It’s safe to say that Harry Potter blazed many paths. It brought life to a dying publishing industry, it launched the young adult and children’s genres into the mainstream, and it gave adults and children alike an outlet for their imaginations. But perhaps most importantly, it spawned one of the most important debates of our era: which Hogwarts house is best? (It’s Ravenclaw)
Being sorted into a Hogwarts house is both a serious privilege and a touchstone of identity for characters in the series and readers alike. Take the traditional Gryffindor pride shared by the Weasley clan, or Harry’s fear of ending up in Slytherin. As any Potter reader would know, this enthusiasm doesn’t just stay in the pages. If you haven’t deliberated seriously over which house you belong in, are you even a real fan?
Later young adult books have tried to capitalize on this notion of self-identification by means of community, but none of them have been as popular or long-lasting as the Hogwarts houses. For The Hunger Games, it’s a matter of choosing one’s district, which differ in terms of main exports and class distinctions. For Divergent, you choose one of five factions, each placing priority on a different personality trait. But being part of one of the four Hogwarts houses goes beyond these other choices. Choose your Hogwarts house, and you will be part of a lifelong community that shares your values and ambitions.
The introduction of Pottermore made this choice a reality, as readers could take an official online test that would sort them into their house. But wait—there’s more! Did you think that the customization of your wizard identity starts and ends with your Hogwarts house? Pottermore also offers the chance to get your wand (which, remember, chooses you), featuring different lengths, woods, and cores that vary in accordance with your personality. Then you can take the test to find your Patronus—your magical guardian, able to be summoned at will, representing you in animal form (good luck not getting a wild boar… not that it’s supposedly my Patronus or anything). Then, finally, head on over to Ilvermorny, the USA’s own wizarding academy, to be ceremonially sorted once more.
After taking all these tests, based on your favourite book series and developed by the brilliant J.K. Rowling herself, you may feel slighted by the results. Perhaps you’ve considered yourself a Ravenclaw your entire life and have now been declared a Hufflepuff. Maybe your Patronus ended up being a wild boar (I am, ahem, not speaking out of personal experience for either of these things). Don’t throw out your prized Ravenclaw scarf just yet—you may be curious to know what your sorting reveals about you.
A recent study using 132 Pottermore test-takers has shown that what house you prefer reflects your real personality. Those who choose Slytherin, for example, are more likely to exhibit narcissism, while those who prefer Ravenclaw display a higher need for cognition. Hufflepuffs are found to be more agreeable, and Gryffindors are the most extroverted. For this study, the chosen house aligned with the candidates’ inner selves more so than what the digital Sorting Hat said.
Unhappy with the results of your sorting test? Rest easy knowing that the house you belong in is the one you want the most. As Dumbledore said, “It is our choices, Harry, that show what we truly are, far more than our abilities.”
Spec in Song explores the use of the speculative in music, whether it be fantasy, sci-fi, horror, or beyond.
The content of Kyle Morton’s songs is just about as wide-ranging and eclectic as the musical styles he works into them. This makes sense considering that his main band, Typhoon, consists of eleven multi-instrumentalists; their work features acoustic and electric guitars, basses, violins, drums, ukuleles, banjos, and even a horn section. Yet somehow in this mess of moving parts, he manages to craft imaginative and intricate speculative worlds.
Morton is by no means a ‘speculative artist,’ however you might define it. His themes and stories are all grounded in real-world problems such as aging, relationships, and chronic illness—specifically Lyme disease, of which Morton is a sufferer.
However, as he addresses these ideas in his colourful soundscape, the imagery and plot he weaves place him among some of the greatest sci-fi and fantasy writers of our time.
In “100 Years,” from Typhoon’s third studio album, White Lighter, Morton paints a bleak and downright disturbing picture of a post-modern dystopia. After he (or his character) falls asleep under a tree and sleeps for 100 years, he wakes up to find the world changed. “I awoke in the future,” he says, and what a future it is.
“Entire cities of old folks’ homes / In every household a hospital bed for everyone / They laid me down and they stripped my clothes / They gave me a shirt that says / ‘I survived my own life.’”
