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miracleblog · 3 months

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Comics International 128 (2001)

This issue of the UK magazine utilized the cover image from Warrior magazine issue 7 by Mick Austin.

#miracleman #alan moore #alan davis #mick austin #marvelman #todd mcfarlane #comics international magazine

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devonaeya · 7 days

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#tim drake #rich boy #tim drake wayne #it's his rich boy persona #photoshoot for an international magazine?#article sth like:#“Tim Drake-Wayne speaks about Gotham's very own Bats”#tim: are they heroes or just another problem of Gotham?#tim: Gotham has a serious bat infestation #art #digital artist #artists on tumblr #small artist #dcu #dc comics #dc

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lisamarie-vee · 6 months

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#vintage magazine #it #international times #illustration #comics #1970s

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frc-ambaradan · 2 years

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I don't think there's any need to translate the balloons here... Donald's face says it all! 😅

Zio Paperone, Rockerduck e la cura della torre (2010)

#the face of resignation #international feelings #poor donald #donald duck #scrooge mcduck #john d. rockerduck #scrooge and rockerduck #rodolfo cimino #maurizio amendola #topolino magazine #disney ducks #italian disney comics

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echolitmag · 4 months

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Subs close tommorow!

Hello everyone! Just here to remind you that you only have 36 more hours to send us your phantasmagoria. We're particularly interested in comics/graphic stories.

#teen writer #literary magazine #echolitmag #the echo literary magazine #lit mag #writing #writers on tumblr #the echo tumblr intern #artists on tumblr #comic strip #comics #comic art #short comic #original comic

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downthetubes · 3 months

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Lakes International Comic Art Festival, Doctor Who Magazine, launches children's Doctor Who Monster Competition

The Lakes International Comic Art Festival, in partnership with Doctor Who Magazine, published by Panini Comics UK, has just announced a Doctor Who Monster Competition for children that will see the winning creation appear in a special comic strip

The Lakes International Comic Art Festival, in partnership with Doctor Who Magazine, published by Panini Comics UK, has just announced a Doctor Who Monster Competition for children that will see the winning creation appear in a special comic strip. Simply design a Doctor Who monster of your very own, and see it featured in a special comic strip in Doctor Who Magazine, the official magazine about…

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#Competition News #Creating Comics #Doctor Who #Doctor Who Magazine #downthetubes News #Jason Quinn #John Freeman #Lakes International Comic Art Festival #Mike Collins #Panini Comics #Panini Comics UK #SF Comics

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riddlerosehearts · 1 month

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ever since vil's luxe couture groovy was first revealed i have not been able to stop thinking about how much i love him and the way his relationship with gender is written and treated by the narrative. the way that he's a gnc man who refuses to be seen without makeup on, who uses an extremely feminine personal pronoun in japanese ("atashi") and it isn't treated like an unusual thing or a joke. the way he admires the fairest queen, wants to be beautiful like she was and has such an immense amount of pride and confidence in his physical beauty. and then literally not one person in the whole story calls vil's masculinity into question except for epel, who gets told by vil that his views on gender roles and of men doing "feminine" things are backwards and archaic, and ends up having a whole arc where he learns that he was wrong and comes to see his own naturally cute and feminine appearance as a strength!

and then the fact that the narrative doesn't just treat vil normally as a gnc man but also actively celebrates him by having him be such a massive, world-famous celebrity who's so respected and loved?? he's a movie star, he's a model with a record number of runway appearances, he's an influencer who has 5 million magicam followers, if he advertises a product it flies off the shelves. in his dorm uniform vignette an international fashion magazine--which is specifically known for being the first to feature vil on its cover--is coming to interview the pomefiore students for an article on their pursuit of beauty, and the interviewer tells vil that he looks like the fairest queen reborn! and that's how he wants to be seen and is an entirely positive thing!! and with vil being so famous throughout twisted wonderland there will be kids and teens, most certainly including gnc and trans kids, who will look up to him and hear him publicly say things like how there's no such thing as something being just "for girls" or "for boys" and that men shouldn't be ashamed of doing feminine dance moves or wearing certain kinds of clothing. kids who will feel empowered because the vil schoenheit said they could be both beautiful and strong.

idk, it's just, in a lot of other stories i'd expect vil to struggle more because of the way he presents himself and to be treated in a more comedic way because of it. but instead he's a very important and well-developed character who's incredibly successful and confident, who isn't the slightest bit a joke or comic relief character and in fact is one of the most responsible and mature in the whole cast, whose struggles are mostly unrelated to his gender presentation but who gets to defend his right to be happy just the way he is when someone does look down on him for it, and who at least in my opinion gets some of the prettiest cards in the whole game. he is such a cool and unique character and i love him so much and find this aspect of how he's written to be so empowering and refreshing.

