TCAF (Toronto Comic Arts Festival) comics! They are pretty silly, but I wanted to say that I had a really wonderful time at TCAF. I got to see some awesome comic peeps and the response to my comics (Nothing Can Possibly Go Wrong debuted there) was AMAZING. So many people saying they loved my work! It was a bit overwhelming, actually. ^^;;
Thanks to everyone who came by my table & came to my panels. Thanks to the wonderful organizers and volunteers who make TCAF an inspiring comics festival! Whenever I am at TCAF, I see nothing but good things for comics, which is pretty much the best feeling you can ever have about this thing I have made my career, my life, my passion.
Also, love to my boyfriend Tim, who has been to four previous TCAFs with me as support. Hopefully next year we’ll be exhibiting together as a comics couple. ;)
Procrastination is not typically a function of laziness, apathy or work ethic as it is often regarded to be. It’s a neurotic self-defense behavior that develops to protect a person’s sense of self-worth.
You see, procrastinators tend to be people who have, for whatever reason, developed to perceive an unusually strong association between their performance and their value as a person. This makes failure or criticism disproportionately painful, which leads naturally to hesitancy when it comes to the prospect of doing anything that reflects their ability — which is pretty much everything…
Because it is rewarding on the short term, procrastination eventually takes on the form of an addiction to the temporary relief from these deep-rooted fears. Procrastinators get an extremely gratifying “hit” whenever they decide to let themselves off the hook for the rest of the day, only to wake up to a more tightly squeezed day with even less confidence.
Once a pattern of procrastination is established, it can be perpetuated for reasons other than the fear of failure. For example, if you know you have a track record of taking weeks to finally do something that might only take two hours if you weren’t averse to it, you begin to see every non-simple task as a potentially endless struggle. So a modest list of 10-12 medium-complexity to-do’s might represent to you an insurmountable amount of work, so it feels hopeless just to start one little part of one task. This hones a hair-trigger overwhelm response, and life gets really difficult really easily.
i don’t have bags underneath my eyes, i have sacks full of disappointment and nearing deadlines
So actually, maybe racist nerds do have a good reason to be angry — they’re angry because the comic industry has outgrown them.
Except, depressingly, it hasn’t. The readership? Yes. But the industry itself? In the cases of the Big Two I’d argue that the publishers and the majority of the creators really haven’t moved on, either in terms of attitudes to non-white male lead characters or their employment policy. The suggestion that “the people responsible for these characters are trying to make these properties as inclusive and welcoming as they can” strikes me as so much horseshit. There’s been a stagnation in the industry for at least the last two decades . It’s pretty damn depressing to consider that the highest profile projects in the last few years (particularly on the big screen) - say, Avengers, Batman, etc - are less racially (and otherwise) diverse than pretty much any Chris Claremont book from the late 70s and early 80s.
(Astonishing X-Men #62)
There is so much bullshit here I cannot even…
Exactly when did Colossus make you not feel forgotten? Would it be the time you offered to bind yourself in matrimony to Caliban to save his ass and didn’t even get a ‘thank you’ for it? Or the time he vanished to another world, fell in love with someone he couldn’t even speak to, then came home after she died and dumped your ass? Oh! Or how about the time he ran off with the Acolytes after Magneto crashed the funeral of your best friend?
But let’s remember the good times right? Like the time he beat your boyfriend nearly to death. Or the second time he ran off with the Acolytes, you know, after Magneto tore the adamantium out of that dude you’re bumming steak from. Or when he physically attacked his team leader and a teenage girl for not giving him his way immediately. Or how about all the times that “self-sacrificing” streak of his meant that you got left behind to deal with the emotional fallout.
But no, the moment you’re feeling insecure about your current boyfriend, let’s muse about how the obsessive, violent man-child you fell for at 14 is the love of your life.
Ugh. This is why I hate the Shadowcat/Colossus pairing. Save for a couple of writers who seemed to have some awareness of just how creepy it all is, it generally turns Kitty Pryde into the type of character that makes Bella Swan seem mature, assertive and self-aware.
Oh my god, yuck. Does the writer not realize how creepy and abusive this sounds? “He tried to destroy me.” “Welcome to relationships.” WTF NO THAT’S NOT WHAT RELATIONSHIPS SHOULD BE.
Colossus is the guy who, on multiple occasions now, reacted with violence when Kitty didn’t want a relationship with him—beating her then-boyfriend Pete Wisdom nearly to death, burning and threatening Kitty (and her students) during AvX. It pisses me off that his behavior will probably never be acknowledged on-panel for what it is, and however Bobby/Kitty works out, Kitty will never be allowed to move out of the shadow of her toxic relationship with Piotr. It’s really gross that their relationship is still being romanticized as ~the love of her life~ because no, fuck that guy. And fuck this narrative for abusing Kitty and taking away her agency.
