only imagine Sam, Quorra, Tron, Yori, Alan ... wherever they ended up, they ended up their gratefully, understood and loved by a friend, somewhere.
"The computers will start thinking, and the people will stop."
Original Tron had a truly banger line that didn't get a whole lot of focus, but feels extremely relevant now in the age of ChatGPT
The real kicker is that ChatGPT isn't even really thinking yet, just giving a really convincing illusion, but already people are conceding their cognition to it.
ai spirituality creeps me tf out
How I'll Cope With TRON Now: A Trans/Antifascist reading of TRON Catalyst the morning after I finished it
Last night, I went to sleep close to 5am for the second night in a row, after playing the new Tron: Catalyst all night. Waking up and going about my day, I fancied writing an essay about it, to get out all the thoughts banging around in my head.
I'm not a massive Player-Of-Games but I really love Tron, and after really enjoying Identity a few months ago I played Catalyst on the lowest difficulty setting, which tactfully targets players like myself, who are in it for the story :')
It's a fantastic game made with a great deal of intention, craft, love of the franchise, with amazing art, music, and voice acting.
But the story. The story!
I am going to review the game. But I'm going to take a little while to get there.
When I eventually get to the stories set in the Arq Grid, there will be spoilers for both Identity and Catalyst, which I'll warn of again closer to the time.
Why TRON is always doomed: A recap of "The 2010s Attempt"
A cynical part of me always expects modern Tron to be somewhat disappointing. The franchise is best known by the average viewer for being very pretty, (in both music and visuals).
But the premise (information technology developed under capitalism inevitably enables decline into totalitarian fascism) and influences (cyberpunk is owned by the gays I don't make the rules) demand a story that grapples with our relationship to technology. Intentionally or otherwise, Tron media being so spread out with such long periods of inactivity primes the franchise to deal with things as they are in the present moment ... which in turn grants it an element of prophecy as characters advance each installment to its conclusion.
Unfortunately, the franchise is owned by Disney.
Legacy, while visually stunning and a miracle of production design, confounds first-time viewers with its inescapable 2010s-Hollywoodness. A relic of Henry Jenkins-induced Convergence Culture/Transmedia Storytelling optimism, the film was designed incomplete, to be accompanied by games, comics and a tragically ill-fated animated show - this last item highlighting painfully to me how poorly the folks at the helm of TRON in the 2010s grasped the risk they were taking on by having the franchise split across so many media.
Uprising explores themes of antifascist organising, clearly intending for later seasons to portray the cast standing united against CLU's regime.
All together, "The 2010s Attempt" at TRON - in Legacy and Betrayal - paints an incomplete picture of the inevitability of the descent of Kevin Flynn's creations into fascist dystopia. His own flaws and oversights amplified by his automation through CLU of the execution of expertise not natural to himself as a programmer and wealthy CEO.
I interpret Legacy as ending with Kevin Flynn still not fully caught up on everything Sam would, and could teach him, rather behaving as Sam and Quorra would want him primarily out of regret, and faith in their capacity to fix his mistakes. Bro didn't just fuck up - he only barely started to make it right.
Meanwhile, in Uprising we touch briefly on the development of programs' collective awareness that revolution is possible through organising and mutual aid. But this project is sadly never completed.
TRON from Legacy onwards feels like an overlooked IP, a missed opportunity specifically because of its ability to convey scraps of prophecy, without us ever being given the payoff of its characters really attempting to chart a path forward through the world that it outlines.
Each TRON installment is just a visit, each climax a hasty escape whose success comes late and is pulled off just barely.
This accumulates monumental amounts of ambiguity.
How I Coped With TRON Before Catalyst
For the longest time I've huffed mad copium finding the strengths that exist in this ambiguity - nothing highlights this more than exploring the identities of Sam and Quorra:
Is Sam Flynn a faceless Hollywood cutout, or an asexual nonbinary baddie with an intuitive recognition of the poison at the heart of our connected world, rooted in their own lived experience, and disillusionment with their father's legacy?
Is Quorra a pretty-girl-born-yesterday, or a survivor of genocide, living with crippling survivor's guilt, mentored by a god-who-is-not-her-god in whom she has been conditioned to see no flaws, who orientalises her and encourages her to minimise her trauma in service of his own ego?
Why not all of the above?
In my mind, the end of Legacy drops us in the first seconds of their shared work to overcome their hermeneutical injustices.
Quorra sure is a gal who doesn't talk much about surviving a genocide. Sam sure is a they who's awfully fond of saying what they aren't.
Would it strip us viewers of our agency, to reveal what happens next? Are we not better off contemplating recovery, companionship and hermenutical injustice in our own lives, and imagining our own sequel to Legacy, where Sam and Quorra's stories are continued?
Had a script been put forward that tangled adequately with those issues, would studio executives not have been afraid of it?
