“Queer characters DO NOT and SHOULD NOT have to “make straight people see how normal we are”. I have no interest in characters in literature who look like me but are not for me. Queer characters should first and foremost be for queer people. If straight people get anything out it, then that is a neat perk. I reject the idea of cloaking characters in respectability politics because queer characters are not to blame for queer oppression.
I do not want characters that are written to teach straight people that we are “good people” because the logical extension is to blame queer characters (and queer people) for not being good enough.”—
Erato, the muse of lyric poetry, looked down from on high and furrowed her brow. Something was not right. She plucked at her kithara in agitation. She was dissatisfied. No, more than that, she was BORED. Pentameter was past its prime. Haiku were humdrum. Villanelles were so vaudeville. Limericks were completely lame. It was time for something new, something different. But what? With supernatural sight she peered from her perch on Mount Helicon and searched. Somewhere out there was the next big thing. It had to be challenging, and it had to be short. Drabbles? Now there was an idea.
Today in several cities it is Pride Sunday, the culmination of National LGBT month. For all of you who walk with pride or have pride in others you walk with, have a great day. To note this day, each year I take a look at the “state-of-the-state” of LGBTQ characters in DC Comics. You can read…
I didn’t expect that sexism would be such a prevalent issue in nerd culture. It surprised me that this blatant, unfair exclusion was being practiced in a culture that was pioneered for and by outcasts.
My band-sibling wrote this incredibly powerful article.
I just always thought “Random Encounter Bandmember” was a gender
My pal Rook wrote this and it’s important information for all of your eyes and brains to process.
That precedent is well illustrated in Jennie Livingstone’s celebrated 1990 documentary Paris Is Burning. Shot in the mid-to-late ’80s, the film explores New York’s “ballroom” scene, a subculture that allows LGBT people in major American cities — especially disadvantaged gay or trans people of color — to forge together under new identities.
The kids on the ballroom scene form houses under house mothers, and often take on new identities that may include the house name as their new surnames. Within these houses they compete in dance and drag contests at specially organized balls. The scene still exists to this day, but it enjoyed its peak in the ’70s and ’80s.
Pepper LaBeija, a New York drag queen and the mother of House of LaBeija, observed in the documentary, “When someone has rejection from their mother and father, their family … they search for someone to fill that void. … I’ve had kids come to me and latch hold to me like I’m their mother or like I’m their father.”
This is how the ballroom scene emerged. Kids rejected by their families sought out new families and new communities with other outcasts, other exiles, other orphans. These houses became their families. Ballroom became their community. The ballroom scene is just one of the many ways in which LGBT people have created their own support networks, united by their common fears and dreams.
“Franken makes his case that the FCC’s controversial plan could hinder future innovation and consumer choice by giving big incumbent companies a permanent competitive advantage over up-and-coming startups.
As an example, Franken points to the short-lived battle between YouTube and Google’s Google Video platform last decade. Under traditional network neutrality principles, neither YouTube nor Google Video were given preferential treatment and consumers were free to choose YouTube, which eventually won out as the superior platform and was bought by Google. However, under the FCC’s new proposal, there’s a danger that Google Video would have delivered its videos at a significantly faster speed than YouTube, which wouldn’t have been able to afford to pay for its own “fast lane.”
Because of this, Franken says he wants to rally the public to tell the FCC to scrap its plan.
“We cannot allow the FCC to implement a pay-to-play system that silences our voices and amplifies that of big corporate interests,” Franken says. “We have come to a crossroads. Now is the time to rise up and make our voices heard to preserve net neutrality. We paid for a free and open Internet. We can’t let it be taken away.””—Senator Franken launches net neutrality campaign (via wilwheaton)
Is nextwave really as good as everyone says? I've never read it.
We wouldn’t be living in the shadow of it if it wasn’t something pretty nifty.
Running jokes aside, NextWave was basically Ellis and Immonen gleefully fucking around. It’s extremely funny and more technically and formally playful than I think it got credit for.
In terms of the people who didn’t like it, one of the common refrains was that they felt it was mocking the characters (and, often, the readers themselves). Warren coming from a background of being pretty dismissive towards cape comics probably didn’t help there, but it’s a fundamental misreading of the book - and much more about the insecurity of a certain section of comic fans.
It was a gleeful and artfully clever-dumb (Think THE RAMONES) celebration of how apeshit bizarre Marvel is. In an era which was almost as anti-fun as a good chunk of the mainstream is now, it was absolutely incandescent.
(As well as post-WEF running jokes, I always thought Warren was playing with his love of mid-00s stuff like Scott Pilgrim and Shark-Knife. Also, more than a little FLCL.)
It’s just an enormous, oft-pitch-black-in-tone giggle. It came out in one of the worst years of my life personally, and every time an issue dropped, it made me feel better for as long as I read it.