/tagged/comic+books/page/2

I KNOW HER.

"Adventures of a Comic Newbie: What is a Pull List?" with imamandanelson from bookriot

9 Female-Authored Comic Books You Need To Read

A new thing for hellogiggles! Oh and I wrote it.

eatsleepsniff:

Introducing my newest book, Geek Pussy!

My original plan was to expand the Video Game and Superhero Pussy posters to include a couple based on TV and film. But I got a little carried away and ended up drawing 162 additional characters! The 88 page book has 222 in total breaking down to 60 video game characters, 72 from comics and a whopping 90 from both the big and the little screen.

I wanted to add a little interactivity to the book so beneath each one is space for you to write who you think the character is. Can you name all 222? Of course you can!

In addition to the book I also have A4 and A5 prints of specific cat sets.

I’ll be bringing the Geek Pussy book and prints with me to MCM in London this weekend and soon after they will be available from my shop.

Why Do We Care So Much About What Female Superheroes Wear, Anyway?

womeninmarvel:

Why Do We Care So Much About What Female Superheroes Wear, Anyway?

A fantastic write-up by Lauren Davis at i09 that explains why female superhero outfits matter and the concept of the male gaze.

Why Do We Care So Much About What Female Superheroes Wear, Anyway?

As Lauren puts it, 

Now is that a Superman that you’re going to take seriously? Sure, he could still crush your head without trying, but does he have the same aura of nobility—inspire the sense of same sense of awe—that he does in his usual costume?

She also discusses how a female power fantasy doesn’t have to revolve around exposing her cleavage, and how heroines dress affects young girls who should be able to look up to these characters and see themselves represented. 

It’s not that kids need to somehow be shielded from images of women’s breasts and abs. Rather, it’s that these costumes convey a message to children about what powerful women look like. If a girl wants to grow up to be as strong as Wonder Woman, as powerful as Psylocke, as skilled as Elektra, does she have to put her body on display for the pleasure of other people, too? 

For more, check out the link!

cracked:

So Spider-Man is transformed into an actual giant spider – that is pregnant with spider babies – then dies and gives birth to a fully grown human Peter Parker instead, because…shut up. ‪#‎CrackedClassic‬
5 Absurd Ways Comic Books Have Resurrected Dead Superheroes

cracked:

So Spider-Man is transformed into an actual giant spider – that is pregnant with spider babies – then dies and gives birth to a fully grown human Peter Parker instead, because…shut up. ‪#‎CrackedClassic‬

5 Absurd Ways Comic Books Have Resurrected Dead Superheroes

towritecomicsonherarms:

Sex criminals is god tier

(Source: heatvents)

Sorry To Burst Your Masturbatory Comic Bubble (No, I’m Not)

thebirdandthebat:

I have a theory on why a small segment of men who read comics send rape threats to women who write about comics. To put it simply, they think we’re destroying their masturbatory fantasies (literal or otherwise).

You may laugh but it’s quite possibly the source of all the hatemongering. They’re under the impression comics are for men. Men only. And the characters therein, specifically the female characters, are there for them to ogle. The mere thought of that being taken away from them is frightening (even though, you know, porn and porn comics!). So frightening they will do anything to stop it. And they think silencing women with threats is the answer.

Can’t blame them for that thinking completely. After all, comics have been marketed at men 18-34 for a long time. But, and this is always what gets me, if you want your precious comic books to exist in 20 years, you need other demographics to read them.

The first time I was called a “cunt” online (Oh, boy! I must have missed the day in my college journalism courses where they went over that part of the job!), was when I wrote an op/ed titled, “Aquaman Needs a New Costume" for Newsarama back in 2010 (at least this is the first time I remember). I had written for Comic Book Resources previously but before then, had only written convention coverage or interviews. Here I was, writing my previously Heartless Doll-hosted comic book column "Hey, That’s My Cape!, a woman, giving an opinion on a comic book character’s costume (a male character at that), and I was harassed for it.

