retronauts:

littlepemo:

masterofafros:

Reunion of the century.

Mega-reunion of the century-icus

Oh lordy.

kellysue:

I’ve got three things I’ve got to get turned in today, two kids to get fed and dressed and a bag to pack and a flight to catch, so I can’t respond to this the way I’d like, but I’m putting it here so I don’t forget.  

I also need to let my temper subside a bit.  If I were to reply right now I’d resort to name-calling and insults and we all know there’s no ground to be gained there. 

Instead, when I’m not shaking anymore, I’ll recount my career trajectory AGAIN.  [Magazine writer/research assistant—>comic reviewer—>7 years /10K+ pages adapting manga into English—>anthology shorts—>co-writing gigs—>one-shots—>minis—->ongoings]  

Maybe I’ll get Alejandro Arbona to attest—AGAIN!—that I was blind-submitted for my first gig at Marvel.  I’ll offer that if you’re looking for Men to Credit for My Career, you should look first to Neil Gaiman, Warren Ellis, Peter Rose, Steve Niles and Jamie Rich — all of whom were responsible for making introductions or getting me chances to submit my work well before Matt Fraction had any pull in the industry.  (I’ll also state in no uncertain terms that I wasn’t sleeping with any of those men, because I know, dear Anon, that is your next assumption.)  Or Brian Bendis, who had championed my work in a way I will never be able to adequately thank him for.  (Ditto Steve Wacker.)  

(Also not sleeping with Brian or Steve, just so we’re clear.)

Maybe I’ll ponder why it isn’t Fraction who’s considered to have benefited from nepotism.  After all, more than 10 years ago now, Matt Fraction was my plus one to Joe Quesada’s 40th birthday party and it was me who sent copies of Last of the Independents to Joe and Axel.  I mean, clearly, it was those gestures that got Fraction his career — certainly not the merit of his work, right? I mean, come on — those Hawkeye Eisner noms are part mine, right? 

(I can’t imagine how sick Fraction must be of hearing me tell that story. But I bet it’s not half as sick of it as I am.)

(The first person I met in the industry was Wil Rosado. Through him, the first editors I met were Andy Ball, who’s since moved on, and Joey Cavalieri. Just in case anybody wants to make a chart. This would be… maybe 4 years before I met Fraction, Gillen, Ellis, McKelvie et al on the WEF.) 

Okay, deep breath.  

Bendis is going to tell me that I shouldn’t acknowledge this, that I’m feeling trolls, but here’s the pickle: people deny that this happens.  We’re told that the insults to our dignity working women face are in our imagination, that it’s a thing of sexy Mad Men past.  It’s WOMEN who make this a thing, right?  (Hysterical, don’t you know.)  We’re to the point where I meet young women who won’t identify as feminists because the struggle is over and it’s only a thing if you make it one. 

Bullshit. 

It’s not a natural assumption to leap to the conclusion that I got my job because of my marriage.  It’s the product of deeply-ingrained sexist thinking.  I can name for you a half a dozen men who did, in fact, get their first big two gigs because of who they knew and their dignity and their qualifications have never been called into question.  I’m lucky if I go a week.  

I was recently directed to a post on a snake pit of a message board (what was I thinking, even going to look?) by a man I’d known as long as I’d known my husband, a man I’d met at the same time—a man who had felt free to ask professional favors of me on multiple occasions—who was lamenting how “easily” I’d gotten to where I was because of Fraction. When friends of mine pointed him to my CV, he half-apologized because he had no idea.  Apparently he thought Marvel—a publicly-owned company—was in the habit of handing out gigs to freelancer’s wives just for kicks.  Then he threw up the bit about it being a natural assumption. 

I would say simply ‘fuck that guy’ and chalk it up to his not being half as smart as he thinks he is, but here’s the thing: 

That guy has daughters.  

For them, and for my daughter and for your daughter, I am going to occasionally shine a light on these things… even though it both enrages and embarrasses me.  

I don’t know if it’s the right call, but I know that ‘ignore it and it’ll go away’ isn’t working. 

I need to figure out a way to contain my outrage enough to talk about it in a way that doesn’t attack, but invites dudes like Anon to rethink their ‘natural assumptions’ without setting myself up as an uppity bitch that they’re invested in proving wrong.  

I… I clearly don’t know how to do that right now.  But I’m going to figure it out.   

Later.

Right now, the kids need breakfast and my son has questions about the xenomorph that can’t wait another second.  

I’m out. 

prnnography:

Croissandra, the not-so-vindictive pastry maid. She has fended off the Black Forest hordes time and again to protect Planet Pastrius and its denizens.

Now that I understand the context, this is that much more awesome.

sunflower-setto:

Super Metroid released on the Wii U Virtual Console today. This is the result. 

I don’t have enough hands to facepalm as much as I want to right now.

lexxercise:

dresdencodak:

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!

While Nintendo isn’t likely to do something like this themselves, It would fit just as excellently into its own original setting.

If you get an indie developer to do something with this, please bring me on board for concept art, tia.

1. First impression:
2. Truth is: 
3. How old do you look: 
4. Have you ever made me laugh: 
5. Have you ever made me mad: 
6. Best feature: 
7. Have I ever had a crush on you: (If I did, I wouldn’t let you know via Tumblr, so don’t even ask)
8. You’re my: 
9. Name in my phone: 
10. Should you post this too?

I had to create an Ask Me Anything box just to be able to do this!

The current set of Kyoryuger rumors are probably going to end up complete and utter lies, but OMG, DAT PLESON PIC.  This artist’s renditions of rumored mecha are so awesome.  XD

(also, I do notice that when this artist draws rumored mecha, that set of rumors tends to be true more often than not, so.)

cryamore:

***IMPORTANT!!!! For Windows Users experiencing the “The content has stopped because of a fatal content error has been detected” error message, we believe this is an issue related to Chrome or Safari. The game should play better/well on Firefox. So for now, play these Webplayer Builds on…

So there’s a link floating around (thanks to Kamen Rider Tag for linking it to me) with images of a first draft of a script for an adaptation of Kamen Rider Fourze into a US show, the “Power Rider” concept that was trademarked back in late 2011 by Saban.

Before I start, let me just note that fandom is 95% sure this is an early April Fools joke, for various reasons.

Anyways, the reason I wanted to talk about this is because this link has already dredged up the expected “they’re going to ruin it!” and “don’t touch my beloved source material!” remarks.  Or my favorite, “BUT SO HELP ME, IF SOMEONE IN THE U.S. TOUCHES GARO, I WILL DESTROY EVERY SINGLE LAST ONE OF THEM. THEY WILL PRAY FOR MERCY FROM THEIR GOD AND IF THEY AREN’T RELIGIOUS, THEY’LL FIND IT.”

The “this show is going to so bad” bit is an acceptable opinion, if overly pessimistic.  Personally, if for some crazy reason this turned out to be true, I’d be initially ambivalent, but would watch it on its own terms.  If it turned out to be good, then great, I’d keep watching.  If it turned out to be bad, then okay, I’d stop watching and move on.

But the “this is going to ruin the source material” bit is what really makes me roll my eyes.  Do you people honestly think that a bad American adaptation is magically going to go several years back in time and destroy the source it’s adapting?  It’s not like the special edition versions of Star Wars episodes 4-6 from the late 90s somehow went back and retroactively changed all the old 70s VHS tapes you had into the new versions.  So I promise you, your downloaded fansubs are safe and intact.  Please get over yourselves.