A wonderfully fun book showing that the art of having a good time has not been lost.
An entertaining look at a vibrant, “interactive, interpretive, and immersive” pop-culture community.
There was a time when cosplay—dressing up in costumes based on characters from movies, TV shows, comic books, or video games—was seen as a marginal, geeky pastime. In the past couple decades, however, it has gone mainstream, turning into an avenue for enjoyment and escape for vast numbers of people. Liptak, a journalist and proud cosplayer, walks through the history, noting that Jules Verne once held a party where the guests could dress as a character from one of his novels. Modern cosplay began with the first Star Wars movie. Liptak was enthralled with the uniforms of the stormtroopers; when he wanted to make his own, he found out that many other people did, too. This was the beginning of the 501st Legion, the largest Star Wars cosplay group, with more than 15,000 members. The association conducts charity fundraisers and performs other good works, but most of the members like to compare tips to bring their costumes ever closer to the source material. Of course, the internet has allowed cosplay to flourish, and there is a remarkable number of conventions and gatherings around the world, celebrating everything from Star Trek to sexual role play. Liptak notes that the nature of cosplay events has changed in the past few years, with a higher turnover of characters and more anime heroes. The technology for making costumes has also changed, with 3-D printers adding a new dimension. The moviemaking studios were initially wary of cosplaying, pointing to the potential for copyright infringement, but they came to accept and embrace it (as long as it doesn’t affect their merchandise profits). Some cosplayers have turned their hobby into a business, but most just want to enjoy the ride. Liptak renders all of these community-building adventures with aplomb.
A wonderfully fun book showing that the art of having a good time has not been lost.Pub Date: June 28, 2022
ISBN: 978-1-5344-5582-5
Page Count: 288
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Jan. 23, 2022
Kirkus Reviews Issue: March 1, 2022
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A fierce, penetrating, and empowering call for change.
Artist and activist Vaid-Menon demonstrates how the normativity of the gender binary represses creativity and inflicts physical and emotional violence.
The author, whose parents emigrated from India, writes about how enforcement of the gender binary begins before birth and affects people in all stages of life, with people of color being especially vulnerable due to Western conceptions of gender as binary. Gender assignments create a narrative for how a person should behave, what they are allowed to like or wear, and how they express themself. Punishment of nonconformity leads to an inseparable link between gender and shame. Vaid-Menon challenges familiar arguments against gender nonconformity, breaking them down into four categories—dismissal, inconvenience, biology, and the slippery slope (fear of the consequences of acceptance). Headers in bold font create an accessible navigation experience from one analysis to the next. The prose maintains a conversational tone that feels as intimate and vulnerable as talking with a best friend. At the same time, the author's turns of phrase in moments of deep insight ring with precision and poetry. In one reflection, they write, “the most lethal part of the human body is not the fist; it is the eye. What people see and how people see it has everything to do with power.” While this short essay speaks honestly of pain and injustice, it concludes with encouragement and an invitation into a future that celebrates transformation.
A fierce, penetrating, and empowering call for change. (writing prompt) (Nonfiction. 14-adult)Pub Date: June 2, 2020
ISBN: 978-0-593-09465-5
Page Count: 64
Publisher: Penguin Workshop
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
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