There's a killer hurt/comfort slice of life fan comic with the two of them in here somewhere, and I'm so completely all for it.
This has been a very amenable way of enjoying TRON for many years. Much ambiguity. Very subjectivity.
Then, earlier this week, TRON Catalyst came along...
The Arq Grid (Here be spoilers)
The first thing you notice about the Arq Grid in Identity is that (with the exception of the Automata) the designs of the ISOs has all but homogenized to be much closer to the basic programs, and away from the more vibrant designs seen in the ISO city in TRON: Evolution. Programs talk about their functions, their purpose, their usefulness, just as they did before.
The second thing you notice is that there are fascists here too.
Identity creates a small world, on a small scale, for a short period of time.
It's slow, thoughtful. I felt the choices permitted to Query allowed you to follow three main routes - short of moment-to-moment decisions, you could subscribe to three main "metanarratives":
a collaborator
an antifascist
a Disciple of Tron, which I'll define as sticking to the principle of non-interference mostly strictly with every choice.
On my Identity playthrough I had fun roleplaying the last one, letting the Core bloke get captured, letting Cass die, but also letting Sierra escape.
The overwhelming takeaway upon playing Catalyst was that DoT principles didn't matter. When faced with Core fascists, the principled Query may as well have been punished no differently to the antifascist Query, who would have taken what I felt was the morally correct decision at every turn.
What makes TRON: Catalyst so exciting for me are the themes that get carried over from Identity, and advanced upon.
Once again, the main antagonist is an older male program, a foot soldier beneath a more powerful Core higher-up. Conn feels betrayed, underutilized, preserved perfectly in a state of anger and unfulfillment, yet committed completely to the regime and the principle of the supremacy of the regime's notion of strong over the regime's understanding of weak (everything that isn't strong).
If I had a pound for each time a Bithell TRON game had made a slightly dim middle aged male underling who saw himself as principled the main antagonist, I'd have £2, which isn't much, and it's not weird that it's happened twice.
Conn and Grish are the fascist archetype most likely to kill you. They're the kind that returns home after the war completely broken, who goes on to inflict their trauma upon generations, zealous to a fault with seemingly no awareness of the scale of their own violence, a big ugly ball of thought-terminating cliche and bigoted rage. Disengaged from the politics around them but loyal to the "principles" accumulated from doing what they're told and seeing the world through their masters' eyes.
But TRON: Catalyst wastes no time with its unprecedented opportunity, demonstrating what a sequel in the TRON universe could, and should always have meant: It charts a path of action.
The reveal as I began the endgame had me screaming.
Anyone who played the Catalyst demo owes it to themselves to see how the Reset Loop mechanic comes into its full actualisation.
It begins as a somewhat unintuitive variation on a mechanic standard to any game - when you die you go back to the start of the level .... but intentionally sometimes? Isn't that just developer-imposed soft-locking?
The loop goes somewhat underutilised for the first few levels, but comes back with full force, as the endgame has you groundhog-daying your way to full-scale revolution, organising and uniting every side character to whom it occurs to you to revisit, pulling off Pizza Tower-tier escapes as you strategically appease or anger Core authorities, only to reset them and return to your friends bringing news of another place, another time, igniting hope they never knew they could still have.
I felt like a god in the final levels, my strongest attack able to derezz any enemy in one hit, on the condition that they strike first and I parry in self-defense.
TRON: Catalyst takes a step no TRON media has ever accomplished before: it charts a path forward through the ambiguity. TRON: Identity is a microcosm of all other TRON media, but alongside Catalyst it becomes something truly special.
By uniting an artist, a doctor, a gay scientist, some wasteland-dwelling anarchists, the protagonist from Identity, and a decent bloke you met in the changing rooms, you see that the Automata schools of isolationism and collaboration adopted to ensure their survival are overcome, and a revolutionary unity is formed.
Freeing the means of production (and discovering a really mysterious box??) at your local power plant has never felt so good.
How I'll Cope With TRON Now I've Finished Catalyst
I don't have high hopes for Ares. I don't know anyone who does.
But, I'm overjoyed that if Ares is terrible, there will be something to point to in its stead.
Catalyst fulfills the demands of TRON's premise and influence, and accomplishes something the series has never managed before.
Without Catalyst, the inevitability of a terrible Ares had me resigning myself to TRON's slow descent into an underwhelming Hollywood action series.
With Catalyst, I feel I've finally seen what TRON can be if it's not just a world to be "visited", but a roadmap of positive action on top of its philosophical, socio-technical commentary.
I still hate that it's owned by Disney.
I still take reassurance from the merits of the ambiguity of Sam and Quorra's sunrise.
But I'm glad that the series I love is finally beginning to receive the treatment I feel it deserves.
I really, really hope that the Arq grid gets another sequel.
...
