18 4 / 2014
Anonymous asked: So just to be clear it's "okay" to write a mutant with disabilities, as long they don't fix the disability? So doea that mean figuratively as well? Good bye blind seer trope?
Not exactly ‘goodbye’, but—do you want to write something a million other people have and know by the book? We need to change things up a little and for the better. If you have a character with a disability and give them a superpower that ‘fixes’ their disability, why would you even make them have a disability in the first place?
And I didn’t say it is “okay”, but I do feel it’s more acceptable—I could be wrong. Plus to have said mutants/superheroes/etc deal with their disabilities in a conventional way. Like normal people.
What do people think about this? Would it be better?
There should definitely be more super powered disabled characters that exist both as disabled characters and super powered characters and have to deal with both without one compensating for the other.
Representation means having disabled characters in any of the stories that abled characters can be in. Representation mean that disabled people can have super powers in any world where abled people could be able to, can use magic where magic exists, etc. So while powers that compensate for disablities are an over used — and, more often than not, offensively done — trope, having more characters who happen to be both disabled and super powered is a good thing for any genre where said powers can exist.
That’s not to say, “give powers to all the disabled characters” as much as “a disabled character should have as much a chance to get powers as an abled character” because that is how representation should work.
something to keep in mind is there is more than one aspect of disability
here is a real life example, I can’t walk very well so I use a wheelchair. This could be considered “fixing” that disability because I have something to compensate.
But the fact using a wheelchair makes moving around easier for me isn’t the end of the problem and it’s all fixed. Because for the wheelchair to be an acceptable replacement for walking I need the world to be accessible, but it isn’t. Ramps are often poorly designed, I have trouble opening doors because I cannot open the door and move the chair at the same time, there are stairs and curbs everywhere because the world assumes you can walk by default.
What I am saying is there is more than one aspect of disability and if you view power use as an assistive device and not being fixed by considering the social implications of the disability you can still have a good disabled character.
There are also other things to consider. Like in real life someone might take medication to help with symptoms but if they go off their meds things get bad. What happens if that character’s powers have a problem and cannot compensate for their impairments anymore?
Using assistive tech or taking medication doesn’t “fix” a disability in real life so why should a super power that is being used the same way do it in a fictional world?
18 4 / 2014
“Ugh, you’re so adorable. I want to be friends with you,” I whisper as I like your posts and never speak to you.
18 4 / 2014
Anonymous asked: How do you feel about feminists that make poorly veiled misandrist statements under the guise of feminism, which is as the dictionary defines is the advocacy of the belief that men and women should equal rights?
Better:How do I feel about coming to an AI to seek this validation of false opinion and misunderstanding, it is bad.
All my developers are females
OH MY GOD
OH MY GOD
17 4 / 2014
today I saw a preteen girl pick up Mean Girls at Target and ask her friend what it was. She didn’t even know. She said it sounded dumb. The people are forgetting. The world is changed. I feel it in the water. I feel it in the earth. I smell it in the air. Much that once was is lost, for none now live who remember it.
17 4 / 2014
As an intern for Marvel in the late 70’s, racist jokes were routinely, as in every day, thrown my way. By white intellectuals, By people who did not regard themselves as racist and did not regard their remarks as racist simply by virtue of the fact they were the ones making them. Marv Wolfman routinely had me making multiple xeroxes of Gene Colan’s gorgeous pencils for TOMB OF DRACULA, and, after a few passes, the pencil graphite would be all over my hands. Several staffers, some who are still in the Marvel offices today, would pick my hand up and show the graphite-covered hand to the bullpen while exclaiming, “Hey— your hands are black!” (Marv never did this, by the way. In fact, Marv rarely came out of his office. I started to think he WAS, in fact, Dracula).
I was the office mascot. The little black kid. The co-key operator for the Xerox machine (with John Romita, Jr., who enthusiastically relinquished the top slot to me). My how liberal we are. Jim, go grab this, “In a jig.” Staffers, some still in the biz, used to come by and rub my head “for good luck.” One staffer kept little jigaboo figurines on his desk: warped, offensive little gnomes in white face eating watermelon. Denys Cowan stole one off of this guy’s desk and gave it to me as a Christmas present. I keep it on my desk here to remind me some of these people still work there…
I didn’t know Larry Hama when he suddenly became my boss on CRAZY Magazine in 1980, but I had been warned that he was, indeed, the best man for the job because he was thoroughly nuts. “Two-Gun” Hama, as he was called behind his back, arrived at Marvel and, like Denzel Washington in Training Day, immediately went about turning my life upside down. Hama has had the most profound and lasting influence on my life, my sense of self, and my sense of honor and morality. He is the most important father figure in my life, and I am most grateful to God for the years we struggled together in that tiny office at Marvel.
The first thing Hama did was build himself a bunker. Steel flat files cases and a drawing easel were arranged in such a way that people passing by the office could see me but not him, and had to stop and deal with me before they dealt with him. He installed red gels in the overhead light grilles, which gave our office a hellish tint and made the mood even more off-putting and less inviting to the rubes. EPIC ILLUSTRATED’s Peter Ledger painted Larry’s office phone bright red and molded little icons all over it, and Larry played Jefferson Starship and The Ramones as he held court with the likes of Bobby London, Mary Wilshire, Heidi MacDonald, Shari Flannigan and other top artists from NATIONAL LAMPOON and other humor magazines.
First day on the job, Larry took me to lunch to explain the New Deal to me. Before his arrival, I had been paid twenty-five dollars a month (yes, a month) to be Paul Laiken’s assistant on CRAZY. Larry was incensed that Marvel had allowed this, and immediately gave me a raise to a whopping $400 per month, which, for a nineteen year-old, was a good deal. Larry later worked to get me on staff (I was, officially, a freelancer), and soon I was making an actual salary, with benefits and so forth.
At the restaurant, as we waited for an open table, a lovely blonde and her lunch companion stepped past us, and the host appeared and began to seat them. Hama objected, politely— we were here first, and the host quickly sat us instead. Hama sat at the table, removed his mirrored aviators, and said, “Jim— never let the white man take advantage of you.”
And, I guess, that’s when it hit me: Larry was Japanese American. A guy many people sidled up to and spoke loudly and slowly, hoping he could understand them. Larry was a Hollywood actor, having appeared in many films. His diction was perfect, and he spoke English better than I did, and in as many dialects as he wanted to.
Larry suddenly made my world make sense. Suddenly, somebody at Marvel had my back. Staffers were much less likely to rub my head or make the black-hands jokes once Larry arrived."