Instead of waiting in her tower, Rapunzel slices off her long, golden hair with a carving knife, and then uses it to climb down to freedom.
Just as she’s about to take the poison apple, Snow White sees the familiar wicked glow in the old lady’s eyes, and slashes the evil queen’s throat with a pair of sewing scissors.
Cinderella refuses everything but the glass slippers from her fairy godmother, crushes her stepmother’s windpipe under her heel, and the Prince falls madly in love with the mysterious girl who dons rags and blood-stained slippers.
Persephone goes adventuring with weapons hidden under her dress.
Persephone climbs into the gaping chasm.
Or, Persephone uses her hands to carve a hole down to hell.
In none of these versions is Persephone’s body violated unless she asks Hades to hold her down with his horse-whips.
Not once does she hold out on eating the pomegranate, instead biting into it eagerly and relishing the juice running down her chin, staining it red.
In some of the stories, Hades never appears and Persephone rules the underworld with a crown of her own making.
In all of them, it is widely known that the name Persephone means Bringer of Destruction.
Red Riding Hood marches from her grandmother’s house with a bloody wolf pelt.
Medusa rights the wrongs that have been done to her.
Eurydice breaks every muscle in her arms climbing out of the land of the dead.
Girls are allowed to think dark thoughts, and be dark things.
Instead of the dragon, it’s the princess with claws and fiery breath
who smashes her way from the confines of her castle
and swallows men whole.
If you want to see my great creative team some really money head over here and check out our pledge tiers! If something catches your fancy and you’ve got that Treat Yo Self cash get yourself some comics!
GO SUPPORT THIS BECAUSE BOLD RILEY IS THE GODDAMN BEES’ KNEES
“We don’t just need more women in videogames — we need more women who don’t fit in boxes. Left Behind isn’t remarkable just because it meets a quota. Ellie and Riley aren’t just concepts or good intentions. They’re people: fully-realized, quirky, funny, dangerous girls. Ellie isn’t there for anyone – to inspire, titillate or motivate them. Ellie there because she’s herself, and for once, that’s reason enough.”—Laura Hudson, "The Videogame That Finally Made Me Feel Like a Human Being" (via femfreq)
This is how the world ends in The End Is Nigh: An asteroid. A pandemic. Aliens. War. Plans gone wrong. Plans gone right. Nanomachines. A brown dwarf star. EMP. Fire. Drought. Another pandemic. Overpopulation.
But not yet. Not today.
The End Is Nighis the first book of theApocalypse Triptych, a series of anthologies co-edited and self-published by John Joseph Adams and Hugh Howey. The other two volumes,The End Is NowandThe End Is Come, will take us into the hearts of dozens of apocalypses, and then their aftermaths. But first, the cusp: “Post-apocalyptic fiction is about worlds that have already burned,” writes Adams in his introduction. “Apocalyptic fiction is about worlds that are burning.The End Is Nigh is about the match.”
Let’s not forget to acknowledge Alexandre Dumas this Black History Month
The writer of two of the most well known stories worldwide, The Three Musketeers and The Count of Monte Cristo was a black man.
Let’s not forget that he was played on screen by a white man. And the fact that he was black is barely ever mentioned or the book he wrote inspired by his experiences.
Other things not to forget about Alexandre Dumas:
chose to take on his slave grandmother’s last name, Dumas, like his father did before him.
grew up too poor for formal education, so was largely self-taught, including becoming a prolific reader, multilingual, well-travelled, and a foodie, resulting in his writing both a combination encyclopedia/cookbook (which just— is fucking outrageous to me) AND the adaptation of The Nutcracker on which Tchaikovsky based his ballet
he also wrote a LOOOOT of nonfiction and fiction about history, politics, and revolution, bc he was pro-monarchy, but a radical cuss, and that got him in a lot of hot water at home and abroad.
even beyond that, he generally put up with a lot of racist bullshit in France, so he went and wrote a novel about colonialism and a BLATANTLY self-insert anti-slavery vigilante hero (which he then cribbed from to write the Count of Monte Cristo, the main character of which, Edmond Dantés, Dumas also based on himself).