Y'all I write chiptune and perform it live at cabaret shows wearing real-life homemade electroluminescent TRON fashion you should definitely check it out <3
While I am a little personally disappointed in Tron Legacy for not reflecting contemporary computer technology the way the original Tron did, I do think it has an interesting thematic reflection about the state of the tech industry, somwhat similar to what I've previously written about the original being an allegory for the move away from centralized computing. I'm not sure if it's intentional, but I think Tron Legacy can be seen as an allegory for modern tech "gurus" and other big names in the industry (white dudes, mostly) suffering from the classic "engineer's disease", that is, thinking "I'm good at programming computers, therefore I must be good at everything else", wanting to apply their tech knowledge to fields such as philosophy and politics. "Creating the perfect system", if you will. Not to mention how this seems to have lead to many of these people embracing right-wing, reactionary, or even fascist ideas.
Kevin Flynn seems to be what we'd like to think these "techbros" should be, a laid-back, idealistic genius wanting to use technology to create a utopia. Meanwhile, Clu is his dark reflection, the flaws in his ideals and problematic aspects of his supposed utopia taken to an extreme. Or, in other words, what "techbros" have actually turned out to be. Of course, if the film had been *really* daring, it would have made Flynn the actual villain, but I guess they didn't want to tarnish the image of the hero from the original film too much. Still, making the villain look exactly like him, and be a reflection of his flaws, is pretty interesting.
As I said, I'm not sure if this theme was intentional, mainly because I'm unsure when people seriously started questioning the intentions of the Sillicon Valley geniuses. But that might be because I personally wasn't following those kinds of discussions at the time. The first film I remember where I was actually thinking "okay, they're clearly making the villain Mark Zuckeberg" was Batman v Superman.
In any case, it would be fun if the upcoming third Tron film continued with this theme now that more people have become aware of it (what with Musk embarrasing himself almost daily). But I'm not expecting Disney allowing it to be too radical, at best the filmmakers might manage to sneak some aspects of it in to be picked up by those looking close enough. Who knows, maybe that was what the creators of Tron Legacy did.
It was definitely intentional! Critiques of the egoism and power of Silicon Valley tech moguls like Steve Jobs, Bill Gates, and Mark Zuckerberg easily predate the release of Tron: Legacy in 2010. By 2010, Steve Jobs already had a reputation as a narcissistic, manipulative, and even abusive CEO that existed alongside hero worship of his genius and success. The movie The Social Network, which portrays Mark Zuckerberg as an arrogant misogynistic asshole, was released the same year as Tron: Legacy!
Kevin Flynn’s interest in meditation, Zen Buddhism, the I Ching, and the game Go are ripped straight from the real life Orientalism and New Age spirituality of Silicon Valley entrepreneurs who came to prominence in the 1970s at the height of the New Age movement and right after the hippie counterculture of the 1960s which popularized pop culture versions of Eastern philosophies. For example, Steve Jobs famously converted to Buddhism after a trip to India. There’s also a clear connection between Apple’s sleek, shiny, and minimalist vision of technology and the aesthetic of Tron: Legacy’s futuristic Grid.
The hubristic “tech guru” or “tech bro” was already in the social consciousness by 2010, even if names like Elon Musk and Jeff Bezos weren’t yet as controversial as they are today. Emerging from the countercultures of the 60s and 70s, early Silicon Valley entrepreneurs mythologized themselves as antiestablishment figures who would use technology to revolutionize and improve all sectors of society, but became dictatorial CEOs who pursued profit at any cost. Similarly, Kevin Flynn believed in "a digital frontier to reshape the human condition,” but his obsession with perfection (aka control) was physically manifested as his alter ego Clu.
This is a really interesting conversation! And I honestly think there are threads of this that stretch back to the original 1982 film as well. Perhaps in some part, at least.
I always think about the invocation spoken by the tower guardian Dumont, that Tron and Yori bow their heads to as if in prayer. "All that is visible must grow beyond itself, and extend into the realm of the invisible." That's taken directly from the I Ching.
The script writers were playing with those themes back then, even.
Hey everyone! I like don't really use this site. But I am doing something exciting and I want to talk about it!! I just finished a graphic novel. It's about a lesbian who tries to make sperm cells in a petri dish and it ruins her marriage. Here's some of my fav pages:
It's got catholic guilt (?). It's got animal experimentation. The ebook is only $5. You can pre-order the book it's gonna be released April 25th. Eventually I'll upload the whole thing on some webcomics aggregator site.
BUY THE BOOK HERE THIS IS THE LINK!!
Thank you Tumblr.
If you're curious what's happening behind the scenes, here's our amazing intro music composed by @eyrexyz (go check out her other work too!)
You may also know her from composing the intro and outro for @wanderersjournalpod
Thrilled to be able to share this recent commission for my good friend + amazing director of badass gay shit @lumoakes ✨
Always always always thinking of this quote from Dear Senthuran by Akwaeke Emezi
read my comic