Artifacts of the Internet Old: the digital dig

Part I of an as-yet undetermined series.

Further to my last post, Gretchen McCulloch’s book got me thinking about the history of my own experiences getting on the internet. I’ve been threatening for a while to do posts about the lexicon of Fandom Olds, but McCulloch’s book made me realize that for this era when the internet is new, the time at which you got on it is itself an artifact worth examining — worth, even, recording for the benefit of people who study these things.

When John Keats died in 1821, he wrote his own epitaph which his friends duly inscribed on his gravestone: Here lies one whose name was writ in water. It was a reference to his perception of the fame and immortality he had achieved in his short life. Ironically, of course, Keats’s name and work turned out to be far more durable than his perception: people thought enough of his poetry to canonize it, thought enough of his letters to save and collect them, thought enough of his life to write biographies of it, and 200 years later you can take a class at nearly any university covering Keats as a subject in himself, or together with his set, or as an indispensable part of a survey of the Romantic literary period.

But in our own era — with the rise of the internet and the informal writing we use to navigate it — our usernames are writ in ether, and that can be a bug or a feature depending on when we joined the online world.

McCulloch divides the internet generations by adoption rather than age. Old Internet People are the early adopters, the techies and people with specialist interests who used bulletin boards, Usenet, and listservs as their platforms when they joined the internet. Full (and Semi) Internet People joined a bit later, in the late 90s and early 2000s, using blogs, LiveJournal, MySpace, GeoCities, and the like to create their web presence. The teens and young adults joining the internet now don’t remember a time when there was no internet; their first platforms were Facebook, Twitter, and YouTube, or later Snapchat, Instagram, and WhatsApp.

The fact that new platforms (together with their new practical uses) are continually rising to replace the old ones means that there is a lot of digital archeology building up. Some of it can be dug — and some of it can’t.

My first job out of graduate school was a temporary gig as a library tech working in the manuscripts and special collections department of my alma mater. I was also working on a novel at the time, and I was aware that the emails and AIM chats I was exchanging with my friends about the project, not to mention the chapter files themselves, stored on a handful of 3 1/2-inch floppy disks that were maddeningly subject to random corruption, were less easy to archive than the 20th-century manuscripts and correspondence I was handling at work. I made a haphazard effort to print out a lot of these, sometimes cutting and pasting chats into Word documents, but I wasn’t very thorough, and I don’t know where that file is, and as I recall it is very thin compared to the virtual reams of communication that died with my defunct AOL and Earthlink accounts. (I should probably archive my Yahoo email account, now that I think about it; but I never think about it.)

I identify myself as one of the Full Internet People McCulloch describes, because I am by nature a late adopter of new technology and new platforms, delaying to join until a critical mass of my acquaintances have already done so. I wouldn’t have known online fandom existed, much less gone looking for it, if a graduate school friend hadn’t liked a series I recced to her well enough to find a listserv for it.

But the fact that what she found was a listserv, and the fact that most of the people I met there were early adopter types who were already versed in BBS and Usenet, already had their own websites, were getting into the brand-new craze of blogging (“Blog — it’s a web log! Geddit?”), means that everything I learned about the internet I learned from Old Internet People. I learned enough HTML to code my own GeoCities website, followed my online friends to LiveJournal and learned to use Photoshop so I could make icons, absorbed enough CSS to tinker with the theme I was using, and occasionally joined chats for multi-person discussions.

More than that, I was in continual engagement with people who were older than I was, both online and off. Most people my age were not participating in fandoms or hanging out in chatrooms; they were launching careers and starting families. If it seems weird now that one would be doing either one or the other, it was even weirder to the people I knew offline what I was doing. For my older friends — fellow members of my religious community, coworkers, friends’ parents — I was wasting vast tracts of time communicating with people that would never be proper friends, about things that were by definition ephemeral. I wrote half a million words of fanfiction when I could have been writing original work of my own.

Bearing battle scars from arguing my case against this offline disapproval, I find it incredibly odd now that the internet — and fandom with it — are ubiquitous in “real” life, as if these arguments had never happened at all. You can hear phrases like “spoiler alert!” on the radio or television, and nobody is confused. News isn’t just discussed on Twitter, it happens there. My mother is on Facebook.

It’s my lifetime — not the lifetime of my parents, and not the lifetime of young people now — that has seen the full effect of the internet as a new and massive accelerant of change. When I was a college freshman, you checked your email by going down the hall to a small room of terminals in your dorm, typed “vax1” into a command prompt on a green screen, then put in your username and password. When I was a graduate student four years later, webmail came in, and I finally had an email with an @ sign and domain name, and accessed it via a browser. Ten years later, when my brother started at the same school, my university had graduated to using a Gmail client, and he probably had built-in DSL, too.