It was incomprehensible to me at the time, having only really been on the receiving end of the warm and fuzzy part of the comics community before then, that someone would have such vitriol over a comic book. Of course, it wouldn’t be the last time I gave my opinion online and therefore, was just the first in a long line of misogynist hate directed toward me (I have a “shithead” folder in my email as well as one on my desktop filled with screenshots of the offenders).

We could call them assholes. They are. But so is the driver who decides they need to get in front of me in rush hour traffic. These people are worse and they shouldn’t be excused with a wave of the hand.

When these issues are brought up, there are always responses to the effect of, “I haven’t seen it so it doesn’t exist.” My guess is, they have seen it. They either ignore it, or it’s such a part of the way they were brought up it doesn’t even register. But for a larger portion of people seeing others bring up issues of misogyny in the comics community, it’s a no-brainer. “This is bad.” “This needs to stop.” 

Janelle Asselin, a good friend and colleague of mine, spurred this recent round of discussion thanks to a critique she wrote on CBR of a new Teen Titans comic book cover. Because one of her critiques happened to include the size and shape of a teenage character’s breasts, she received all manner of harassment, including rape threats sent via a survey she was conducting on…wait for it…sexual harassment in the comic community.

What Janelle experienced (some more details in her own words here), was not new. Let me repeat. Was. Not. New. It’s happened for years, to countless individuals. Not just in comics, obviously, but every industry. 

I’m happy to see folks like Dan Slott, Brian Michael Bendis, Matt Fraction, and more - probably big names to the disgusting offenders - publicly decrying the behavior as abhorrent and unacceptable. Fellow journalist (and dude) Andy Khouri just added to the growing pile with a piece on Comics Alliance, “Fake Geek Guys: A Message About Sexual Harassment.”

But a part of me is also sad. Why? One, because this has been going on for far too long (This is just the latest outcry. Remember when Mark Millar got involved after hearing about a notoriously vile troll who went after myself, dcwomenkickingass and others? That’s just one of many.) and because these men’s voices seem to carry louder in the community than the women who’ve been experiencing it first hand and speaking out about it for years. And two, because I’m not sure it will have any effect whatsoever on the offenders. That minuscule segment of the community is set in its ways. Comics are for them. Don’t let anyone else in. This set of Double D’s are for me. Period.

It’s also important to remember there are numerous women without someone famous speaking on their behalf. I know women who have quit doing what they love because of the threats they’ve received and how scared they’d been made to live as a result. It’s unacceptable. So what do we do? 

Rachel Edidin had some good thoughts in her recent Tumblr post but bottom line? Shun them. Seriously. Shun them. Do not accept them in our community. You may say, “I’ve never seen someone make a rape threat online,” but can you say the same about a rape joke, or a man telling a women she’s being “too emotional” or “she needs to get laid?” My guess is no. And guess what? That’s where it starts. Making someones’ gender an attack point.

You see it. You know you do. Next time, say something.

Nerdist Comics Panel #38: Emerald City Comicon

This morning I listened to ruckawriter talk about the disappearance of the middle class in America and how we’re basically fucked economically on the Nerdist Writers Panel: Comics Edition podcast, and I was frightened. 

But I think the thing about X-Men that I loved other than I was finally seeing myself in a comic book was I think every nerdy loner kid wants to be a super hero. I mean that’s kind of a fantasy for all kids but I think if you’re an outsider, there’s a part of you that wants to like beat up the bad kids and save the kids that are being bullied and save yourself from being bullied and you kind of see the injustice in the world because some of it’s being inflicted on you. So I always had a super hero fantasy when I was a kid and I think also because X-Men had this whole kind of outsider-ship. There was this whole kind of mythology—these kids were the rejects, you know? And I’ve been six-feet-tall since I was like eight and I was the only black kid in my school. I was super, super nerdy, super bookish, my parents were vegetarians, I was just in every way, like every possible way that I could be a pariah, I was. There was not one factor that I didn’t hit. I ate weird, I was poor, I was the only black kid, I was a giant pest, I loved comic books, I loved [Ray] Bradbury. There was just no way I wasn’t hitting the nerd button. And so for me, X-Men, this is a collection of misfits and they’re gonna save the world and I loved that mythology and I still love it to this day.
– Aisha Tyler (Marvel.com)

(Source: womeninmarvel)

drdavidmrmack:

bendiswordsforpictures:

A study in panel borders:
Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.

