The Current Summer 2022 Issue

SUMMER 2022

221 W. Saginaw St., Lansing, MI 48933 Phone: 517.203.0123 Fax: 517.203.3334 Publisher Tiffany Dowling Account Managers Megan Fleming Liz Reno-Hayes Melissa DeMott Senior Editor Kate Birdsall Graphic Designer Grace Houdek Content Manager Lacie Kunselman Project Coordinator C Rose Widmann Writers Katie Denzin, Julita Fenneuff, Molly Maczik, Sarah Munson, Jenna Piotrowicz, Alex Swanson Editors Claire Bahorski, Oliviah Brown, Bianca Bucholtz, Phoenix Grubbs, Amanda Kiefer, Harrison Nelson, Gabriel Sandoval, David Seddon

A LETTER FROM THE EDITOR

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Pandemic Pets: Rumors vs. Reality

The Truth behind True Crime

Are pandemic pets being returned to shelters as people return to work post-pandemic?

When Entertainment and Ethics Clash

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Barbies, Bratz and (Unrealistic) Beauty Standards

Splashes of Color

The Evolution of Fitness

The gym is a place that people either hate or love; there is not much of an in between

The Current has come a long way. That’s not something to gloss over. But after two years, it’s time to move forward. Instead of focusing on the changes that got us here, we want to look at who we are now—and may I just say, who we are now is pretty great.

Doll companies have been setting the standard for young girls for decades. Where does that leave us today?

Exploring How Public Art Transforms The Lansing Area

Each of us here at The Current is an individual full of exciting ideas. From in-depth discussions on modern feminism or mental health issues, to rants about overdone nostalgic marketing or the latest problematic movies and TV shows, our meetings discussing article ideas are never short of creative topics we want to write about for you.

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By Bianca Bucholtz Dear Reader, Welcome back to The Current! We hope you are enjoying summer vacation! Before you take a look at what’s inside this issue, we want to remind you why we’re here.

Over the last two years, we shared with you our difficulties working as a student-run magazine produced as a class when classes weren’t really a thing. We talked about how hard it was getting interviews, taking photos and designing layouts, all over the wonderful platform of Zoom. And we opened up about the emotional toll it’s taken on us as we juggle trying to discover who we are and what we want to do as individuals while also managing class, jobs and the chaos of modern existence.

And that’s exactly what makes this issue—and The Current in general—so great. When given the time and space to collaborate with others and discuss what we find interesting or relatable, we hone in on what our audience will find interesting or relatable. And with the resources to develop our skills as writers, editors and designers, we are able to create something we are all proud of.

So wherever you are this summer, whether you’re out on a beach with a cocktail in hand or on your couch catching up on your favorite TV show, we invite you to explore our issue, seeing what inspires us and reminds us of why we’re here.

Thanks for reading. We hope this issue brings you the same joy we experienced while making it.

Keep looking forward.

Bianca Bucholtz

ADVERTISING INFORMATION Call 517.203.3333 Interested in supporting this publication through advertising?

Bianca Bucholtz is a senior studying professional and public writing with a minor in gender and women’s studies. She is currently working as the co-editing director at VIM Magazine. In her freetime, she enjoys spending time with her family and friends, watching movies/TV shows and baking.

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Give us a call at 517.203.3333 or email at mary@m3group.biz The Current is published seasonally by M3 Group, Lansing, MI. All rights reserved. © 2022 M3 Group No part of this magazine may be reproduced whole or in part without the expressed consent of the publisher.

How has online school affected us?

Feminism Is Finding Solid Bringing arts into STEM The arts have value, and they Ground In Gaming Calling in, instead of calling out, is changing the gaming industry

are as important to study as STEM subjects.

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Looking Forward to the Greenlight For Carless Cities

Many people are unaware of what the Body Mass Index was really invented for

Online classes are a topic of strong debate for students

Is the Future of Music Virtual?

Are vocaloids just another trend, or are they setting the standard for the music of the future?

Hey! I’m Walkin’ Here!

The Truth about BMI

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The Fear of Creativity in Hollywood Reboots, Remakes, Revivals and Franchises Explained

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Feeling invalidated In One’s Own Mental Health Mental health has been talked about more than ever, but many still feel invalidated

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PANDEMIC PETS: RUMORS VS. REALITY Are pandemic pets being returned to shelters as people return to work post-pandemic?

By Alexandra Swanson During the early COVID-19 quarantine, many people spent time with their families while back home, others picked up new hobbies or skills. In addition to hobbies, some people picked up a new furry friend or two.

pets long-term. Other tweets claimed pets were being returned because owners selfishly did not want to deal with animals after they fulfilled their purpose of entertaining them during the stay-at-home order.

Reasons for adoption varied from wanting a new family member to staving off boredom or needing a companion while quarantining. Regardless, pet adoption rates soared around the United States until many shelters were empty, as Rachel Huculak reported in The Current’s Fall 2021issue.

It’s easy for rumors like these to spread since so many people love animals. The idea of someone abandoning a pet after it became attached to its new owner is a cruel one and only encouraged the spread of these rumors.

Online magazines focusing on general news and life-oriented articles, like Evie and The Hill, published pieces on how pets were being returned, citing the previously-stated reasons of financial and lifestyle changes for the returns.

But as quarantine came to an end and people returned to a more normal lifestyle, word spread on social media that adopted pets were returned to their shelters when stay-at-home orders were lifted. They said these returned pets mainly consisted of dogs, who need more attentive care—like walks and bathroom outings—than cats or other pets.

Some Twitter users claimed pets were being returned for financial reasons like the owners not having enough money to take care of 04 SUMMER 2022

“People are going back to work, they’re traveling. People aren’t just lonely anymore, so the dogs are not necessarily fitting into their lifestyles, and they are returning them instead of trying to make adjustments to keep their dog,” executive director of Moms and Mutts Colorado Rescue Aron Jones told Paula Gallagher for Evie. According to the rest of the Evie article titled “Pandemic Pets Are Being Returned To Animal Shelters As The World Opens Up,” these rumors seem to have truth to them at first glance.

While articles and tweets about pet returns circulated online, pushback arose against these rumors. Articles from reputable sites like The American Society for the Prevention

“As quarantine came to an end and people returned to a more normal lifestyle, word began to spread on social media of these adopted pets being returned to the shelters they were adopted from.”

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of Cruelty to Animals and The New York Times posed the opposite claim, saying pets were not being returned en masse.

Some pets were being returned—it is inevitable some adopted pets will be returned to shelters.

The difference in this case is that pet returns were back to the standard, pre-pandemic rate.

groups say that, in fact, dogs adopted during the pandemic are largely remaining in their new homes, and shelters nationwide have not reported alarming increases in adopted pets being abandoned now that workplaces and schools are reopening.” This supports the case that things are normal, and pets are mostly remaining in their new homes.

According to journalist Michael Levenson at The New York Times, “national animal welfare

Julie Hill, the community outreach manager at Ingham County Animal Control & Shelter

in Lansing, Michigan, explained how the pandemic affected the shelter. Hill said adoption numbers were understandably down while the shelter and its outreach locations in Petco and Pet Supplies Plus were closed to the public.

Now, the adoption numbers are strong, and the shelter implemented new protocols to reduce animal stress. Called Fear Free, this new system provides cats and dogs with daily enrichment and playtime, and dog wards are closed off to the public to cut down on stressful shelter traffic.

“Being closed for a while was challenging, but a good thing came from it.” Hill said.

As far as pet returns, Hill agreed they are always going to happen, and the Ingham County shelter is seeing the same amount as usual. Pets are returned to shelters for a number of different reasons. Even with thorough research and preparation, some owners and their environment aren’t compatible with the adopted pet.

dog or cat the best life, they are returned to the shelter to find a different home.”

Misconceptions about pet return do more harm than good. Hill said, “It’s harmful when there are misconceptions about a return. Sometimes animals are returned for behavioral or training concerns. No animal is perfect and will need a little bit of work when adopted, and we have resources to help adopters along the way.”

Returning animals to their shelter is sometimes unpreventable. As Hill said, “with increased adoption numbers comes an increase in the average number of animals that are returned.”

While animal lovers may hate to hear of any pet being sent to a shelter, every owner has a different reason for doing so. Rather than criticizing those who had to return a pet, be

critical of the misinformation shared online and on social media.

Alexandra Swanson is a fourth-year undergraduate student double-majoring in Arts and Humanities and professional and public writing. She currently works at The Cube, hoping to be a successful writer or copyeditor in the future. In her spare time, she draws, plays video games and works on honing her writing skills through self-produced novels.

Some shelters keep animal behaviorists on staff, a concept the Ingham County shelter adopted this year.

“We have a behaviorist who is happy to chat about any behavior concerns adopters have and how to help. Currently, we also have a free dog training session with each dog adoption to help these new pet parents get started with training basics,” Hill said.

“Some people just don’t want to put in the work, take advantage of these resources and end up returning the pets instead, though.”

“Animals are returned to the shelter for a number of reasons,” Hill said, “but it’s typically because once they get home with their new companion and settle into everyday life, they realize they might not be the best fit for the animal. In the interest of giving that

“Being closed for a while was challenging, but a good thing came from it.”

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THE TRUTH BEHIND TRUE CRIME

When Entertainment and Ethics Clash

By Sarah Munson

True crime’s presence in entertainment grows steadily. In May 2021, Parrot Analytics revealed it was the most in demand documentary sub-genre in America. True crime has expanded beyond documentaries and books—it’s spawned more than 200 podcasts and is a popular YouTube video category. With its novelty and reach, indulging in the genre is challenging to avoid, but it has come at a cost of fans’ morals.

Those who support true crime see it as an educational tool that can improve confidence and awareness, especially for women who listen.

“I believe it does help you learn that not everyone should be trusted,” said Ann Smith, a student at Michigan State University, whose name has been changed to maintain anonymity. “Some people aren’t taught not to enter strangers’ homes and things at a young age that could be helpful to them, like how drinks are spiked. I learned how to pay attention to my surroundings and what counts as sexual assault and harassment.”

While some feel it helps the viewer or listener learn survival tactics, others feel it can improve outlook and togetherness.

“I think it can sometimes bring a sense of gratitude for what one has,” said Madeline Parker, a student at MSU who requested the use of a different last name. “It offers me an escape from my common worries and struggles when I compare them to the awful situations others experience. Sending love and prayers to the victim and family is also common.”

Many feel this process can be invasive or unsettling for public viewing.

“I think that autopsies should maybe be released to the public if it includes pressing information,” Smith said. “If it includes a serial killer’s MO [modus operandi] that someone might recognize or if it mentions identifiable information about a Jane Doe. But honestly, they can release that without the entire autopsy.

Personally, I don’t want to read about or have

While it seems good-natured to many, the attitude of “at least that’s not me” is the main concern expressed by true crime’s opposers.

They fear it is blurring the line between empathetic curiosity and privacy invasion.

An inherent aspect of true crime is the need to uncover every detail, every possible clue and warning. This includes releasing autopsies.

Autopsy results are typically limited to the deceased’s next of kin, and third parties are not allowed to request access. True crime intercepts this rule through the medicolegal exception for courts investigating a suspicious death.

Photo by Sarah Munson 08 SUMMER 2022

Photo by Sarah Munson

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others read about how my mom’s face was pounded in. That’s just me, though.”

Others feel it provides necessary information that could be needed to help the viewer fully understand the information to help solve a case.

“I’m not sure on the history, but they’ve been public information well before the internet,” said Parker. “No matter the circumstance. In my opinion, it does more good than harm.”

While accessible autopsies have legal justification, the grieving family of a victim or

their killer is not obligated to consent to a true crime adaptation.

When Mindy Pendleton learned her slain stepson would be featured in an episode of “I Am a Killer,” a Netflix true crime docuseries, she was disgusted and pleaded with the producers to abandon the project, which she called inhumane.

In February 2019, she wrote in the beginning of her series of emails, “As a parent, a fellow human being, I beg you not to do this. PLEASE don’t do this!”

The April 2020 TIME article chronicling her story revealed that the docuseries went on to land a spot on the February 2019 “Netflix’s list of ‘Top 10’ most-watched shows of the day in America.”

This wouldn’t be the only case of the true crime genre on Netflix violating privacy. According to Ashton William’s thesis on the Ted Bundy biopic “Extremely Wicked, Shockingly Evil and Vile,” “there is no indication that any of the victims’ family members were consulted about the film’s use of their loved ones’ names and likenesses.”

Nonetheless, Box Office Mojo states that the biopic grossed $9.8 billion, and similar to “I Am a Killer,” the true crime genre earned praise and fortune from the stories of people who never asked for it to be shared.

Photo by Sarah Munson 10 SUMMER 2022

“[Creators] should not release personal information and should stay away from certain pictures like genitalia, facial damage, etc.,” Smith said. “For example, there’s no reason to go through their hobbies or bank statements if the crime is known to be random.

Also, there should be no victim blaming, such as making statements about what they should have done to avoid the crime.”

Victim blaming is a consequence of weakened empathy, and it’s becoming much more common. What was once material restricted to certified psychologists and criminologists has become accessible with just a few Facebook searches. Memorials to the deceased, these abandoned social media accounts are a breeding ground for defamation of the victim.

Confessions of a Killer,” there were implications he was the victim of an abusive marriage and was prompted to seek comfort from his caring mistress, Nicohl Kessinger. The defenseless Shanann Watts became the villain that terrorized her husband, a narrative that denied her loved ones of closure and forced them to see her reputation tarnished, at the expense of entertaining fans with the “two sides to every story” trope.

and even the families of their killers. Legal justifications don’t immediately equate to permission from those impacted.

A true crime story is more than the gore of a leaked autopsy report or suspenseful cinematography. There is a silenced victim, whether it be a mother, child or neighbor, unable to decide if that’s what they want for their legacy.

