So furtatious.

May 28

“You guys know about vampires? … You know, vampires have no reflections in a mirror? There’s this idea that monsters don’t have reflections in a mirror. And what I’ve always thought isn’t that monsters don’t have reflections in a mirror. It’s that if you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves. And growing up, I felt like a monster in some ways. I didn’t see myself reflected at all. I was like, “Yo, is something wrong with me? That the whole society seems to think that people like me don’t exist?” And part of what inspired me, was this deep desire that before I died, I would make a couple of mirrors. That I would make some mirrors so that kids like me might seem themselves reflected back and might not feel so monstrous for it.” —

Junot Diaz (via vulturechow)

i love this quote so much.

(via youarenotyou)

(Source: issarae, via sashayed)

[video]

So, WisCon is over. It was even better than anticipated if you can believe that. The levels of radicalism, squee, swag, sleep deprivation, and basic social interaction were so high that I now wish to find a dark, silent box and hide there till I start to feel like an alive person again. OH THE SWAG, though. It’ll blister your face! (I’m writing this from a Greyhound, actually, which I was not even aware you could do. No rest for the modestly funded feminist indie nerd, I suppose.) SO. There are about three hours left to preorder Smut Peddler on Kickstarter. We’re making one final push to get out the word, so if you’ve been on the fence about it, NOW’S YOUR CHANCE. As a point of interest, I thought I would share a final reflection on the process of collaborating with the lovely and talented theyoungdoyley. The following quote is from page 124 of Will Eisner’s Graphic Storytelling: “Not surprisingly, there often are communication problems between participants in the process of graphic storytelling. In writing for graphic storytelling, the ultimate judgment of the narrative is made after the work is translated into art. The writer, therefore must be aware of the obstacles on the way to publication. When text alone is the vehicle in conveying a story to the reader, there is little chance of misperception. But from text to visual, there is a high probability of a difference in outcome, stemming from lack of skill to lack of time. In this medium, storytelling is not always a straight line from the mind to the reader.” I found out the hard way that storytelling priorities can be very different between prose writers and visual artists. It was a table-flippingly bumpy ride for both of us at first, but once we found our groove I think we really strengthened each other’s work. If you’re interested in my role in the comicking process, I have broken it down into several easy steps: Plot with Jenn, figure out general scope and arc of story. Research setting forever. “Oh how interesting! This will be delightful!” Be filled with callow optimism. Write a script describing what happens in each panel on the page, including dialogue and important details. Completely invent script format. Whatever, it works. Jenn does not want to draw needlessly complex and/or physically impossible pages. Insist that they are functionally and thematically necessary. Have bitter feud. ME: So I think this page needs about eighteen panels, a big crowd scene, mirrors, fancy architecture, and some cars or whatever. You can fit five hundred words’ worth of speech bubbles in that, right? JENN: … JENN: *casually murders me* Achieve truce, get snacks. Negotiate an acceptable compromise. Take a nap or something. Draw some squares. Panel layout goes like this? (If not in the same part of country as Jenn, hold up your drawing of squares, take awkward picture of it in Photobooth, and send it to her.) Either get confirmation, or argue about it until both parties can agree on a layout. Jenn draws roughs. Complains mightily, as is her due. Cheerlead from sidelines, since there is nothing you can really do to help at this point. She must face the darkness alone. Read roughs. They are awesome, if soaked in the blood of ages. Fling at friends for suggestions. Annotate. Jenn draws final pages, dies repeatedly and loudly. Oh my God they are face-meltingly awesome though. Your sacrifices have not been in vain. Mend tattered remains of friendship. When love and trust have been restored, show finished, pornographic product to your parents and forget to mention this to Jenn. While enjoying your newly harmonious relationship during a Skype session, be powerless to stop them when they poke their heads into your room to give her well-intentioned but totally traumatic compliments. MY MOM: By the way, honey, I loved the art in that comic of yours. I also liked the way Bob performed his gender, it was very Butlerian. MY DAD: Also, good use of Russian! JENN: *casually dies of a heart attack* So, to conclude! All snark aside, putting “Travesty” together was stressful in the same way as reading a book that blows your mind wide open. Jenn was so smart and thoughtful, and she taught me so much. I learned how to think more visually, reflect carefully on every little storytelling choice, and find the humility to let go of my first ideas and make way for something more graceful and effective. I’m a much stronger writer for it. So, here’s looking at you, kid. Also, thanks for letting me eat all of your food. <3

So, WisCon is over. It was even better than anticipated if you can believe that. The levels of radicalism, squee, swag, sleep deprivation, and basic social interaction were so high that I now wish to find a dark, silent box and hide there till I start to feel like an alive person again. OH THE SWAG, though. It’ll blister your face!

(I’m writing this from a Greyhound, actually, which I was not even aware you could do. No rest for the modestly funded feminist indie nerd, I suppose.)

SO. There are about three hours left to preorder Smut Peddler on Kickstarter. We’re making one final push to get out the word, so if you’ve been on the fence about it, NOW’S YOUR CHANCE.

As a point of interest, I thought I would share a final reflection on the process of collaborating with the lovely and talented theyoungdoyley.

The following quote is from page 124 of Will Eisner’s Graphic Storytelling:

“Not surprisingly, there often are communication problems between participants in the process of graphic storytelling.

In writing for graphic storytelling, the ultimate judgment of the narrative is made after the work is translated into art. The writer, therefore must be aware of the obstacles on the way to publication.

When text alone is the vehicle in conveying a story to the reader, there is little chance of misperception. But from text to visual, there is a high probability of a difference in outcome, stemming from lack of skill to lack of time. In this medium, storytelling is not always a straight line from the mind to the reader.”