I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:

* You can get away with smaller panels than you think
* Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
* Simple is not bad.
* There are actually a LOT of possible combinations.

Specific notes:

Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.

DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.

Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.

The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…

Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.

Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.

Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.

Panel design is one of the most fun parts of making comics for me.  Creating the structure and rhythm and timing of the page… based on the flow of the story and characters, is where the real magic happens for me.  

It is that wonderful in between place where the script first takes shape into the visual.  And the arrangement seems to spring from the flow of the script (often with dozens of layouts for possible solutions for each page) and the infinite possibilities always surprise me.  Sometimes it is a matter of simplicity, and sometimes it is a matter of contrast.  And it always seems like problem solving.  It’s a puzzle where ideas first get their visual blueprint onto paper in terms of making that new dimension of “time” in making image have sequence and suggesting the pace of that sequence… encrypting it into the design so it will only live, only be unlocked, inside the readers mind.  I don’t consider the page the actual art.  I consider the real art, the real “happening” of this art form, as taking place inside the readers mind when what is encoded on the page is turned into movement and reality in the stage of the readers mind.  And each person decodes that a little bit differently, and the same person experiences the same comic differently when read at different stages in their life, based on the life experience that they bring to the reading.  The comic page is a navigational tool, a road map, an atlas, but it is very different from the actual geography that the atlas is meant to point to.  That magic that happens in between the panels, is what happens in the readers mind, and it is such a joy to craft a page and panel layout that you hope makes the most of that catalytic effect. You are using imagination in the layout to trigger the readers imagination which will be activated by the panel layout. and in turn make the panels move and sing. 

(Source: captainmwai, via lorrainecink)

megsokay:

I just showed Rachael this old joke “townie ad” my dear friends at Comicopia and I made years ago and she’s disturbed because she didn’t get we were both joking and completely serious at the same time.

In case anyone ever doubted that I live with a comic book nerd. YOU’RE WELCOME!

ethiopienne:

the heartbreak in his face tho :(

(Source: rimtiggins, via ethiopienne)

Comics have hit puberty…and it’s not pretty — The Beat

For the last few weeks, a story has been going around, recounted by artist Tess Fowler, about how a comics pro seemed to be interested in her work, but when he asked her to come to his room, she declined, and he then said he had never been interested in her work, and disparaged her cosplay and did other shitty things. Fowler tweeted the story, it waswritten up, and she added:

The behavior of the man in question is considered normal in this business. And the few people who know about it consider it to be my fault for “falling for it” when he feigned interest in my work. In my pursuit of doing this work professionally I ran a gauntlet of this sort of thing. I came in with stars in my eyes and were it not for the handful of really good people who stepped in to keep me safe, I might not have made it through without being completely jaded by it. I am older now, with young impressionable followers of my own. And I do my best to help them over these kinds of hurdles when they arise. I wish more people were brave enough to speak out. But for every voice raised in protest, there are a thousand to defend the person in question. It’s daunting.

I KNOW HER.

"Adventures of a Comic Newbie: What is a Pull List?" with imamandanelson from bookriot

9 Female-Authored Comic Books You Need To Read

A new thing for hellogiggles! Oh and I wrote it.

eatsleepsniff:

Introducing my newest book, Geek Pussy!

My original plan was to expand the Video Game and Superhero Pussy posters to include a couple based on TV and film. But I got a little carried away and ended up drawing 162 additional characters! The 88 page book has 222 in total breaking down to 60 video game characters, 72 from comics and a whopping 90 from both the big and the little screen.

I wanted to add a little interactivity to the book so beneath each one is space for you to write who you think the character is. Can you name all 222? Of course you can!

In addition to the book I also have A4 and A5 prints of specific cat sets.