(…a novel which also features a LOAD of PoC beyond the Count, and at LEAST one queer character, btw, bc EVERY MOVIE ADAPTATION OF ANYTHING BY DUMAS IS A LIE; seriously, at LEAST one of the four Musketeers is Black, y’all.)
famously, when some fuckshit or other wanted to come at Dumas with some anti-Black foolishness, Dumas replied, “My father was a mulatto, my grandfather was a Negro, and my great-grandfather a monkey. You see, Sir, my family starts where yours ends.”
for the bicentennial of his birthday, Pres. Jacques Cirac was like, “…sorry about the hella racism,” and had Dumas’s ashes reinterred at the Panthéon of Paris, bc if you’re gonna keep the corpses of the cream of the crop all together, Dumas’s more widely read and translated than literally everybody else.
and they are still finding stuff old dude wrote, seriously; like discovering “lost” works as recently as 2002, publishing stuff for the first time as recently as 2005.
I’ve never had my geek cred questioned. No one asks me if I “actually read this stuff” as I work behind the counter of my LCS. When I say how much I enjoy a book like Ms. Marvel or Wonder Woman, people take me on my word. When I check out a store in another town, I’m asked what series I collect, not what I’m doing there. If only these people knew I wasn’t “one of them”.
I was 19 the first time I ever set foot in a comic book store. I wasn’t even there to buy a “real comic”, instead leaving with the first two volumes of Scott Pilgrim. It took two years for me to actually set up my first subscription, for the then newly announced Adventure Time. I was late to the party on Saga, Hawkeye, Captain Marvel, Ultimate Spider-Man - books that are now some of my favorites - and I’d never read an issue of Batman until I was working in a comic shop. If I were held to the same standard half the comic reading population is, I’d be branded as a fake.
Instead, I’m seen as an expert by the customers of my store, in equal parts it seems because of my position and gender. When someone brings up a series I am unfamiliar with I can deflect with a simple “let me check if we have that in” and no one questions if I know what I’m doing. People want and take my suggestions of what to read, even though I was the one receiving those same recommendations just a year or two ago. While my job has afforded me the opportunity to catch up on many of the “classics”, I’ve still not gotten through much of the Marvel and DC catalog. Instead I sometimes have to rely on what I know from Wikipedia pages and secondhand accounts. There’s a part of me that is always concerned I’ll be called out as a fake, but in reality, it’s unlikely to ever happen. I get to be a part of the club because I look the part.
I’ll be going to my very first convention in March with a friend who has read comics her entire life. She actually understands exactly what happened in the New 52 continuity shift and can tell you how the plot of the Avengers movie mirrors the original Stan Lee and Jack Kirby issues. If she were a guy, she’d be considered a true fan by any standard. But when she goes to a store, she gets one of two reactions. Either she’ll just be ignored, which at this point she prefers, or she’ll be subjected to a series of increasingly difficult trivia questions, trying to prove her assumed ignorance. A Batman backpack and Wonder Woman key-chain she carries with her every day aren’t enough to convince someone she’s a fan. No one asks here about her opinions on DC’s handling of Cassandra Cain and Stephanie Brown. Instead she’s asked if she’s there to get something for a boyfriend. At every turn her credibility is questioned.
This entire idea of “credibility”, however, is the real problem. The biggest lie at the center of the “fake geek girl” phenomena is that there are legitimate and illegitimate ways to enjoy comics. Regardless of gender, someone who has only seen the Marvel movies and someone who has all 700 issues of Amazing Spider-Man are both justified in calling themselves comic fans. There shouldn’t be rankings; there shouldn’t be tiers. If you prefer Tomine or Liefeld or Staples; big two or independents; collecting variants or buying during Comixology sales - none of that should matter. The diversity of this amazing medium is reflected in the unique way each person approaches it and chooses to enjoy it. I’m not suggesting that some people aren’t more passionate about comics than others, but passion = interest + time. By excluding people as they’re just starting out, we’re not giving them a chance to let their passion for comics develop.
We need to work to dismantle this idea of credibility whenever we get the chance and catch ourselves when we’re buying into it. If you’ve ever felt superior to someone else because you knew more about comics, I want you to really think about what you gained from it. Instead of bragging about what you know, share something new with someone who doesn’t. Be the person you wish you’d met when you read your first comic. Remember we all start somewhere and invite someone new to our club.
“Be the person you wish you’d met when you read your first comic,” he says.