Morton draws a painful link between society’s emphasis on survival over living and his own struggle with mortality. In doing so, he flings the listener into a different world. Yet this world is torn down just as quickly as it is created, giving way to introspection. “I told you / I told you / I have nothing left with which to hold you.”
Morton’s lyrics are an interesting blend of metaphor and hyperbole. Some are realistic, if overstated (like living for 100 years, even in sleep), but are combined with fantastical elements. What comes out of this mix is fantastically deep world-building, spiralling even out of a few short lines.
He continues this world-building on his solo studio album, What Will Destroy You, bringing a post-apocalyptic flavour to tracks such as “Survivalist Fantasy.” This is a song that explores his complicated relationship with intimacy in a sort of ‘last man on Earth’ scenario.
The scene is set by the lines: “The traffic lights are out and all the phones are dead / Don’t answer the door for anyone.” In a world with a zombie apocalypse obsession, these lines strike a cultural chord. At the same time, the lyrics aren’t intrinsically apocalyptic, and can bring to mind real world scenarios of riot and revolution.
“Before we lost the power I think the television said / Stay inside your homes wait for help to come / That must have been weeks ago / Now I’ve got this sinking feeling / You and I are the only ones.”
Again, we see world-building that takes familiar themes and alienates them so that they make more sense surrounded by the fantastical. Who hasn’t thought, when fighting with a partner or struggling to communicate with a loved one, that the world is coming to an end? Who hasn’t questioned the value of living when there doesn’t seem to be any life in their years?
Morton writes stories that are both close to home and entirely other-worldly, which makes for a complex lyrical experience. Being familiar and yet new, it’s definitely worth a stumble through one of his worlds.
I’m just going to say it: 2016 was a good year for anime. New titles like Re:Zero and Mob Psycho 100, and sequels such as Haikyuu and Assassination Classroom were everything that we could have asked for and more. Yes, there were a few disappointments (we’re looking at you, Kabaneri of the Iron Fortress), but 2017 offers restitution for every show that made you feel like you wasted your time putting it through the three-episode test. Big names like Attack on Titan and One Punch Man are putting out a second season, but there are other shows that deserve your attention too. They’re great. They’re fantastic. Trust me.
Welcome to the Ballroom – Premiere: July 2017
Welcome to the Ballroom (Japanese title: Ballroom e Youkoso) promises to be a powerhouse of its own. The show will be based on Tomo Takeuchi’s manga of the same name and will be produced by Production I.G. Their involvement with the show is the most promising evidence of its quality. I.G has been responsible for some of the best sports anime shows in recent memory, such as Kuroko no Basuke and Haikyuu. The studio’s best work comes into play in scenes requiring fluidity and attention to detail, both of which will be put to the test in the intense dance competitions that Welcome to the Ballroom promises to offer.
Legend of the Galactic Heroes – Premiere: TBA 2017
Although advertised as a remake of the 1988 original space opera, the forthcoming Legend of the Galactic Heroes is supposedly a new take on Yoshiki Tanaka’s lauded story. Legend of the Galactic Heroes has the reputation of a cult classic in the anime community. Though I have not seen the original and cannot speak from personal experience, many have called the show the absolute zenith of Japanese storytelling. Others can’t bear the animation style of the late 1980s, which has continued to be the show’s greatest obstacle in reaching viewers. However, just as hope faded away, in swooped the hero of the hour: Production I.G. Their mastery of dynamic action sequences will surely spread the renowned tale to a larger audience.
Berserk – Premiered: April 7th, 2017
Have you ever found yourself playing a fantasy RPG with a severely overpowered character? Has their total badassery and inability to die made you ponder how awesome a show based around them could be? If so, you’re in luck! Berserk is a fantasy juggernaut that takes place in the war-torn country of Midland. It is based on Kentaro Miura’s original manga, which plays out more like a collection of Hieronymus Bosch’s best works than a manga series. The one downside of the show is that Miura’s incredible attention to detail is lost on the 3D animation and cel shading used in the show’s production. Nonetheless, Berserk‘s story and character roster are reasons enough to give this show a chance. The 2017 season will be the second of the most recent series, the first season of which came out last year. Although the latest series does not provide viewers with the earlier portions of the story, anime-film adaptations of the manga’s prologue arc are available in a trilogy titled Berserk Golden Age. These movies are: The Egg of the King, The Battle for Doldrey, and The Advent.