I’ll be bringing the Geek Pussy book and prints with me to MCM in London this weekend and soon after they will be available from my shop.

Why Do We Care So Much About What Female Superheroes Wear, Anyway?

womeninmarvel:

Why Do We Care So Much About What Female Superheroes Wear, Anyway?

A fantastic write-up by Lauren Davis at i09 that explains why female superhero outfits matter and the concept of the male gaze.

Why Do We Care So Much About What Female Superheroes Wear, Anyway?

As Lauren puts it, 

Now is that a Superman that you’re going to take seriously? Sure, he could still crush your head without trying, but does he have the same aura of nobility—inspire the sense of same sense of awe—that he does in his usual costume?

She also discusses how a female power fantasy doesn’t have to revolve around exposing her cleavage, and how heroines dress affects young girls who should be able to look up to these characters and see themselves represented. 

It’s not that kids need to somehow be shielded from images of women’s breasts and abs. Rather, it’s that these costumes convey a message to children about what powerful women look like. If a girl wants to grow up to be as strong as Wonder Woman, as powerful as Psylocke, as skilled as Elektra, does she have to put her body on display for the pleasure of other people, too? 

For more, check out the link!

cracked:

So Spider-Man is transformed into an actual giant spider – that is pregnant with spider babies – then dies and gives birth to a fully grown human Peter Parker instead, because…shut up. ‪#‎CrackedClassic‬
5 Absurd Ways Comic Books Have Resurrected Dead Superheroes

cracked:

So Spider-Man is transformed into an actual giant spider – that is pregnant with spider babies – then dies and gives birth to a fully grown human Peter Parker instead, because…shut up. ‪#‎CrackedClassic‬

5 Absurd Ways Comic Books Have Resurrected Dead Superheroes

towritecomicsonherarms:

Sex criminals is god tier

(Source: heatvents)

Sorry To Burst Your Masturbatory Comic Bubble (No, I’m Not)

thebirdandthebat:

I have a theory on why a small segment of men who read comics send rape threats to women who write about comics. To put it simply, they think we’re destroying their masturbatory fantasies (literal or otherwise).

You may laugh but it’s quite possibly the source of all the hatemongering. They’re under the impression comics are for men. Men only. And the characters therein, specifically the female characters, are there for them to ogle. The mere thought of that being taken away from them is frightening (even though, you know, porn and porn comics!). So frightening they will do anything to stop it. And they think silencing women with threats is the answer.

Can’t blame them for that thinking completely. After all, comics have been marketed at men 18-34 for a long time. But, and this is always what gets me, if you want your precious comic books to exist in 20 years, you need other demographics to read them.

The first time I was called a “cunt” online (Oh, boy! I must have missed the day in my college journalism courses where they went over that part of the job!), was when I wrote an op/ed titled, “Aquaman Needs a New Costume" for Newsarama back in 2010 (at least this is the first time I remember). I had written for Comic Book Resources previously but before then, had only written convention coverage or interviews. Here I was, writing my previously Heartless Doll-hosted comic book column "Hey, That’s My Cape!, a woman, giving an opinion on a comic book character’s costume (a male character at that), and I was harassed for it.

It was incomprehensible to me at the time, having only really been on the receiving end of the warm and fuzzy part of the comics community before then, that someone would have such vitriol over a comic book. Of course, it wouldn’t be the last time I gave my opinion online and therefore, was just the first in a long line of misogynist hate directed toward me (I have a “shithead” folder in my email as well as one on my desktop filled with screenshots of the offenders).

We could call them assholes. They are. But so is the driver who decides they need to get in front of me in rush hour traffic. These people are worse and they shouldn’t be excused with a wave of the hand.

When these issues are brought up, there are always responses to the effect of, “I haven’t seen it so it doesn’t exist.” My guess is, they have seen it. They either ignore it, or it’s such a part of the way they were brought up it doesn’t even register. But for a larger portion of people seeing others bring up issues of misogyny in the comics community, it’s a no-brainer. “This is bad.” “This needs to stop.” 

