Star Wars Consumer Movement ‘The Fandom Menace’ Gets 2nd Volume

"We Do Not Kneel" | EPIC RANT on STAR WARS, STAR TREK, DOCTOR WHO & MORE | The Fandom Menace

 

In what could be considered a consumer backlash of truly epic proportions, the Star Wars fan collective known as ‘The Fandom Menace’ became a beacon to those who wanted to pursue escapist entertainments without harassment, verbal assault, coercion or shame. The rise of the truly ‘toxic’ fan in community circles is what inspired The Fandom Menace, to pushback on that toxicity heralded by social justice minded activists. Those selfish, self-serving anti-social authoritarians want to control what Star Wars fans would see, how they would see it, how they should feel about it and what they were allowed to say about it.

 

Bleeding Fool contributor Itchy Bacca has done yeoman’s work promoting this fan movement, but much of the history of the fan movement was eventually documented and published by writer Stephen Walton in The Fandom Menace Volume One: A Fandom Betrayed, the first volume in a projected five-part series about a consumer backlash to privileged millionaires in Hollywood using escapist entertainments as a platform to espouse politically driven social propaganda. Volume One was the preface to an entire series, beginning with the events that took place in 2014 called #GamerGate, where videogame customers questioned the legitimacy of a gaming journalists after the revelation that some were trading sexual favors for favorable reviews. The reaction to this revelation was the game journalist community conspiring together to defame the identity of some gamers and labeling them ‘thirty-year-old racist white men who hated women in gaming’. This conspiracy promoted defamation of the customers by the gaming journalistic community was one of the first such efforts to protect the unethical behaviors prevalent in the entertainment industry.

 

 

The Fandom Menace Volume I – A Fandom Betrayed

 

Volume One showed by example how various news media was intentionally utilized to espouse misinformation and propaganda. This led to what has been widely referred to as #Comicsgate, where one of the tools employed by politically far-left radical extremists is Cancel Culture. This is when sociopolitical extremists identify a target who refuses to capitulate to their ideology and set to spread falsehoods with the intent of disabling their financial viability. Any persons, places of work or institutions that have contact with this intended target are harassed endlessly with false allegations unsupported by facts or evidence, with the sole intent of driving anyone involved into financial ruin, social ostracization and shame.

 

This tactic was employed by Comic Book professionals within the industry such as Mark Waid. Waid knowingly and willfully distributed blatant lies and misinformation about an U.S. Military Veteran and Comic Book creator, Richard C. Meyer. Due to Waid’s unrelenting interference, public shaming and active subversion, Meyer’s comic book printer dissolved a contract with Meyer to produce his book ‘Jawbreakers’. This example and many others show that the infection of ideology that had been victorious through media manipulation in #GamerGate, had found its way into the Comic Book Industry and to this day, continues to shame any Comic Book creator or medium that supports anyone who does not bow to this social terrorism.

 

Volume One covered the initial reactions to Disney Lucasfilm’s ‘Star Wars The Last Jedi’ under Lucasfilm CEO Kathleen Kennedy and Writer, Director Rian Johnson. This backlash would later be called, #TheFandomMenace. Wherein again, Mainstream and Access media would begin shaming and labeling the fan base of Star Wars as ’40-year-old racist white men who hate women.’ Volume One goes through the hiring requirements by Kennedy which were based on ideological agenda rather than creative ability. The company culture at Disney Lucasfilm was to shame the customer of the brand in the hopes of either indoctrinating or expelling this pre-existing decades old vibrant fandom.

 

Now comes…

 

 

The Fandom Menace Volume II – Rise of the Rebellion

 

By 2018, ideopolitical extremists had been repurposing long established, profitable science fiction franchises along with a majority of television and film as platforms to espouse propaganda.

 

Creatives began to force feed consumers with incompetent Ghostbusters, Star Wars, Star Trek and Doctor Who not because these chameleons of false virtue were trying something edgy and new, but because their fringe ideals and preferred extremist versions of racism and sexism was held as a higher priority than honoring the legacy and lore’s that had come before them. They have no attachment to it. No love for it.

 

They do not care about these properties, legacy’s, characters, legends, mythos that the Geeks and Nerds of decades past cherish as escapism from the mundane. The sole intent for these heartless propagandists is to use what these fandoms have adored most of their lives as a platform to espouse bigotry, segregation, division and hate.

 

They mock, use the Mainstream, Access Media to weave false narratives about these fandoms setting to shame them into obscurity from the very escapist entertainments, the very modern mythologies, the very bastions of inclusion that were once these Fandoms. Hollywood used their weight in the media in an attempt to bludgeon detractors into capitulation.

 

Across the either of disenfranchised fans came voices independently yet in unison, from WorldClassBullshitters, Midnight’s Edge, Nerdrotic to OverlordDVD. Those who have supported and adored these modern myths cried out against perversion of what they love. And the geeks, gamers, nerds and comicbook enthusiasts came together forming a new bastion of free thought and expression.

 

They became, The Fandom Menace. Help us get the word out. Volumes One and Two are now available on Indiegogo. Check out the campaign page here.

 

 

John Pallister

I'm all about having fun in geek culture, but keeping my family safe!

JUST KEEPING THE LIGHTS ON