“Weightlifter Sarah Robles is an incredible athlete, but outside the world of squats and snatches, barely anyone knows her name. And even though she’s the U.S.’s best chance at an Olympic medal, she’ll never get the fame or fortune that come so easily to her fellow athletes — in part because, at 5 feet, 10.5 inches and 275 pounds, she doesn’t fit the ideal of thin, toned athletic beauty. - Jessica Testa”—The Strongest Woman In America Lives In Poverty
(this quote from Sarah kind of breaks my heart: ““I still have bad thoughts about myself, but I’ve learned that you have to love yourself the way you are,” Robles says. “I may look like this, but I’m in the Olympics because of the way I am.”)
Three Very Short Excerpts, in Reverse Order, from Something I Will Probably Never Post in Its Entirety
This is why you can’t check me in on FourSquare or tag me on Facebook. This is why I will ignore your friend request unless I know you personally and can confirm your identity, and sometimes even then.
This is why I don’t mention my favorite restaurants by name on Twitter. Why I get overwhelmingly, viscerally scared in a place deep in my lizard brain when I learn that some network or other has changed my security settings without notifying me.
This is why I will never have a listed phone number.
This is why I don’t use the word “stalking” when I mean “googling or following public posts by someone online,” or joke about stalking crushes or celebrities or friends, ever.
Of all the things he stole, and all I sold to be rid of him, I miss my own kindness the most.
White people who are confronted with their white privilege and the white supremacist acts they perpetuate have been known to cry, “You’re being a reverse-racist!” That is completely true: people of color have the power and control to create, perpetuate,…
Normally we review only the first issue of a new series or story arc or wait until the arc is done; this gives us the benefit of discussing something new that we think might deserve your attention or taking a more in-depth look at the whole story instead of merely a chapter. It was a change we at Comics Bulletin thought was for the best and I generally agree with it.
So why are you reading this review of the third issue of Alabaster:Wolves, then? Well, every once in a while a comic comes along that makes you stop and take notice. It’s a pretty good year when you get a couple of comics that demand your attention, but we’re already nearing a handful for 2012 and we haven’t even hit the halfway point. Alabaster: Wolves is the most recent of those comics, and it isn’t receiving anywhere near the amount of attention that it deserves.
I’m breaking from our standard for reviews here at Comics Bulletin because Alabaster: Wolves commands a new standard.
“Anyway, now that I’m back, I do like being back. The big difference is that Dancy is my character, that this is a creator-owned project. I cannot stress strongly enough the difference that makes. I worked for Vertigo for seven years, seven long years, and I have nothing much to show for it. But Alabaster: Wolves and anything else I may do with Dark Horse, that will always be mine. So long as the arrangements remain this way, yeah, I plan to do more work in the medium.”—
Hey, boys and girls and otherwise! If your local store doesn’t have The Legend of Bold Riley and can’t order it you can order through our fine publishers site! If Ebooks are more your bag you can download a really sharp digital version on the Itunes bookstore.
I also want to thank everyone for sticking with me and reading! I hope I get to see some of you on the 30th at Bridge City Comics, one of Portlands BEST comic book shops!
Oh, dang, you guys. Bold Riley has been one of my favorites for a lot of years, and I am super crazy excited about this collection.
I know I am spamming “BUY THIS COMIC” links fast and furious right now, but there are SO MANY, and they are SO GOOD, and you gotta try and help support the kind of art you want to see more of, doubly so when it’s creator-owned.
We wrapped on my first music video last night, and I’m gearing up for the Annual Donation Drive starting next Monday, June 25! In addition to the premiere of my first video, I will be opening the donation jar as I do once a year, around the anniversary of the last day of my…
TL;DR: Trying to get some shit done by mid-October.
I started June off by fucking up my dominant wrist pretty fiercely, which has put a serious crimp in both working out and writing, so this is going to be an abbreviated update. Doing an okay job of maintaining better eating habits—hooray for seasonal produce—and at least I’m still making consistent progress on Mega Man 2:
The thing that’s giving me the most trouble is forcing myself to carve out a significant amount of time and space every week to write. I find that without someone else to be answerable to—my Potemkin studio or other—it’s really difficult to convince myself to take the time to go to what’s become my workspace of choice and hammer out text for a few hours. Once I get there, it’s easy-peasy; but actually allowing myself to just have that time is incredibly hard.
I’ve also had a sudden kick of freelance gigs, which is awesome, but which, again, makes it harder to convince myself to really set aside that time for writing. I need to start treating this as sacrosanct in the same ways that paid work is, and to find a way to hold myself similarly accountable.
I’ve found that I hate, hate, hate doing things by halves. If I can’t fully participate; if I can’t have three hours to just hammer out text, or do every exercise I want to at the gym, I have trouble convincing myself to do it at all. Gotta push past that. Perfectionism and completism breed intertia.
“So why am I leaving? The short answer: ownership. With the exception of just a few published pieces of art (which belong to other companies), Marvel owns the copyrights to my entire professional portfolio. And why shouldn’t they? I was, of course, compensated fairly for it, and for that I’m grateful — but the sum total of that work is not enough to support me in the distant future. My page rate is essentially the same as when I started at 21, so I’ve decided to invest in myself. What I create in the next decade needs to pay dividends when my vision gets blurry and my hands start to shake (and who knows what else). Now is the time to make that choice, while I’m still young, possess “great power,” but have few responsibilities.”—
“Respectfully, hate me? you best to behave/ I’m seven dollars a record makin heftier pay/ Can you realize platinum artist buck by buck, is that what you say?/ 200 thousand sold compared to the average, platinum rapper/ couldn’t afford, what I blow, or owe on my taxes/ Cause I own, my own masters/ own, my own catalogue/ Ain’t tryna be old talkin ‘bout ‘Oh, I had it all’”
“To speak honestly about money, it is not only necessary to enlarge our perspectives. We must also start speaking out loud. Perversely, I’ve found that the more I make, the more I want to talk about what I make. My mounting tallies create a pressure that I release with inappropriately glib or self-deprecating remarks. But there’s no intrinsic value in not talking about it other than perhaps preserving an illusion of shy modesty, adhering to those aforementioned social mores, and keeping on the metaphorical sheep costume. The truth of my richness remains, and the richness of those who have made me rich endures and expands. Silence benefits only those on top.”—
I think it’s critical to remember that this isn’t as simple as social taboo—without measures like a Paycheck Fairness Act, talking honestly about income can be a tremendous professional liability, and even grounds for dismissal.