Janelle Asselin, a good friend and colleague of mine, spurred this recent round of discussion thanks to a critique she wrote on CBR of a new Teen Titans comic book cover. Because one of her critiques happened to include the size and shape of a teenage character’s breasts, she received all manner of harassment, including rape threats sent via a survey she was conducting on…wait for it…sexual harassment in the comic community.

What Janelle experienced (some more details in her own words here), was not new. Let me repeat. Was. Not. New. It’s happened for years, to countless individuals. Not just in comics, obviously, but every industry. 

I’m happy to see folks like Dan Slott, Brian Michael Bendis, Matt Fraction, and more - probably big names to the disgusting offenders - publicly decrying the behavior as abhorrent and unacceptable. Fellow journalist (and dude) Andy Khouri just added to the growing pile with a piece on Comics Alliance, “Fake Geek Guys: A Message About Sexual Harassment.”

But a part of me is also sad. Why? One, because this has been going on for far too long (This is just the latest outcry. Remember when Mark Millar got involved after hearing about a notoriously vile troll who went after myself, dcwomenkickingass and others? That’s just one of many.) and because these men’s voices seem to carry louder in the community than the women who’ve been experiencing it first hand and speaking out about it for years. And two, because I’m not sure it will have any effect whatsoever on the offenders. That minuscule segment of the community is set in its ways. Comics are for them. Don’t let anyone else in. This set of Double D’s are for me. Period.

It’s also important to remember there are numerous women without someone famous speaking on their behalf. I know women who have quit doing what they love because of the threats they’ve received and how scared they’d been made to live as a result. It’s unacceptable. So what do we do? 

Rachel Edidin had some good thoughts in her recent Tumblr post but bottom line? Shun them. Seriously. Shun them. Do not accept them in our community. You may say, “I’ve never seen someone make a rape threat online,” but can you say the same about a rape joke, or a man telling a women she’s being “too emotional” or “she needs to get laid?” My guess is no. And guess what? That’s where it starts. Making someones’ gender an attack point.

You see it. You know you do. Next time, say something.

Nerdist Comics Panel #38: Emerald City Comicon

This morning I listened to ruckawriter talk about the disappearance of the middle class in America and how we’re basically fucked economically on the Nerdist Writers Panel: Comics Edition podcast, and I was frightened. 

But I think the thing about X-Men that I loved other than I was finally seeing myself in a comic book was I think every nerdy loner kid wants to be a super hero. I mean that’s kind of a fantasy for all kids but I think if you’re an outsider, there’s a part of you that wants to like beat up the bad kids and save the kids that are being bullied and save yourself from being bullied and you kind of see the injustice in the world because some of it’s being inflicted on you. So I always had a super hero fantasy when I was a kid and I think also because X-Men had this whole kind of outsider-ship. There was this whole kind of mythology—these kids were the rejects, you know? And I’ve been six-feet-tall since I was like eight and I was the only black kid in my school. I was super, super nerdy, super bookish, my parents were vegetarians, I was just in every way, like every possible way that I could be a pariah, I was. There was not one factor that I didn’t hit. I ate weird, I was poor, I was the only black kid, I was a giant pest, I loved comic books, I loved [Ray] Bradbury. There was just no way I wasn’t hitting the nerd button. And so for me, X-Men, this is a collection of misfits and they’re gonna save the world and I loved that mythology and I still love it to this day.
– Aisha Tyler (Marvel.com)

(Source: womeninmarvel)

drdavidmrmack:

bendiswordsforpictures:

A study in panel borders:
Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.

I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:

* You can get away with smaller panels than you think
* Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
* Simple is not bad.
* There are actually a LOT of possible combinations.

Specific notes:

Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.

DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.

Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.

The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…

Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.

Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.

Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.

Panel design is one of the most fun parts of making comics for me.  Creating the structure and rhythm and timing of the page… based on the flow of the story and characters, is where the real magic happens for me.  

