Julia Watts was chosen as a featured author for the upcoming LitUp Festival: Arts and Innovation for the Next Generation, an event sponsored by Knox County Public Library. It’s an event for teens with writing workshops, career information, author talks, and other activities. Watts has several published, celebrated works aimed at a teen audience, such as Finding H.F., and Quiver.
Watts, who has participated in Knox County Library programs in the past, was surprised and saddened when the library suddenly uninvited her from the event. The reason? According to the library’s assistant director for marketing Mary Pom Claiborne, the organizing committee discovered that “Some of her work is described as erotica and is inappropriate for teens”. (Knox News, 2019)
So again, Ms. Watts has several lauded YA titles, which was what made her an author choice for the festival, but the fact that she had written risqué material…
I’m currently working on a series of informational guides to have available in the computer areas of our library. I just finished the basic skeleton of the first one, and I wanted to share it freely because I think it’s important information: choosing sources, examining bias, and fighting fake news!
I created this with teens in mind: it’s a very simple and pared-down guide that I hope will be approachable and engaging.
Feel free to download, print, and use for non-profit and educational purposes.
Penguin Highway is the kind of story that pulls you along like a strong and bending current- you have NO idea where it’s going but enjoy every turn and dip of the way nonetheless. This afternoon I settled down with a blanket and a bowl of ice cream to watch the anime adaptation of this Japanese science fiction novel by Tomihiko Morimi (which has also been made into a manga in the past).
The film, directed by Hiroyasu Ishida, centers around the life of a young boy, a 4th grader who will be the first to tell you that he is a bright, smart, scientifically minded kid who will surely have his pick of marriage partners when he grows up! He’s only got eyes for one woman though- a mysterious dental worker who seems to have something to do with the sudden and in-explainable appearance of penguins in the area.
Sound confusing? Yup, like I said, you just need to let the story unfold and enjoy the ride. The strange story involves natural and unnatural phenomena, scientific experiments, adolescent longings, bullies, friends, and lots of penguins.
I especially enjoyed the friendship between the two kids who enjoy using the scientific method, documenting their findings, playing chess, and discussing the theory of relativity.
Some parts were truly mind-bending. It’s not all charts and diagrams though- there are lots of funny and sweet moments throughout this fast-paced family film! The strange phenomena start small and build into a visually and emotionally powerful climax.
While the wibbly-wobbly timey-wimey stuff will no doubt leave many viewers scratching their heads, I found the conclusion to be satisfactory in how it tied things up. I enjoyed this film and highly recommend it.
I just finished watching Modest Heroes, a collection of three short films by Studio Ponoc. It’s an excellent anthology for any age with gorgeous animation, whimsical imagery, and universal themes— I wasn’t expecting any less, as Studio Ponoc was founded by former lead producer of Studio Ghibli, Yoshiaki Nishimura, and the strong team of dedicated animators had already won my heart with their first feature film Mary and the Witch’s Flower.
Each of the the three stories making up Modest Heroes is crafted by a different director- Hiromasa Yonebayashi, Yoshiyuki Momose, and Akihiko Yamashita. Each is very different in style, situation, and tone, but they are unified by the larger theme of life- it’s precariousness, hardships, and beautiful moments.
I won’t spoil the charming stories of Modest Heroes— to do so would be a grave misstep for me— but I’ll give a taste of each to entice potential viewers of this family-friendly collection.
First, we have:
Kanini and Kanino
Mixing hand drawn animation with dazzling CGI, this story is a feast for the eyes, with lifelike realism in a lush natural world blended with stylized wide-eyed characters. The minimalist “crab language” spoken throughout, largely improvised ad-lib by the voice actors, is no hindrance to communication, as the expressive animation carries the story along.
Life Ain’t Gonna Lose
In Life Ain’t Gonna Lose, young Sota Shinohara makes his voice acting debut as Shuu, a boy who has a very severe allergy to eggs. This short film is based on a true story, and indeed feels very real. The everyday routines of people in Tokyo are painstakingly rendered in bright and detailed scenes, and the complexity of human instincts and emotions are lovingly portrayed.
The last film in this trio has a somewhat darker and grittier feel, but is still full of surprise and whimsy. It confronts what it means to be invisible, both literally and figuratively.