True crime is not supposed to be an outlet for passing judgements and flexing a basic knowledge of psychology. When indulging in the absurdity of true crime, it is important to remember that these stories are the harsh realities faced by victims, their families

Sarah Munson is a junior majoring in professional and public writing with a specific focus on technical writing. In her free time, she enjoys studying film, comedy and history, as well as drawing and designing.

Such defamation occurred alongside the Netflix documentary “American Murder: The Family Next Door,” which focuses on Chris Watts, who murdered his pregnant wife and two young daughters. The late Shanann Watts was a stay-at-home mother who expressed herself through her job as a social media representative for Le-vel, a pyramid scheme. Though her active Facebook presence implied an idyllic marriage, many were quick to point out signs of its downfall.

Parker suggested creators “make sure not to desensitize the case as much as possible and add personal details and characteristics of the victim, and also … include a tribute at the beginning.”

This commentary grew into a subreddit dedicated to Shanann Watts discourse.

Theories such as Shannan Watts suffering from narcissism or Munchausen syndrome by proxy and citations of testimonies from inlaws and her Facebook uploads overlapped her image as a betrayed wife.

Others feel there are certain topics that should be avoided when releasing true crime media.

Media coverage preyed on the accusations against her. In the film “Chris Watts:

Drawing by Sarah Munson THECURRENTMSU.COM 11

BARBIES, BRATZ AND (UNREALISTIC) BEAUTY STANDARDS Doll companies have been setting the standard for young girls for decades.

Where does that leave us today?

By Julita Fenneuff Growing up in America, there is one icon most girls are familiar with: a woman who seems to have it all, who is plastic, blonde and loves pink. Her name is Barbie.

To many girls, Barbie was exciting, new and pretty. She was everything young, easily impressionable girls growing up under impossible beauty standards wanted to be.

A lot of girls weren’t even close to being in the double-digits when they got their first Barbie, but they idolized her. They wanted to look just like her. That mindset has impacted generations.

However, Barbie wasn’t the only doll on the scene, with Bratz making their first appearance decades after Mattel had established dominance over the doll market.

Bratz were exciting, new and pretty too. But to some adults, Bratz were bad for kids. Many felt they were inappropriately dressed, wore too much makeup, or were just weirdly built.

They weren’t realistic-looking in the slightest.

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Something adults failed to note was that Bratz dolls were (and still are) no more unrealistic than Barbie. Yes, they have massive heads, eyes and lips. Their waists are the size of their necks. And they certainly aren’t wearing the girl-next-door outfits Barbie was wearing—they’re wearing crop tops and platforms. The scandal!

But consider Barbie, just for a moment. Her legs are more than twice the length of her torso. Her waist to hip ratio is off the charts, not to mention the fact that she has boobs.

Galia Slayen of the Huffington Post writes, “If Barbie were an actual woman, she would be 5’9” tall, have a 39” bust, an 18” waist, 33” hips and a size 3 shoe.” And oh yeah— Barbie is white.

Bratz aren’t realistic, but neither is Barbie.

Both have young girls looking in the mirror and asking, “why don’t I look like that?”

Adults know that the kids who play with Barbies and Bratz don’t look like their dolls

because Barbie is a young adult. But kids don’t know that. Kids get their first Barbie, and when they look at her, Barbie looks just realistic enough that they start to think of her as the standard. Then they start to think that maybe they should look like her too.

Bratz were just as damaging as Barbie, though their features made it slightly more obvious that the dolls were an exaggeration of a human body. Notably, Bratz expanded their dolls to be more than just a blonde white girl, and chose to utilize a more racially

“Bratz aren’t realistic, but neither is Barbie.

Both have young girls looking in the mirror and asking, ‘why don’t I look like that?’”

diverse group of girls. They also pushed the boundaries of what was stylistically acceptable for girls, making more of a fashion statement than Barbie. They are the girls with a passion for fashion, after all.

While Bratz finally started to allow young children of color to see themselves in their toys, they also had a hand in promoting the idea that girls should always be dressed to the nines and coated in makeup.

While Barbie tended to stick to light eyeshadow and lipstick, Bratz had vibrant eye makeup and shimmery lip gloss, not to

mention that many of their supermodel-esque outfits had some parents up in arms. So, while Bratz did begin to diversify the dollscape and design their dolls to be a little more obviously unrealistic, their outfits still had young girls begging their parents for sparkly lip gloss or cheetah print tank tops.

Barbies and Bratz may have done enough damage on a generation to write a book on—and there have been several studies done on the matter—but they share something else. According to Mattel and MGA, the owners of the Barbie and Bratz brands, respectively, and a board of jurors,

there are more than just a few similarities between the two dolls.

Barbie was put on the market in 1959, cornering the market on that style of doll, as no one had really seen a doll like Barbie before. Mattel kept their monopoly on the market for decades, until Bratz were released by MGA in 2001. Not only were Bratz an unlikely competitor for a doll that hadn’t had one for years, but they were there to make an impact. MGA sold $97 million worth of dolls their first year, and by 2003, their yearly sales went up to over a billion dollars.

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power to control the doll market and continue to influence young, impressionable girls. If one company was forced to stop producing dolls, the other would have an unmitigated influence on the girls who played with their dolls.

Without a competitor, a doll company could set whatever beauty standards they wanted among girls.

All that considered, Mattel’s next target was MGA in its entirety, who they claimed owed them a billion dollars and the complete rights to the Bratz design. They argued that the Bratz design was created by one of their workers.

To further drive their point home, Mattel also claimed that MGA had been actively participating in buying insider secrets and bribing their employees.

Suddenly, Mattel was scrambling, and they desperately needed a way to keep this unlikely competitor out of their way. Their solution came in the form of an anonymous letter tip, which informed Mattel that Carter Bryant, an ex-Mattel worker, had created the idea when he was still employed at Mattel.

He had signed an intellectual property agreement to cover the time he spent there, which stated that any of the ideas he came up with while he was working for Mattel belonged to them.

Mattel took Bryant to California state court in 2004. They couldn’t afford to have

“To this day, the war between Bratz and Barbies wages on.”

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competition, but they disguised this as disgust that Bryant had essentially sold trade secrets.

Bryant retaliated against the lawsuit with his own defense: he claimed the agreement he signed was so broad that it could not possibly be enforced, adding that he had come up with the idea on an eight-month break he had from working with Mattel. In Bryant’s opinion, the idea of Bratz was entirely his own.

Ultimately, the issue was settled out of court in 2008, with Bryant paying around two million dollars to Mattel—a mere 6.67% of the approximately $30 million he made while working for them. Now, Mattel had gotten the molehill out of the way, and it was time for the mountain.

Suing the creator of Bratz wasn’t enough to quench Mattel’s thirst for money and sales. This battle wasn’t just over dolls and trade secrets; it was over something much more insidious: the

Suddenly, Bryant was a victim in this situation, with MGA painted as the no-good, ideastealing, employee-bribing enemy. But this no-good, idea-stealing, employee-bribing enemy had their own complaints: MGA argued that Mattel had infringed upon their designs for the Bratz packaging and used it to sell their Barbies. The lawsuits were combined in 2008, and courtroom proceedings ensued.

Mattel reiterated their same defense, while MGA argued that Bratz would have been nothing without the hard work MGA had put into developing, designing, marketing, and selling the dolls. They argued that even if MGA had stolen the Bratz from Mattel, the Bratz themselves were nothing without the effort of MGA, and they were entitled to the success they claimed they had created.

The jury quickly came to a unanimous decision regarding MGA’s treachery, agreeing that Bratz owed its entire existence THECURRENTMSU.COM 15

to Mattel, and that MGA had both infringed upon Mattel’s copyright and had actively tried to bribe Bryant to betray Mattel. MGA was ordered to pay $100 million (a tenth of the billion dollars Mattel claimed belonged to them) and all rights to the Bratz were to go to Mattel, with the dolls being pulled off shelves.

In 2010, the court stated that even though the idea may have belonged to Mattel in the beginning, it was MGA’s investment into the Bratz brand that made the dolls what they are today. They said most of the jury verdict and damages award should be negated and the case should be retried.

Though Mattel won, MGA wasn’t bothered.

They did pull Bratz off the shelves, but only for a year, during which time they were filing appeals to the 9th Circuit Court of Appeals.

This was all MGA needed. Ahead of the retrial, they added onto their lawsuit the claims that Mattel had engaged in deception and fraud, and had partaken in the exact thing they

accused MGA of doing: lying and baiting MGA employees. All either company could do was hope the retrial went in their favor.

Finally, MGA got their first win. The jury found that not only did Mattel not have ample evidence to prove any theft of ideas, but they had in fact been engaging in shady behavior, specifically stealing trade secrets from MGA by using unfair business practices including using spies to do so. Mattel was ordered to pay over $309 million in damages to their rivals, and MGA was to keep all rights to the Bratz dolls. Despite the myriad of lawsuits and endless legal battles between the two, both companies are still alive and profiting.

To this day, the war between Bratz and Barbies wages on. At some point, the heart of the issue—stealing the idea for Bratz—was lost, and now the companies of the two dolls are in a constant battle that has nothing to do with dolls and everything to do with power and money.

Both sides are bitter and vengeful, continuously accusing the other of dirty business tactics and shady behavior. Mattel, rich and bitter, has used private investigators and spies against MGA on more than one occasion, something that has not escaped those still working for MGA. It’s a dirty fight, and at this point, it has nothing to do with the

“Bratz and Barbies are not only everywhere—they’re everything they shouldn’t be. They’re damaging to the self-esteem of little girls everywhere.”

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theft of intellectual property and everything to do with the desire to stay on top.

Through all the turmoil and legal troubles, the losers in this situation aren’t multi-million dollar corporations– they’re children. Bratz and Barbies are not only everywhere—they’re everything they shouldn’t be. They’re damaging to the self-esteem of little girls everywhere.

Selling sex appeal to children is something most people would deem immoral, but both Mattel and MGA continue to benefit from their doing so.

In looking at the paper trail left behind by multiple lawsuits, it’s clear that while yes, to some extent, these issues arise from theft of intellectual

property, they are furthered by greed for both money and power—money and power these companies want to use to make girls cripplingly insecure. And now, those kids are suffering from the unrealistic standards set by these dolls.

According to Mattel and MGA, there is one archetype for the perfect woman. Big eyes,

No little girl should want to look like a doll.

Every little girl should have the understanding that they aren’t going to look like the doll they’re given when they’re four years old, because no real person looks like that.

Barbies and Bratz were never created for kids; they were created for adults, evidenced by the fact that Mattel had already been sued by a different company in 1961 for copying the ideas of a German doll called Lilli which was created for adult men.

Lilli, the inspiration for Barbie, was straight out of a Playboy-esque comic strip, where she was treated as a sex object. She was created by men who wanted to sculpt what they thought was the ideal woman, which was then imitated by other toy creators who wanted to sell these ideas to kids— namely, Mattel.

Barbie was a direct rip-off of Lilli, which was noted by Lilli’s creators in their lawsuit against the former. The matter was ultimately settled out of court, with Mattel purchasing the rights to Lilli in 1964.

Barbie was created in Lilli’s image but marketed to little girls. Bratz took the sex appeal that made Barbie so unique and entrancing and channeled that into their own dolls, who may not look identical to Barbie the way Barbie looks identical to Lilli, but share the same features nonetheless.

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perfect lips, tiny waists, large breasts and larger-than-normal heads. She likes boys and makeup and shopping. She dresses in itty-bitty skirts and crop tops that no child should wear, but every girl who owns a doll wants to. Young girls don’t understand how unrealistically beautiful Barbie is. They think her makeup or her clothes make her pretty.

They don’t understand that she was created

to be a level of perfection that the average woman cannot obtain.

or Barbie vs Lilli, what matters is that these dolls are against young girls.

Reading about the dramatic, drawn-out lawsuits between MGA and Mattel and considering the similarities and differences between Bratz and Barbies is entertaining.

But in all of this, one thing to remember is that whether it’s Mattel vs MGA, Barbie vs Bratz

Kids are targeted with advertisements for these dolls, and they grow up playing with dolls whose beauty is just impossible. They need dolls that look like them—dolls that look human.

Bratz took one step in that direction by adding color to a world of completely whitewashed dolls, but that doesn’t change the fact that their dolls were just as unrealistic looking as Barbie.

Nowadays, there are Black Barbies, Brown Barbies, size-ten Barbies, Barbies in wheelchairs and Barbies who go to space.

MGA is in the process of putting Bratz back on the shelves after years, and hopefully they will follow a similar trend. The problem is, young girls needed these dolls decades ago. They needed them before their dolls encouraged a culture obsessed with weight, body image and perfection. Bratz and Barbies may both have been stolen from their competitors, but what they stole—the innocence and youth of little girls—is far more damning.

Julita Fenneuff is a senior majoring in professional and public writing with a minor in Spanish. She has a deep interest in pop culture and wants to make a change with her writing. In her spare time she enjoys reading, playing video games, and spending time with her pet bunny.

“Bratz and Barbies may both have been stolen from their competitors, but what they stole—the innocence and youth of little girls—is far more damning.”

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SPLASHES OF COLOR Exploring how public art transforms the Lansing area

By Katherine Denzin For many, stucco and plain white siding is decidedly boring in the modern neighborhood. Flat walls act as canvases for murals and are a unique opportunity for cities to convey culture, support local artists and cultivate community among its residents.

A quick bus ride through the East Lansing and the Greater Lansing area reveals plenty of colorful murals with unique origins and messages. Public art like murals doesn’t only add aesthetic value to a town but can also become an agent of change and conjure thought-provoking conversations.

“Cities become great hosts to murals because of the inherent intersections between sectors and social services, history, culture and more,” said Dustin Hunt, a prominent mural artist in the Lansing area and founder of Muralmatics, a company focused on creating murals and empowering student creativity.

“I think the best murals catch people’s attention and make them think, wonder and imagine—a challenging feat.”

