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That's right, I draw too.

@by-veidt

Enjoy my drawings as I try to get back in the game after a decade of pencil abstinence.
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You know, I'm kind of angry, I think. People love lesbians in theory. You love us as a word, but not as a reality. You don't love us as people, as angry, as fat, or masc, or disabled. You don't love us as femme or depressed or abused. You love us as a diversity bingo, as the background character of your lives. You don't care about the alienation and subversion from society that comes from being a dyke. It's all fine and dandy to give us some mid ranking spot on the tumblr top ten, as a two second cameo in the background or a solution to your gay ships. You want us as PALATABLE, as EASY, as the punch line to your jokes about being useless or mean. You don't care about our histories and our subcultures, of our day to day reality in a culture that somehow simultaneously de-sexes and fetishizes us. Happy International Lesbian Day. The day where half of tumblr doesn't acknowledge us and half of the half that does has to pretend they don't hate or look down on us. Because I am so tired of the jokes. Of the stupid ass takes. Of the misrepresentation. Terfs if you touch this post I'll feed you your own shoes.

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pom-seedss

I think about my one friend in high school, who was not technically allowed to read anything that her parents didn’t approve of. There was a special exception for things required by school, but they’d go over those at home and “correct” any bad information.

She checked out 2 books a day from the school library and read voraciously on her own and returning the books to the library at the end of the day. She’d get done work early or just skip any work time in class to read her books.

Her parents were ‘old-fashioned’ too. They didn’t think their child should be reading anything they didn’t personally approve of first.

There was a reason she never told her parents she checked out books from the school library. There was a reason none of the teachers scolded her for reading or told her parents about it during parent-teacher conferences.

They were actively preventing further abuse of a vulnerable teenager under their care.

I seem to be thinking a lot of her lately with everything, everything that is happening.

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renthony

Your personal triggers and squicks do not get to determine what kind of art other people make.

People make shit. It's what we do. We make shit to explore, to inspire, to explain, to understand, but also to cope, to process, to educate, to warn, to go, "hey, wouldn't that be fucked up? Wild, right?"

Yes, sure, there are things that should be handled with care if they are used at all. But plenty more things are subjective. Some things are just not going to be to your tastes. So go find something that is to your tastes and stop worrying so much about what other people are doing and trying to dictate universal moral precepts about art based on your personal triggers and squicks.

I find possession stories super fucking triggering if I encounter them without warning, especially if they function as a sexual abuse metaphor. I'm not over here campaigning for every horror artist to stop writing possession stories because they make me feel shaky and dissociated. I just check Does The Dog Die before watching certain genres, and I have my husband or roommate preview anything I think might upset me so they can give me more detail. And if I genuinely don't think I can't handle it, I don't watch it. It's that simple.

#this excludes writing pedo or incest.

If you look at the tags on my original post, this post was originally about hospital horror, and how it's allowed to exist even if an individual has medical trauma and doesn't like the genre. But since someone wanted to go and put some shit on my post that I disagree with:

No, actually, it doesn't exclude those things. Dark themes in fiction are allowed to exist whether you like them or not.

Vladimir Nabokov's Lolita was not a real little girl who really got brutalized. She was a fictional character. No real child was harmed. People are not reading Lolita and going out thinking, "oh, this told me to abuse children, and clearly it's morally okay now." The existence of Lolita is not responsible for the existence of CSA.

Wes Craven's New Nightmare was pretty meta, but Freddy Krueger was still never real and never hurt any real kids, either. He's a story. None of those kids ever died, none of them ever got abused, and Fred Krueger never got burned to death, because they're all fake and never existed. Murder and CSA in the real world aren't Freddy Krueger's fault.

Jaime and Cersei Lannister are not real people. They are fake. They are words on paper, and actors on a screen. Lena Headey and Nikolaj Coster-Waldau are not siblings, and did not ever have real sex in the show. It was fake, simulated, not real sex. No siblings actually fucked. Nobody is watching/reading Game of Thrones and thinking, "oh, I can totally go fuck my sibling with no repercussions now!" The existence of Game of Thrones is not responsible for real-world incest.

Guillermo del Toro's film Crimson Peak didn't kick off an epidemic of everyone deciding it's okay to fuck their sister and kill their wife. William Faulkner's "A Rose For Emily" isn't making people kill men and sleep with their corpses, and Emily never really killed Homer because neither of them actually exist in the first place.

John Wick isn't making people run out and become hitmen. The very cute doggy that infamously dies in the first movie was not actually a real dog death--the dogs in John Wick were treated very well, according to a ScreenRant article I found!

Ghostface was played by a combination of stuntmen and a very talented voice actor, and all his murder victims were actors who were filming a pretend story. It was all choreographed and nobody really died. The benind-the-scenes stuff for the Scream series is actually really cool if you're into that sort of thing like I am.

