You’ve probably never heard of Jackie Ormes and that’s an utter tragedy. But it’s not surprising–there is no “Jackie Ormes Omnibus” available on, no “Collected Patty-Jo ‘n’ Ginger,” no “Essential Torchy Brown.” She won no awards, can be found in no hall of fame, and is usually treated as “an interesting find” by comic historians. She’s become a curio, a funny little facet of history, undiscovered, even, by today’s wave of geek-oriented feminism.

Jackie Ormes was the first African-American woman cartoonist. Yeah. That’s who we’re ignoring. Her work for the Pittsburgh Courier and the Chicago Defender–both incredibly influential African-American newspapers–was utterly groundbreaking and remains unique, even in the context of modern comics. Her first work, Torchy Brown in Dixie to Harlem, featured the adventures of the titular Torchy, a stylish, intelligent young African-American woman who (feigning illiteracy) boards a whites-only train car to New York City and changes her life. Torchy’s story is a great, irreverent window into the migration of Southern-born African-Americans to the North, a movement that defined 20th-century America–but it is also the story of a girl on her own, living her own life and making her own choices. Torchy was an incredible aspirational figure, the likes of which barley exists in modern comics: an independent, optimistic, fashionable and adventurous black woman. Ormes would later revive Torchy’s story in Torchy in Heartbeats, a strip that introduced international adventure into the heroine’s life. In Heartbeats, Torchy traveled to South America, dated idealistic doctors, battled environmental exploitation and confronted racism at every turn. She was, frankly, awesome

And then there was Patty-Jo 'n’ Ginger, her most successful and longest-running work. Patty-Jo 'n’ Ginger was a single panel gag strip, like Family Circus–an illustration with a caption beneath it. Ginger was a beautiful, stylish young woman always accompanied by her little sister Patty-Jo, a clear-eyed, sardonic kid who spent most strips calling out the bullshit they endured on a daily basis as black women. Ormes’ talents shine through especially well in these little stories: her canny wit, the absolutely gorgeous clothes she drew her women in (seen also in her Torchy Togs paper dolls) and her skillful, succinct way of imparting to the reader just how goddamn stupid our society can be about gender and race. Patty-Jo is never shamed or taken down a peg for being an intelligent, outspoken little girl–in fact, she was made into a highly popular doll that wasn’t an obnoxious Topsy-style stereotype. She preceded Daria, Emily the Strange, Lian Harper, all those wry little girls we celebrate today–and yet, I see her on no t-shirts, can find her in no libraries. Patty-Jo is celebrated only in doll-collecting circles at this point, as the cute little symbol of a bygone age.

At Jackie Ormes’ height as a cartoonist, her work reached one million people per week. In the 1940s and 1950s, she reached one million people per week. She didn’t just surpass barriers–she leapt merrily over them. She introduced the general populace to a voice that had always existed, but was seldom heard–a voice that is still smothered today. She created African-American women who unapologetically enjoyed glamour, who pioneered their own futures, who refused to keep silent about the walls they found themselves scraping against every day. I haven’t even covered the half of it: Ormes was also an avid doll collector, served on the founding board of directors of the DuSable Museum of African-American history, and was targeted by the McCarthy-led witchhunts of the 1950s. Remember Jackie Ormes. Celebrate Jackie Ormes. Visit The Ormes Society and support the essential work they do. Keep her memory alive so that we may enjoy a million more Torchys and Patty-Jos in our comics–instead of the paltry handful we are offered today.

(First in a series on women in the comics industry.)


I warned you this would happen

I might make a part 2 later, going over the world/setting of Tales of the Abyss and some particularly cool little details that make playing the game so fun (skits, costume titles, etc.)

Tales of the Abyss is available for the PS2 (should you happen to own one, you could probably get a used copy relatively cheap) and has also been ported to the 3DS/2DS. (In Australia and the EU, it is only available on the 3DS/2DS)


Okay so during my search for Black Female Cartoonists my sister pointed this awesome lady out to me and I’m so surprised to have never heard of her.

Meet Barbara Brandon-Croft, the author of Where I’m Coming From and the first and ONLY Female African American syndicated cartoonist. 

Brandon-Croft was born in Brooklyn, New York, and her father, Brumsic Brandon, Jr., was creator of the Luther comic strip which first appeared in the late 1960s. Brandon is an alumna of Syracuse University’s College of Visual and Performing Arts.

Her comic strip, Where I’m Coming From, appeared first in the Detroit Free Press, and was acquired by Universal Press Syndicate in 1991. The strip features a cast of about a dozen women, who Brandon-Croft based on herself and her friends. The characters range in personality from the issues-conscious Lekesia to the self-absorbed, man-obsessed Nicole. The strip explores general themes of life and relationships as well as friendship. The strip ran until 2005.

She has previously worked as a fashion and beauty writer for Essence magazine. Her illustrations have appeared in Essence, The Village Voice, The Crisis and MCA Records. She lives in Westbury, New York with her husband Monte and their son Chase. (source) (source)

Her only cartoon work and it focuses around a cast of mostly women of different personalities and backgrounds dealing with love, life and friendship? How in the world did anyone miss this?!