Recently, public art in the form of murals has differentiated itself from street art. Murals have become a tool within a city for activism, inclusion and economic development, often promoted or sponsored by the city. In contrast, street art is usually unauthorized and impromptu, employing styles like graffiti and stenciling. Every city has different policies regarding the placement of public art, a distinction which shapes what types of murals are painted.

Murals have huge benefits for the residents of a city. Hunt hosts youth-centered projects that teach kids not only art but also perceptions of public art, pre-algebra concepts related to scaling and creative problem solving.

“As arts programming in schools and communities continues to dwindle, the need for high-quality, creative programming is more critical than ever,” Hunt said. “I equate youthcentered projects that are truly memorable and inspiring to planting seeds of hope.”

“They bring a piece of themselves, but it's often an interpretation of our community through their lens.”

- Heather Majano

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Public art funding and initiatives are becoming more and more scarce, and initiatives like Hunt’s help keep the arts alive as other programs get cut. The murals produced by Muralmatics provide the Lansing area with art education that teaches about the possibilities of conveying emotions and causes through large-scale pieces.

Beyond advocacy for art, murals contribute to communities through attraction and a way to manifest community values. Victor Ving and Lisa Beggs, collectively known as the Greetings Tour, are the artists behind the “Greetings from East Lansing” mural on Harrison Road. They collaborate with local artists and cities to create postcard style murals across the country, with their East Lansing installment completed in the summer of 2021.

For the Greetings Tour, local residents and artists are “able to add some local flair outside of the cliche imagery due to their extensive knowledge of the cities.”

Their project in particular demonstrates an important aspect of murals: the localization and economic factors associated with public art.

“Our murals also have an added element of helping local communities with increased tourism,” the couple said.

A painted woman is depicted surrounded by whimsical shapes and THECURRENTMSU.COM 21 scenes on the “hamster cage” parking garage on Albert Street.

Indeed, murals can help the vitality of communities. Cities like Philadelphia, often called the City of Murals or Mural Capital of the World, have used murals as an urban rebranding and attraction tactic. In areas where there is a large concentration of urban blight and graffiti, murals can help to revitalize an area and create a community solution. The “Greetings from East Lansing” mural operates similarly since it acts as a two dimensional attraction.

“It’s exciting to see people from all over coming to our community to see that mural,” said Heather Majano, the art festival & art initiatives coordinator for the City of East Lansing. “They want to see the other art that we have. Then they want to check out our local businesses and it gives a cool factor to the city.”

Community-created and maintained murals give people ownership of their community

and a place to express themselves, even after artists like the Greetings Tour have gone. The “Life is a Groovy Opportunity” mural located on the nicknamed Hamster Cage parking garage on Albert Street is another example of a community based mural project, this time in collaboration with Michigan State University’s Department of Art, Art History and Design.

The “Groovy Opportunities” mural is a 5-year installment with designs incorporated from various people and students.

“They bring a piece of themselves,” Majano said. “But it’s often an interpretation of our community through their lens.”

The uplifting mural depicts a large portrait of a woman, a few large fish and a bunch of small, animate shapes that, according to an article by arts & culture reporter Sarah Spohn

for East Lansing Information, are genderless and raceless to be more inclusive to those viewing the mural. All these murals contribute to the local community by attracting people to engage in community identity, whether the viewer is a resident or a visitor.

Murals are supposed to spark conversations, something upon which Hunt, Majano and the Greetings Tour all agree. Often, this conversation is about community values, but a lot of public art, especially murals and architecture, can be controversial.

There are examples in East Lansing that demonstrate how art can engage communities in conversations relating to aesthetics, authenticity and social movements.

The Broad Art Museum, with its stark, angular, modern design situated in the historic brickclad north neighborhood, garnered criticism

The “Groovy Opportunities” mural is a five year installment painted by members of the community including students and faculty at MSU.

and backlash when it was built. The Greetings Tour was fascinated by the controversial design of the museum.

“It’s a strong similarity to the reaction we get with a lot of our work, or public murals in general,” they said. But, even controversial art and design can become part of the overall landscape as did the Broad Museum on the Michigan State University campus; the museum is prominently featured in the Greetings Tour’s mural. Along the way, it prompted a discussion about what kind of architecture and vibe should be featured in the MSU landscape.

Katherine Denzin poses in front of the “Greetings from East Lansing” mural. The mural is meant to be a 2D attraction and simultaneously help with tourism and community identity.

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“We even had some resistance to the graffiti piece we originally painted over,” the Greetings Tour said. “However, we invited that local graffiti artist to come help us paint our mural and we even added a little hidden tribute back into the mural if you can find it!”

Indigenous Anishinaabe people are depicted on the “Greetings from East Lansing” mural painted by Victor Ving, Lisa Beggs and various community members.

Public art can be much more than murals and feel-good messages—many of the installations in the Lansing, East Lansing and Michigan State University areas reflect themes of social justice, diversity, politics and community.

The MSU Rock is an example of public art rooted in emotion and politics rather than board approval and private buildings. The defacing of the Rock dates back to the late 1960s and 1970s in protest to the Vietnam War, along with messages of romantic engagement since it was historically a place for couples to meet. It now serves as a

message board, memorial site and advocacy place for the students of MSU. The underside of nearby Farm Lane Bridge features ever changing graffiti that often reflects student sentiments, feelings and art in a contained yet unauthorized capacity.

In downtown Lansing, one of Dustin Hunt’s murals titled “Courage” has a deeper meaning connected to social justice.

“In 2021, I painted a mural of a dear friend, Santoria, inspired by conversations around racial injustice and global protests

“I think the best murals catch people's attention and make them think, wonder and imagine: a challenging feat.”

- Dustin Hunt THECURRENTMSU.COM 23

MSU’s Rock represents a message board and activism site, which portrays an art form that is distinctly different from sanctioned murals and other public art.

to police brutality,” Hunt said. “[It] was painted to honor and celebrate Black women alive and thriving.”

Murals and public art are most impactful and conversational when they involve social issues; that is where agents of change and recognition start. In the “Greetings from East Lansing” mural, the artists and the arts commission wanted to acknowledge the indigenous Anishinaabe people and so consulted the Nokomis Cultural Heritage Center. They also held a land acknowledgement ceremony before painting the mural. The Arts Commission for the City of East Lansing, the branch responsible for approving and commissioning designs, is turning their focus to representation with new pieces in development.

“You don’t have to be connected to the city whatsoever to know that you’re welcome and that you are safe,” said Majano regarding the commission’s new focus on diversity and inclusion.

The City of East Lansing is involved with the placement of murals in the area. In an article titled “Taming murals in the city: a foray into mural policies, practices, and regulation,” published in the International Journal of Cultural Policy, Eynat Mendelson-Shwartz and Nir Mualam discuss how different cities approach mural policies.

“There are cities that perceive murals as a localized and independent ad hoc phenomenon, while others integrate murals into broader urban or cultural strategies such as graffiti management policies or public

art master plans,” Medelson-Schwartz and Mualam said. East Lansing more closely resembles the second hypothetical option.

The city actively cultivates partnerships and collaborations when it comes to murals and public art, especially when new establishments and redevelopment occur.

As Majano explained, there is legislation within East Lansing that requires any new or redevelopments “to put a portion of their total budget towards art, up to $25,000, and they can either write a check to the public art fund or they can install art on their properties.” By her guess, about half of the businesses have chosen to install art on their buildings; the other half make a donation that contributes to the installation of murals and other public art elsewhere. Designs and locations of murals

In downtown Lansing, Dustin Hunt and Muralmatics painted a mural that focused on youth empowerment.

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are approved by the arts commission and arts selection panel made up of artists, former gallery owners, and others passionate about the arts.

Murals are essentially an agreement between the artists, private property owners, local governments and the public. This agreement is delicate, however, considering the different viewpoints of what a mural’s purpose is within a city. For many people, it is supposed to be a reflection of the local community, by and for the locality. For a lot of cities, murals are a way to control unauthorized art like graffiti.

The delicate balance between communities, artists, governments and private entities can be examined by looking at the mural on the Meijer Capital City Marketplace. Built in the fall of 2020, the building features a mural of fruits and vegetables situated on green rolling hills painted by a local

Lansing artist. The mural is beautiful and fitting for a grocery store, but it is different from the community initiatives and locally commissioned mural projects. A mural like this one is essentially an advertisement for Meijer, a non-local business. In this case, the community gained a beautiful mural painted by a local artist but may not have gained a true reflection of their community.

In other instances, policies and restrictions through cities can limit the impact and variety of public art. “I have encountered mindsets of committees responsible for selecting public art projects that favor more conservative, risk-avoidant, traditional proposals, which hinders creativity and limits those moments of inquiry and wonder,” said Hunt. Murals that reflect social movements or politics of the time are usually the ones that garner the most criticism. Especially for members of the

public and artists, murals and other public art installations are supposed to reflect the values of an area without particular concern for approval by committees.

Crack Art, a program in East Lansing recently cut due to lack of clarity and funding issues, allowed residents of East Lansing to submit art and create their own small-scale public art called crack art on public surfaces.

A program like this would allow an even greater amount of community involvement.

Since crack art is on a smaller scale, it is more accessible to everyone and not restricted to formal artists or planners. Ideas like crack art are small ways the public can make big differences on their built and lived environment while upholding the agreement by gaining approval to install art. The unfortunate discontinuance of the crack art program reveals the fragility of public art installation and the importance of advocacy and passion for art such as murals.

Public art is a delicate agreement between the viewers, the artists, the localities and private property owners involved in the design and placement. The Greater Lansing area is home to incredible murals created by amazing artists. Rooted in the values of the community and the causes of its activist causes, murals and interesting programs create a significant opportunity to expand art’s reach throughout the Lansing area.

Graffiti under the Farm Lane bridge is spontaneous and rooted in the current student atmosphere.

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Katherine Denzin is a sophomore majoring in history and statistics. She works as the assistant editor-in-chief of The Red Cedar Log and is involved with a start-up publication about policy, Matters of Fact. When not writing, studying or pursuing her latest fixation, she enjoys reading, rewatching movies and baking cookies or pretzels.

Cute shapes walk along the “Groovy Oppurtunities” mural and are supposed to be genderless and raceless to represent inclusivity.

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THE EVOLUTION OF FITNESS The gym is a place that people either hate or love; there is not much of an in between

By Molly Maczik The gym is a place that people either hate or love; there is not much of an in between. Some say the gym is the only way to get in a proper fulfilling workout, while others feel that their athome equipment is just as effective. The truth is, the fitness industry has evolved a lot, especially since the start of COVID-19.

The gym may have been the only place to get in a fulfilling workout a few years ago, but now there is high-tech fitness equipment that has enhanced the home workout experience. One of the most popular, high-tech, at-home pieces of equipment to date is MIRROR by Lululemon.

“I have had MIRROR for a year now and it has completely changed my life! I found it extremely hard to get myself to go to the gym some days and the mirror makes it possible to get that great workout right at home! The mirror has so many different workouts available and even offers personal training. It gives you lots of feedback on your form so you know what you can improve on. MIRROR is by far my favorite way to get my workout in at home,” said East Lansing resident Catherine Charlton.

Gym equipment located at Coop’s Iron Works in Saginaw, Michigan.

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According to Lululemon’s website, MIRROR is a nearly invisible at-home gym that transforms less than 2 feet of wall space into a cardio class, boxing ring, yoga studio and much more. At first glance, it looks like a regular mirror, but it acts more like a smartphone or a television with all its features. When the mirror is turned on, the screen is filled with different

applications related to fitness and exercise.

Lululemon acquired MIRROR in July 2020, and since then it has become a large part of their brand and can be purchased on their official website.

MIRROR has packages ranging from $1,495 to $2,045. All packages feature the mirror and include more equipment as the price increases. It can be used a few different ways, such as using their very own smart weight and participating in virtual classes that are offered through a paid membership with the mirror.

Regular weights and resistance bands can also be used if one prefers. Unfortunately, MIRROR only acts as a regular mirror unless subscribed to the membership that offers the smart features.

average person, especially those in college living paycheck to paycheck.

At-home fitness may have gotten a bit more exciting and stepped up its game, but there is nothing wrong with a good ole’ dumbbell workout in the comfort of one’s own home.

People often want to get in shape and workout, but it doesn’t fit in everyone’s budget. The cost of a gym membership can add up, and not everyone can afford a high-tech mirror for their house. Buying a few dumbbells and a set of workout bands is affordable and also gets the job done. Lauren Moore, a college student and gym enthusiast, said her favorite part about working out at home is “the privacy and lack of judgment.”

If you want to get tech-savvy and get the most out of the mirror, one can choose to upgrade to MIRROR’s smart weight option.

The smart weights are sold separately from the mirror, but they are designed to track strength with an advanced sensor network inside the dumbbells that pair to the mirror. These weights can also track progress and give feedback and recommendations.

When starting a fitness journey, the gym can be a very intimidating place. There are a lot of people, equipment and anxiety. Working out at home can help those with anxiety be able to focus and get in the fulfilling workout they desire.

MIRROR was one of the first of its kind, but since the arrival of this tech-savvy fitness equipment, there have been more releases of smart mirrors. Tonal and Tempo are other brands that also carry an at-home smart gym, each differing slightly. The only issue with smart mirrors is that they are a bit pricey for the

At home fitness may have gotten a bit more exciting and stepped up its game, but there is nothing wrong with a good ole’ dumbbell workout in the comfort of your own home.

“Working out at the gym can cause unnecessary anxiety which leads to poor performance. It’s more comfortable for me [to workout at home] at

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MSU student Molly Maczik working out in the comfort of her own home. times when I am not feeling as confident. I don’t go to the gym often, but sometimes I feel like I don’t have enough time or I am feeling down on myself so I’d rather stay home,” said Moore.

Going to the gym can also be pricey. The price of a gym membership varies from around $10 to $40 a month, not including hidden fees and costs.