#twisted wonderland #vil schoenheit #was talking with my friend about this when the card first dropped #and ended up wanting to make a post about it #when i first played through book 5 i didn't really Get vil and his story so i wouldn't have called him a favorite #but now?? idk i just... i love him 💜💜💜

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thealieninhiding · 21 days

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The Katie McGrath Archives (WIP)

A repository of my ongoing digital archeology & archival work please contact me if you have anything to contribute and buy me a coffee if you value my content

message me if you want a link to her complete filmography 🤫

Updates

(last updated 2024-05-24)

2024-05-24

Video:

2017 Katie McGrath interview [CW|KMcGsource]

2017 Supergirl Season 3 Sweet dreams (are made of this) Music Video

2017 CW SDCC Promo Supergirl and Arrow

2019-01-01 The CW Promo Open To All

2021-04-25 Supergirl Season 6 Katie McGrath Lena Luthor

2021-09-15 Supergirl Season 6 Katie McGrath Reflecting on Supergirl

2024-05-22

Audio:

Interview - 2009-07-17 Katie McGrath Mr Media interview

Interview - 2009-10-15 Geek Syndicate Merlin BTS special

Video:

BTS - 2008-10-08 Blue Peter Merlin BTS

Events - 2009 TV Choice Awards Digital Spy interview

Events - Getty Videos of 2009 TV Choice Awards, 2010 Merlin Series 3 launch, 2011 W.E. premiere, 2017 King Arthur Premiere

2024-05-17

Archived interviews

2008-12-07 Tribune Magazine - What Katie Did

2011-10-14 What's on TV - Merlin's Katie McGrath- 'Bad girls have more fun!'

2012-12-03 Fanhattan Blog - Colin Morgan, Katie McGrath and Bradley James on Season 5 and The Series Finale

2018-08-01 The TV Junkies - Supergirl SDCC 2018 Interviews- Lena’s Impractical Lab Outfits, the Return of Reporter Kara and a More Grounded Season 4

Audio

HHush samples

Interview - 2009-2011 Sci-fi Talk rewind merlin the series specials episode 1

Interview - 2011? Merlin S4 Sci-fi talk byte katie mcgrath on morgana

Interview - 2013 BBC Radio 1xtra part 1 & part 2

Narration - While You Were Dreaming (Un-Likeminded)

Narration - Irish folklore (Trees a crowd podcast)

Magazine scans

2008-09-20 Radio Times

2009-06-08 TV Week (Aus)

2010-09-05 Sunday Express

2010-09-30 Totally Merlin Magazine

2011-12 Total Film

2012-03-14 Sci-Fi Now

2012-10-06 Radio Times

2013-04-06 Irish independent

2013-09-02 Marie-Claire (UK)

2013-12 Instyle

2013-12 Total Film

Video:

Fans - 2012-04-16 Merlin4 [carlospyrrhus]

Fans - 2017-08-30 Supergirl cast together on set [Joyce Law]

Interview - 2009-09-?? Merlin S2 audio interview with Katie McGrath [BJsRealm] part 1

Interview - 2010-09-06 Merlin Series 3 - BBC Radio 1xtra Interview with Angel Coulby & Katie McGrath [BJsrealm]

Interview - 2011-10-14 Merlin S4 Colin Morgan, Eoin Macken Katie McGrath on The Late Late Show

Interview - 2012-07-15 Colin Morgan and Katie McGrath at SDCC 2012 - innerSPACE [merlinnetwork2]

Interview - 2012-07-18 Katie McGrath Talks Merlin At Comic Con 2012 [ThinkHeroTV]

Interview - 2012-10-25 BBC Radio 1 Breakfast - Colin & Katie part 1 & part 2 [BJsRealm]

Interview - 2012-12-03 Merlin S5 Katie McGrath interview international press day [BJsRealm]

Interview - 2012-12-03 Colin, Bradley, Katie phone interview [BJsRealm]

Interview - 2013-11-09 Katie McGrath on BBC One Saturday Kitchen [BJsRealm]

Interview - 2019-07-22 ENTREVISTA SUPERGIRL Elenco fala sobre a nova temporada [Warner Channel Brasil]

Interview - 2019-07-23 Melissa Benoist Teases Directing An Episode Of 'Supergirl' [ET Canada]

Interview - 2020-02-21 ‘Supergirl’ Celebrates 100th Episode [ET Canada]

Panels - 2011-07-28 Merlin Comic Con 2011 Panel [ThinkHeroTV]

#katie mcgrath #katie mcgrath interview #Katie McGrath archive #Katie McGrath filmography archive #wayback machine #media preservation

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miracleblog · 3 months

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Previews The Comic Shop's Catalog - Number 2 (February, 2001)

This solicitation advertisement for Comics International magazine featured a Todd McFarlane and Ashley Wood Miracleman illustration as it's front cover.

As they were about to go to press, Todd McFarlane Productions placed a Cease & Desist order on Diamond Comic Distributors not to distribute this issue of Comics International with a McFarlane cover, despite the two companies discussing this issue over the previous few weeks.

So, Quality Communications had to substitute a Mick Austin cover illustration in its place.

#miracleman #todd mcfarlane #ashley wood #comics international magazine

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longwuzhere · 11 months

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Here are some cool Easter eggs that I found the newest My Adventures with Superman episode, “Let’s Go to Ivo Tower, You Say”. Links to the easter eggs post:

Episode 1 is here

Episode 2 is here

Episode 3 is here

Episode 5 is here

Episode 6 is here

Episode 7 is here and here

Episode 8 is here

Episode 9 is here

Episode 10 is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

SPOILERS if you have not seen the episode of course:

Perry assigns our intern trio to go get interviews about Anthony Ivo. I previously mentioned Ivo's deal in the comics in this post, but we'll talk more about this version of Ivo later.

Shout out to Lois' hanbok! As a kid in the 90s my first exposure to the DC was through the DC Animated Universe. Because of the way some of the characters like Lois, Clark, Bruce, Dick, Tim, and Terry, were designed, as a kid, I thought they were Asian. Very cool to see this version of Lois be Korean.

Before Lois shows up for their black tie event at Ivo Tower, Jimmy knocks down a stack of papers and magazine and Clark goes to pick it up and stumbles upon the Metropolis Star with a cover that shows him as a kid flying 15 years ago.