It is that wonderful in between place where the script first takes shape into the visual.  And the arrangement seems to spring from the flow of the script (often with dozens of layouts for possible solutions for each page) and the infinite possibilities always surprise me.  Sometimes it is a matter of simplicity, and sometimes it is a matter of contrast.  And it always seems like problem solving.  It’s a puzzle where ideas first get their visual blueprint onto paper in terms of making that new dimension of “time” in making image have sequence and suggesting the pace of that sequence… encrypting it into the design so it will only live, only be unlocked, inside the readers mind.  I don’t consider the page the actual art.  I consider the real art, the real “happening” of this art form, as taking place inside the readers mind when what is encoded on the page is turned into movement and reality in the stage of the readers mind.  And each person decodes that a little bit differently, and the same person experiences the same comic differently when read at different stages in their life, based on the life experience that they bring to the reading.  The comic page is a navigational tool, a road map, an atlas, but it is very different from the actual geography that the atlas is meant to point to.  That magic that happens in between the panels, is what happens in the readers mind, and it is such a joy to craft a page and panel layout that you hope makes the most of that catalytic effect. You are using imagination in the layout to trigger the readers imagination which will be activated by the panel layout. and in turn make the panels move and sing. 

(Source: captainmwai, via lorrainecink)

megsokay:

I just showed Rachael this old joke “townie ad” my dear friends at Comicopia and I made years ago and she’s disturbed because she didn’t get we were both joking and completely serious at the same time.

In case anyone ever doubted that I live with a comic book nerd. YOU’RE WELCOME!

ethiopienne:

the heartbreak in his face tho :(

(Source: rimtiggins, via ethiopienne)

Comics have hit puberty…and it’s not pretty — The Beat

For the last few weeks, a story has been going around, recounted by artist Tess Fowler, about how a comics pro seemed to be interested in her work, but when he asked her to come to his room, she declined, and he then said he had never been interested in her work, and disparaged her cosplay and did other shitty things. Fowler tweeted the story, it waswritten up, and she added:

The behavior of the man in question is considered normal in this business. And the few people who know about it consider it to be my fault for “falling for it” when he feigned interest in my work. In my pursuit of doing this work professionally I ran a gauntlet of this sort of thing. I came in with stars in my eyes and were it not for the handful of really good people who stepped in to keep me safe, I might not have made it through without being completely jaded by it. I am older now, with young impressionable followers of my own. And I do my best to help them over these kinds of hurdles when they arise. I wish more people were brave enough to speak out. But for every voice raised in protest, there are a thousand to defend the person in question. It’s daunting.

Sorry To Burst Your Masturbatory Comic Bubble (No, I’m Not)
"But I think the thing about X-Men that I loved other than I was finally seeing myself in a comic book was I think every nerdy loner kid wants to be a super hero. I mean that’s kind of a fantasy for all kids but I think if you’re an outsider, there’s a part of you that wants to like beat up the bad kids and save the kids that are being bullied and save yourself from being bullied and you kind of see the injustice in the world because some of it’s being inflicted on you. So I always had a super hero fantasy when I was a kid and I think also because X-Men had this whole kind of outsider-ship. There was this whole kind of mythology—these kids were the rejects, you know? And I’ve been six-feet-tall since I was like eight and I was the only black kid in my school. I was super, super nerdy, super bookish, my parents were vegetarians, I was just in every way, like every possible way that I could be a pariah, I was. There was not one factor that I didn’t hit. I ate weird, I was poor, I was the only black kid, I was a giant pest, I loved comic books, I loved [Ray] Bradbury. There was just no way I wasn’t hitting the nerd button. And so for me, X-Men, this is a collection of misfits and they’re gonna save the world and I loved that mythology and I still love it to this day."

About:

I read. I write. I spend all together too much time on the internet. I talk incessantly about books, TV and movies. I have written for Hello Giggles, Huffington Post, The Mary Sue, Buzzfeed, and am currently writing for Nerdist. I tweet frequently as Bookoisseur. I also have a blog at Bookoisseur Writes.

Following:

Gap
Mic
NPR
*
IFC