Just because it deserves all the attention it can get: adventuresofcomicbookgirl's feminist review of the Sailor Moon franchise.

I can’t think of a better way to show how amazing this show/manga/whatever is, how it’s influenced my life, and why YOU should care about it. 

Part 1

Part 2

Part 3

((Because I’m sooo tired of getting laughed at whenever I tell people that I like Sailor Moon, and no, really, it’s a positive thing, not just masturbation fuel for pre-teen boys))


Additionally, not just the choice of self-sacrifice, but any choice that inflicts pain and suffering must be made with utmost care and with a solid determination to accept the consequences of that choice, because even if you are satisfied with the outcome, you may not be forgiven.

Basically what I loved about xxxHolic’s take was it did not entirely condemn or glorify it. It said that you can’t do these things lightly, because regardless of what you think, when you are harmed, it harms those who care for you. Also, no matter how angry you are, and you have the right to be angry, you should also to some degree respect the choice and will of the other person because what is humanity without free will and choice?

(Okay, I’m done now.)

Hey you.

You are wonderful. You are lovely. You are strong. 

Don’t let anyone put you down. Don’t let anyone silence your voice. You deserve to be heard and respected. You have fantastic things to say. You inspire and surprise me at just how brave you are. 

No one is perfect, we’ve all made mistakes. Don’t let anyone act like they define you. We need a voice like yours in this fandom, giving ladies the love they deserve. Just wanted to let you know that. 

If someone can make a whole blog just to snipe at you and harass you. I can make one to show you some love. Keep doing what makes you happy and don’t let anyone ruin it for you. 

Love, one of your quiet followers. 

disappointinglylethargic-deacti  asked:

Hey B-Dubs! Havr you considered writing fics for an AU where Winry was the alchemist and Ed and Al were her automail engineers? I wonder how different FMA:B would've been if the roles were reversed this way

Wow that is a good question, I don’t really know how to answer so I’m going to turn this question towards the leader of the Winry/Edwin fan/appreciation club.

Caitlin (idk if I can call you that), what do you think?

To be honest I would find it hard for Winry to take Ed and Al’s place in the story with her personality because as much of a little shit Ed is, his personality is kind of necessary for the story’s overall theme.

lemedy replied to your photo: My empathy for Nanami continues. Why am I…

Okay so here’s the thing: I genuinely, sincerely adore Nanami. Not enough room here to write why, but she has one of the best arcs and development in the show, IMO. Love her.

adventuresofcomicbookgirl replied to your photo: My empathy for Nanami continues. Why am I…

nanami’s really great though. She starts out as your typical mean girl, but she was sheltered from so much of the world- now she’s seen so much shit and her identity is crumbling.

I absolutely agree with you two. Nanami’s arc…it’s so well done. I don’t think I ever disliked her as a character, but at the start of the show… I did not expect to empathize with a character who started so petty, much less empathize so much.

She reminds me of Cordelia Chase: she starts so petty and shallow and then horrible crap destroys her tiny little world and she’s forced to grow up.

And even before that she was really well handled. The episode that I related to the most so far was the egg episode. The weird, surreal, absolutely bonkers egg episode. Because Nanami’s reactions and fears, though exaggerated, feel so true to life. And she is much more intelligent and observant than she first appears.And then she learns something horrifying. And her petty antics no longer matter. And it is heartbreaking:

Basically I am having enough Nanami feelings from these past two episodes that an attempt to respond to replies has turned into me babbling about her.

Omg does she really think I’m an “fma 2003 person”?????

Honeybuns, I prefer FMAB over FMA1 for a variety of reasons (although when I say that I do mean I prefer the manga over 03). It’s just because of fans like you and Turdle that I don’t spam it everywhere. I don’t want to be associated with people who ignore - even praise - blatantly fucked up shit in that canon just to fuel a hateboner.

You’re both in college. Grow up.

FMA1 has Rose being raped offscreen, and that baby being used as a plot device. Okay, perfectly reasonable reason to turn you off. I mean that. If that turns you off of the series, that’s fine. FMA1 has Riza and other important Mangahood ladies in less important roles (even though it does give arcs to other characters, like Sheska and Lust). Reasonable reason not to prefer it. Your OTP didn’t happen. Okay, again, perfectly good reason not to like it. Honestly.

No one has an issue with you liking female characters and no one has an issue with you disliking FMA1 bc your ship isn’t canon. I mean that: no one who is criticising you here cares that you like female characters or are bummed that your OTP isn’t canon. no one.

Our issue comes when you utterly vilify FMA1 for shit you excuse in FMAB.

Or was Rebecca getting her ass slapped by her CO without her consent not sexual harassment bc it’s FMAB? Was Garfiel anything BUT an offensive stereotype? Was Riza’s only motivation and interest being Roy somehow not totally fucked up (and no, fictional characters do not have agency)? And you are fucking kidding me if you think FMAB’s handling of race wasn’t disgusting.

But our biggest issue, however, (and the one being discussed here) is when you throw male characters who are mentally ill under the bus in favour of neurotypical middle class white female characters and have the nerve to call yourself intersectional.

Get over yourself.