The Metropolis star is a rival newspaper to the Daily Planet in the comics. The publisher makes its first appearance in Superman #9 (1987) (W&P: John Byrne, I: Karl Kesel, C: Tony Ziuko, L: John Costanza).

When our intern trio makes it to Ivo Tower, Lois spots some very interesting powerful and political figures of Metropolis, the CEO of Galaxy Communications and Mayor Fleming.

Galaxy Communications makes its first appearance in Superman's Pal Jimmy Olsen #133 (1970) where it was headed by Morgan Edge, the then leader of Intergang. In the comics Clark and Lois does work for Galaxy communications thanks to it buying out the Daily Planet forcing Clark to be the evening news anchor. The Galaxy Communications panels here are from Swamp Thing #68 (1988) (W&P: Rick Veitch, I: Alfredo Alcala, C: Tajana Wood, L: John Costanza).

Mayor Fleming makes her first appearance in Action Comics #894 (2010) (W: Nick Spencer, P: R.B. Silva, I: Denis Freitas, C: Dave McCaig, L: Rob Leigh) where she appoints Jimmy Olsen and Sebastien Mallory as a welcoming committee for Dalwythians aliens. Like her MAwS counterpart she is obviously the Mayor of Metropolis.

Later, Lois goes and questions Senator Sackett at the party/event.

In the comics Sackett was a councilman not a senator who makes his first appearance in Superman #130 (1997) (W: Dan Jurgens, P: Norm Breyfogle, I: Joe Rubenstein, C: Glenn Whitmore and Digital Chameleon, L: John Costanza) depicted here in the issue's panel wearing a Superman costume. Sackett in the comics is in Luthor's pocket.

I am like 99.99% sure this is Lex Luthor like who else in Metropolis is named Alex, has red hair (if this is Lex Luthor and he shows up again, I'll talk about him and what I mean by this in another post.), and works in the science and tech field.

We finally meet Ivo and he is as I was hoping he'd be a major techbro tool. The way he acts in his introduction and his meeting with Clark is very much like Lex and Clark's meeting in Batman v Superman. Both Ivo and Lex upon meeting Clark know how strong he is. In MAwS Ivo punches his chest and it hurts him and in BvS you heard an audible thud when Lex knocks on Clark's chest. Very similar vibes between both scenes.

Clark confronts Ivo about one of his deals and name drops one of Metropolis' mob families.

Bobby Gazzo, head of the Gazzo crime family in Metropolis, makes his first appearance in Batman: Dark Victory #1 (W: Jeph Loeb, P&I: Tim Sale, C: Gregory Wright and Heroic Age, L: Richard Starkings). Fantastic sequel to Long Halloween, highly recommend reading both books.

After Clark gets thrown out and Lois offers to repair his jacket, we see Lois mentioning her dad, Sam Lane a military general and if the person at the end of the second part of the first episode is Sam Lane...

...and he shows up again in the show I'll talk more about it in another post. For now this is all just speculation.

Might be reading into this but maybe a subtle nod to how the words "Superman" and "pal" are often used together. Both have been used as a comic book title, "Superman's Pal Jimmy Olsen" as I've mentioned in these posts a few times.

The show here did a very clever thing with Ivo. Normally any other media pertaining to Ivo would give the audience his power and weakness stealing robot Amazo, but here the MAwS team was able to combine both Ivo and another villain in Superman's rogues gallery, Parasite.

The first Parasite, Raymond Jensen, makes his first appearance in Action Comics #340 (1966) (Cover Art by Curt Swan, George Klein, and Ira Schnapp). All iterations of Parasite have the ability to temporarily steal away anyone's energy, strength, and their knowledge. As I've said there have been other Parasites that Superman fought, the second and most recurring Parasite is Rudy Jones, the Parasite I'm more familiar with, who makes his first appearance in Firestorm #58 (1987).

Cover Art by Joe Brozowski, Bruce Peterson, and Tom Ziuko Alex and Alexandra Allston the third and fourth Parasite (green Parasite and purple Parasite respectively) first appeared in the Adventures of Superman #633 (2004).

Cover art by Gene Ha and Art Lyon

The latest Parasite, Joshua Allen, makes his first appearance in Superman #23.4 (2013).

Cover art by Aaron Kuder and Dan Brown So yeah there are similarities between the Amazo robot and Parasite and it was smart of the MAwS team to just combine Ivo with Parasite to avoid redundancies. Besides the Amazo robot is more of a Justice League villain anyways.

Near the end of the episode, after the Parasite suit wrecks Ivo's body, he begins to look more like his recent iterations in the comics now. The panel here is from Justice League of America #4 (2013) (W: Geoff Johns, P: Brett Booth, I: Norm Rapmund, C: Andrew Dalhouse, L: Rob Leigh). Hope you all had a wonderful time checking this post out. Like I said at the beginning my other MAwS easter egg posts are:

Episode 1 is here

Episode 2 is here

Episode 3 is here

Episode 5 is here

Episode 6 is here

Episode 7 is here and here

Episode 8 is here

Episode 9 is here

Episode 10 is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

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racxnteur · 4 months

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Incomeless; will proofread your fics! (Or anything else.)

I'm not sure how to head this with a snazzy, attention-catching image given I'm not offering an obviously graphic service like art commissions, but let's give it a go...

