Sunday, September 7, 2014

darkmarxsoul:

iflybikes:

When men talk of women and girls in terms of legal/not legal, what they’re really saying is “I already sexually objectify this child and would attempt to fuck her if there were no laws in the way.”

You can’t deny that is fucking scary.

Sometimes there are things that just sort of vaguely seem wrong, but you can’t put your finger on why…until it’s worded like this, and suddenly everything slides into place and you feel like someone punched you in the gut.

(Source: iflewbikes)

Saturday, September 6, 2014

Anonymous said: Anita faked her threats. Also writers that have spoken against this "gaming feminism" have ACTUALLY received threats (the ones making the threats, their twitter pages are actually real people). You should honestly be ashamed for pushing your false narrative and dishonesty.

comicsalliance:

Go fuck yourself.

Friday, September 5, 2014
themomerath:

Can we talk about how on point this tweet is

themomerath:

Can we talk about how on point this tweet is

Thursday, September 4, 2014
Meanwhile, the presumed stockpile of penis photos taken by Hollywood actors remains curiously untouched A line from an EW article questioning why it’s only women in Hollywood who have their privacy violated x (via pansycakeofwesteros)
Tuesday, September 2, 2014

Anonymous said: Why are you so angry about JLaw's nudes being leaked? I thought you didn't like her.

halfhardtorock:

tstarksbitch:

  • i am angry because this is just another example of women being shamed for taking nudes instead of the douchebag who spreads them being shamed for violating someone’s privacy like that
  • i am angry because nobody deserves this, regardless of how i feel about their personality
  • i am angry because this is pure misogyny and shows how women aren’t respected in our culture
  • i am angry because she did not consent to having those pics posted everywhere but they still were
  • i am angry because on the VERY RARE occasion this happens to a male celeb he is not shamed but rather the perpetrator is and it’s forgotten quickly whereas this will haunt jennifer for years and years to come
  • i am angry because this was a sex crime and people are treating it like a joke
  • i am angry because she is being exploited/objectified and some gross dudebros are probably jacking off to those pics 
  • i am angry because people are CONGRATULATING the fucker who did such an atrocious thing to her instead of being appalled 

listen i may not like her personally but the fact remains that as a human being she is entitled to body autonomy and to choose who sees her naked body and who doesn’t 

So we have to ‘personally like’ every woman now to not want to see her exploited sexually?? What the hell question is that???? I hate everything.

Monday, September 1, 2014

who decided this would be a good way to promote doctor who??

Saturday, August 30, 2014
“White knighting” is a pejorative term bigots use to undermine such actions from men who are using their voices for support, not for condemnation and misogyny. Bigots use it to claim men are supporting women in the hopes of sleeping with women. Because, apparently, that’s the only reason you would ever want to treat someone as a person. Fanboys, White Knights, and the Hairball of Online Misogyny - The Daily Beast (via wilwheaton)
Sunday, August 24, 2014

currentboat:

eschergirls:

lesstitsnass:

It’s a two-fer! Courtesy of @dcwomenkickingass, and specifically this post, I had to do an edit of these, while my storyboards wait. 

I’m not going to go into long explanations here, I hope the drawings do speak for themselves. In the first case, it’s a Land being Land, although I do have to say that he did give a butt to Silk, as opposed to his usual ablation of hips and gluteus maximi. However, he unfortunately did it wrong. 

Artistic anatomy is all about drawing structure, from the inside out. Your muscles by themselves can’t look right if they aren’t placed on top of a properly proportioned skeleton.  Boobs won’t look right if they aren’t drawn as following the curve of the ribcage, its center line, or the movement of the arms which either pull or push on the pectorals on which the breasts hang. The arms back mean the shoulders are lowered, and the angle of the hands will be different since there’s a 3/4 turn on the torso. It shows that Land is drawing by guessed shapes, copied contours and practiced repeated motions. There’s no real structure underneath his shapes.

And if we look at the legs, I can only picture Kitty Pride phasing out of a wall: the legs look like they got mangled up to look like stumps. But even structure-wise, there is no thought put into whether the pose actually works, which is why it looks so clumsy. The legs should be reversed due to the line of action that’s in the torso but not followed through into the pelvis and legs. And I’ve been using the coil technique a lot in order to make my volumes work - it should be obvious by the roughs above - which help me figure out things like foreshortening. 

Silk too was a problem of lack of structure, proportions all over the place, and lack of weight and purpose, but it felt moreso than Spiderwoman. I used the same pose Land did but worked out the skeleton first, using rotation arcs in order to properly proportion the length of the various limbs. I don’t know these characters and I might not have used these poses, but Silk here definitely looks like she’s dancing.

