Source: stupidfuckingquestions
Abe Sapien - The Devil Does Not Jest #2
Gymnosomata, commonly known as Sea Angels. An apt name- the sea angels are the ethereal, translucent, fluttering angels of the sea.
In hard scientific terms, they’re small swimming sea slugs, but we’ll pass over that for now and just admire how delicately beautiful these wonderful creatures are.
SEA BUTTERFLIES
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Source: seventy-five-percent-water
“As we killed our opponents in the ring, we saw in their deaths the realization that they were individuals. And so we knew we were too. In killing, we understood life. In being the most disposable of commodities—a gladiator whose remains are thrown into the junkpile to be picked over and scavenged, the healthy pieces sold off to brokers in Iacon and Crystal City—in being disposable, we discovered we had value.”
—Megatron remembers how it all began.
Transformers: Exodus.
(via til-all-are-one)
Source: bulletproof-pillowpets
i’d love to see more women villains that are completely unsympathetic. no stupid “woe is me” backstory that hardly justifies their actions. no victim complex. no hesitation. just a love for carnage and head games and an insatiable lust for pain. mentally unhinged or fully in control. there aren’t enough female characters out there that are truly monsters. as much as it’s fun to see male characters do that, i want some iconic serial killer ladies in my life.
yes
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Source: theongreyjoy

Source: wtfshiroko
Source: ginchiest
William Gibson (Neuromancer)
“‘We Have Always Fought’: Challenging the ‘Women, Cattle and Slaves’ Narrative” by Kameron Hurley â A Dribble of Ink
I often tell people that I’m the biggest self-aware misogynist I know.
I was writing a scene last night between a woman general and the man she helped put on the throne. I started writing in some romantic tension, and realized how lazy that was. There are other kinds of tension.
I made a passing reference to sexual slavery, which I had to cut. I nearly had him use a gendered slur against her. I growled at the screen. He wanted to help save her child… no. Her brother? Ok. She was going to betray him. OK. He had some wives who died… ug. No. Close advisors? Friends? Maybe somebody just… left him?
Even writing about societies where there is very little sexual violence, or no sexual violence against women, I find myself writing in the same tired tropes and motivations. “Well, this is a bad guy, and I need something traumatic to happen to this heroine, so I’ll have him rape her.” That was an actual thing I did in the first draft of my first book, which features a violent society where women outnumber men 25-1. Because, of course, it’s What You Do.
I actually watched a TV show recently that was supposedly about this traumatic experience a young girl went through, but was, in fact, simply tossed in so that the two male characters in the show could fight over it, and argue about which of them was at fault because of what happened to her. It was the most flagrant erasure of a female character and her experiences that I’d seen in some time. She’s literally in the room with them while they fight about it, revealing all these character things about them while she sort of fades into the background.
We forget what the story’s about. We erase women in our stories who, in our own lives, are powerful, forthright, intelligent, terrifying people. Women stab and maim and kill and lead and manage and own and run. We know that. We experience it every day. We see it.
But this is our narrative: two men fighting loudly in a room, and a woman snuffling in a corner.
This is a really interesting article about the way media, fiction and narratives repeated in society shape the way we see and assume reality to be, specifically (in this case) about how narratives about women being victims, or supporting men, but not being fighters or soldiers create the idea that women never did that, and it’s only a modern new thing that we think they could, when in fact that’s not true at all.
Also, specifically relevant to this blog are the parts about how that affects us when we create stories ourselves, and can end up adding to this narrative consciously and subconsciously. It’s the same with how women are depicted in illustrated fiction. I honestly don’t think a lot of the boobs and butt poses, or women in bikini armor, are drawn by people consciously thinking sexist thoughts, I think they’re just doing What You Do. This is a female character, this is just the pose we’re used to seeing women in. We don’t think twice about drawing her like that, because it’s just how we’ve become conditioned to seeing women pose in the medium. Same with stuff like this. It’s how we’re used to seeing female armor, and when we think “female warrior”, our imagination just instinctively runs in the direction of what we’re used to seeing. It’s just What You Do with female armor, and female characters, and female poses.
Since starting Escher Girls, I’ve gotten quite a lot of mail from people telling me that they never realized just how often they put their female characters in boobs and butt poses, or gave them bikini armor, just because that’s how they saw women drawn in video games and comics and never thought twice about it. It’s just what seemed “right” to them, and that they’re now a lot more conscious of it and try to have more variety in the way they depict women, and often in ways that make more sense to the story. :)
I think it’s just important to catch ourselves sometimes and think are we creating something because this fits what we’re doing, and this makes sense, or are we just doing What You Do? (This applies to all sorts of tropes and stereotypes too.)
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Source: slayerage
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Source: sergeant-cookie
Ruby Rhod is one of my favorite characters in sci-fi ever because he is Luc Besson’s vision of the hetero sex symbol of the future: a flamboyant, emotionally labile man who wears skin-tight leopard print or decks himself in roses, a man who accessorizes with big jewelry and dabbles in cosmetics. And the ladies love him. Everything about him screams “gay” according to our stereotypes, but he’s portrayed as a 100% straight sexual dynamo.
Besson is one of the few directors I’ve seen who actually recognizes that our ideas of sexuality and gender performance might have changed drastically in the future.
He also has one of the most jarring entrances in a movie. Like the entire movie screeches to a halt because he bursts onto the scene well into the second act and it’s so strange and arresting and Bruce Willis is just like “what the fuck is even going on anymore?”
It’s p. great.
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Source: tokiyas
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Source: mrbenwyatt