Hello, I'm your friendly neighborhood disabled unemployed transgender queer on the internet. I have not posted a great amount about the details on this blog for privacy reasons, but I am currently in an untenable familial/financial living situation, which I am actively working to get out of. My primary barrier to disentangling myself from the pertinent parties is a lack of income. I've been unable to pursue traditional means of work due to being multiply disabled (slash chronically ill, slash treatment-resistant, et cetera...), but I do not qualify for SSI or unemployment, so I am stuck trying to find other ways of making money.

This is where you come in... If you'd like to help, you can:

$$ Hire me $$ to proofread your fics, essays, and more!

Click below for info! (I also may add separate posts for diversity reading and/or other writing- and editing-related services.)

For $0.00855/word *OR BEST BID*, I will vet your work of writing before you publish it, checking for mistakes in spelling, capitalization, & punctuation, missed words, inconsistencies of tense, formatting, & POV, and miscellaneous grammatical errors. Never again need you fear posting a finished chapter and discovering a slew of typos after the fact; no matter how sleep-deprived or late at night the state of writing, I will ensure your text is ship-shape. Or, if you happen to be interested in having other types of writing proofread before submission--essays, comics or webtoons, letters, transcripts, compositions of a personal nature, so on--I will happily take these on at a comparable rate.[1]

Qualifications:

Bachelor's degree in English with a minor in writing

Initiate of international collegiate honors society for English scholarship, Sigma Tau Delta

Active member of the International Association of Professional Writers and Editors (IAPWE)

Former lit editor for award-winning university literary arts magazine

Prior employment in tutoring and teaching English, as well as copy-editing and content writing

Nearly 20 years' writing experience

Previous experience as both fic writer and beta

Incisive eye for typo-hunting and tenacious attention to detail (I have high standards and will make those everybody else's problem... now for pay!)

I will read for content of any genre and all ratings, and am broadly[2] open to any subject matter, kinks, et cetera. I'll also post more detailed guidelines (booking process, any exclusions, additional criteria) on a separate, unrebloggable post so that any edits and updates are always current.

Message me via the chat feature on Tumblr, or send me an e-mail (I will post it on my more info post) to request a quote, bid for a slot, or just to see what I can offer for whatever project you have in mind. And please feel encouraged to share or boost this post! I am in urgent need of any income I can get, and every share counts 😭🙌

. . . . . . . . . .

Proofreading Full Details · Other Services · Support Me (alternatively, Tip this post!)

- - - - - - - - - - - - -

[1] There will be some exclusions to this, such as academic assignments/papers that have style guide requirements; i.e., I will not be your online MLA style checker or anything.

[2] As with anything, there will be sporadic exceptions to this as well, but I will always be up-front about such cases.

#proofreading #fanfic #writing help #for hire #authblr #ficblr #writers on tumblr #writeblr #other tags??? idk help me out here #proofreading post #this is tumblr let's all pretend this post is as professional as it gets and that i don't have any obsessive compulsive disorders at all

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yurimother · 1 year

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Yuri Manga 'Run Away With Me Girl' Final Volume Released

On Tuesday, Kodansha Comics released the third volume of Battan's Yuri drama manga Run Away With Me, Girl (Kakeochi Girl) in English digitally and in paperback. It is the final volume in the series.

Run Away With Me, Girl follows the turbulent relationship of Midori and Maki. The two women dated and loved each other in high school, but Midori broke up with Maki at graduation, saying they were "too old" to be "fooling around" dating girls. Ten years later, they reunite, and Maki is stunned to find out that Midroi is getting married and pregnant with her first child. But it soon becomes clear that Midori's life is not as idyllic as it seems.

The publisher describes the third volume:

Maki and Midori leave Shodoshima, but instead of returning home, the two women find themselves riding away to a remote corner of a train line. Maki knows they can't hide forever, but she can't quite figure out how to tell that to Midori. Meanwhile, Midori doesn't know where she is in her life any more than she knows where she is on the map, but Tazune is trying to answer that second question-and if he does, it may force Midori to answer the first... The thought of running away was once a wistful dream for Maki and Midori, but when the two women wake up to find it a reality, they'll have to decide if it was just what they needed to find their way home.

The manga was serialized digitally in Hatsu Kiss between 2018 and 2020. Kodansha initially published it in four digital volumes in Japanese. The series was re-released in three Japanese print volumes with new cover art in 2021.

The second and third volumes are translated into English by Kevin Steinbach. Volume one is translated by Rose Padgett.

Run Away With Me, Girl is notable for its complex adult characters and heavy subject matter. It includes topics such as emotional and physical abuse, cheating, and internalized homophobia.

Battan is a manga artist known for her drama stories, including Run Away With Me, Girl, and the single-volume Yuri manga Ane no Yuujin. Her current series, Kemutai Ane to Zurui Imouto, is serialized in Kodansha's Kiss magazine.

Check out the third and final volume of Run Away With Me, Girl today in English digitally and in paperback: https://amzn.to/3HziD9I

Reading official releases helps support creators and publishers. YuriMother makes a small affiliate commission from sales to help fund future coverage.

#yuri #lgbt #girls love #gay #lgbtq #news #manga #run away with me girl #gl #yuri manga #lgbtq+#queer #lesbian #lesbians #anime

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cantsayidont · 6 months

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August 1984. This won't change anyone's feelings about cult movie perennial THE ADVENTURES OF BUCKAROO BANZAI: ACROSS THE EIGHTH DIMENSION one way or the other, but if you're wondering what the hell the deal is supposed to be with Buckaroo Banzai and his team, the answer is, "It's an obvious pastiche of the pulp hero Doc Savage."