Looking to use a webcomic to build support for a forthcoming print edition, Dark Horse is launching The Misfits of Avalon, a new fantasy series by Kel McDonald that will debut online today.
Misfits of Avalon is about Arthurian-themed Magical Girls, and the first volume is called “The Queen of Air and Delinquency.” If that doesn’t make you want to start reading, you need to reassess your priorities.
Saw you tweeting about Poly was wondering if you had any advice on how to adjust, haven't been having a great time with it myself
Okay, here’s the thing: There is no right answer to this, because there’s really no single way to do it.
The way you phrased your question makes me suspect that you might have gotten pulled into a relationship structure you’re not comfortable in or wouldn’t have chosen to be in under other circumstances. Asking your partner/s to explore a new relationship structure with you is okay; unilaterally opening a relationship or coercing your partner/s into things they’re not okay with is not.
It’s also possible that you’re exploring this consensually, and it’s just not really working for you. That is also a thing that happens sometimes, and it’s really difficult, especially when it’s not parallel between partners. There’s not really a right answer to that one, either: sometimes people who love and want only the best for each other need different enough things from relationships that they can’t be together in a way that doesn’t significantly harm one or both of them, and that sucks, but it may be something you need to consider.
Here’s what I’d recommend, regardless your situation:
Really, really look at your motivations, what you want, and why. If you feel pressured into opening a relationship, don’t. In context of a relationship, that’s not a decision that should be made unilaterally.
Which is to say: If you take a close inventory and decide that you would rather be monogamous? That’s fine. There is no one-size-fits-all relationship structure: the best thing you can do is feel out what works for you.
Know that it’s also not a one-time question, even within the same relationship. Be okay with that. Reexamine. Renegotiate. Check in with yourself and your partners regularly.
Read like crazy. When I say “poly,” I’m talking about a super wide range of relationship structures: it’s about as specific as referring to someone’s religion as “non-Seventh Day Adventist.” Different people and different relationships’ comfort zones and rules and guidelines and practices vary a LOT: that one set doesn’t work for you doesn’t mean none will. Poly relationships are getting more visible, but when you live in a society where monogamy is the overwhelming default, sometimes you have to actively search out the language and concepts for other things. Give yourself time.
Remember that what works for individuals within a relationship may vary. The Spouse’s default for relationships outside of ours is different from mine. That’s challenging sometimes, but it works for us. Your mileage may vary.
COMMUNICATE. A lot. With partners, with prospective partners, and, most of all, with yourself. The kind of informed consent that a lot of nonmonogamous relationships require demands a pretty unflinching understanding of your own hard limits and comfort zones—and, again, remember that those might change, and that’s okay.
ESTABLISH A COMMON LEXICON. I can’t emphasize this one enough, because I have shot myself in the foot with it more times than I prefer to admit. Because a lot of the language around nonmonogamy—really, around informed consent—involves terms appropriated and bastardized from other contexts, it’s really important to make sure that you and your partners are agreeing to the same things; and as you work out rules, make sure you are on the same page about whether you’re whitelisting—defining common guidelines by what is allowed—or blacklisting—defining they by what’s not. Practice reflective listening, and do a lot of “This is what X means to me. What does it mean to you?” back-and-forth. It will feel silly and forced. Get over it. It’s worth it.
If you decide to seek counseling—individually, or with one or more partners—look for someone familiar with and friendly toward alternative relationship structures. There’s a (very partial) directory of poly-friendly professionals here, but don’t be shy about asking, either.
Finally, I want to share a concept I find incredibly useful in navigating those difficult spaces: acceptable discomfort. It’s a concept that exists outside of poly and other relational contexts, but they’re where I first encountered it, and they’re a space in which it consistently applies. For me, being poly means being okay with a degree of insecurity and jealousy and personal weirdness—not as things that are comfortable, but as things that I am comfortable navigating and riding out. Acceptable discomfort describes the level of discomfort where I can give and mean informed consent, but maybe need some space to work through my own feelings. It doesn’t mean consenting to things I am not okay with; it just means defining what I’m okay with trying as distinct from what’s comfortable. Acceptable discomfort is the ache of stretching a tight muscle, not the sharp pain of pushing through a serious injury.
There’s a popular myth, I think, that in good relationships, everything is always good or immediately solvable. I don’t think that’s true. And the idea of acceptable discomfort, to me, means having room to actually work shit out—or not, according to our own priorities.