It’s not the first time a narrative has romanticized an abusive relationship and I wish to fuck it’d be the last, but… it’s particularly frustrating in this case because it’s basically become the standard for any time Kitty interacts with or mentions Piotr. About the only time a character has genuinely addressed what a terrible fucking person Piotr has been is when Kurt called him out on it in the issue after his attempted murder of Pete. What makes me side eye even harder is the fact that this kind of narrative often appears immediately after a character, and particularly Piotr, has demonstrated himself to be a terrible person and still excuses that behavior. I know multiple writers may have multiple opinions on a relationship, and that will result on multiple different takes on it, but boy does it send out mixed messages when you have one group of writers romanticizing a relationship and another group writing it as something terrible and abusive. It’s a case where editors really need to get their shit together. It’s especially terrible when, like here, you get a writer acknowledging a character has done something awful in another title, but basically excuses it. Playing the violence Piotr displayed against Kitty as “Ha ha, relationships, huh?” is gross.
I’ve seen Elementary fans claiming their Sherlock is better than Sherlock’s because ours is an asshole and theirs is ‘sympathetic’ and ‘kind’.
I have nothing against Elementary, but may I just remind you - Sherlock is an asshole, because Sherlock is canonically an asshole. He was described as being cold, dispassionate and arrogant - not kind.
From ‘The Adventure of the Three Garridebs’, when Watson is shot: “For the first time, I had a glimpse of a great heart as well as a great brain.”
From ‘The Adventure of the Six Napoleons’, when Lestrade pays Holmes a sincere and heartfelt compliment : “And as he turned away, it seemed he was more nearly moved by the softer human emotions than I had ever seen him.”
From ‘The Problem of Thor Bridge’, when a rich client explains how he tried to seduce his children’s governess: “this young lady was in a sense under your protection…you have tried to ruin a defenseless girl who was under your roof. Some of you rich men have to be taught that all the world cannot be bribed into condoning your offenses.”
From ‘The Adventure of the Veiled Lodger’, after hearing the tragic story of a woman whose face was mauled by a lion; “Then Holmes stretched out his long arm and patted her hand with such a show of sympathy as I had seldom known him to exhibit, ‘Poor girl!’ he said, ‘Poor girl! The ways of fate are indeed hard to understand. If there is not some compensation hereafter, then the world is a cruel jest’ “
From ‘The Adventure of the Speckled Band’, when speaking with a client whose father is physically abusive: “Five little livid spots, the marks of four fingers and a thumb, were printed upon the white wrist. ‘You have been cruelly used,’ said Holmes.”
Also, in “The Adventure of Abbey Grange,” he helps a young man escape, who intervened to prevent an alcoholic aristocrat from beating his wife.
In “The Adventure of the Second Stain”, Holmes goes out of his way to shield Lady Hilda from her husband’s anger, even though the husband was Holmes’ client.
In “The Adventure of the Blue Carbuncle” he lets a pathetic petty criminal go free because he doesn’t think making him a ‘jailbird’ will help.
There are many other instances of Holmes showing kindness, empathy and even breaking the law to help people gain justice.
Other phrases and words Watson uses to describe Holmes at various times:
“without a harshness, which was foreign to his nature.”
“he had a remarkable gentleness and courtesy in his dealings with women.”
Holmes may have displayed a certain impatience for social affectation, but he maintains a strong moral compass and asserts this fact several times, in various situations, towards various people.
This idea that Holmes is a “sociopathic” asshole is quite a contemporary reading and, might I add, a lazy one that’s as ignorant of mental illness as it is offensive to those of us who’re tired of white men getting to stomp all over people in the name of ‘genius’ and ‘anti-hero’ status. BBC Sherlock’s reading of Holmes is one that’s built on popular cultural tropes, and succeeds because of it. ‘Elementary’ reads Holmes with a fuller attention to the complexities of his character.
Anytime someone says ‘well Holmes is an asshole’ as a conclusive fact, I know that your canon knowledge is either limited or deliberately misinterpreted.
Do some re-reading.
Just a reminder that there’s basically no ‘right way’ to adapt Holmes. Sherlock is no more faithful to source material than Elementary (and in many ways less.) Elementary isn’t only way to do Holmes in a modern setting. Basically, it’s a case of creators dipping into the books and picking out the parts they like. Moffat apparently liked the misogyny and dispassionate nature, Ritchie liked the physicality and the quirky playfulness, the Elementary creators have picked up on the addictive personality and the intellectualism. All of these things exist in the original stories and are fair game. So let’s not try and pretend that there’s only one right answer. Especially Sherlock fans, because, seriously, no.