Launched in 1933, Doc Savage was one of the leading adventure heroes of the pulp magazines. Doc (whose full name was Clark Savage Jr.) was scientifically trained from childhood to the peak of human perfection, singularly adept in everything from mechanical engineering to medicine to martial arts. He had a secret headquarters called the Fortress of Solitude and a whole array of specially designed vehicles and equipment, but he was also a public figure, with offices in the Empire State Building. Doc had a team of eccentric, highly specialized aides — Monk Mayfair, Ham Brooks, Renny Renwick, Long Tom Roberts, and Johnny Littlejohn — who each had a particular skill and a couple of distinctive personality traits (for instance, Monk was a skilled industrial chemist, but also an "ape-like" brute with a ferocious temper). They were sometimes aided by Doc's cousin, Pat Savage, who was almost as capable as Doc, although he tried to keep her out of the fray because she was (gasp) a girl.

This was a fairly common pattern for pulp heroes. For instance, the pulp version of the Shadow (who was distinctly different from the radio incarnation) relied on a whole network of agents, some appearing only once or twice, some recurring across many of his published adventures. From a narrative standpoint, the agents and assistants had two principal purposes: The first was to offset the rather overpowered heroes — pulp heroes didn't necessarily have superhuman powers, but even those who didn't tended to be preternaturally skilled at nearly everything, so it was convenient to limit their direct involvement in an adventure to crucial moments, and let the assistants (who could be much more fallible) do much of the legwork. The second object was to beef up the characterization. Doc Savage was morally irreproachable as well as absurdly multi-talented, so there wasn't a lot to be done with him character-wise, while maintaining the mystique of a character like the Shadow required him to remain a fairly closed book.

Although the pulp heroes were a huge influence on early comic book superheroes like Superman and Batman, some of these conventions didn't translate well to other media: In a 13-page comic book story or half-hour radio episode, having too many characters was cumbersome (and expensive, where it meant hiring extra actors), and comic book readers normally expected to follow their four-color heroes quite closely, even before the breathless internal monologue became a genre staple. So, Superman inherited Doc Savage's Fortress of Solitude, but not his "Fabulous Five" assistants, while heroes like Batman and Captain America generally stuck with a single sidekick rather than a team of aides. Even the late Doc Savage pulp adventures (which ended in 1949) de-emphasized the assistants to keep the focus more on Doc himself. Ultimately, the pulp heroes didn't really have the right narrative center of gravity for visual media, which is why they've become relatively obscure, despite repeated revival attempts. The 1975 Doc Savage movie with Ron Ely, for instance, was a notorious commercial flop, and elements like Doc's childishly bickering assistants seemed odd and dated, even taking into account the film's nostalgia-bait '30s period setting.

What BUCKAROO BANZAI tried to do was to bring that old pulp hero formula into the modern era with a big infusion of '80s style and humor. Like Doc Savage, Buckaroo is a wildly gifted polymath (in the opening scenes, he rushes from performing brain surgery to test-driving his Jet Car through a mountain), so famous and important a personage that he puts the president of the United States on hold, and he surrounds himself with an array of brilliant, eccentric aides with silly nicknames who play in his rock band when they're not fighting crime or doing advanced scientific experiments.

Alas, judging by the poor box office returns, general audiences were no more amenable to the '80s version of this formula than they had been to DOC SAVAGE: MAN OF BRONZE nine years earlier, even with the 1984 film's extraordinary cast and memorably witty dialogue. Granted, even many of the movie's most diehard fans are baffled by the convoluted plot — a crucial expository scene where the leader of the Black Lectroids (Rosalind Cash) explains much of what's going on is nigh-incomprehensible without subtitles or closed captioning — but beyond that, THE ADVENTURES OF BUCKAROO BANZAI is essentially an extended riff on a particular slice of pop culture that had long since dropped out of the public consciousness, which is both part of its charm and also its commercial undoing, at least as mainstream entertainment.

(Also, if you're wondering, yes, the TOM STRONG series by Alan Moore and Chris Sprouse is also an obvious Doc Savage pastiche, although at least some of its plot and character concepts were probably retoolings of unused ideas from Moore's earlier Maximum Press/Awesome Comics SUPREME series, which was an extended pastiche of the pre-Crisis Superman.)

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aaronsrpgs · 9 months

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A Worksheet Manifesto (Rough Draft)

The Worksheet Manifesto is an attempt to explain why I'm moving my game design toward something I can print for free at the public library and give away. It's not a scold or a call to action; I buy full-color zines and hardcover books, and I support people charging for their work. This is a personal manifesto—an exercise in self-exploration.

The first reason I pursue this is ACCESS. I want people to be able to find and play my games. (Accessibility is maybe a better word for this, but I don't want it confused with the process through which something is made easier to use for people with disabilities.)

Some of the main barriers I've seen are financial (someone can't afford my games), technological (lack of computers and/or printers makes it more complicated to read my games), and international (shipping to someone outside the U.S. is prohibitively expensive).

Combining these three elements, I realized I wanted my games to be cheap or free. The common "community copies" solution on itch.io is much touted, and for good reason, but as I tried explaining the process to friends who weren't familiar with the site (or who flat-out aren't tech savvy), many responses were confused or frustrated. So I've set most of my games to pay-what-you-want with a suggested price.

Going from computer tech to printer tech, my most recent games were laid out in black and white, without ink-sucking textures (although some still have large spots of black in the art--something I continue to consider). Many American libraries offer limited free printing, and I always hope people will "utilize" the printers at their jobs or schools. I want people to be able to easily print out my games and share them at the table or pass them to friends.