Literary publishing’s uneasy relationship with fan fiction has been complicated by the realization that fandom is a huge potential market—one already stocked with both prolific authors and enthusiastic readers. But how to tap that market is a dilemma that few publishers seem quite prepared to engage.
In which I look at publishing’s love-hate relationship with fan fiction, and how folks like Big Bang Press are challenging and subverting that.
I really, really want to write a crunchy breakdown of how gender relates to both the popular dismissal of fan fiction and Howey’s emergence as the poster child for legitimizing digital publishing, which strikes me as having some uncanny parallels to John Green’s oft-discussed status in YA.
I also worry that a) no one will ever want to publish as many articles as I am dying to write on intersections of fan fiction, gender theory, and new publishing economies; and b) that maybe I actually just want to write a (likewise probably unpublishable) book on this stuff; but that’s neither here nor there.
You hit it off with a cute, funny woman, and you both decide to move your physical relationship forward, but she feels she needs to tell you beforehand that she’s a breast cancer survivor and had a single mastectomy. If you decide “whoa, I’m not into asymmetrical girls; that’s gross,” then you are completely within your rights to not have sex with her. But we all understand you’re being an asshole.
You’re flirting with someone online for a while, and fall completely in love and decide to meet up for coffee and maybe a little something after. But finally seeing her in-person instead of her avatar, and realizing she’s black, you stop short and leave. You’re within your right to walk away. But we all understand you’re being an asshole. And racist.
You have a great time with a woman you just met, and you both decide to get naked and have an have greater time, but beforehand she tells you that she’s trans, and either can’t afford surgery or just doesn’t want it. And you decide a woman with a penis isn’t someone you way to have sex with. You are entirely allowed to say no. But we all understand you’re being an asshole.
There is no scenario on earth were you should not be allowed to say no to sex.
People calling you out for being discriminatory or biased in no way eliminates your sexual agency. People are allowed to feel hurt when you reveal that your attraction is shallow enough that one trait they possess destroys any desire you had to make love to them. It isn’t a clever trap, wherein the other party can leap up and say “Ah-hah! You’re anti-Semitic, now you HAVE to have sex with me!” Anger and sadness are natural reactions to being told one specific aspect of you makes you undesirable, and having those feelings is nothing like having a minority force themselves on you. Minority outrage is not akin to rape.
Attraction isn’t something that develops in a void. Our attractions are built by the people around us and the communities in which we live. Whatever bigoted opinions society instills in you do not suddenly become sacrosanct just because you also developed your understand of beauty and sexual attraction based on them.
If a situation like this comes up, and you don’t want to be racist or transphobic or otherwise discriminatory, here are a few suggestions for how to handle it:
“This is really new to me, and I still like you, but I need a little time to absorb this information and educate myself.”
“I’ve never been in a relationship/friends with benefits/fuck party situation with someone like you before, and I was taught to believe certain things. Can we just talk for a while instead?”
“I’ve always been taught to associate [your minority trait] with negative things, and have never had to think about it belonging to a real person before, and I know it sounds awful to say, but I’m not sure I’m mature enough to handle that yet.”
“I’ve never been in this situation before and am a little nervous. Can we take this slower and see how it goes?”
I really like your point about racelifting creating "The Black Version" of a character, but aren't you setting a bar too high for pop culture to hit? Iconic characters don't become icons until we hit +10 years. The last characters in cape comics to hit that mark were Wolverine and Harley Quinn. As amazing as Luther is, our society will probably never put him on the same shelf as Sherlock Holmes. Not to say that pop culture should stop trying, but isn't "The Black Version" a small help?
Trust, I’m well aware of how unlikely it is, and the various factors that make it unlikely in our society. But let me turn your question on its head. I’m not going at you or anything, but I’m not sure your argument works.
-Does iconic matter in this situation? People complain that we’re stuck in a cycle of sequels and remakes, but plenty of new, original movies are released and find success each year. People buy into new things all the time, across every single medium, so why does the iconic status of a character matter, if people are open to new things? Nobody out there is like “This new movie better have some iconic and recognizable characters or I’m not gonna pay to see it!” outside of people with absurdly firm ideas of what movies should be. So in terms of recognizability, iconic-ness, whatever—not really an issue, is it? It’s an invented problem. I take your point about Wolverine & Harley Quinn, but it’s only relevant to mainstream comics, which has an exceedingly conservative readership, more than movies, which pretty much anybody will watch if the trailer is good and somebody they think is hot is in it. Avatar made a billion trillion dollars and I didn’t see it, but I’m pretty sure that movie was about blue elves in space jungles. A black hero in an American city fighting a grandiose villain possibly wearing a cape or cool costume: not hard in comparison, surely?