The average person ends up spending around $500 a year for a gym membership. The great part about working out at home with minimal equipment is only a few items are required, and it’s a one-time, low-stake cost. If someone decides to buy more equipment and create a larger athome gym, the costs will add up, but again, it is a one-time cost rather than a recurring cost.

There are many different ways to workout, but most people exercise to do one of two things: lose weight or build muscle. Both of these can be completed with at-home workouts, whether it is with a smart mirror or traditional workout equipment.

On the flip side, there is a large group of people who do not feel motivated when 30 SUMMER 2022

exercising in the comfort of their own home.

The gym provides high quality equipment that gives some people more satisfaction by the end of their workout. This equipment can’t always fit in the space of one’s home, nor is it always affordable for someone to purchase this equipment on their own. Another reason people tend to enjoy the gym is because of the atmosphere. Since everyone in the gym is there to workout, there are less distractions and more encouragement.

“My favorite part about working out at the gym is the amount of other people I am surrounded by. I love feeling welcomed and a part of a community where everyone is on their own fitness journey. I don’t think I could workout at home, as it has always been difficult [for me]. There is no one to hold me accountable and it makes it easier to slack off. Being surrounded by people helps me push myself to work harder and not give up,” said Michigan State Student and CHAARG (Changing Health, Attitudes and Actions to Recreate Girls) representative Maddie McKay.

The gym can be useful for those who need motivation, as well as those who need a variety of weights and equipment. Weights, squat racks and cardio machines can really impact the efficiency of one’s workout. Some people need to lift heavy weights in order to feel accomplished after a workout.

Working out is about feeling confident and finding a love for fitness. As technology evolves, so does the fitness industry. Whether it is working out at home using simple workout equipment, using Lululemon’s MIRROR or going to the gym, all can give the same result if done correctly. Fitness is different for everyone, so find what works and run with it!

Molly Maczik is a fourth- year undergraduate majoring in Professional and Public Writing.

She currently works as an online fitness coach and hopes to continue her fitness business postcollege while integrating the writing and editing techniques she has learned in the past four years. When she’s not at the gym, she likes to spend time with friends and family and be outside. You can follow her fitness account on Instagram @mgfiiit for all things fitness, nutrition, mindset and lifestyle.

Dumbbells used for at-home workouts THECURRENTMSU.COM 31

HOW HAS ONLINE SCHOOL AFFECTED US? Online classes are a topic of strong debate for students

By Jenna Piotrowicz Many people debate the pros and cons of online schooling. Some believe their academics and lifestyle have improved with online education while others dislike it, seeing dropping grades and worsening mental health. And right in between, many have a love-hate relationship with online education, feeling lost between the benefits and drawbacks, finding a happy medium in the hybrid form of classes.

Michigan State University student Anna Ackerman finds wishes for the full return of in person classes.

“Right now I have all online classes, and I thought I would enjoy that more, but to be honest, it’s very boring, and it creates gaps in my day where I don’t do anything,” Ackerman said. “ I do really miss being in person, and I would prefer that because I think it gives us a sense of normalcy and creates good habits for future work and career situations.”

Photo by Jenna Piotrowicz 32 SUMMER 2022

A big argument against online classes coincides with Ackerman’s thoughts. Often, people worry the education provided online is not correctly and adequately preparing

students for the work force and their future careers. Many feel online classes result in significantly less information retention versus that of the traditional classroom setting.

“It was really hard to motivate yourself to want to do school and keep up because there were a lot of assignments and not a whole lot of structure,” Ackerman said. “Now I would say it has had some positive impacts because it’s helped me learn how to develop a schedule and manage my time in a more productive way than I was used to.”

Many would argue that despite the negatives, there are positive outcomes from online learning. Working from home and paying attention is purely on one’s own time and discretion. Without the monitoring and face to face interaction with a teacher, the way people learn and the amount they learn is fully up to them.

If a student chooses to turn off their web camera and scroll on their phone during a class meeting, they can. But their grades and understanding of material can be affected.

What one gets out of an online class varies

“It was really hard to motivate yourself to want to do school and keep up because there were a lot of assignments and not a whole lot of structure.” from student to student. If they are highly motivated and engaged with the course content, they are more likely to achieve the learning objectives. This type of online school works very well for some, thanks to its flexibility and accessibility.

“I’d say I have less of an attention span,” Ackerman said about the impact of being in online classes. “I noticed when we first went back in person last semester, I had a really hard time focusing for an hour and 20 minutes. It was hard for me to not check my phone or an email, so I think my attention span was a lot lower. I also think that I do spend more time on my phone.”

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Students’ attention spans have changed dramatically, and many find it hard to return to in-person class where a full hour and a half of focus is required with no ability to pause content. Being able to use a phone or click onto other sites on a computer during class may have cured the boredom of a Zoom lecture then, but now it has affected the way students learn.

Jason Lodge and William Harrison of the Queensland Brain Institute noted the harmful nature of online multitasking and screen inferiority. However, they note some research also shows technology can enhance learning in a positive way overall but may not be the most effective. Although studies have been done on the effects of online learning and device multitasking,

many do not lead to a conclusive answer due to the difficulty of isolating necessary factors. According to Lodge and Harrison, the research demonstrates “both benefits and harms in the use of technology on learning, attention, and memory.”

Ackerman also noted online school has affected her in aspects beyond school. “I used to be a ‘Yeah, let’s go out, let’s do things,’ kind of person, but I’d definitely say I’m more of a homebody now and just want to hang out with the people that I know and am comfortable with. It’s hard to make small talk now. It’s made me have more introverted qualities.”

These changes can lead to a decline in mental health for some. Lack of in-person interaction can lead to loneliness and a loss of motivation

and inspiration. According to Heather Springer, writer for the American Psychological Association, “Research shows that the school environment is critical for fostering academic motivation and social development.”

Online schooling is not for everyone. But for some, it is their lifeline. Michigan State

“I noticed when we first went back in person last semester, I had a really hard time focusing for an hour and 20 minutes. It was hard for me to not check my phone or an email, so I think my attention span was a lot lower.”

“I learn really well online, but I know that a lot of people don’t. I guess it really just depends on the person,” student Hailey Peguero explained that online school supported her through hard times in her life.

Another positive aspect of online learning is that for some, the learning style is better paced and easier to focus on.

“Online school made it possible for me to still be present in my education, even when I could barely leave my apartment,” Peguero said. “Dealing with the struggles of my future and graduation in sight, online school has allowed me to get through these insanely busy times in my life. I learn really well online, but I know that a lot of people don’t. I guess it really just depends on the person.”

“Online classes went at a much better pace than in person classes, in my opinion,” Peguero said. “I feel like I had more time to digest and understand everything that was going on. I also feel like I had more time for myself and was able to really focus on doing well both in and outside of school.”

Stephanie Riegg Cellini, a fellow at the Brown Center on Education Policy, notes the

issue with these standpoints and research on online school and its effects is that “... differences in the characteristics of students themselves may drive differences in the outcome measures we observe that are unrelated to the mode of instruction.”

Every student learns and excels in different ways; therefore, it is hard to make a definite stand on what mode of education is best for all students. Although there are many arguments on both sides, the answer may not just involve one or the other. Ultimately, the pandemic highlighted the flaws in education accessibility and has created a new conversation about learning styles and what successful education means.

Jenna Piotrowicz is a junior majoring in professional and public Writing, aspiring to be a writer or editor in her future. In her free time, she enjoys watching movies, TV shows and working on her own screenplays, hoping to create the next big feature film.

“I also feel like I had more time for myself and was able to really focus on doing well both in and outside of school.”

Photo by Jenna Piotrowicz 34 SUMMER 2022

Photo by Jenna Piotrowicz THECURRENTMSU.COM 35

FEMINISM IS FINDING SOLID GROUND IN GAMING Calling in, instead of calling out, is changing the gaming industry

By C. Rose Widmann Feminism and gaming don’t sound like they would go together. The stereotypical assumptions about the two bring to mind burning bras and gory shooter games, which have little to do with one another. But in spite of those reductive stereotypes, the two concepts are becoming surprisingly compatible.

Earlier this year, The Current unpacked the inspirational “Play Like A Feminist,” by professor Shira Chess, who has a doctorate in communication and rhetoric. Chess’s book takes a discursive route to proving that feminism needs gaming, and gaming needs feminism. The root of the argument is that there is an abundant need for more play in today’s society.

Play is an act associated with children, so much so that the United Nations High Commission for Human Rights recognizes it as a right of every child. But play presents

itself (if it presents at all) differently in adults because playing becomes a complicated matter as people mature. Video games are an ideal staging ground for adult play because they are an expansive medium, meaning that players can engage with entire markets of games that appeal to their individual interests as the industry expands.

But playfulness is hard to cultivate in the digital sphere. Casual and competitive gamers naturally clash over core values such as level of enjoyment, rewards and game mechanics.

But both mentalities agree on gatekeeping their spaces. Feminists have been protesting toxic gaming culture for decades, advocating for their right to take up space and play as untraditional gamers, and they have been met with increasing amounts of pushback.

Traditionally, gaming is a male-dominated medium. The art and storytelling of games

“Your involvement in our community brings us closer to the goal of building greater awareness amongst our peers and colleagues of relevant programs, issues and opportunities that serve women in games” - IGDA WIG 36 SUMMER 2022

are aimed at their primary demographic: young men. Feminists have tried to produce games that break the traditional formula of entertainment by creating appeal for a wider range of consumers, and their content has received mixed feedback.

In 2014, a movement called Gamergate attempted to evict female creators from online gaming spaces, and echoes of that movement continue in anti-feminist gaming rhetoric today. Gamergate targeted female game developers and influencers online after a scandal involving gaming journalists was leaked online.

The conflict grew as hundreds of thousands of people flocked to websites like Reddit and 4chan to discuss the proceedings. Trolls began to target female gamers at large, regardless of their proximity to the original issue because any untraditional gamer was deemed as a threat or weakness in gaming spaces.

“The divide is, in part, demographic: It’s the difference between the historical, stereotypical gamer — a young, nerdy white guy who likes guns and boobs — and the much broader, more diverse range of people who play now,” said Caitlin Dewey for the Wall Street Journal in 2014 when Gamergate was at its height.

Almost everyone who attempted to push back against Gamergate found themselves in the firing line. The term social justice warrior debuted during this time and continues to be liberally applied to anyone speaking out about social justice topics online, especially if they can be identified as women. The social justice warrior—shortened to SJW online— trope makes it difficult for untraditional gamers to gain a foothold in online communities because railing against the tide of toxicity is proving less and less lucrative.

In 2021, Steam reported that 95% of the titles in its marketplace were independent, though they only accounted for 40% of sales. Steam sells both independent and mainstream titles on its marketplace while itch.io vends 100% independent games.

Itch.io is a popular choice with indie developers because anyone can host, sell and download content. This makes it easy for independent games to reach audiences and generate revenue.

Because of the pandemic and a rise in independent game development, new gaming communities are popping up on Twitch, TikTok and Discord. In December 2021, Twitch reached an all-time high of total streamers at almost 9.9 million. Pre-pandemic, the number of streamers on Twitch was around 3.7 million.

Many new streamers used TikTok to document their untraditional gaming journeys and gained followers as a result. The popularity

But that doesn’t mean that untraditional gamers are making their exit. In fact, gaming demographics have changed over the course of the COVID-19 pandemic. According to Forbes magazine, female gamers accounted for 41% of U.S. gamers in 2020. That number is on the rise, suggests an ongoing survey at Statista. Untraditional gamers are creating their own spaces and from that foothold, enacting change on the gaming world.

The percentage of non-white, non-male game developers is slowly rising. According to the data from the 2019 Developer Satisfaction Survey run annually by the International Game Developers Association, 29% of game developers identified as female, nonbinary, or self-described. That percentage jumped to 30% in the 2021 iteration of the Developer Satisfaction Survey.

Easy-to-use development software like Unity and Unreal Engine makes creating games easier than ever before, and the combination of free software and open marketplaces makes game development possible for everyone. Independent developers are creating better quality games, many of which are aimed at untraditional gamers.

THECURRENTMSU.COM 37

of social media during the pandemic allowed streamers to share clipped gaming content and go live on multiple platforms at once, reaching audiences in record numbers.

Discord is a popular app for organizing gaming communities, and its value increased 188% in 2020 because of the pandemic. On Discord, gamers can make private and public servers to connect with other members of the community, which makes it the ideal host platform for groups looking to build a place to enjoy gaming. Post-pandemic, Discord is an essential tool for creating inclusive spaces because of the ability to control who can join servers and groups.

In “Playing Like A Feminist,” Chess argues it’s time for feminists to protest by playing by their

own rules and calling in others to play with them so that together they can enact positive change in the gaming world. And that’s exactly what’s going on as a result of the pandemic: untraditional gamers are creating inroads to gaming culture and inviting others to join them.

Calling in others is essential because it opens access to gaming, making space for more players and creators from underrepresented demographics to push back at modern gaming stereotypes. It’s not even about feminists making space for only women; feminists are positioned to be allies to all untraditional gamers. And there are already plenty of feminists in gaming; Chess says they are “deeply enmeshed in the complexities of gaming culture, and indeed know why games and play matter.”

“The space is democratizing.

But rather than the companies that make millions, it’s creators-turned-entrepreneurs who are doing the necessary work to address the lack of transparency and seemingly unclosable gaps in gaming.”’’

- Jay Ann Lopez for Refinery29 Streamer JollySparrow created an untraditional gaming group within an existing group for the game Planetside 2, an online first-person shooter. They created the subgroup to make a space for the small amount of female and nonbinary players to game and bond together.

“It’s our little corner where we can get away from the boys’ club and encourage each other when playing,” JollySparrow said. “It’s been a lot of fun.”.