It sounds like I’m singing the old song “when I was in school we walked uphill both ways, over broken glass!, etc.” — but that’s not what joining the internet was like then. We knew it was new. We knew it was an innovation. We built our mental ships to take those waves, and willingly charted the new reaches of online communication. And, maugre the opinions of my offline relations, my online friendships are the ones that have lasted longest: they were formed from the start to withstand physical separations and other vicissitudes that make intimacy hard in the modern era. Erica, my most longtime beta and the one who gave me McCulloch’s book, I met on that first listserv in 1998. (Or thereabouts; we didn’t really get close till after we’d both joined the LordPeter list, so the details are hazy.)

So if this were an episode of Time Team, consider this Trench 1 in my digital dig. We know what kind of site we’re on; next, we’ll see what kind of finds we get.

What’s a redemption arc, anyway?

…Something to talk about instead of the pandemic, that’s what.

Occasionally, in my fannish lurkage, I see things cross my ken that confuse me, because it seems like half the conversation is missing and I could have sworn it was common currency ten minutes ago.

Today’s case in point: “redemption arcs.” Should a character be given a redemption arc? goes the debate. What makes a good redemption arc? Why don’t people like them? Is there a point of no return for a character, after which no morally-solvent story redeems them?

And all this debate is being conducted as if nobody ever heard the term “woobie.” Maybe I should do a series on the Fandom Old Lexicon.

For those of you just tuning in, a “woobie” is a Bad Guy Character that gathers a contingent of fans who love them so much they’d like to hug and kiss and squeeze them and call them George. Such fans get defensive when the Woobie is criticized, either on behalf of the character or in response to implied criticism of themselves for liking the character so unreservedly.

It’s hard to predict what characters get “woobified” — sometimes fans light upon an otherwise uninspiring antagonist character and festoon them with personality quirks or backstories or leather pants, out of all recognition to the source. Sometimes, though, one sees characters that are practically written to be woobie-bait, and sure enough, they get the fan base that canon was trolling for.

It’s the woobie dynamic that is being addressed when people talk about “redemption arcs” nowadays, I think. Only in the current climate, we have to talk about it not only as if the adorers of antagonists are somehow painfully unaware that the character is Bad, but that the only way to justify liking them is if they redeem themselves by the end of the story, like it’s somehow Cheating if a character is liked by fans without that.

And look, I get it. The Woob is not my jam — or the conditions under which I will woobify a character are extremely narrow and idiosyncratic. I’ve been known to be critical of woobifying as well as the woobies that receive the treatment. But “redemption arc” means something much more technical to me than “way of justifying a woobie’s existence.”

A “redemption” “arc” is exactly that — a trajectory in the story (which all significant characters should have) that starts in one place and ends in another, forms an essential contribution to the story’s moral imperative, and takes place primarily in the arena of the character’s own psyche. Redemption is wrought by and within the character being redeemed. And the significance of this work is something that the author is crafting on purpose, for their ultimate aims for the story as a whole.

The response of other characters to the redeemed character’s trajectory is something else entirely. I’ve said before that we often talk like redemption is bestowed and grace is earned, when it really should be the other way around. Redemption is earned. Grace is bestowed. Which means the other characters rightfully have the option of not bestowing it. It all depends on what story you’re trying to tell.

Once when a reader talked to me of Barklay in near-woobifying terms, I thought to myself: “Oh dear.” Because on the one hand, yes! I did hope to achieve a character that exerts a compelling interest! And part of the point of Barklay is to portray what kind of work redemption really is — its pitfalls, its blindnesses, its backslidings, its threat to the person’s stable self-image. On the other hand, Barklay isn’t meant to be the central figure in Ryswyck — except, technically speaking, as a MacGuffin for the other characters’ arcs. As a character he’s just…someone the main characters find difficult to love and also can’t help loving; someone about whom they ask, Am I cheating the universe and myself if I give grace to him?

To me, personally, that’s the far more interesting question. And if a “redemption arc” were something arbitrarily bestowed, you could hardly even ask it. Which is why, paradoxically, my instinct is to let woobifying fans have their fun. No: you don’t have to justify being fannish about a Bad Guy by trying to anticipate a story arc in which they make up for all their badnesses and either are welcomed back into the fold or die covered in a hero’s glory. Unless that’s what floats your boat, of course. Give them leather pants by all means. Draw them glaring from under the fold of their cloak, with the tiger’s eye that knows nothing of repentance. Fly! Be freeee!

And now for my afternoon cup of calming tea.