And more selfishly, I hate dealing with fulfillment and shipping. It's stressful for me, it requires money up front to print things, and I'm bad at it, which means shipments go out slow, or not at all if someone lives outside of the U.S. Creating a file that's easy to print hopefully encourages people to create their own copies.

These cheap print copies also hopefully contribute to a feeling of DISPOSABILITY. I grew up with comic books, magazines, newspapers, and mass market paperbacks, and I think these cheap, short slabs of culture helped them feel like someone could engage with them without having to be fancy or educated or in the know. (A lot of us gatekeep ourselves!)

Prices for RPGs, like so many nerd collectibles, have steadily risen at least since the start of the pandemic. Crowdfunders often capitalize on FOMO, encouraging people to go all in on deluxe hardcovers with fabric bookmarks or whatever. And if my experience working at a used game store is anything to go by, lots of those fancy editions go right onto the bookshelf, unread. Don't want to break the spine or get fingerprints on it!

And I guess I'm just against consumerism? If someone wants a nice thing, I hope they get it, but a culture of games as luxury items and status symbols is not something I'm interested in.

So if someone has a game of mine and they don't want it anymore, I hope they pass it on, put it in a little free library, or recycle it.

And those dirty little printouts of my games? I want people to touch them and write them. I want TACTILITY. This is partially a usability issue: 300-page hardcovers are hard to find information in, and they're heavy if you have to lug them to a friend's house.

So I try to design games where everything a player (including the GM) needs is on, at most, three sheets of paper. I want them to be able to spread a couple pages out and take in the shape of the game they're about to play. I want them to circle things and make notes in the margins. Moving a pencil around does wild things to your brain, the same way that picking at a guitar or molding clay does. It focuses attention in interesting ways.

And in the end, you hopefully have a personalized article of play. And if you spill beer on it, no one's worried about replacing that $50 hardcover.

Speaking of beer, I want my games to be available to and contribute to COMMUNITY. As the pandemic started, I retreated into lots of online spaces, and those were absolutely vital to my survival. But I lost touch with lots of my friends and acquaintances in my city. I want to reconnect with them.

One of my favorite cartoonists, Mark Connery, is known for drawing little zines and just...leaving them all over. Coffee shops, art galleries, bathrooms. And when I think of him, I think of an artist responding directly to the places around him. Is it sad that some of this work is probably "lost" to all readers other than the person that happens across the zine? A little bit. But I think that comes from a bad part of my brain, the part that wants to own things.

I certainly don't want the entirety of my own work collected and widely distributed. Some of those things were specific responses to specific times that I've moved past. Some were bad! But I want to keep responding to my specific times and my specific place. I want to give things to friends (even if they just pass them on or recycle them). I want to give a game to someone at a zine fest and have them recognize my name from a zine they read in a coffee shop bathroom. And maybe they'll give me a zine in return.

My last hangup is MODULARITY. First, similar to tactility, I want to be able to give a player only the rules that matter to them. Character creation and basic rules? Here's a page. And once you're familiar with that and we've entered a downtime phase, here's a page with those options. You want to start a farm? Here's a page. I want it to feel like printing coloring pages for kids or ripping out my favorite magazine articles. These are the parts that matter. And if they stop mattering, you can get rid of them.

But I also want modularity on a system level. I want to add a subsystem to game as I think of it. I want to throw in an adventure pamphlet when it comes to me. I can keep them all in a little box, like a care package from my past self, and when it's time to run a game, I can dig around like a verminous animal and build my nest out of the best bits.

In CONCLUSION, I want to reiterate that this is a personal practice, and I'm not criticizing people who work differently. I used to work differently, and in the future, I'll probably work differently again.

This is simply the way I've identified what's important to me, set that up against the things that cause me to stumble, taken advantage of the privileges I have, and tried my best to bring that all together in a way that keeps me excited about my own work.

#ttrpgs #indie ttrpgs

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lurkingteapot · 11 months

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I've been going through my collection of old (pre-2016 for the most part) academic papers on BL and thought, hey, why not re-read some of them and sum them up so folks can see whether they want to check them out in full?

Today's offering:

Beautiful, Borrowed, and Bent: “Boys’ Love” as Girls’ Love in Shōjo Manga by James Welker, originally presented at the Third International Convention of Asia Scholars, August 19–22, 2003, Singapore, and published in Signs, Vol. 31, No. 3, New Feminist Theories of Visual Culture (Spring 2006), pp. 841-870, UChicago Press. [Jstor]

Welker starts off with a brief explanation of what the BL genre is, what terminology he uses ("BL" as an umbrella term that includes the earlier names of tanbi, shōnen ai, yaoi, and the long-form 'boys' love'):

“Boys’ love” manga emerged as a subgenre of shōjo manga (girls’ comics) around 1970 just as women artists were taking over the shōjo market.(*) It quickly became among the most popular shōjo manga genres, and its creators became some of the best-loved artists in the industry. (* First published in the monthly Bessatsu shōjo komikku in December 1970, Keiko Takemiya’s “In the Sunroom” (Sanrūmu nite [1970] 1976) was probably the first boys’ love narrative. See Aoyama 1988, 188.) - Welker 2006:841

He goes on to challenge the common perception of BL as a genre "by straight women for straight women":