While it didn’t start as a specifically feminist group, they recruited more untraditional players to their chat as they embodied the feminist idea of calling in. And because of the success of that group, JollySparrow says they have plans to create other gaming communities.

“I’m newer to gaming, but based on how well my groups have done, I think I’d like to do more.

Maybe branch out into different games and communities, or make my own game and test it with some of my friends. Seems like the sky is the limit when it comes to gaming nowadays.”

On a larger scale, feminist Anita Sarkeesian runs Feminist Frequency, an organization

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that analyses modern media’s relationship to societal issues such as gender, race and sexuality. Sarkeesian was a target during GamerGate because of a video series about tropes and women she produced on Youtube. She has persevered and continued to create content. Now, she develops content for Feminist Frequency to help people think critically about identity in media. Last year, under her direction, Feminist Frequency developed a hotline for people experiencing online or game harassment to receive textbased, confidential support.

Jay-Ann Lopez is the CEO and creator of Black Girl Gamers, a “Facebook group-turnedcommunity-powered organization whose

mission is to provide Black women with visibility and equity in gaming,” as she called it in a 2021 article she wrote for Refinery 29. The Black Girl Gamers Facebook group has 8,400 members, and their Twitch Channel has 38,000 followers.

“The space is democratizing,” Lopez said.

“But rather than the companies that make millions, it’s creators-turned-entrepreneurs who are doing the necessary work to address the lack of transparency and seemingly unclosable gaps in gaming.”

Feminist Frequency and Black Girl Gaming are examples of organizations inviting other feminists into gaming spaces to enact change. Other organizations include the

International Game Developers Association’s Women in Games, whose website invites others to join their community. It reads, “Your involvement in our community brings us closer to the goal of building greater awareness amongst our peers and colleagues of relevant programs, issues and opportunities that serve women in games.”

And there is surprising support from some major gaming companies. Big names like EA and Xbox have pledged support to #RaiseTheGame, an ongoing effort to improve diversity, equity and inclusion in the gaming industry. A majority of the companies partnered with #RaiseTheGame are indie developers, but the partnership of major labels signifies that priorities are beginning to change.

The future of feminist gaming looks bright, with many independent titles in development aimed at engaging untraditional audiences.

There is no limit for untraditional gamers when they create their own spaces and call in other untraditional gamers. With the wealth of resources afforded by the pandemic, feminist gaming has the foothold it needs to enact change in the gaming world. With the gaming industry racking in the largest sales profits ever seen, it makes sense that game companies will start to engage with their newly recognized audiences. And where big gaming companies fall short, indie developers are creating a better future.

C. Rose Widmann (they/them) is a first-year M.A. student in arts & cultural management at Michigan State University and a graduate assistant at The Cube. When not writing grant proposals or playing Planetside 2, C is competing for both the MSU club fencing and club gymnastics teams. Insta: @C.rosewidmann

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BRINGING ARTS INTO STEM The arts have value, and they are as important to study as STEM subjects.

By Alexandra Swanson STEM majors. Most know this acronym for science, technology, engineering and math, a quartet of academic disciplines that is the backbone of countless jobs in the workforce today. Computer programmers, medical doctors, pharmacists and mechanical engineers are among the most known and currently in-demand jobs for those in STEM fields, and in today’s increasingly technological world, they are essential.

“When I tell people I am an arts major, one of two things happens; they either wish they could have a fun, exciting major like me and reminisce about how they like art but that’s not what they are doing with their lives, or they give me some type of judgemental look or comment, such as ‘Good luck finding a job,’” says Maegen Jankowski, a Michigan State senior double-majoring in anthropology and arts and humanities.

After all, many choose majors and fields that statistically make more money, so they opt for STEM instead of the arts.

“There is not much room to express creativity in the sciences. Most assigned work tends to be very calculated and concise,” says Alec Fowler, an MSU sophomore double-majoring in plant biology and genomics.

Non-STEM majors have been overlooked or dismissed for years, with people saying they are useless or a wasted degree.

While passion fuels students in both groups, there is a need for both these categories, even if many dismiss the arts and humanities as less important. The world needs social workers, authors, educators and designers. The arts also serve another important purpose, one that ironically involves the STEM majors often deemed superior. By bringing the arts into STEM, it becomes STEAM.

“By bringing the arts into these majors, STEM becomes STEAM.”

The arts and STEM seem to be opposites because of the material they teach, but the arts foster a sense of creativity often unpresent in standard STEM studies. Working with equations, programs and anatomy requires regime and careful processes creativity could slow down and even disrupt. However, students can feel stifled.

“As a result of adding in the arts, students can become more well-rounded. They can be not just an analytical person or a creative person.

They can be both analytical and creative thinkers,” said Sydnee Yates in For Inspiration and Recognition of Science and Technology’s article “STEM into STEAM: Why the arts are crucial.” The arts can also capture and keep the interest of students that might otherwise be bored by STEM. By incorporating the arts into math and science lessons, students can be more engaged by the subject matter.

Meanwhile, there are other college majors like those who study the arts, who are passionate about their classes about English, graphic design, the humanities and more. These majors seem like opposites at a glance, but the arts have far more importance and connection to STEM than it may seem.

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Only using analytical skills can grow tiring, and all work with no creative outlet can cause stress. The arts can provide a reprieve and inspire creative thinking to support innovations in STEM fields. Thinking outside the box is often praised in life, which comes from creative thinking.

Not only can the inclusion of arts bolster creativity in otherwise regimented majors, but it can also accomplish something just as important as medical or technological advancements: communication between those THECURRENTMSU.COM 41

“As a result of adding in the arts, students can become more wellrounded. They can be not just an analytical person or a creative person. They can be both analytical and creative thinkers.” in STEM fields and those who are not—the general public. There is an informational gap between those in STEM and those not in STEM. However, communication that informs the public of things such as new discoveries or issues in the scientific world is essential, needing to be more than a simple statement in the news.

Communication is important in any field of work, whether it’s between co-workers, management or clients. Properly informing the general public of new ideas or advancements is another facet of communication. When the

arts are implemented, communication can be accomplished through more than art exhibits and statues created to allude to greater scientific concepts.

“Creating art that helps describe STEM through beautiful pieces and works might encourage people to learn more about the topic. Or by using fun artistic ways of demonstrating complex STEM concepts might make it seem less daunting and more accessible,” said Jankowski.

Fowler mentioned a method through which media outlets simplify complex STEM concepts.

“I think most would call it Pop Science,” he says, which is short for Popular Science. Pop Science is an interpretation of science intended for the general public accomplished by writing out complex topics in a simplified manner, a task that may fall on someone in the arts to accomplish. Thoroughly explaining the sciences in a way anyone can understand inspires interest in STEM and communication, bringing more people into both fields.

Alec and Maegan had more to say about introducing the arts into STEM. Meagan

said, “I think the arts being brought into STEM is an amazing idea.” Because she is both an arts major and a STEM major, both make her approach topics differently and give her an edge and perspective that the other major doesn’t provide. She went on: “I think combining the two can really allow people to use so many different parts of their brain and different talents they have in order to better understand topics as a whole. With my STEM major, my arts background gives me more creative thinking that helps me think outside the box ... With my arts major and having a STEM background, I can tactically tackle an arts project through a more structured lens than I might have anticipated, which helps me think of all the practical ways to better my art … such as writing for an example.”

Alec added that creativity is hard to define in many STEM fields: “In the context of education, [creativity] could come in the form of projects used to express a concept or set of concepts, or in designing our own experiments in or outside of labs, though the academic merit of these is hard to measure.

But designing artistic or creative projects

“I think combining the two [the arts and STEM] can really allow people to use so many different parts of their brain and different talents they have in order to better understand topics as a whole.”

could help scientists make the concepts they are trying to convey more easily accessible to others outside of their field.”

Both Maegan and Alec believe that the arts should be integrated with STEM fields.

Maegan said that she sees “so many brilliant minds burnt out so often from the grueling grind of being a STEM major and the intensive workload that comes with that. I think adding the arts might give the individual an outlet for that frustration and might make even busy work easier to learn and more motivating for the student if they were to learn STEM in a more artistic environment.”

Alec added to that by making clear connections between how STEM and the arts can be mutually illuminating because “applying STEM concepts to an artistic medium requires a great deal of thought and care to express, and as a result could assist both the artist and those viewing the art to better understand the concept being conveyed.” He went on to talk about the

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importance of having artistic freedoms in STEM fields, saying that doing so “could also result in more inspiring feats of science and engineering.”

The arts have the potential to help the general public understand the more complicated concepts of STEM fields too.

Maegan said that “so many people don’t even wanna touch STEM or scientific ideas and topics just because they truly believe it is so much above them that they could never understand it. Art is a creative form of learning, which if STEM is disguised though it, it might allow more to learn, make STEM seem more accessible, and overall make STEM less scary and easier to learn for the general public.”

Alec: I think that presenting this information in a way that is creative and engaging could help the public understand complicated concepts, yes. More and more people are becoming interested and informed about the sciences through

platforms such as social media with the help of artists and content creators.

As the world continues to advance in both science and technology, it will become increasingly difficult for those outside of those fields to keep up with advancements and discoveries, let alone understand them well, and more people will be needed and encouraged to partake in STEM to carry out those advancements. These tasks can be accomplished more effectively by bringing the arts into STEM and by, creating more opportunities to express STEM, both in and out of the fields. The arts have more value than what they have been made out to be, and they are as important to study as STEM majors to further an advancing, more informed world.

Alexandra Swanson is a fourth-year undergraduate student double-majoring in Arts and Humanities and professional and public writing. She currently works at The Cube, hoping to be a successful writer or copyeditor in the future. In her spare time, she draws, plays video games and works on honing her writing skills through self-produced novels.

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THE FEAR OF CREATIVITY IN HOLLYWOOD Reboots, Remakes, Revivals and Franchises Explained

By Sarah Munson In 2021, the top three box office hits— ”Spider-Man: No Way Home,” “ShangChi and the Legend of the Ten Rings” and “Venom: Let There be Carnage”—are expansions or adaptations of familiar titles.

This practice of revisiting existing characters and stories comes from a combination of nostalgia, monetary gain, stability and fanservice. While some critics argue that viewers’ desire to improve and expand these fan-favorites justifies the plethora of reboots, remakes, revivals and franchises, many worry it represents a fear of creativity in Hollywood.

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This isn’t exactly a new trend. Film imitation traces back to the beginning of cinema.

In an article for Film School Rejects, Emily Kubincanek said that silent films such as “The Great Train Robbery” or “L’Arroseur arrosé” experienced copycats within a year following their releases—this coming before the introduction of effective copyright laws in 1912. Developments in film technology in the late 1920s jeopardized the structure of silent films as actors discovered their voices were unfit for the silver screen, and screenwriters lost the straightforward dialogue of title cards.

Thus, reusing stories provided some stability amidst the chaos.

However, while this format worked for films, TV has struggled to replicate this success. In an article for The Atlantic, writer Kevin Fallon said that television struggles with successful reboots because a complete season of episodes is too demanding of a commitment for viewers’ initial nostalgia and excitement.

The earliest example of this comes from 1970 when “Make Room for Granddaddy” attempted to revive its 11 season predecessor, “Make Room for Daddy.” The timeslot was ideal, but the actual timing, just five years after the original, was unrealistic in terms of cultivating loyal nostalgia.

Disney, the most notable producer of reimaginings, originally struggled to find success with it. For example, the company had lower than expected ratings after the releases of the live-action versions of “101 Dalmations” and “The Jungle Book.” But in 2010, Johnny Depp, known for the profitable “Pirates of the Caribbean” series, changed the tide after he was cast in the remake of “Alice in Wonderland,” which earned over a billion dollars at the worldwide box office.

This motivated Disney to continue releasing live-action remakes every few years.

However, as the 51% Rotten Tomatoes score for “Alice in Wonderland” foreshadowed, these releases often coincide with disappointed critics. Underwhelmed reactions aren’t limited to Disney’s live-action adaptations. A 2019 study of Rotten Tomatoes data revealed that remakes and reboots typically perform worse than originals.

Not only did original movies have a higher average score of about 81%, few (about 10%) were outdone by their remakes, and originals dominate with prestigious honors and awards.

In an article for Comicbook.com, journalist Cameron Bomolo said, “In 90 years of Best Picture, only three remakes —1935’s The Mutiny on the Bounty, 1959’s Ben-Hur and 2006’s The Departed — have won the award, meaning just 3.2 percent of Best Picture winners are second tries at past films.”

Best Picture may snub these unoriginal films, but the general public, desiring easy entertainment, tends to offer more flexibility than cutthroat film critics. Fans continue attending theaters and streaming television shows because they can acknowledge the perks of these reboots, revivals and remakes.

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With the ongoing COVID-19 pandemic, media consumption evolved into a necessary distraction from current events. The pomp and circumstance of new releases can juxtapose reality’s mundane, stay-at-home routine.

However, according to The New York Times reporter Brooks Barnes’s observations, “about 49 percent of prepandemic moviegoers are no longer buying tickets.” This gradual decline magnified the need for hyped reboot

installments that could revive the appeal of attending theaters again. Such was the case in late 2021 when vacant theaters lured in 1.1 million guests on the opening night of “SpiderMan: No Way Home” with rumors of returning actors from the previous Spider-Man franchises..

As viewers debate the value of attending theaters again, they’re spending money and time on streaming platforms. Streaming

platforms provide the comfort of bingewatching an older show that existed pre-pandemic. In a BBC article titled “Is rewatching old TV good for the soul?”, journalist David Renshaw says old favorites like “The Office” and “Friends” will eventually go the way of “I Love Lucy” and “no longer chime with modern audiences.” So, as a means of combating irrelevance, producers are pursuing reboots, which simultaneously update content and preserve nostalgia.

Paramount+ used this strategy of catering to aged fans when it released a revival of “iCarly” in June 2021. However, the so-called grown-up version of “iCarly” yielded mixed opinions.