We should not live without recognizing or caring about others. There are many people who are sad, happy, suffering, or angry around us. If the world today doesn’t have anything to offer them, then we should deal with those invisible people in our film.
The bonus materials on the DVD are definitely worth a watch, and include features such as interviews, a press conference video, art galleries, and trailers. I found these extras to have a lot of depth compared to the fluff-filled bonus features that are often included with films. The creators of Modest Heroes, from the animators to the voice actors, music producers, and so on, share thoughtful, funny, and interesting insights from the making of the project. For example, Studio Ponoc’s founder Yoshiaki Nishimura expressed his strong belief in the validity of short film as a format with its own intrinsic value and no less capable than feature length films. He also explained the focus of Studio Ponoc being firstly and foremost to create quality films to entertain children with authenticity and depth, capturing their hearts and inevitably inspiring adults in the process.
It is happily evident that the true spirit of Studio Ghibli lives on with Studio Ponoc.
I just finished up a really awesome uni course for my MLIS, and we were recently discussing portrayals of women in comics.
This is a touchy subject for sure, and as with anything I try to keep an open mind and consider the many shades of gray. There’s nothing wrong with enjoying erotic art and comics (I do!) but I’m talking about something different here outside of the context of erotica.
To be clear before I get into it, I don’t believe in the censorship of artistic work— Neil Gaiman helped shape my perspective on this topic with his blog post Why Defend Freedom of Icky Speech?, which I totally recommend reading if you haven’t yet. I’m not interested in participating in witch hunts of particular artists because they draw or write thoughtlessly sexy women—I’m more interested in the big-picture phenomenon.
When it comes to hypersexualized portrayals of women in comics, the thing that irks me is the ubiquitous nature of it- it’s OK for characters to be sexy, but when the default has been that women and girls in Western comics are contorted and accentuated regardless of their personality or the context of the scene, it becomes a tiresome, dehumanizing trope.
Don’t get me wrong — I’m a huge fan of comics in general, including many that feature these sorts of female characters, and I will defend any author’s right to write or draw their characters however they see fit. It’s your story, knock yourself out. Artistic freedom doesn’t mean you can’t be criticized for your choices, though, so I too have the freedom as a comic consumer to call you out and roll my eyes if you unleash yet another barely covered bombshell babe whose story takes a backseat to her… well, backseat.
So why does a female character drinking coffee at home alone in her pyjamas sit in a spine-cracking posture with her butt extended, lips pouting, and shine highlighting the curves of her inexplicably exposed underboob? Why does a powerful heroine need to bend her body in such an anatomically impossible way that we can see both her bum AND her boobs on display when she’s mid-action?
Why is this the standard way that women are portrayed? Traditionally comics were considered a masculine space, and as such these depictions aimed to appeal to the male gaze— yet, I wonder how much of that historic imbalance in demographic is because of the aforementioned ways women have been depicted in comics and other media (when they’re depicted at all)?
“My feeling was never that the industry was that vile, my feeling was that there just hadn’t been any feeling that females were interested, and so all the content skewed that way, to that imagined audience. Which becomes self-fulfilling.” (Simone, 2014).
Just go to any con nowadays and you will see that women love comics- they’re a valid format for us just as much as anyone else, albeit with a long history of objectifying us unnecessarily.
“A woman’s sexuality is one of her many facets that she is allowed to express, however she likes. The problem is that our media landscape shows, values, and celebrates women’s sex appeal more than any of their other qualities, opinions, or accomplishments… when you grow up as a girl surrounded by sexualized images of women, it changes the way you build your identity.” (Rees, 2019, p.45).
Comics have a history of hypersexualizing women that goes back many decades, and people have been discussing the phenomenon for just as long. One more recent(ish) project that has really provoked discussion about ridiculously hypersexualized poses of female characters is The Hawkeye Initiative, in which people redraw sexy female poses with Hawkeye. I gave it a quick shot below…
Drawing Hawkeye like this might seem like taking “an eye for an eye”, but his portrayal it doesn’t have the same weight- besides the fact that my awkward rendering isn’t nearly as stylistic and professionally done as the original, the sexualization of male characters is certainly not omnipresent like that of female characters, and men don’t have the troubled past of systematic and oppressive objectification tailing them. The result is a cheeky satire that points out the absurdity of how female characters are so often portrayed.