The variant cover by Manara looks like a pose right out of porn, pelvis up and cheeks spread, costume looking like body paint, and it makes me very uncomfortable. She doesn’t look like a superhero about to strike, she looks like she’s about to get… well, it’s a porn pose. This is sexualisation. It also reminds me of the Dog Bone sexy shape. 

So I turned the pose sideways to figure it out, and to see what would work better. The sideways pose as is, as you can see, is angled to do quite the opposite of ass-kicking. Were she to try to leap from that pose, she’d fall flat on her face. The second pose is the “coiled like a spring”, but in the camera angle of the cover, it’s an ugly, ugly pose. So I tried to do something in-between, and just by making the pelvis horizontal and lifting the torso off the ground, I’ve managed to move the center of gravity so her weight is on her feet instead of her knees, she can use her arms to maneuver in most directions, and you still get an interesting body shape to look at. I think this works better, and much more ready to spring into motion.

Wanted also to say thanks for all the reblogs, likes and recent follows! I appreciate each one of them, and it’s because you’re still sharing and commenting that I came back to do this. However I’m still really busy! I won’t be posting a lot, but I do plan on posting more than I have. Back to storyboards for me! 

Great breakdown of both Spider-Woman covers by Kanthara from Less Tits n’ Ass, More Kickin’ Ass (which I strongly recommend as a follow for people who like redlines/redraws/fixes). :D

tbh what were they expecting when they hired him, milo manara is literally the human embodiment of that WHORES WHORES WHORES comic, and for that extra special creepy touch he always draws all female characters with the exact same face so they’re all 100% interchangeable fuck units.

Sunday, August 17, 2014

If you’re a boy writer, it’s a simple rule: you’ve gotta get used to the fact that you suck at writing women and that the worst women writer can write a better man than the best male writer can write a good woman. And it’s just the minimum. Because the thing about the sort of heteronormative masculine privilege, whether it’s in Santo Domingo, or the United States, is you grow up your entire life being told that women aren’t human beings, and that women have no independent subjectivity. And because you grow up with this, it’s this huge surprise when you go to college and realize that, “Oh, women aren’t people who does my shit and fucks me.”

And I think that this a huge challenge for boys, because they want to pretend they can write girls. Every time I’m teaching boys to write, I read their women to them, and I’m like, “Yo, you think this is good writing?” These motherfuckers attack each other over cliche lines but they won’t attack each other over these toxic representations of women that they have inherited… their sexist shorthand, they think that is observation. They think that their sexist distortions are insight. And if you’re in a writing program and you say to a guy that their characters are sexist, this guy, it’s like you said they fucking love Hitler. They will fight tooth and nail because they want to preserve this really vicious sexism in the art because that is what they have been taught.

And I think the first step is to admit that you, because of your privilege, have a very distorted sense of women’s subjectivity. And without an enormous amount of assistance, you’re not even going to get a D. I think with male writers the most that you can hope for is a D with an occasional C thrown in. Where the average women writer, when she writes men, she gets a B right off the bat, because they spent their whole life being taught that men have a subjectivity. In fact, part of the whole feminism revolution was saying, “Me too, motherfuckers.” So women come with it built in because of the society.

It’s the same way when people write about race. If you didn’t grow up being a subaltern person in the United States, you might need help writing about race. Motherfuckers are like ‘I got a black boy friend,’ and their shit sounds like Klan Fiction 101.

The most toxic formulas in our cultures are not pass down in political practice, they’re pass down in mundane narratives. It’s our fiction where the toxic virus of sexism, racism, homophobia, where it passes from one generation to the next, and the average artist will kill you before they remove those poisons. And if you want to be a good artist, it means writing, really, about the world. And when you write cliches, whether they are sexist, racist, homophobic, classist, that is a fucking cliche. And motherfuckers will kill you for their cliches about x, but they want their cliches about their race, class, queerness. They want it in there because they feel lost without it. So for me, this has always been the great challenge.

As a writer, if you’re really trying to write something new, you must figure out, with the help of a community, how can you shed these fucking received formulas. They are received. You didn’t come up with them. And why we need fellow artists is because they help us stay on track. They tell you, “You know what? You’re a bit of a fucking homophobe.” You can’t write about the world with these simplistic distortions. They are cliches. People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that.

Junot Diaz speaking at Word Up Bookshop, 2012 (via clambistro)

(Source: ofgrammatology)

Tuesday, July 8, 2014