[T]he genre is widely considered to offer a liberatory sphere within which presumably heteronormative readers can experiment with romance and sexuality through identification with the beautiful boy characters. […] Members of the Japanese lesbian community have, however, pointed to boys’ love and other gender-bending manga as strong influences on them in their formative years […] Clearly boys’ love manga can be viewed through a different lens from that which most critics and scholars have been using, and hence the full potential of boys’ love is largely overlooked: that of liberating readers not just from patriarchy but from gender dualism and heteronormativity. - Welker 2006:842-843

He introduces the texts he will analyse (Takemiya Keiko's Song of Wind and Trees 風と木の詩 kaze to ki no uta, 1976-1984 and Hagio Motō's Heart of Thomas トーマの心臓 tōma no shinzō, 1974), and concludes the essay's intro section as follows:

This reading will employ lesbian critical theory, visual theory, and reader responses to these and similar texts to show how 1970s boys’ love manga is not merely queer on its surface but how it opened up space for some readers to experiment with marginalized gender and sexual practices and played a role in identity formation. - Welker 2006:843

Welker goes into the questions of applicability of theories that weren't originally developed for this specific context – visual theories were largely developed through film analysis; European and North American models of gender and feminist theory, while also having informed academic discourse in Japan, in their origin operate on culturally specific assumptions and need to be applied with care.

He talks about the tradition of androgynous and cross-dressing heroines of early shōjo manga and their connection to the earliest BL manga, the dilemma of the "beautiful boy" characters' gender and sex and how to read these – are they boys? idealised self-images of girls drawn onto boys' bodies? neither male nor female? sexless altogether?, and the way Japanese readers in the 1970s, already culturally familiar with gender performance through kabuki or the all-female Takarazuka Revue and similar troupes, received the gender-bending nature of BL stories. He also comments on the role fan interaction via magazines, and the way readers were learning about queer life in Japan:

By the early to mid-1980s, the magazines’ readers were learning in real terms about the world of Shinjuku ni-chōme, Tokyo’s well-known gay district, described as a world full of “beautiful boys like those in the world of shōjo manga” (Aran 1983, 15), as well as various aspects of lesbian life in Japan (Gekkō 1985). In spite of the connections drawn on the pages of these magazines, the possibility that these narratives might be seen to actually depict homosexuality remains broadly denied. To allow that the narratives might truly be about homosexuality—between these girls-cum-beautiful boys—would be an apparently unthinkable invitation to read the narratives as lesbian. - Welker 2006:857

Welker briefly explores how the example texts of Song of Wind and Trees and Heart of Thomas "serve many of the functions lesbian critics and theorists have outlined as roles of lesbian texts" (Welker 2006:858), then goes on to analyse the flower imagery of roses and lilies that is very prevalent in both titles, the intertextuality of these stories with European and French literature (and how the readers were expected to catch on to this intertextuality). On the transgressive and queering nature of writing and reading BL, he says:

[T]hrough acculturation to gender performance in Takarazuka and kabuki and by such cross-dressing manga icons as Sapphire and Oscar, as well as the deliberate ambiguity of the beautiful boy, the reader is encouraged to see not just a girl but herself within the world of boys’ love and, ultimately, is encouraged to explore homoerotic desire, either as a beautiful boy or as herself, either alone or with others, either as her fantasy or as her reality. […] Regardless of whether boys’ love manga were created merely to offer heterosexual readers a temporary respite from patriarchal restrictions on their desire, some readers found in identifying with the beautiful boy a way through the looking glass to a world outside the patriarchy. And regardless of whether he is read as a boy or a girl, the beautiful boy can be read as a lesbian. […] For readers whose experience of sexuality and gender contravenes heteronormativity, works like Song and Thomas offer narrative safe havens where they can experiment with identity, find affirmation, and develop the strength necessary to find others like themselves and a sense of belonging. - Welker 2006:865-866

I've been out of academia so long that I've lost any sense of what a good proportion of direct quotes to original text is, or whether it's even appropriate to quote as much as I did here. This is emphatically NOT an academic article in and of itself -- I'm posting on bloody tumblr. If anyone wants to add to this, I'll be thrilled.

One of the most commonly voiced criticisms of BL is that it's about, but not (or did not in significant part used to be) by or for gay men. This article does not address this point further—Welker does go into this in his more recent articles, iirc; if you've got beef with this aspect, @ him not me. I do however think it's worth noting that this 17-year-old article already recognises that the genre is queer, and has been since its inception.

#bl academia #bl theory #james welker #bl history #yeeting this into the void now #reading academic papers for fun not profit #my nonsense #watch me find errors or typos the minute I've hit post

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fereinsm · 1 year

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Overhaul/Update version for one of my proudest works, a main cover art(?) for my little project call Robotnik AU.

Characters list:

Upper row/section (above Movie Eggman's hands), from left to right: - Sonic.exe (the utmost terrifying OC/FC from the creepy pasta thingy) - Queen Boom Boo, Merc version (OC/FC made by Dan-Habiki/@Dan_Daymaker) - King Boom Boo - Lah - Su & Uh - Shadow the Hedgehog (Team Dark) - Rouge the Bat (Team Dark) - E-123 Omega (Team Dark) - Dr. Eggman Nega - Doctor Albert W. Wily (Megaman, Archie comics) - Honey the Cat - Breezie the Hedgehog - Bocoe & Decoe + Bokkun - Dark Oak/Lucas - Dark Queen/Merlina - Erazor Dijinn - Coconuts - Scratch & Grounders - General Helmut Von Stryker - Anton Veruca (Shogakukan magazines) - Junior Robotnik - Captain Whiskers & Johnny - Opal the Jellyfish (Pirates of the Setting Dawn) - Dive the Lemming (Pirates of the Setting Dawn) - Blade the Shark (Pirates of the Setting Dawn) - Captain Shellbreaker (Pirates of the Setting Dawn) - Mr. Bristles the Yeti Crab (Pirates of the Setting Dawn) - Mephiles the Dark - Silver Sonic - Dark Enerjak (Knuckle) - Nazo (appeared in Sonic X's last teaser) - Eggette/Omelette Robotnik (famed OC/FC originally designed by Alpha Gamboa (blackbookalpha)) - Infinite the Jackal - Solaris - Black Doom - Eclipse the Darkling - Black Death - Dark Gaia (Perfect form) - Metal Sonic - Iron Queen aka Regina Ferrum - Time Eater - Mammoth Mogul - Iron King aka Jun Kun - Imperator Ix - Wendy Naugus - Bearenger the Grizzly (Witchcarters) - Carrotia the Rabbit (Witchcarters) - Falke Wulf (Witchcarters) - Walter Naugus - Fleetway's Super Sonic - Shade the Echidna - Boomer Walrus aka Anti Rotor - Patch D'Coolette aka Anti Antoine - Princess Alicia Acorn aka Anti Sally

Middle section (below Eggman's hands), from left to right: - Speedy (both Pre and Post-Super Genesis Wave versions) - Sage - T.W. Barker - Dave the Intern - Sleet & Dingo - A.D.A.M. - E.V.E. - Lyric the Last Ancient - Zor - Zash (OC/FC made by @saccharinerose) - Zeena - Zazz - Zomom - Zavok - Master Zik - Agent Stone (Sonic movies 2020/2022) - Orbot & Cubot - Wes Weasely - Snively Robotnik - Dr. Robotnik (Sonic movies 2020/2022) - Thunderbolt the Chinchilla - Predator Hawk (Destructix) - Anti-Miles - Scourge the Hedgehog - Storm the Albatross - Wave the Swallow - Jet the Hawk - Rosy the Rascal - Sleuth "Doggy" Dawg (Destructix) - Sergeant Simian (Destructix) - Fiona Fox (Destructix) - Duck "Bill" Platypus - Bark the Polar Bear - Bean the Dynamite - Drago Wolf (Destructix) - Nicolette 'Nic' the Weasel - Razorclaw - The Foreman (Grandmaster) - Hugo Brass - Diesel - Flying Frog (Destructix) - Geoffrey St. John - Hershey the Cat - Nack the Weasel/Fang the Sniper (Team Hooligan) - Fleetway's Chaos (Darkon fish form)

Lower section, from left to right: - Dr. Finitevus - Grimer Wormtongue - Dr. Fukurokov - Dimitri the Echidna - Maw the Thylacine - Mecha Sally - Mecha Sonic - Mecha knuckle - Jackal Squad, named by Nibroc-Rock as Uno, Deux, Trois, Quatre, Cinq & Sei (Shadowy figures) - Kayseri Valaedshkova (OC/FC made by dirtthefox/@Its_Dima_V) - Strike (OC/FC made by @speedofsoundsketches) - Surge the Tenrec - Kit the Fennec - Sofia the Gorgon (OC/FC made by Sofia-MMD/@GorgonSofia) - Clutch the Opossum - Kaibette the Genet (OC/FC made by @kaibette) - Rough & Tumble the Skunk - Battle Lord Kukku XV - ***Mecha Robotnik - Akhlut the Orca (both Pre and Post-Super Genesis Wave versions) - Tundra the Walrus - Mordred Hood (drawn with @adokle's style) - The Foreman/Tassel boy (Post-Super Genesis Wave) - Mimic (the Mimic Octopus) - Byte the Goat (OC/FC made by @bunniibones) - Lightning Lynx - Iblis - Phage - Conquering Storm (Post-Super Genesis Wave) - Bride of the Conquering Storm (Pre-Super Genesis Wave) - Dr. Starline - Biolizard - Sigma (Megaman, Archie comics) - Axel the Water Buffalo - Abyss the Squid - Cyani the Cobra (OC/FC made by @bunniibones) - Cipher the Owl (OC/FC made by @bunniibones) - Bleak (OC/FC made by HT-Doodles/@HtDoodles) - Clove the Pronghorn (my top fav among all the characters here) - Cassia the Pronghorn - Lien-da - Chaos - Tikal the Echidna - Pachacamac - Gae-Na - Kragok - Thrash the Devil - Warden Zobotnik & Znively (Zone Cop) - Belinda & Charlie - Nephthys the Vulture - ??? (Behind Nephthys) - Trevor Burrow the Mole (Desert Raiders) - Sonar the Fennec (Desert Raiders) - Spike the Porcupine (Desert Raiders) - Razor the Shark - Queen Angelica - Rusty Rose - Robo Tails (Brain-washed, based on Sonic Lost World's designs) - Beauregard Rabbot - Jack Rabbit - Matilda the Armadillo - Zefir (my main OC/FC) - Gamer Deer (aka 'Aleko' the Northamer Guard or the 'Gamerdeerdude' by @adokle) - Zonic (Zone Cop) - Chesah the Tarsier aka No.29 (my OC/FC) - Sandy the Caterkiller (OC/FC made by @the-hydroxian-artblog)

For the Alt version: FeReinsm on Instagram: “Overhaul/update versions for one of my proudest works, a main cover art(?) for my lil’ project - Robotnik AU. For the 2nd and 4th pics…”

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