I found out the hard way that storytelling priorities can be very different between prose writers and visual artists. It was a table-flippingly bumpy ride for both of us at first, but once we found our groove I think we really strengthened each other’s work. If you’re interested in my role in the comicking process, I have broken it down into several easy steps:

ME: So I think this page needs about eighteen panels, a big crowd scene, mirrors, fancy architecture, and some cars or whatever. You can fit five hundred words’ worth of speech bubbles in that, right?

JENN: …

JENN: *casually murders me*

MY MOM: By the way, honey, I loved the art in that comic of yours. I also liked the way Bob performed his gender, it was very Butlerian.

MY DAD: Also, good use of Russian!

JENN: *casually dies of a heart attack*

So, to conclude! All snark aside, putting “Travesty” together was stressful in the same way as reading a book that blows your mind wide open. Jenn was so smart and thoughtful, and she taught me so much. I learned how to think more visually, reflect carefully on every little storytelling choice, and find the humility to let go of my first ideas and make way for something more graceful and effective. I’m a much stronger writer for it.

So, here’s looking at you, kid. Also, thanks for letting me eat all of your food. <3

May 27

sashayed: fuckyeahhistorycrushes: Vivien Thomas- During the 1940’s he rose above racism and poverty to become a pioneer in cardiac surgery. that’s good bc i’m having a strong cardiac reaction 2 u

sashayed:

fuckyeahhistorycrushes:

Vivien Thomas- During the 1940’s he rose above racism and poverty to become a pioneer in cardiac surgery.

that’s good bc i’m having a strong cardiac reaction 2 u

adelinesattic: Early 1930s gowns and hairstyles, as viewed from back.

adelinesattic:

Early 1930s gowns and hairstyles, as viewed from back.

(via artdecoblog)

May 26

sydneyflapper: shelbysphotocoloring: African-American girl, probably around the 1920’s judging by her finger-waved hair.  Yup - second half of the 1920s, judging from her hem length.

sydneyflapper:

shelbysphotocoloring:

African-American girl, probably around the 1920’s judging by her finger-waved hair. 

Yup - second half of the 1920s, judging from her hem length.

(Source: , via artdecoblog)

fuckyeahhistorycrushes: THIS GUY He is Judge Quentin Durward Corley. He was in a railroad accident and lost both hands, one arm, and one shoulder. He patented his own prosthetic limb! He was smart, resilient and cute! Also he looks so gangsta right there….what a G. Here is his wiki page: http://en.wikipedia.org/wiki/Quentin_Durward_Corley

fuckyeahhistorycrushes:

THIS GUY

He is Judge Quentin Durward Corley. He was in a railroad accident and lost both hands, one arm, and one shoulder. He patented his own prosthetic limb! He was smart, resilient and cute! Also he looks so gangsta right there….what a G.

Here is his wiki page: http://en.wikipedia.org/wiki/Quentin_Durward_Corley

May 25

racialicious: Break the cycle.

racialicious:

Break the cycle.

electrolocution: Objectif Lune by bluewolf487

electrolocution:

Objectif Lune by bluewolf487

May 24

bluealaris: onorobo: awkward close up right click and open in a new tab for fullview holy fuuuuuck

bluealaris:

onorobo:

awkward close up

right click and open in a new tab for fullview

holy fuuuuuck

princesstutu-tfln: [Image - Drosselmeyer in his clockwork looking on at Rue, Fakir, Mytho and Princess Tutu.] [Text - (204): well when do great stories at the expense of people’s relationships become a bad thing?] The actual premise of Princess Tutu.

princesstutu-tfln:

[Image - Drosselmeyer in his clockwork looking on at Rue, Fakir, Mytho and Princess Tutu.]

[Text - (204): well when do great stories at the expense of people’s relationships become a bad thing?]

The actual premise of Princess Tutu.

May 23

Signal Boost: Crossed Genres Kickstarter -

Bart and Kay have done a great job putting out progressive SF/F, and make a point of representing women, LGBTQ folks, and people of color. Be sure to go throw some dollars at them so they can keep it up! (Also so you can get a sweet deal on CG books and ebooks, among other things!)

[video]

Rolling to WisCon

itpiercesskin:

I am going to the world’s greatest feminist science fiction convention this weekend.

I am looking forward to the panels and discussions about fiction and fandom that are both geeky and social justice-y. I am also all about the genderfloomp dance party that takes place on the last night. Last year’s floomp was my favorite club/dance experience ever. Will tumblr user oftenfuzzyfaced be able to take home the coveted Most Floomp Award two-years in a row?

HIGH FIVE. If last year was any indication, I can expect to:

Why “douchebag” is an awesome insult:

incandescentquill:

niaili:

When you call someone a douchebag, what you’re literally saying to them is,

“You think you’re so great, but your existence is actually totally unnecessary and your main function is probably toxic. Also you shouldn’t be allowed near anyone’s genitalia.”

You’re also saying (or at least I’m saying, when I tell people they’re douchebags), “You’re the product of really garbage, woman-hating social constructs designed and perpetuated by the likes of 50’s-era Clorox to make people feel shame and hate for their bodies. Your whole function is to be a fakey-fake, painful, horrifying ‘solution’ to the insecurity and misery generated by your allies, and you are promoted only via body-policing, sexism, heteronormativity, and/or fear.  There is nothing good about you, you are the result of problems your corporate pals caused, and your presence generates additional, dangerous-bacterial-infection-type problems.” 

This is exactly how I’ve rationalized using this term. Even though I think what most people hear is “associated with vaginas and therefore terrible.”