“Even though sometimes it did not feel like something Freddie or Carly would say, I realized that they are 26 at the start of the reboot, so they surely matured and think differently compared to their younger selves,” said Govinda, a student at Michigan State University.

Another student, Micah, felt the potential character development was overshadowed by disingenuous casting.

“Everything is so forced,” Micah said. “They went from no color to Sam’s replacement being black and Freddie having a black stepdaughter.” “iCarly” demonstrates that reboots will need more than callbacks to resonate with their matured audience, especially when they want their characters to remain frozen in a simpler, pandemic-free time.

Escaping into nostalgia also includes taking the opposite approach and having older titles address the pandemic. In the earlier stage, casts of “High School Musical” and “The

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Goonies” gathered over Zoom to reminisce.

NBC went further and posted a special reunion episode of “Parks and Recreation.”

The fictional Leslie Knope returned to humorously conduct a virtual meeting with her fellow characters, who fans could now imagine were enduring the same struggles within that universe.

Reboots, remakes and revivals can also use fans’ speculations and discourse as an advantage.

Unlike original ideas that lack an established audience, reboots authorize fanbases to directly work on and expand their franchises.

In his thesis on “The Functionality of Reboots,” California State University - San Bernardino graduate student Dustin L. Shepherd discussed this topic in reference to Star Wars’ “The Force Awakens.”

“This film has so many allusions to the original trilogy that it is clearly made by fans, for fans,” he said. “There is even a documentary on the Blu-ray that chronicles how everyone involved in this film was a huge fan of the original trilogy.”

Addressing fans can be as simple as throwing some references to internet memes into the script. The publicized “Spider-Man: No Way Home” screenplay includes the direction, “All three point at each other: Him? Memes!”

This note was about the Spider-Man pointing meme that typically poked fun at the brand’s three live-action actors. In a separate instance, the aforementioned “iCarly” revival recreated the scene where Miranda Cosgrove smirks at a computer while holding a soda can in “Drake & Josh.”

While some reboots share plenty of preproduction details, waiting for new information

from the hesitant or delayed creator of a TV series, book or movie is frustrating. For example, any anime can’t continue their storylines until the author of the sourced manga responds with new material. Captain Kirk’s middle name was just an unexplained T. until Gene Roddenberry, creator of “Star Trek,” finally approved the name Tiberius in 1974.

Reboots evade the need for input from their creators, so fans may decide what is canon, a term for official additions to a story.

Giving fans control of canonization also potentially improves plot holes. The 1978 film “Halloween” showed Laurie Strode, a teenage babysitter, as the spontaneous target of killer Michael Myers, but sequels and the 2007 reboot claimed she was his sister. A Comicbook.com interview with John Carpenter, director of the original movie, revealed he had always resented the sibling dynamic, which he only added to lengthen “Halloween 2.” However, when the 2018 reboot series removed the connection between Laurie and Michael, their rivalry lost believability.

“Since [Michael] has no real pattern to his killing,” CBR journalist Nicholas Brooks said, “it makes more sense to try and find the family member that got away 40 years after his escape.”

In spite of these benefits, unoriginal films still spark controversy.

Many of those against reboots, remakes and revivals describe them as exploitation instead of exploration Exploitation refers to Hollywood’s production of content they can use to manipulate devoted fanbases. In an IMD.org article, professor of strategy Knut Haanaes and research associate Michael

Photo of Noah Luikart

Sorell wrote, “Hollywood’s love for following a pure exploitation strategy can be seen in its sky-high and rising budgets. The industry is spending more and more money on sequels and now they even have higher budgets (product and marketing) than the original films from which they’re spawned.”

While the industry may heavily advertise reboots, their push for expensive marketing can actually deter fans.

“Normally, a dead giveaway if a reboot is just a cash grab is if the trailer fails,” said Noah Luikart, a student at Michigan State University. “When a trailer on YouTube has mass dislikes and mean comments, there’s a really high chance the studio rushed it and made the reboot just to make money.” This public outcry from fans shows when they recognize the blatant exploitation of their nostalgia and emotional investment.

Another issue with reboots is that many fans feel as though production companies THECURRENTMSU.COM 47

Graphic by Sarah Munson

disrupting their narratives, recasting a wellestablished character for no purpose other than appeasing younger audiences ignores the option of creating one with a fullydeveloped identity.

slap a progressive band-aid over familiar stories that previously lacked diverse or inclusive storylines. Elizabeth Banks, director of the 2019 “Charlie’s Angels” movie, was chastised after she claimed in an interview with the Herald Sun that her film’s failure would “reinforce a stereotype in Hollywood that men don’t go see women do action movies.” In return, many moviegoers argued women and men were equally uninterested in watching a movie that looked like a disingenuous cash-grab on an old franchise.

They related it to the 2016 all-female “Ghostbusters,” which many felt relied on feminism as a marketing strategy that didn’t compensate for an outdated concept.

These progressive makeovers signify the reluctance to approve new characters. In the Wired article “TV Reboots Are Having a Great Awokening. It Sucks,” staff writer Emma Grey Ellis explained that some of the reboots’ female showrunners and/or showrunners of color “have explicitly stated that doing a remake of an existing show is the only way to get their stories greenlit.” In addition to 48 SUMMER 2022

While tokenism disguised as progress is one problem of these unoriginal films and TV series, white-washing characters happens too. The act of white-washing a character, or removing the qualities that make them representative of a marginalized community, erases the slim representation these communities already experience and becomes a glaring distraction in a remake or reboot. The 2010 live-action adaptation of the “Avatar: The Last Airbender” cartoon scored a minuscule 5% on Rotten Tomatoes, with one of its critiques being the predominantly white cast and POC villains. What started as an expansive story centered on Asian themes declined into a mocked adaptation perpetuating white heroism.

Besides risking white-washing, redoing foreign films for Western audiences loses cultural nuances. One example is the 1956 Americanized version of the creature feature “Godzilla.” According to the MeTv article “How Raymond Burr ended up battling Godzilla,” the original Japanese “Godzilla” played on Americans’ fear of nuclear disasters and specifically atom bombs, which created the Godzilla monster, and it included an arranged marriage. The American revision erased these themes and changed Godzilla into a prehistoric creature, and its sudden peaceful ending negated the Japanese warning about the possible aftermath of nuclear testing.

While the fear of creativity can dismantle foreign media, it can also deter entire genres

from production. Examples of this are the original creature features that rarely enter theaters in fear of competing with established intellectual property. The few that are produced often end up as B movies on the Sci-Fi channel.

Jeffrey Bowie Jr., a journalist for TVovermind.com, explained that obscure genres need an affordable budget and starstudded cast, as seen in “A Quiet Place,” to comfortably screen alongside comicbook-based movies. Otherwise, their niche audiences won’t be enough to turn a profit.

This lack of attention punishes films’ desire to be creative by turning originality into wasted effort.

Though creativity seems unrewarding, the appeal of quick entertainment via a subscription service is weakening. Netflix’s “Cowboy Bebop” reboot was canceled after a messy combination of adapting animation, understanding foreign media and satisfying a demanding fanbase. Megan O’ Keefe, a journalist for Decider.com, argued that “Cowboy Bebop” also followed the pattern of Netflix originals outperforming overdone stories. She listed successful originals like “Squid Game” and “Stranger Things” and compared them to the aftermath of the platform’s takes on intellectual property, which included shows “being erased or retconned from MCU canon.”

If the film and television industries want to bank on the safety net of familiarity and nostalgia, there are alternatives to investing in reboots, remakes and revivals. In the article “Re-Release Old Movies Instead of Reboots and Remakes” for 3rdWorldGeeks.

Com, writer Victor de la Cruz realized after

Graphic by Sarah Munson THECURRENTMSU.COM 49

rewatching the original 1987 “Robocop” that the movie had mostly held up by today’s standards, albeit some of the satire and special effects. Feeling that this further emphasized the unnecessary $100 million budget of the 2014 remake, he proposed the film industry remaster the audio and picture of old films and send them to theaters. This suggestion proved worthwhile in 2013 when the rereleased Jurassic Park made $18.6 million dollars over the weekend.

There’s also the tactic that “Stranger Things” benefited from—using nostalgic themes and references as inspiration. According to Ben Child, a journalist for The Guardian, the Duffer brothers decided to write the series “after they lost out on the chance to oversee the forthcoming big screen remake of Steven

King’s ‘It.’” While the “It” remake earned praise and $701.8 million dollars, “Stranger Things” has lasted for four seasons on Netflix with the highest-paid actor pocketing an estimated $2.7 million after the third season. Unlike similar reboot shows, “Stranger Things” didn’t rely on initial excitement and familiarity, so the storyline continued to evolve and intrigue its audience.

Reboots, remakes, revivals and franchises don’t imply the looming end of Hollywood; they mirror a rut caused by the pandemic and other economic crises. Moviegoers and television watchers can learn from the remakes of the late 1920s that there is hope for another cinematic Golden Age. Even in this age where creativity is all about risk versus return, many original films and television series have managed to come out on top.

When molded effectively, nostalgia goes beyond perpetual recycling. Revisiting stories can bring joy and closure, and fans love to know their beloved characters are still out there, being themselves in their respective universes. That said, the relationship between audiences and the film and television industry needs to be flexible and communicative. If audiences want to see multidimensional characters and interesting concepts, they should feel acknowledged instead of finding their input squashed by the cheapness of familiarity.

Sarah Munson is a junior majoring in professional and public writing with a specific focus on technical writing. In her free time, she enjoys studying film, comedy and history, as well as drawing and designing.

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IS THE FUTURE OF MUSIC VIRTUAL? Are vocaloids just another trend, or are they setting the standard for the music of the future?

By Julita Fenneuff An idol who never needs rest, who can perform indefinitely, and who can be in more than one place at once seems like any music industry mogul’s dream. It also sounds straight out of a “Black Mirror’’ episode.

And surprisingly, it’s a reality. Vocaloids are certainly not new, but they have only recently risen into the public consciousness.

The University of Rhode Island Graduate School of Library and Information Studies published a look into vocaloids, specifically Hatsune Miku.

In it, they describe vocaloids as, “a piece of voice synthesizing software that takes sounds made by a base human voice and puts them together to form words; or in this case taking words and assembling them to a musical

rhythm to form a song. While the Vocaloids are software, they’re given a manga/anime style avatar to serve as a sort of ‘face’ for the voice.”

In a sense, vocaloids are not too different from virtual assistants like Apple’s Siri or Amazon’s Alexa. However, Siri, Alexa and other virtual assistants like them are faceless, and their names differentiate them only slightly from that robotic voice on the CATA bus or the elevator.

Vocaloids, on the other hand, are bonafide celebrities. They have faces and personalities, making them extremely marketable—and marketed, they are.

Vocaloid software is easily obtainable to the average person, and fans are encouraged to download the software and create their own music with it. But these digital pop stars are still owned by companies, so while fan creations are abundant, vocaloids are monetized in an official capacity.

Take for example Hatsune Miku, indisputably the most popular vocaloid and possibly the

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Perhaps what explains part of Miku’s insane popularity is the ability to take one’s love for a character and infuse their own creativity into it. biggest reason for the hype surrounding her and her virtual companions. Miku has two long bright-turquoise pigtails, and she is most commonly depicted in a gray, white and turquoise outfit that vaguely resembles some sort of uniform. Her hair in particular makes her extremely recognizable, which only makes her a better avatar to advertise with.

In 2019, Miku’s creator, Hiroyuki Itoh, told JRock News, “Hatsune Miku doesn’t exist as a real person, but the advantage to this is that she exists all over the internet instead, everyone can be connected to her through this medium. Not only does it mean she’s available worldwide, [but] anyone can participate and create something with Hatsune Miku. This, in turn, sparks the creation of communities with Hatsune Miku as a common link.” Perhaps this is what explains part of Miku’s insane popularity: the ability to take one’s love for a character and infuse their own creativity into it.

Miku was created by Crypton Future Media and released in 2007 as the first character in their “Character Vocal Series,” which was eventually expanded to include other

characters such as yellow-haired twins Rin and Len Kagamine and the pink-haired Megurine Luka. These characters, particularly Miku, were welcomed into the Internet’s consciousness, and by 2013, Miku had been given a complete English vocal library as Crypton sought to expand her fanbase even further.

Expand, they have. In 2014, Miku performed on The Late Show with David Letterman,

making her the first vocaloid to ever receive a platform on a mainstream American show.

Since then, Miku has gone on to feature in commercials, shows and songs, be they by fellow vocaloids or Western pop stars. In 2020, American singer Ashnikko rose to prominence on TikTok and featured Miku in her song “Daisy 2.0.” Miku has also had a number of tours outside of Asia, including Europe and North America, where her vocal THECURRENTMSU.COM 53

recent years is due to the fact that, by some accounts, people feel like they’re living in a “Black Mirror” episode. While that isn’t necessarily true, it’s easy to see why some might think that because, with the real-life vocaloid craze happening around the time of the “Ashley Too” episode, it seems like the lines between speculative fiction and real life are getting blurred.

software is used and her likeness is projected onto glass screens.

Japan isn’t the first country to play with the idea of virtual celebrities, though the ones created there seem to have found massive mainstream success compared to other examples. Funnily enough, Ross Bagdasarian is attributed with first using the concept of a virtual band in 1958 when he sped up recordings of his voice to achieve the high pitched singing voice used by Alvin and the Chipmunks. He went on to produce several award-winning records featuring the anthropomorphic woodland animals. Alvin and the Chipmunks haven’t gone on world tours, though.

Perhaps the only comparable example is the British virtual band Gorillaz, created by musician Damon Albarn and artist Jamie Hewlett.

Created in 1998, Gorillaz popularized the term “virtual band.” Since its inception, Gorillaz has consisted of four distinct characters, each with their own name, face and personality. As time has gone by, the characters have aged (and the art style has changed too), giving them a strong sense of life.