Gintama Season 4 – Premiered: January 9th, 2017
We are talking indestructible wooden swords that are made from alien trees and dispense soy sauce. We are talking some of the most out-of-the-box penial humour ever. We are talking Gintama. I know that I said I’d be talking about anime that weren’t big name sequels, but I’m breaking the rules, and for good reason too. Gintama simply does not get the love that it deserves, at least not from Western audiences. Furthermore, good shonen anime have been few and far between recently. Bleach has been discontinued, Naruto Shippuden has ended, and One Piece also threatens to end prematurely as it approaches the most recent source material. Though Attack on Titan season two and Boruto: Next Generation are within our sights, some of us just need more shonen sooner. Gintama is the answer.
Yami Shibai Season 4 – Premiered: January 16th, 2017
Ever miss that creepy feeling of being watched just beyond your field of vision? Then Yami Shibai is the anime for you. However, calling Yami Shibai an anime the same way you might call Sword Art Online an anime is odd, as its production bears no resemblance to the glossy, computer-generated animation of today’s market. Yami Shibai is an anthology of Japan’s most spine-tingling folk-stories, and boy, does it tingle some spines. What this show offers is freshness, especially as Hollywood’s adventures into the horror genre have been lackluster and repetitive in recent years. So throw on the show, pop some popcorn, and break out the vacuum for the eventual jump-scare spillage.
Code Geass: Lelouch of the Resurrection – Premiere: TBA 2017
Who was asking for this? Code Geass: Lelouch of the Rebellion had the perfect ending, which I will not be spoiling for those who haven’t seen Code Geass and most likely live in a cave somewhere. Many have considered the two-season series as one of the greatest anime of all time and an effective gateway show into the vast medium. Although it does not currently have a concrete release date, Code Geass: Lelouch of the Resurrection has been promised as a 2017 release. Sunrise Incorporated will be returning to produce another (hopefully great) season of this classic.
Black Clover – Premiered: May 2nd, 2017
If last year’s Boku no Hero Academia and Shokugeki no Soma: Ni no Sara weren’t enough to whet your appetite, then Black Clover is an event to look forward to. With the stampede of incoming sequels and the hype surrounding Boruto: Next Generation, Black Clover simply isn’t receiving the recognition that an original shonen deserves. The story follows Asta, a boy born into a fantastical world of magic lacking any form of magical power. He chases his dreams of being the Wizard King nonetheless, and if that isn’t the premise for a great shonen saga then I don’t know what is. The potential of this anime is heightened by Studio Pierrot’s involvement, the animation giant that brought us crowd favourites like Naruto, Bleach, and Tokyo Ghoul.
Ever felt excluded from the high brow poetry slam crowd in your hip local coffee shops? The Spectatorial & UC Gargoyle team up to present Cringe Fest, a FUN-draising event for all, as we celebrate the trials and tribulations you faced in becoming the artists you are today.
We invite you to dredge up your most embarrassing past writing: your angsty break-up poetry, your deep teenage thoughts, your fan-fiction starring you and Harry Potter, and share it in front of a bunch of people who have definitely also been there.
We will also have baked goods, juiceboxes, and other cool stuff for sale as part of fundraising for The Spectatorial’s next issue. More details to come. Bring us the change buried in your sofa!
Please send us a message on our Facebook page or email us at email@example.com in order to get a spot on the list of readers for the night.
When: Friday, March 24, 7-10PM
Where: University College’s Junior Common Room
Admission will be PWYC (no one turned away!!). If you give $2 or more, you’ll be entered in a raffle to win free books, goodies, and other fun prizes!
Do you want to be on The Spectatorial‘s staff next year? Do you want to make a difference in our constitution? Then this is your chance!
Come join The Spectatorial for our Annual General Meeting and Election Information night!
Date: Friday, March 10
Place: Hart House South Sitting Room
At the AGM, we will read through our current constitution and vote on any amendments and/or additions. This is YOUR chance to get your voice heard and directly impact the future shape, structure, and operations of The Spectatorial!