Arcane didn't put grenade launchers in people's hands and turn them into vigilante fighters juiced up on Super Drugs--and you know what, neither did any of the things the Batman franchise has churned out. The Joker and Scarecrow and Poison Ivy and Harley Quinn aren't out there terrorizing New York City, because they're fantasy supervillains who aren't real and can't hurt you.

The endless waves of bandits in Skyrim are pixels on a screen, and I'm not killing real men when I cut them down. No real people got hurt when my Sims 4 house caught fire. Playing Super Smash Brothers hasn't gotten me into underground fighting rings, and neither did watching Fight Club.

It's all fiction.

None of it is real.

The characters are fake and do not exist.

Curate your own media experience and get your head out of your ass.

[ID: a comment left by tumblr user msexcelfractal, which reads "Cool post OP, now do Birth of a Nation. End ID.]

Content warning: antiblackness, antisemitism, sinophobia, general discussion of bigotry and oppression

You really want to try and go there as if that's some kind of gotcha on the subject of dark fiction? Fine. Let's go there. I've got sources and free time.

Birth of a Nation is a horrific hate crime of a film. It is flagrantly racist and was connected to a surge in KKK membership. Nobody should watch that film for enjoyment. It's horrific. Nobody should be forced to watch it, either. You don't have to watch the film, and I don't recommend you do, unless you're actively involved in studying it for whatever reason. It's a bad, hateful movie.

I have not watched it in its entirety and I don't really ever intend to. There are Black scholars who have already broken it down and discussed it at length, and I don't feel I'm going to get anything out of the film that they haven't already covered. If I need to study Birth of a Nation in more depth for whatever reason, I'm going to defer to Black scholarship on the subject.

But if you tried to ban the film altogether? If you tried to erase it from existence? I would ask what the fuck is wrong with you. Banning Birth of a Nation does absolutely nothing to combat the racism that created it. It wouldn't stop racists from making racist art. It wouldn't erase the damage done by the film. It wouldn't go back in time and make it retroactively never made.

You know what banning it would do, though? It would strip film scholars of the ability to discuss it. It would prohibit people from talking about exactly why it was bad. It would inhibit honest conversations about what the film was and who it affected.

You know what you do with horrific bigoted art like Birth of a Nation? You have content warnings, like the one I put at the beginning of this reply. You don't spring it on people who don't want to discuss it. You don't put it on for people to watch without warning. You don't tell everyone you know to go and watch it and give it money.

You do things like what Warner Brothers did with their Tom and Jerry disclaimer:

“These animated shorts are products of their time. Some of them may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are wrong today. While the following does not represent the Warner Bros. view of today’s society, these animated shorts are being presented as they were originally created, because to do otherwise would be the same as claiming these prejudices never existed.” 

You damn sure don't erase it from history and pretend that ignoring it will solve bigotry. Censorship is not the answer, because censorship is always enforced harder on marginalized artists. You ban racism in film, you ban films by Black artists who are exploring the topic from their own perspective.

When the Hays Code banned "offense to other nations," you know what happened? It didn't stop racism in film, that's for damn sure. It instead gave bigoted censors a perfectly legal and easy way to shut down art by marginalized people, which they did gladly.

The rise of the Nazi Party in Germany resulted in the Reichsfilmkammer demanding the removal of all Jewish workers from Hollywood's European locations. American films began receiving heavy censorship and bans in Germany, and so American studios complied with the Reichsfilmkammer's demands in order to avoid legal trouble in Germany.

Despite the Nazi party's outright hostility toward Hollywood, the MPPDA office discouraged any negative depiction of Germany or the Nazi party. Germany had been such a huge market for American cinema that the Reichsfilmkammer's censorship codes for German films began impacting American-made cinema. Jewish representation in cinema all but disappeared overnight. Joseph Breen, the head of the censor board, was an open antisemite, going on open tirades against Jewish people. His censorship policies were flagrantly bigoted and only served to reinforce that bigotry on a systemic level.

In 1933, Herman J. Mankiewicz and Sam Jaffe tried and failed to make an anti-Hitler film titled "The Mad Dog of Europe." The Hays Code was used to deny the film's production. On July 17, 1933, Will Hays himself ordered the filmmakers to cease and desist, all in the name of "not offending Germany."

Said Joseph Breen, "It is to be remembered that there is strong pro-German and anti-Semitic feeling in this country, and, while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”

Variety said about the subject, “American attitude on the matter is that American companies cannot afford to lose the German market no matter what the inconvenience of personnel shifts."