Unlike vocaloids, Gorillaz relied heavily on Albarn’s own musical talent and collaborations with other artists to make music, while Hewlett was the mastermind behind the art used for music videos and promotional materials. The characters have

their own distinct manner of speaking and inflection when voice acted, and Albarn has always provided the singing voice for lead singer 2-D. Like Miku, Gorillaz have also participated in virtual tours, though they have not gone as smoothly as Miku’s. The musicians of Gorillaz are very much human, and when Gorillaz went on their first tour in 2001, they chose to blend virtual and live elements by having the musicians play behind a massive screen that displayed visuals to the crowd.

Later, both Albarn and Hewlett admitted to being frustrated by the setup as well as acknowledging that attempting a virtual-live tour in 2001 was a bit ahead of its time. Since then, Gorillaz tours have put the emphasis on the live musicians, waiving the virtual aspect in that regard.

“A hologram can’t disagree with creative decisions, have its own ambitions, or get sick—or even tired.”

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The Western population got a taste of the vocaloid craze via the “Black Mirror” episode “Rachel, Jack and Ashley Too.” In it, Miley Cyrus plays Ashley O, a pop star whose entire brain is downloaded into a robotic doll named Ashley Too. Over the course of the episode, the twisted plan of Ashley O’s manager is revealed, which involves using Ashley O’s brain scans and some advanced technology to replace the human Ashley O with a hologram version.

The allure of a hologram Ashley O, the show explains, is that all the inconveniences that come with a sentient human celebrity are gone. As the manager sees it, a hologram can’t disagree with creative decisions, have its own ambitions, or get sick—or even tired.

Gone are the days of giving celebrities time off to rest or recuperate their mental health.

Not only would they have complete control over a hologram, they wouldn’t have to deal with their pesky human-ness.

“Black Mirror” is designed to show the dark sides of technology, and some have even joked that the lack of new episodes in

In a somewhat tragic way, the experiences of Gorillaz and Hatsune Miku have almost lent credibility to the ideas presented in “Black Mirror.” They’ve demonstrated the difficulties of having a celebrated virtual band that relies heavily on very real people and illustrated why vocaloids seem to do it better. “Black Mirror” dives into the idea that holograms are more profitable than people, which is a bit darker than the reality of vocaloids now.

by a hologram. Hatsune Miku’s creator has expressed his own thoughts about the benefits of vocaloids being accessible to everyone, but there’s a certain charm that comes with a slightly out-of-reach celebrity.

It’s classic fan culture, after all. Humans have been losing their minds over famous people for decades.

It’s clear that these creatives know the value of a human face. Riot Games has had the artists behind the League of Legend virtual bands perform live on multiple occasions, managing to showcase both the live and virtual members of the groups. The creators of Gorillaz have taken a step back from the virtual aspect of their band and have opted for live musicians whenever possible. While these examples aren’t vocaloids, they still showcase the

intuitive preference for the artists who are able to breathe.

Right now, though, vocaloids haven’t quite gone mainstream. They have major potential, so the odds of seeing more virtual celebrities in the future are rather high. But it’s all a matter of preference, and consumer dollars always drive companies.

Are vocaloids truly the future? Only time will tell..

Julita Fenneuff is a senior majoring in professional and public writing with a minor in Spanish. She has a deep interest in pop culture and wants to make a change with her writing. In her spare time she enjoys reading, playing video games, and spending time with her pet bunny.

Being entirely computer generated, Miku doesn’t have to worry about paying tribute to the people making her music, and there are no worries of balancing real musicians while also giving a platform to the virtual aspect. Plus, the capabilities of a virtual celebrity far surpass those of a human celebrity. If making money is the goal, it’s easy to see how corporations would be tempted by the former. Even video games have cashed in on the hype, with Fortnite hosting virtual concerts and Riot Games creating various virtual bands using League of Legends characters.

Vocaloids do serve as a bit of a threat to real musicians, but it’s difficult to know if they could ever truly replace live musicians.

Vocaloids can do things that humans simply cannot, but there are also things humans can do that can’t be replicated

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HEY! I’M WALKIN’ HERE! Looking Forward to the Greenlight For Carless Cities

By Katherine Denzin The lack of flying cars in the year 2022 is surely a disappointment to anyone who watched classics like “The Jetsons” or “Back to the Future.” By now, almost a quarter way through the 21st century, cars are not only failing to fly on efficient airborne highways but are also causing major problems involving traffic, noise, inequality and the environment. Perhaps the futuristic vision of the 80’s is not the fate of human progress but rather a cityscape that actually tries to limit the influence of the automobile (terrestrial, airborne, autonomous or otherwise).

The concept of carless cities is more or less what the name implies: the idea of eliminating the space and real estate devoted to personal vehicles in modern American cities. Adjacent to this idea is making cities walkable, meaning most essential businesses and goods are within walking distance for most residents. In the past century, most American cities have developed a dependency on cars as transportation and points of culture in the form of built infrastructure and economic ties to the industry. The automobile was invented around 1885 by Karl Benz, but the car dependency didn’t develop until about half a century later.

After World War II, the car became central to the quintessential American life portrayed to the rest of the world as proof of capitalism’s glory.

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“It’s the Federal Highway system that’s built during the Eisenhower administration that enables this,” said Micheal Stamm, a professor with a doctorate in history at Michigan State University, where he teaches about the development of cities, among other topics. “So you get all these people coming back from the war, and they’ve got access to low interest loans to buy homes, and then you’ve got the government building this massive highway system.”

This bolstered a post-war boom of cities designed around the car, with satellite suburbs creating commuters and mostly white neighborhoods, seeding the basis of modern socioeconomic and racial inequality.

The culture of cars developed along with their utility functions. Stamm points to the 1930s when General Motors surpassed Ford, largely due to their offering of multiple lines of cars as opposed to Ford’s one black Model T. The car evolved into more than just a method of transport; it became the subject of songs with southern California imagery sung by the Beach Boys, and a way to express yourself through the type of car you owned and customized.

“It becomes a very kind of masculine project to be good at working on your car, and it becomes something that people devote themselves to on the weekends, like customizing and suping up

their automobiles,” Dr. Stamm said. The internalcombustion engine found in most automobiles is inherently a contained explosion, which took on a distinctly gendered outlook on gas cars over electric cars early in their development, further contributing to the rise of the fossil-fueled vehicle.

Historically, the majority of American cities, suburbs and rural areas alike depended on cars as the dominant form of transportation.

There are numerous downfalls to cardependent cities that have slowly become realized as cars’ glamor wore off, revealing the deteriorating environment, potholes and the frustrating moments when someone steals the last parking spot in a crowded lot during the holidays.

Traffic and noise are one main complaint related to the congregation of cars. Cities like Los Angeles are known for bumper to bumper lines of cars at rush hour and horrendous smog. Noises like traffic and unpleasant smells exhausted from cars cause stress and negatively affect the wellbeing of people living within the city, according to a study by researchers Antonio Zumelzu and Marie Geraldine Herrmann-Lunecke.

“I'm always happier when I don't have a car”

- Dr. Stamm

On MSU’s campus, students can be seen walking, using bike corrals and parking in campus lots and structures.

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And the amount of space given to cars in cities is enormous. Superspace, a division of international architecture firm Woods Bagot, reported that in Los Angeles County, parking lots take up 101 square miles—four times the size of Manhattan. Cars take up unnecessary space when sitting parked and unused as well as when circling to find an empty parking spot.

Efforts to reduce traffic have likewise been largely unsuccessful and complicated.

Increasing the number of lanes, a common effort to relieve traffic congestion, results in induced demand, an economic concept that means if the supply of something increases, then demand also increases. Wired reporter Adam Mann explained that as more lanes and roads are constructed, more people

want to and will drive. On Park Avenue in Manhattan, for example, the beautiful green scapes and quaint sitting areas were slowly shaved away as the automobile took hold of the city throughout the 20th century. The site is described by Sergey Kadinskly for Forgotten New York, a website “calling attention to the artifacts of a long-gone New York”—much of which is gone thanks to urbanization.

Cars also foster an unequal environment.

Historically, the establishment of highways displaced and sectioned off communities, often with high minority populations, segregating neighborhoods into haves and have-nots. Presently, households without a car are typically lower income, face fewer job opportunities and fewer hours compared to their car-owning counterparts, according to a study by author and professor Anne E. Brown for the Institute of Transportation Studies at UCLA. Reliance on cars as primary transportation is discriminatory to those who cannot afford a vehicle, to those without a drivers license and to those who are disabled, among others.

Frequent bus schedules and reliability are integral to improving citizen trust in public transportation, alternatives to personal vehicles.

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Not only are car-centric city models unequal, they are also terrible for the environment.

As cities become more densely inhabited, a greater number of cars are needed to travel longer distances.

Wisdom Henry, a senior at Michigan State studying urban planning and history, said, “Too many cars are not only inefficient because many people drive in their cars alone [but also add] to the problem of increased carbon dioxide emission in the atmosphere.” According to the Environmental Protection Agency, 29% of America’s greenhouse gas emissions are a result of transportation, and it is the sector where emissions increased the most in the past 30 years.

Unfortunately, electric cars are not the bestof-both worlds solution many hoped they would become. For one, electric vehicles rely on materials like cobalt, a metal especially concentrated in the Democratic Republic of Congo, and it has recently spurred ethical concerns over mining, including unsafe conditions and child labor. Charging electric vehicles is also only as green as the power source—many power grids still rely on fossil fuel and coal energy sources, making EVs’ claims of zero emissions sometimes untrue.

Besides, increasing reliance on EVs does not eliminate any issues related to car dependency.

Eliminating or reducing cars in urban spaces and repurposing the space for public transportation and a diversity of businesses

satisfies essential needs, especially for residents’ mental health and socialization.

“Densely populated cities and major information hubs can benefit from walkable cities because when more individuals are on the streets, it provides an opportunity for interactions with others, which breeds creativity and innovation,” said Henry. Creativity and innovation are what cities were known for; in a city, anything was possible because of the concentration of opportunity, resources and people. Increasing green spaces and widening sidewalks in downtowns would simultaneously reduce traffic-related noise and make cities a better place to live. These improvements are linked to improving mental

As American infrastructure stands now, most cities do not have resilient public transportation to support residents without cars. Indeed, on Michigan State University’s campus, the reduction of CATA bus services in the spring 2022 semester revealed the importance of robust and reliable transportation systems.

These disruptions also visibly increased the amount of traffic on campus, revealing how attractive alternative methods of transportation can be when executed properly, especially on a college campus. In broader society, lack of a personal vehicle or reliable public transit translates to a lack of opportunity in the workforce and a lack of socialization.

Large amounts of space in the United States are devoted to the temporary storage of

unused vehicles.

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health and fostering a sense of community and safety.

“I’m always happier when I don’t have a car,” said Stamm, who prefers to bike in the East Lansing area when possible. “It’s hard around here mostly because of the weather,” he said.

“What’s more problematic than that is going grocery shopping.”

Eliminating or reducing cars would require large infrastructure changes related to public transportation and the proximity of goods to neighborhoods. But, reducing the number of cars would open space for more efficient bus lines, larger bike lanes and less parking, equating to more businesses. Big box stores like Meijer and Target have been experimenting with small scale urban stores, which would increase city dwellers’ access to fresh groceries and goods in a way that rivals present day suburbs.

Cities like Paris successfully prioritized walkability through concepts like the 15-minute city, the idea that every essential need is within a 15-minute walk. This creates little communities less reliant on private transportation in huge urban cities.

Anne Hidalgo, the mayor of Paris, ran her campaign on the idea of a “city of proximity,” and so far she has been relatively successful, evidenced by her reelection in 2020. Pockets of greenspace and long paths of bike lanes have been central to reducing the amount of traffic in central Paris.

Riding on public transportation alleviates the need for passenger attentiveness, freeing more time in the day as well as eliminating costs related to automobile uptake.

An MSU student uses time on the CATA buses to respond to messages from friends.

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For the environment, reducing personal vehicles in cities makes sense. “In terms of sustainability, to me, it’s a no brainer,” said Stamm. Especially during the early days of COVID-19, he said people noticed it was

Traffic and noise are linked to people’s wellbeing. Lessening car dependency in cities would include reducing traffic by increasing alternative transportation methods.

“quieter and … cleaner because people aren’t driving around.”

In 2020, carbon dioxide emissions dropped by 6.4% because of lower travel rates during the pandemic, possibly a sign for a brighter future with the right policy restrictions.

Transitioning personal vehicle users to instead use buses, bike lanes and subways will reduce emissions and the amount of car-related manufacturing outputs. Public transportation can also take advantage of breakthroughs in clean energy to further reduce atmospheric polluters.

The creation of walkable cities and the reduction of personal vehicles sounds like a utopian vision of the future of humankind that

prioritizes community and the environment while still benefiting from the opportunities of high density cities. Although there are certainly promising aspects of reducing the amount of cars in cities, there are unknowns related to the impact on existing inequality and the feasibility of the plan politically.

Just as the model of car-centric model cities disadvantages people who cannot afford cars presently, eliminating cars in downtown areas could disadvantage people who must commute to work. Proximity to a workplace is an important factor. “In places where the weather is nice, a short walk or bike ride to work is often pleasant and accessible,’’ Stamm said, “but that means that you can afford to live within 10 miles of where you THECURRENTMSU.COM 61

Trains are pivotal to transporting goods across the country and tend to be an underutilized method of public transportation in the modern age.

work, and there’s certain parts of the United States where that is really impossible for people who are not of significant means.”

Even the concept of a 15-minute-city raises some alarm bells because of existing socioeconomic differences by neighborhood. The idea of rehabilitating these areas to resemble more privileged communities certainly sounds like the definition of gentrification. Redevelopment of large, already socially divided cities on large scales to improve something like walkability could have unintended consequences on inequality if done without the right research or implementation.