The Elections Information Meeting will cover all the information you need to know in order to apply for a position for The Spec‘s 2017-18 staff. What are contributors’ points? How do I get them? How do I make my application stand out from the rest? Our current editorial staff will be in attendance to answer all these questions and more!
This meeting is STRONGLY recommended for all members interested in being on staff next year. This is your chance to shape U of T’s only genre journal in 2017-18.
Note: This event is wheelchair accessible. If you have any concerns regarding accessibility, please don’t hesitate to contact us at firstname.lastname@example.org.
Killjoys and Firefly entered my repository of favourite TV shows in much the same manner. In both cases, I saw a few posters and heard snippets of plot. Judging from this incontrovertible evidence, I dismissed both shows—who had ever heard of a space cowboy anyway?
In both cases, however, I ended up grudgingly watching a mid-season episode at the behest of family members. I immediately realized the error of my ways, and feverishly watched the entirety of the first season.
Though I greatly enjoyed Killjoys, I couldn’t help noticing that my introduction to the series was not the only thing tying it to Firefly. Airing just over a decade after the unfortunate demise of the Joss Whedon classic, Killjoys shares many of Firefly’s characteristics. The premises are generally convergent—both follow a small cast of mercenary characters who take on any and all jobs (provided they’re paid well), up to and including smuggling bobble head geisha dolls.
Both also make use of a space western vibe, featuring settings such as arid locales, small run-down bars that have hints of futuristic technology, and rural communities on backwater worlds. They have a similar political dynamic—a large interplanetary government oppresses and mistreats its rebellious citizens and colonists (The Company and The Alliance).
The Company, Killjoys
The Alliance, Firefly
There is also a marked economic dichotomy between the citizens of rich, central worlds and the pioneer-like border worlds where the crew spends most of their time. With a few exceptions, both shows feature a very similar cast of characters. Because Killjoys has a smaller central cast, some its characters encapsulate more than one of the roles taken up by characters from Firefly.
There’s the unorthodox gunslinger captain with a traumatic past (Dutch and Mal).
The loveable mechanic who can fix most anything (Johnny and Kaylee).
The less intellectually-endowed soldier type (D’avin and Jayne).
There’s a character who has been neurologically altered by a shadowy government agency to be a nearly invincible killing machine when cued (D’avin and River).
The humanized sex worker (N’oa and Inara).
The devout priest who’s more than he seems (Alvis and Book).
Shepherd Book, Firefly
There’s the doctor who gave up a cushy life on a rich world (Pawter and Simon).
The female action hero (Dutch and Zoe).
And lastly there’s the covert assassin who likes stabbing people and is a little bit weird (Khylen and Early).
Even some of the episode plots are congruent. This is especially remarkable because there were only fourteen Firefly episodes and Killjoys’s first season contained only ten episodes. Both feature episodes where the heroes are hired to protect a pregnant woman and her companions, who are looked upon unfavourably by their respective societies (a safe house of surrogates in Killjoys and a group of sex workers in Firefly). These companions turn out to be more capable of handling their own defense than either crew anticipated.
Episode: “Vessel,” Killjoys
Episode: “Heart of Gold,” Firefly
There’s also the episode wherein the crew attempts a salvage mission on what appears to be an empty transport, only to encounter a gruesome surprise (“A Glitch in the System” and “Bushwhacked”).
Episode: “A Glitch in the System,” Killjoys
Episode: “Bushwhacked,” Firefly
However, Killjoys and Firefly differ in one rather important aspect. Firefly was cancelled after less than a season, spawning a legion of disaffected fans. Killjoys, on the other hand, has been renewed for a second season. Both shows did not garner very impressive viewership numbers in their first seasons—Firefly, in fact, had a larger average audience by a significant margin. Given the shows’ multitude of similarities, the obvious question is, why has Killjoys been more successful?
The channels on which the series aired may have something to do with it. Firefly aired on the more mainstream Fox, while Killjoys plays on sci-fi specialist Space, which would (you’d assume) be mainly the domain of viewers who enjoy series such as Killjoys. Further, since Space does not depend on ads for revenue, lower viewership numbers are less of a problem. However, I think there are deeper reasons for the difference in success. Despite their similarities, Firefly and Killjoys differ in tone and in the relative importance of their characters to the world they inhabit.