So in the last few days hubby and I have watched all 18 episodes of Elementary that have aired so far. I feel happily overdosed.
How did this pass under my radar? I mean, I adore Lucy Liu since Kill Bill and Jonny Lee Miller since Plunket & Macleane.
Anyway, very happy that we won’t have to wait longer than until thursday for the next episode :D
Possibly because the fandom is one of the generally saner ones out there. We’re quiet, and have no reasons to complain about the show.
I was late to the party too, but this is a good show doing good things. Hugely enjoyable and, while I don’t really want to get into a whole Sherlock vs. Elementary debate, there’s a lot of things that the show does undeniably better than the BBC show and gives a far more nuanced version of Sherlock. There’s no real definitive version of the character - each adaptation has brought something different to the party (although the Granada version comes closest at trying to adhere to the stories most meticulously) - but there’s little doubting that I find a version of Holmes where he’s not just another ‘TV sociopath’ far more entertaining to watch. And Lucy Liu is quite, quite brilliant.
“HBO’s hit show Games of Thrones is the most-pirated TV show on the Internet with more than 4 million illegal downloads per episode, however the company’s programming president Michael Lombardo believes piracy is a “compliment” to the show and has actually helped sales. In February, Game of Thrones season two was released to record-setting DVD sales, becoming the company’s biggest first-day home video release with sales of 241,000 units, an increase of 44% over season one, and sales of individual episodes reached 355,000, up 112% from season one.”
I think I love HBO even more now.
I think TV works a little differently to movies and other forms of mass media, but still, interesting.
Honour Among Punks: Sherlock Holmes like you’ve never seen her before.
Did you know there’s a comicbook where Holmes and Watson are both women and it’s set in an alternate-history 1980s where Victorian society continued on throughout the 20th century because World War II never happened? And Holmes (Sharon) is a punk who solves punk crimes that are ignored by the police? And she has an angry punk girlfriend named Sam, who lives with her and nerdy American med-student Watson at 112 Baker Street?
Well there is! And look at this sassiness! More info at Hello Tailor
It’s almost more from Watson’s point of view than Holmes canon, because Watson-as-narrator is enthusiastic but still mostly a naiive outsider to Sharon and her girlfriend’s standoffish circle of punk acquaintances. Sharon is more of a mystery than canon Holmes, possibly because her closest emotional connection is to Sam rather than to Watson, who fills the role of well-meaning sidekick as Sam becomes more and more embittered about Sharon’s obsession with her work. The mysteries resemble classic Holmes without being direct adaptations (they investigate a forgery ring that’s somehow connected with the London punk scene; Sharon tracks a latter-day Jack The Ripper who preys only on men), and the characters frequent an underground nightclub called Baskerville’s.
Something I noticed yesterday, something that’s been nagging at me for awhile, dancing around my peripheral, ducking out of the way just as I turn my head, hiding in the corners of my consciousness:
I don’t think people give a shit about Doctor Who so much anymore.
Before I continue: I know that what I’m about to offer up as “proof” of this phenomenon is entirely anecdotal. I didn’t commission Nate Silver to collate data and pore through the stats before I yarked this up onto the internet. But I do wanna get this out there, to see if it is, in fact, just me. Or rather, me, and my friends, and their friends, and the legions of Who fans (I’m not calling them Whovians. They shouldn’t either) online who seem to be responding to the back half of Series 7 with a tweedy shrug and some sideways snark at best.
Basically this article articulates how I feel about the current run of Doctor Who. I’m not an alarmist who thinks that Moffat’s going to kill the show if he’s not removed, but I’m so damn… underwhelmed by the show at the moment. A couple of high points aside and my still being a big fan of Matt Smith’s portrayal, it’s become more of a habit than something I genuinely enjoy. And that makes me sad.
It is my greatest ambition to grow up to be any of the characters Margaret Rutherford plays (okay, specifically the historian from Passport to Pimlico).
Selected filmography: Blithe Spirit, Miranda, Murder Ahoy
Everyone should aspire to be as awesome as Margaret Rutherford when they grow up.
Every superhero story and character doesn’t have to be sour and depressing. Your characters can be likable, because that’s what’s gonna bring new readers in and keep old readers. If you don’t have likable characters that readers can relate to a little, then every galactic, Earth breaking situation that you put them in isn’t going to matter. If readers don’t like fictional characters, then they don’t care if they die. If that happens, then your story is dead. If it happens over and over, then your business is dead. You don’t want that. None of us do. It’s dark in here, turn on some lights.
Gods, yes. I want to be entertained by comics, not depressed.
Outside of the voluntary emotional self-flagellation that is MTMTE, that is.
Entire modus operandi ^