The way the media has recently presented the idea of going carless comes from a privileged viewpoint. In “Car-less or car-free?

Socioeconomic and mobility differences among zero-car households” published in the journal Transport Policy, Brown says the media’s “attentions have increasingly shifted from the constrained mobility outcomes among car-less travelers, to policies and environments aimed at ‘freeing’ people from their cars in pursuit of sustainability and congestion relief goals.”

Although the new conversations sparking about car-free lifestyles are beneficial,

Bike lanes are one major improvement cities can undertake to lessen car dependency.

they ignore the privilege of being able to navigate daily life now without reliance on cars through rideshare services, social networks and robust communities.

In her study of Californian methods of transportation, Brown found that 80% of zero-car households do not have a car for financial or accessibility reasons, while those who are car-free by choice usually have a higher income and are white. There is an accompanying conversation regarding

“Densely populated cities and major information hubs can benefit from walkable cities because when more individuals are on the streets, it provides an opportunity for interactions with others, which breeds creativity and innovation” - Wisdom Henry 62 SUMMER 2022

access and privilege related to the delicate decision to limit personal vehicles.

Especially in Detroit, a city founded upon car production and known as the Motor City, there are concerns and questions about the city’s identity and functionality should cars be eliminated or reduced. Similar to Brown’s study of California, a University of Michigan report found that 63% of Detroiters own or share a personal vehicle, mostly those with higher income and higher educational achievement.

Detroit rose to greatness and deteriorated throughout the 20th century with the automotive industry. As automotive plants moved from the central city to the suburbs and throughout the country, Detroit became a less-densely populated city with little public transport infrastructure and flagrant inequality issues.

In places like Detroit where identity converges with utility when it comes to cars, efforts

to limit their use or turn efforts to public transportation will be more difficult than in places like New York, which feature a robust subway system. Even among carless residents of Detroit, reducing the cost of auto insurance was a preferable reform to increasing public transportation routes, according to the U of M study. Detroit is still reliant on the automobile industry, so they may be more hesitant to embrace the carless model.

In general, completely ridding cities of cars is impossible. “I do not believe that eliminating cars is a feasible goal for planners because cars are a necessary form of transportation when traveling over long distances,” said Henry. “Likewise, there will be a portion of the population that simply prefers traveling by car; however, planners need to introduce

more options for people to travel, such as public transportation with additional routes and more pick-up times.” Although eliminating inequality-inducing, environmentpolluting personal vehicles from cities sounds beneficial, cities are more likely to focus on improvements to existing infrastructure.

In addition to much-needed improvements to public transportation across America, there are smaller scale improvements possible that will vary by city. “I think the most interesting and promising initiatives are things that start locally. You know, things like bike lanes,” said Stamm. He compared cities to laboratories, saying the solutions to the problems created by cars are going to look different depending on location and will be heavily reliant on citizen input.

A carless utopian future is unlikely in most of America because of the scale of the improvements and buy-in from residents.

Americans may not have to say adieu to their beloved vehicles yet, but cities can undergo improvements to promote a healthier, greener future for their citizens. Maybe the future of urban life relies not on technological advances like flying or autonomous cars but instead on community mindsets and a lessening of car dependency.

Katherine Denzin is a sophomore majoring in history and statistics. She works as the assistant editor-in-chief of The Red Cedar Log and is involved with a start-up publication about policy, Matters of Fact. When not writing, studying or pursuing her latest fixation, she enjoys reading, rewatching movies and baking cookies or pretzels.

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THE TRUTH ABOUT BMI

Many people are unaware of what the Body Mass Index was really invented for

By Molly Maczik The way social media has trained individuals to be insecure within their own bodies, while spreading false information about the health industry, has many unaware of what the Body Mass Index was invented for. Most tend to think BMI is only used in health and fitness to track one’s body composition or to destroy self-confidence. The truth is, BMI was invented to give a quick and easy way to measure obesity in regards to the population and to assist the government in providing

The InBody machine located at Coop’s Iron Works in Saginaw, Michigan.

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resources; but it is an inaccurate way to measure an individual’s overall health.

Lambert Adolphe Jacques Quetelet was the first person to apply statistical normal distributions to characteristics of the human population, now known as BMI. He had a variety of skills, but besides being the inventor of the BMI, he was also a founder of sociology. Consequently, obesity proceeds to be a socially developed sickness where individuals identify as sick due to their weight and the value of health, wellness and body image in today’s society. According to the Internal Journal of Obesity, children who were overweight between kindergarten and third grade had a great reduction in test scores and teacher ratings of social-behavioral outcomes.

The BMI formula was created in the early 19th century and is identified as the following: the weight in pounds multiplied by 703, and then divided by the height in inches squared.

There is no physiological reason to square a person’s height. Additionally, the BMI formula ignores waist size, which is an easy way to identify obesity. Some other essential aspects include bone, muscle and fat in the body, but the BMI scale doesn’t measure these things proportionally. The absence of proportional measurement often leads to misinterpreted BMI readings in athletes and fit individuals.

Athletes will often be labeled as obese or overweight since they are more likely to have

strong bones, good muscle tone and low fat, causing them to have a high BMI. Someone having a high BMI doesn’t always mean they are overweight.

Aisha Zahid of Sky News said “The use of BMI inspires weight stigma, contributes to eating disorders and disrupts people’s body image and mental health.”

Although most people who are fit are able to identify that they are not actually considered obese, using the BMI scale can be triggering to those with self-confidence issues. For younger generations, especially women and girls, hearing the word obese can cause them to develop an eating disorder.

18.5, healthy is a BMI of 18.5 to less than 25, overweight is a BMI of 25.0 to less than 30 and obese is a BMI of 30.0 or higher.

The average BMI of a man is 26.6, and the average for a woman is 26.5.This scale puts both males and females in the overweight category because some simply have greater muscle mass than others.

When the doctor informs an individual they are considered overweight or obese, it can cause many health issues for that individual.

That person may look at their body differently and start to overthink the foods they are eating and the choices they are making. Ifthe individual develops bulimia, anorexia or any other food-restricting eating disorder, it could cause serious harm to the body.

For those who may actually be overweight and have developed underlying health conditions because of it, they may try extremely restrictive diets in response. These diets can also cause harm to the internal body, and in return, that individual may gain weight instead of losing it.

The BMI scale has four different categories: underweight, healthy, overweight and obese. Underweight is a BMI of less than

When someone is in need of losing weight, it is important to proceed with a diet that is healthy and sustainable.

According to Eating Disorder Hope, when someone’s BMI is low, that is a time to be concerned. Since BMI is a measurement of weight and height, there is an average weight each height should be around for males and females. If an individual is falling behind, it can be a sign of undereating or other underlying health issues. A low BMI could cause a potential risk of bone loss, hair loss, abnormal blood count and much more.

There is now a machine called the InBody machine that does a complete analysis of the body; the analysis has five categories with around four subcategories in each category.

From measuring water mass to the leanness of a single arm, the amount of analyzed information is more than a sufficient amount to tell whether someone is obese or not.

Whether one is considered to have a high or low BMI, health problems are likely to happen. One such health problem is being told they are either overweight or underweight the majority of the time. This is why BMI has become a very controversial subject in the health industry.

younger children, as it is a way of measuring growth in height and weight. It can also be used for adults in a similar way, but it should not be the key factor in interpreting if an individual is at risk of disease.

Although BMI can be beneficial in doctor’s offices to measure an individual’s weight and height, it should be avoided when measuring obesity. Alternatively, the InBody machine is an accurate way to measure obesity because it is more intricate. The more knowledge that is out there about BMI, the more one is able to control their relationship with food and themselves.

Molly Maczik is a fourth- year undergraduate majoring in Professional and Public Writing.

She currently works as an online fitness coach and hopes to continue her fitness business postcollege while integrating the writing and editing techniques she has learned in the past four years. When she’s not at the gym, she likes to spend time with friends and family and be outside. You can follow her fitness account on Instagram @mgfiiit for all things fitness, nutrition, mindset and lifestyle.

BMI is very unreliable and does not measure the accurate body parts needed to decipher whether a person is considered overweight or not. Weight and height measurements alone are not enough to determine a person’s fat percentage. Body fat mass and dry lean mass are other key factors to recognize what weight class an individual falls under.

The truth is, BMI was invented to give a quick and easy way to measure obesity in regards to the population and assisting the government in providing resources, but it is an inaccurate way to measure an individual's overall health.

The way BMI is measured now can be beneficial to doctors, especially to doctors of MSU student Molly Maczik measuring her body composition on the InBody machine.

The InBody machine measurement sheet.

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FEELING INVALIDATED IN ONE’S OWN MENTAL HEALTH Mental health has been talked about more than ever, but many still feel invalidated

By Jenna Piotrowicz Mental health has been talked about more than ever before as awareness continues to spread and stories are shared. However, many still feel invalidated in their own mental health.

When suffering from a mental illness, some people compare their feelings to those of others. This may lead them to think their experiences aren’t as bad, so they feel unworthy of seeking help. When a person begins to compare their experiences against someone else’s, they make a harmful mistake.

Every person has unique struggles, and their thoughts and feelings are valid, regardless of whether other people share them.

“And I noticed that these everyday tasks that were simple and easy for everyone were not easy for me.”

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Claire Henderson, Sara Evans-Lacko, and Graham Thornicroft, members of the Health Service and Population Research Department at King’s College London Institute of Psychiatry, said, “Globally, more than 70% of people with mental illness receive no treatment from health care staff. Evidence suggests that factors increasing the likelihood of treatment avoidance or delay before presenting for care include lack of knowledge to identify features of mental illnesses, ignorance about how to access treatment, prejudice against people who have mental illness, and expectation of discrimination against people diagnosed with mental illness.”

Michigan State University student Ally Gilbreath understands these feelings of prejudice and ignorance well.

“Freshman year of college, I began to feel really overwhelmed,” Gilbreath said. “And I noticed that these everyday tasks that were simple and easy for everyone were not easy for me. I waited a long time because I didn’t realize I had a problem until I lived on my own.”

Gilbreath’s experience highlights the lack of knowledge presented to young adults about

mental health symptoms and signs. Many continue to struggle because they perceive it to be normal. If they do seek help, the process of getting a diagnosis isn’t easy either.

“I had to go through a five hour evaluation, and it took a long time to even get into the office. This whole time I was waiting and still struggling,” Gilbreath said. “But once I got my diagnosis it was really helpful and allowed me to understand myself more. I wasn’t just lazy or disorganized; there was something going on.”

Even after taking the step to get help, issues with the process of medication and treatment

“I don't think we have improved to the point of realizing that some people can't conform to these societal demands without looking at it as an excuse or as laziness or irresponsibility.”

Photo by Jenna Piotrowicz THECURRENTMSU.COM 67

remain. Many people still feel invalidated years after their diagnosis.

“Getting the correct medication is not easy at all either. I feel like a criminal every time I get a refill on my medication; they make you sign a waiver and everything to make sure you’re not selling it, and make me go in every single month,” Gilbreath said. “So, not very friendly towards people struggling with ADHD. That seriously needs to change. The medical system continuously fails those with ADHD, especially when the symptoms aren’t the most common ones. It’s super invalidating that I have to jump through all these hoops just to get my medication.”

direct cause of the invalidation of people simply seeking help. People may recognize the mental illness but are unaware of its symptoms and how it can affect a person’s life.

“I think that has a really damaging effect on people who are neurodivergent,” Gilbreath said. “The education and understanding has not improved. There’s still people that

don’t even think that ADHD is real. It’s so frustrating that I had to diagnose myself and vouch for my own feelings, and still to this day, I’m the one researching my own condition to better understand myself because it is so under researched.”

MSU student Emma Scheib reflected on her own mental health experience as well.

“Expressing to someone why I was needing help was almost uncomfortable.”

and I could trust them with anything without judgment, and the only judgment I felt was in my own head.”

“I think society is becoming much more accepting of the fact that almost everyone in the human population does suffer from some form of mental health issues, regardless of how severe those issues are,” Schieb said.

“My doctors made me feel extremely secure,

Jenna Piotrowicz is a junior majoring in professional and public Writing, aspiring to be a writer or editor in her future. In her free time, she enjoys watching movies, TV shows and working on her own screenplays, hoping to create the next big feature film.

“I waited about 3 years before looking for help after cracking under the pressure of college and being completely online,” Scheib said. ”I waited so long because I was under the impression that it was normal to feel unmotivated and exhausted all the time because I had been feeling like that for such a long time.”

Mental health awareness continues to rise.

However, a need for greater progress remains. In regards to Americans’ outlook on mental health, Gilbreath said, “It’s more recognized, but I don’t think the outlook has improved. Society values productivity and responsibility, something that people with certain mental illnesses struggle with. I don’t think we have improved to the point of realizing that some people can’t conform to these societal demands without looking at it as an excuse or as laziness or irresponsibility.”

Many feel there is a significant lack of knowledge presented to young adults, making them completely unaware when they are showing signs of a mental illness.

Gilbreath mentions the lack of research in regard to women with ADHD, which connects to their underdiagnosis—women’s ADHD symptoms often look different than those of men, who are traditionally studied. This is a

“Seeking help was extremely difficult for me because it meant something was actually wrong, and I didn’t want to accept that I genuinely did need the help,” Scheib said.

“Expressing to someone why I was needing help was almost uncomfortable. Looking back, I am extremely happy and proud of myself for reaching out to someone because I’m doing so much better than I was a year ago.”

“I wasn’t just lazy or disorganized, there was something going on.”

According to Mental Health America’s “2022 Key Findings Report,” in the United States, “fewer than 1 in 3 youth with severe depression receive consistent mental health care.”

Connecting with doctors and medical staff is crucial to receiving the best treatment and care

Photo by Jenna Piotrowicz 68 SUMMER 2022

for mental health. Finding a doctor one feels comfortable with and validated by can make the biggest difference in a person’s life.

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