Though the main cast of Killjoys is often shown as being at the mercy of the higher ups of both their own bounty hunter organization, the Reclamation Agency Coalition (RAC), and the ominous anonymity of the Company, they also often wield a surprising amount of power. Dutch is easily able to negotiate a cancellation of the Company’s kill warrant for D’avin; she is also cleared of a number of charges on multiple occasions by both superiors at the RAC and a member of the Nine (the conglomerate of families which rule the central world, Q’resh) with whom she is in frequent contact. Dutch (and later D’avin) are also later marked out for a special RAC program involving human enhancement techniques.
The crew of Firefly’s Serenity, by comparison, were called “a bunch of nobodies” who are “squashed by policy” by managers at Fox. This was intentional—using the US’s civil war as a model, Joss Whedon constructed the crew to be a relic of a vast galactic civil war, wherein the Browncoats (synonymous with the grey uniformed Southerners of the American Civil War) were routed by the Alliance. This arrangement allowed the show to examine the psychological effects of the end of such a war upon the members of the losing side, and their subsequent search for new lives in their changed world. Given their defeated status, the cast has very little political pull (the latter events of the movie Serenity aside); the plot frequently revolves around the crew slipping through Alliance patrols, with the understanding that capture would lead to inescapable imprisonment.
The economic and legal status of the crews in both series are also at odds—every main character in Firefly (with the possible exception of Inara) is either dead-broke or wanted (as well as broke). The crew of the Serenity are also acknowledged criminals. Though they take on some legal employment, the vast majority of their jobs involve illegal activity. The threat of bankruptcy grounding the Serenity is constant (the fact that one episode is entitled “Out of Gas” is rather telling).
The Killjoys, in contrast, though complicit in some illegal activity, are legal employees of the RAC. According to Johnny and Dutch, Killjoys are paid quite well, and have relatively comfortable lifestyles when compared to the average citizen of the Quad.
These differences also manifest in the shows’ tones and central problems. Killjoys is generally a light, sci-fi action show. Though most episodes are loosely centered around a particular warrant, Dutch’s relationship to powerful and shadowy forces that are seeking to control the Quad underlies many of the events of the series. Dutch and her crew are involved in important events that alter the future of the entire system (e.g. the assassination of one of the Nine families and the bombing of Oldtown) and are presumed to play an important role in the political future of the Quad.
Firefly, though frequently comedic, has a darker tone (this was, if you’re wondering, also something Fox had a problem with—the network pressured Joss Whedon to make Mal “more jolly”). The crew’s main problems are related to money and/or personal, small-scale problems. Though Mal and company can be said to have altered the future of their galaxy in the Serenity movie, their potential for causing radical change is non-existent—the Alliance’s control is absolute—and they are generally uninvolved with larger political issues.
Overall, these differences are responsible for the success of Killjoys and the cancellation of Firefly. At least in the boardroom, Killjoys is a less risky, more mainstream type of show. Though it occasionally deals with contemporary issues (e.g. environmental damage and drug use), it is generally filled with mindless action, predictable plot sequences, and idealized characters who have secretly been groomed for a leadership role. Firefly deviated from this traditional structure to focus on unusual content (rebels who lost their cause and have no ability to nor intention of renewing the fight). Everything that made it one the best television shows of all time—everyday problems and ordinary characters who lack the predestination common in many speculative shows—made it unpalatable to the Fox brass.
In the realm of inferior movies there is a special category reserved for movies that are unsatisfactory despite their captivating and deceptively convincing trailers. Passengers is a new addition to this category, for despite its adrenaline-filled trailers that bombarded TV screens several weeks before its release, it leaves its audience with a bitter aftertaste that makes one think, “I could’ve written a much better space-romance than that.”
As the space-romance begins, the viewer finds themselves instantly thrown into a tumultuous story aboard the starship “Avalon,” which is flying through space on autopilot, navigating cosmic debris and asteroids. It is one of these asteroids that breaks through the defensive shield causing the ship to “rock”—already a rather unconvincing plot detail considering that the ship seems to have flown seamlessly for 30 years—and wakes Jim Preston from his hibernation pod.