-Why is the metric “Is this as significant (or whatever word you personally choose) as Sherlock Holmes?” Not that I think Sherlock Holmes is bad—I like detectives, I like Elementary—but there’s not a single solitary Holmes story that’s the Watchmen of detective tales. (Watchmen is also not the Watchmen of comics, but let me stop.)
I don’t care if Luther gets to be on the same shelf as Sherlock Holmes, because Luther is dope in and of itself. It doesn’t exist in a vacuum, it probably wouldn’t exist without Holmes, but it has nothing to do with Holmes outside of being in the same genre and existing in a world that Doyle’s stories have changed. You can judge Luther on its own merits, instead of comparing it to a totally difference franchise.
-The Black Version is a small help, but it’s a cosmetic fix, not a true one. It has value—people will see and appreciate him, children will cop his toys and have fun, and if he’s half as good in FF as he was in Fruitvale Station, he’s gonna bring the thunder and lightning—but how far does it go? He’s still a subordinate version of an established white character, which means his narrative is going to be defined by that difference instead of his actual skill. It <em>already is</em> defined by that difference. Dude gave one of the best performances of the year in Fruitvale Station and all anybody has to say is “How can there be a black brother and white sister???” like adoption, re-marriage, play cousins, step-siblings, and interracial relationships were invented late last night instead of a thrillion years ago and the press releases haven’t been sent out yet. So the Black Version has its high points, but it feels like one step forward, one step in place.
The Black Version being subordinate to the white version is also incredibly important. It turns the character into a variant, a novelty, instead of the “real” thing. I like Miles Morales as Spider-Man, but he wasn’t a headline grabber because of the strength of Bendis & Pichelli’s story, was he? He was a headline grabber because “oh dang, black Spider-Man?!” no matter the story they told.
-There’s no way that “an independent black character who is not subordinate to a white character” (whether that’s Hal Jordan & John Stewart or Johnny Storm & Johnny Storm) is too high a bar for pop culture, because that is straight-up the bare minimum expectation. I’m not saying “Johnny Storm should have always been black” or something really out there. I’m saying “It would be nice if black characters got the respect and interest that they’re due.” If that’s too wild for movie producers and fans…I don’t even have a punchline here, if that’s too wild an idea for those people, I vote we throw those people off the top of Olympus Mons and see how high they bounce.
-The Black Version is a half-measure, a salve for a wound that hasn’t healed yet. I’m bored of expecting the bare minimum and seeing somebody half-step all up and down the screen. So yeah, it’s not that bad, but it definitely ain’t that great, either. Given the choice between Black Johnny Storm and Michael B Jordan as a character who was originally black, I vote original every time. Independence over everything.
Any tips for intimidated first-timer girls that want to go into a comic shop and order Lumberjanes? Like, will shops know what I'm handing them or will they be like "who are you what is this why are you here?"
1. Wear your favorite plaid shirt
2. Take your best friend with you, because friendship
3. The comic shop employees should be happy to get the form because all the information is on it and they don’t have to look anything up, thus making their jobs easier
4. If they are rude, take the form back, yell A CURSE UPON THIS SHOP, then take your business to another shop
5. If you can actually perform curses, that would be ideal.
6. Walk away in slow motion as the shop explodes behind you. Don’t look at the explosion. Taylor Swift’s “Trouble” plays.
7. “They shouldn’t have messed with me” you say grimly
8. I forgot what we were talking about
Well, no–not quite. But this Saturday marks my first anniversary a freelancer editor and writer, and I am celebrating early by signing the contract for my editorial dream gig*–both of which seem like good occasions to sit back and take inventory of the last twelve months.
The latest revelations about surveillance are only the most recent in a string of periodic public debates around domestic spying perpetrated by the NSA, FBI, and CIA. This spying has often targeted politically unpopular groups or vulnerable communities, including anarchists, anti-war activists, communists, and civil rights leaders