Anna May Wong, a Chinese-American actress, lost out on a leading role in the film "The Good Earth," due to the Code's explicit ban on interracial relationships. The leading man had already been cast with a white man wearing yellowface, meaning that Wong was unable to be cast as the leading lady and love interest, even though the characters were supposed to both be Chinese. The role instead went to a German-American actress wearing yellowface, who went on to win an Oscar for the role.

Censorship doesn't help anyone. Censorship does not protect anyone. Censorship does not prevent bigotry, and in fact only serves to reinforce it.

Anyone who read this far and learned something: being an independent media censorship researcher doesn't exactly pay the bills, so check out my Ko-Fi or Patreon if you learned something and feel generous.

My main sources for this post are:

  • Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty
  • The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons
  • The Encyclopedia of Censorship, by Jonathon Green & Nicholas J. Karolides
  • Morality and Entertainment: The Origins of the Motion Picture Production Code - Stephen Vaughn
  • Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira
  • Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira
  • Hollywood's Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

And since you made me talk about Birth of a fucking Nation, here are some additional resources for people who are actually interested in Black media history:

  • Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation, by Nicholas Sammond
  • Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field
  • Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz
  • The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff
  • Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild
  • Darkest America: Black Minstrelsy from Slavery to Hip-Hop, by Yuval Taylor and Jake Austen
  • Love & Theft: Blackface Minstrelsy and the American Working Class, by Eric Lott
  • The Prettiest Girl on Stage is a Man: Race and Gender Benders in American Vaudeville, by Prof. Kathleen B. Casey
  • Dancing Down the Barricades: Sammy Davis, Jr. And the Long Civil Rights Era, by Matthew Frye Jacobson
  • Blackface, Whiteface, Insult and Imitation in American Popular Culture, by John Strausbaugh
  • A Change in the Weather: Modernist Imagination, African American Imaginary, by Geoffrey Jacques
  • Hollywood Black: The Stars, The Films, The Filmmakers by Donald Bogle
  • The Blackface Minstrel Show in Mass Media: 20th Century Performances on Radio, Records, Film, and Television, by Tim Brooks
  • Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser
  • America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin
  • White: Essays on Race and culture, by Richard Dyer
  • Black American Cinema, edited by Manthia Diawara
  • Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood
  • Framing Blackness: The African American Image in Film, by Ed Guerrero
  • Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle
  • White Screens, Black Images: Hollywood From the Dark Side, by James Snead
  • Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen
  • The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha
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femcassidy

white people please just purchase native artwork and jewelry from native people i keep seeing idiot white people be like “waaah i wish i could support native creators but its cultural appropriation” girl why would beaders sell you their earrings then. just dont get a medicine wheel or a thunderbird then like damn it is that easy

If Native folks are making it to sell to white people with the approval of their tribe, it’s not “appropriation”–its support and appreciation! So yes, buy that native-made dream catcher, but not the mass produced fakes made by white people. Like, you can go to a pow wow and buy native crafts there, too.

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by-veidt

Yearly reblog

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“suffering feels religious if you do it right” no shut up it doesn’t. my friends laughing in the kitchen while i make dinner feels religious. the sun on my face after a long winter feels religious.

somebody in the notes posted this screenshot from the one & only, ursula k let guin. and now i'm screaming wtf

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what if aquatic animals had Tumblr would that be fucked up or something lmaooo anyways

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🌿 mx-seagrxss Follow

mating season is such a chore. wdym i have to migrate back ten thousand miles just to find some bitches

🐟 thatsalmonboy Follow

outta my way gayboy I'm boutta get it

🐟 thatsalmonboy Follow

i have been transformed into a creature beyond my wildest imaginations

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🎣 cardinesan Follow

uhhh was nobody going to talk about how the new update makes the site virtually unusable for crustaceans ???

🌊 pelagic-tragic Follow

honestly even if we tell staff you know they're not going to do anything. crustaceans make up such a small percentage of oceanblr right now that it's going to be impossible to get them to care. the treatment of anyone who isn't a bony fish on this website is atrocious tbh

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🌑 the-midnight-zoom

oh my cod its so dark down here why do i have such piss poor eyesight. if my eyes could open any wider id be doing that but nooo my house in the god damn depths says get fucked. not even my cousin in that one cave has to put up with this wtf

🔦 anglerfished Follow

hey come here for a second

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🦑 a-sinkingsquid Follow

absolutely freaking out right now you frys don't understand ... There's another squid at this whale fall and she's really really cute! I want to talk to her so bad but I'm scared as all hell ... what if she thinks I'm trying to eat her and swims away ? ?

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🐋 girlwhaletail Follow

shipping discourse is sooo pointless like? you argue about ships? ⛵ those things that sound really loud & pass by me everyday? 🛳️ whoo whoo?

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🐌 justasnailfish Follow

where is every one ..