Considering this is yet another space movie featuring Chris Pratt, one might expect him to be somewhat akin to Star Lord from Guardians of the Galaxy: clever, quirky, quick on his feet. However, when creating Preston’s character, it is as though the producers forgot all these things, resulting in him being, conveniently, an engineer that lacks a personality. His role does not go far beyond attempting to break open the door to the command center and to ultimately assume roles as a welder, botanist, jeweller, and stereotypical I-will-save-the-world hero. The only backstory he receives is that he could barely afford the ticket, but decided to leave Earth in an attempt to start a new life.
After Preston struggles over the course of a year with being alone on the ship and even contemplating suicide, the movie comes to what is the biggest and most problematic aspect of the movie: Jennifer Lawrence’s character, Aurora Lane. It isn’t so much the fact that Aurora is, like Preston, a monochrome character, or the fact that she’s yet another example of a writer who writes to achieve fame (and also happens to be from New York, and have a rich and well-known writer for a father). The problem is more in the way in which she appears in the plot.
This is where the biggest source of anger and disappointment lies. The trailers present Passengers as a romantic story of two people who happened to wake up together and find themselves trying to save the spaceship, and in doing so, fall in love. In reality however, it is Preston who “wakes up” Aurora Lane by meddling with her hibernation pod.
Preston’s explanation for this is the inability to cope with his loneliness—his only other constant companion being the robot bartender Arthur—and despite how horrible his actions are, one can understand the motivation behind them. However, the way in which he specifically “chooses” Aurora—by accidentally coming across her pod, finding her attractive, looking up an interview with her and declaring that she is the woman of his dreams—raises eyebrows and exasperates.
This development overshadows the rest of the movie, and drastically changes the atmosphere. The viewer is put in the position of judging Preston’s decision. We’re left wondering when he’ll tell her, and then choosing sides when the truth comes out, and ultimately imposing a “final verdict” depending on which character’s side they choose.
However, even the morality issues of the movie are overshadowed by the scientific inaccuracies, despite the absolute frequency of the moral dilemmas. It is a movie that exasperates not only those of science and engineering backgrounds but even general viewers having some knowledge in the field. Examples, such as flying past a burning planet, catch the eye of an audience who know that in real life the ship would be pulled towards the planet by its force of gravity.
Other glaring errors in logic are difficult to forgive even in a sci-fi fantasy movie: scenes such as Aurora floating in a water bubble and not drowning, or Preston surviving a massive flame without even minor damage to his space suit. It goes without saying that some semblance of scientific law and common sense is appreciated. For this reason, scenes like the ending lose their sentimental touch, instead provoking a stream of questions like “wait, what is that tree growing on? And how are all these animals surviving?”
The one positive of this movie, which can also be interpreted as a negative by some, is how easily it opens up the debate on morals and what constitutes romance (although the faulty science still looms in the background as another big topic of discussion). While Preston is easily criticisable for his decision to awaken Aurora, one can counter by saying that she got the adventure she was hoping for, a bigger one than spending a 240 days in hibernation flying to a space colony. The way the viewer interprets the movie is a demonstration of their thought processes.
The movie is viewed differently by different age groups. Teenagers and young adults might see it as a destruction of dreams and the snatching away of possibilities, similar to the way in which Aurora often accused Preston of doing so. Some adults, however, will argue that it is a movie that counters the ‘dream big’, ‘dream without limits’ ideology by showing that not all people can have their dreams fulfilled; a fact that is very much a part of reality and that which is still reluctantly acknowledged by the entertainment industry.
What I got out of this movie is that capitalism is scary, business comes first and foremost, and that if I were in the movie I wouldn’t get onto the Avalon even if they paid me. (Also that writers aren’t always weak and can actually swing sledgehammers or beat-up the jerks that ruin their lives.) Other than that, Passengers was a source of disappointment and emotional discomfort, with a bland storyline, shallow characters, a “romance” that is neither believable nor right, and an ending that makes one reach for a pen and paper and yell “I can do better!”