Some comic fans will point out that lots of superheroes have bulging muscles that are larger than life, aiming to equate this with sexualized femme characters, but ridiculously strong male characters are different than pointlessly sexualized female characters for a few reasons:
generally there is an arguably valid reason that the man might have huge muscles (for example, he’s a superhero); over-sized muscles are certainly an unrealistic ideal, but they usually don’t come with the baggage of being totally pointless- they’re a boon to the character and part of his superpower
these muscled male characters aren’t created for the female gaze- they’ve been included in traditionally male-focused comics and could perhaps be seen as a male wish fulfillment fantasy or an exaggerated style
even when male characters have huge muscles or accentuated features, they aren’t habitually highlighted to the same cumulative extremes that the female anatomy is often subject to: protruding, glistening, tugging at skimpy fabric, peeking through non-functional viewing holes, angled awkwardly to be shown off at every possible opportunity, etc…
Taking it to a further and more upsetting level, a female character’s assuredly ample physical assets are very often contrasted with an underdeveloped backstory, nonexistent character arc, or her being used as a throwaway plot element or means to the ends of a violent trope, as pointed out in Gail Simone’s “women in refrigerators” movement born in the late 90’s.
“At the time, you know, female readership was low, female con attendance at comic cons was low, morale for female readers was low. And I kept seeing guys ask, “Why don’t women read comics?” And for me, it felt that there was a connection between that and the fact that if you loved female superheroes, you had this endless parade of stories where the women were killed or de-powered, and they were never the focus of the story.
It felt symbolic, it felt textural. It felt like they were saying, okay, no one cares about Supergirl, no one cares about Batgirl, and so their stories rarely became about survival, they became about some dude getting revenge on their behalf.” (Simone, 2014).
Again, drawing sexy female characters in and of itself isn’t a bad thing – a sexy woman is empowering when she’s owning it – but it’s the nonchalant routine of the industry expecting this uber-sexed up default paired with otherwise forgettable, tragic, or underdeveloped characterization that doesn’t sit well with me.
To conclude, I don’t think we should be trying to ban works or shame those who read them – let the creators create what they will, and let consumers enjoy what they want in peace- but I hope more creators and publishers are beginning to realize that mindless routine portrayals are alienating a potentially huge reader base who are rolling their eyes at yet another pointlessly and predictably titillating femme fatale.
Today, although hypersexualized female characters are still common, both indie and mainstream comics are being published with much more diverse characters and successfully appealing to more demographics, which is wonderful to see.
Claremont, C., & Buscema, J. (2005). Marvel comics presents: Wolverine. New York: Marvel Comics.
Pak, G., Parker, J., Frank, G., Kirk, L., Pagulayan, C., & Sibal, J. (2008). World War Hulk the Incredible Hercules. New York: Marvel.
Rees, A., & Esmeraldo, M. (2019). Beyond beautiful: A practical guide to being happy, confident, and you in a looks-obsessed world/ Anuschka Rees ; illustrations by Marina Esmeraldo. New York: Ten Speed Press.
It’s been a while since I read Saga Vol 1, but I’m discussing it in my comic course so I gave it a reread and remembered afresh why I love this series so much. The plentiful fantasy and sci-fi elements, plus a beautiful forbidden love story between two complex and flawed badass characters, sprinkled with startling imagery and unexpected humour, makes for a really compelling tale.
Vaughan’s dialogue throughout feels so raw and real, especially with Alana who pulls no punches beginning with the memorable first page. The world, too, feels very attached to our own despite the whimsical fantasy of it. The story takes itself seriously at its core, depicting the brutal cruelties of life and war, as well as more tender moments. There are some very messed up things happening in Saga’s universe, but these atrocities are closer to the realities of our Earth than we’d like to think.
It wasn’t until after reading a few volumes of Saga that I learned the amazing and award-winning artist Fiona Staples was Canadian. Today that I learned she was born in Calgary- so cool! Staples’ art impresses me a lot- I really appreciate it when artists show you the nitty-gritty and go all in instead of making something watered down for wider consumption.
Saga doesn’t cater to the widest possible audience, but instead presents itself authentically, unabashedly, and in-your-face, no holds barred. It’s got action, emotion, diverse characters, strange creatures, and an epic feel. It’s totally earned a spot in my top favorite comic series.