Posts tagged: queerness
At Monkey See, Libby Hill considers RuPaul’s Drag Race and the World Wrestling Entertainment’s Monday Night Raw. “To compare WWE’s Monday Night Raw to RuPaul’s Drag Racemay seem like an easy punch line to those who dismiss both as lowbrow entertainment pitched to niche audiences. But those who indulge in both (almost assuredly a very small sliver of that particular Venn diagram) know better than…
Comics Editor Carol shares ten comics she liked (and hasn’t written about yet*) in 2013:
t’s an amazing time in comics right now. There are too many good ones for me to even read them all. Comics are like a hydra, but without the decapitation or even really the fighting. (So maybe not all that much like a hydra except I find one comic and then there are 3-6 more I become interested in).
Here are ten comics I haven’t written about. They include the following things: Weird Westerns, the undead, women who bring death, a dog who loves pizza, bros, the Nineties, Jordie Bellaire, Kieron Gillen, queer representation, non-human apes, Sparta, legendary heroes, robots, barbarians, swords, spears, dancing aliens, and many, many ladies.
“The Lady Lemongrabs in the Fionna and Cake comic “Sour Candy” inspired me to come out as a lesbian. I thanked the author, Kate Leth, and she congratulated me. I feel so much better.”
Confessed by: Anon.
Inspired by Anita Sarkeesian’s Video Game Tropes vs Women, I wanted to pitch a Zelda game where Zelda herself was the hero, rescuing a Prince Link.
Clockwork Empire is set 2,000 years after Twilight Princess, and is not a reboot, but simply another iteration in the Zelda franchise. It just so happens that in this case, Zelda is the protagonist. I’m a very big Zelda fan, and worked hard to draw from key elements in the continuity and mythos.
This concept work is meant to show that Zelda as a game protagonist can be both compelling and true to the franchise, while bringing new and dynamic game elements that go farther than being a simple gender swap.
Hope you like it!
Adventure Time’s “Princess Cookie” gets Comics Editor Carol in her heart zone.
In a lot of ways, Finn is who I would’ve wanted to be when I was a kid—if I couldn’t have Jake’s rad shapechanging abilities. (Shapechanging abilities are mathematical). I’m sure there are still boys upset at the thought of a girl pretending to be Finn, but it’s pretty clear that Finn, Jake and Adventure Time don’t mind girls being adventurers and boys being princesses and not just in the two episodes with Fionna and Cake, the gender and species-swapped versions of Finn and Jake. (Also, featuring the excellent Prince Gumball, voiced by Neil Patrick Harris). But while I love Fionna and Cake, somehow Princess Cookie got me in my heart zone.
I asked for guest posts making the case for the finalists for the Favorite DC Couples matches and reader Natalie Reed sent me this on Harley and Ivy. Her thoughts follow:
Before I begin, I suppose I should admit a slight bias: I’m not entirely of the opinion that Harley and Ivy’s clandestine tryst was precisely “non-canon”. More like “quasi-canon”. Or “deutero-canon”. Or “scholarly confirmed apocrypha”. And if you go by the whole Word Of Authorial God theory, it was straight-up, well, canon (at least for a given value of Paul Dini’s godhood; and regarding Harley’s infamous statement that her immunity to Ivy’s toxicity was granted so they could “play” together).
Basically, unlike the vast majority of non-canon ships, whereby fans go out seeking sexy (or not-so-sexy) subtext between two characters who seem to pair well together, what was going on between Harley and Ivy was, as often as not, just plain old text. The writers planting those seeds (no pun intended) weren’t simply toying (no pun intended) with us, they were quite deliberately implying a relationship there, and moreover implying a relationship that had a pretty meaningful impact on the story. And on at least one occasion I can think of (Ivy’s confrontation with Harley in Arkham during the finale of Gotham City Sirens), those seeds bore fruit, and became a meaningful, climactic element to the narrative.