my students call me sensei silver

her name was Marsha P Johnson, and we have her to thank for so much.

remember, the first Pride was a riot, and she was one of the brave souls who endured it to help carve the path which so many of us walk today. she helped found several activist groups regarding LGBT safety and wellbeing. and she was absolutely radiant, too.

Because my comics have gone around the internet, many people have asked if I’ve “gotten better yet”. The answer is a firm NO because that’s not how post-viral illness triggered by an infection that causes organ and brain damage works. Please consider your behavior and who you are leaving behind.

Check out the People’s CDC here where they provide weekly updates on the COVID situation in the U.S.

ID in alt text and below!

ID: a 10-image black-and-white cartoony comic.

The 1st image is titled Pandemic Year 3 and dated January 2023. The drawing shows a masked boy with fluffy hair, Joey, surrounded by unmasked people. The text reads: At some point, the people around me decided that the price of me staying alive — a few small inconveniences for them — was too high. In image 2, Joey sits at a table with his drawing tablet looking concerned. The text reads: The world, many loved ones included, is actively hostile to me continuing to live. How do I cope with that? I don’t have the answer. I’m just really alone.

Joey, stressed and frightened, clutches his laptop. The text reads: And I mean really alone. A figure on the laptop screen says: High-risk people will take care of themselves. Joey yells: How?

This image is split into two panels. The first one reads: How do I keep myself safe when the store, work, and school, is a death trap? For each word, a triangle displays that maskless environment. The second panel shows Joey’s sad face in a Zoom window. The text reads: I’m taking my final semester of undergrad online to the displeasure of many.

Joey lays face down in a pillow. The text reads: If you’ve been following me for any time, you know I got Covid in February 2020 at 19 years old and have become disabled by long Covid. Everything smells and tastes like rotting meat, I can’t keep anything I eat down, and I’ve started randomly fainting after years of dizziness.

Joey is shirtless and masked and hooked up to an EKG. The text reads: I’m one of millions of Covid survivors for whom re-infection is much more dangerous. Not to mention everyone who was already high-risk.

Joey lays on the couch and looks at social media posts where people are posting photos of themselves maskless in crowds. The text reads: The general public is very happy to isolate high-risk people from society if it means never having to think about us ever again and continuing with the actions that kill us. That’s eugenics, by the way.

This image is split into two panels. The first one shows Joey laying down, clutching his heart, and crying. The text reads: And it’s not just the people who don’t see us. The second panel shows Joey looking disheveled. The text reads: The cognitive dissonance is unlike anything I’ve seen. A speech bubble says: Are you sure you won’t do indoor dining?

Joey holds his hands lovingly under his face and raises his arms. Hearts are around his head. The text reads: If you’re here with me and isolated from the rest of society while being continually told that your life doesn’t matter and that you’re crazy, I see you. I love you. You’re not alone.

And my dad and brothers? Were deeply disturbed by the movie Jennifer’s Body. I was flabbergasted. It’s not scary! It’s not even that gory. But they were horrified by it. These men who grew up on 70s slashers were legitimately shook by 90 minutes of Megan Fox eating a few teenage boys, mostly off-screen.

Similarly, my all-male reading panel for my thesis? Were so disturbed by my synopsis of the film Teeth that they couldn’t even talk about it. One of them said he couldn’t look at his wife for a week after reading it.

Again, grown-ass men who study and teach media for a living. Who definitely watch and enjoy horror movies. One of whom was a huge Tarantino buff. We watched and read worse in his intro to mass media class! But one movie about a girl whose vag could bite was enough to haunt him.

Then of course you have things like the Gone Girl backlash–men yelling that Amy Dunne is evil and women clamoring to assure everyone that they know she is not someone to emulate–the backlash against Carol Danvers, and, more recently, the griping from MRAs against the upcoming film Hustlers, which is about strippers scamming their Wall Street clients.

My conclusion? Most men–at least most straight, cisgender men, who are both my sample population and most of the ones whining that Carol is a “villain”–are perfectly fine with, and desensitized to, media where men do violence to women (horror movies), or men do violence to men (horror and action movies). They’re even sort of fine when women do violence to women (“ooooo cat fight!”).

But they get intensely uncomfortable when women are depicted doing any kind of violence to men, especially in films that tilt the balance of power to the other side of the m/f gender binary beyond a single moment or scene.

So woman as flesh-eating monster with men as her preferred cuisine? Woman who responds to unwanted sexual contact by biting it off? Woman who frames her cheating husband for murder? Woman whose response to harassment–behavior that many of the loudest whiners know is both creepy and reflective of their own thoughts/actions–is to break something?

Too scary. Unacceptable. Disturbing. These men hate being presented with the idea, even in fiction, that their position of power is socially constructed, that it could easily be flipped the other way. It terrifies them.

In feeling that terror, they experience a tiny modicum of what living, existing, moving, being perceived as a woman in the world is like.

in aotearoa, june isn’t our pride, it’s theirs. marsha p johnson and sylvia rivera are their historical figures, not ours. the phrase that “you owe your rights to Black trans women” is true there, but here we owe our rights to (mostly) Māori historical figures. i have the freedoms i do because of the legacy of an entirely different set of people operating in an entirely different context at entirely different times.

But because of american cultural imperialism, most queer people in Aotearoa don’t even know our own queer history. Carmen Rupe, Ngahuia Te Awekotuku, the Dorian Society, Gillian Laundon, Georgina Beyer, and the Wolfenden Association are some of our queer history. We should know their names! we should know what they did for us! but because of the power of the american imperial machine, we don’t.

our national pride month should be july, the month that the Homosexual Law Reform Act passed in 1986. our two largest cities hold their pride festivals in february and march, respectively. american queer history has very little (or nothing, depending on who you ask) to do with our queer history. anecdotally, from my own queries, queer youth in aotearoa know more about american queer history than our own.

Needed a clean graphic for a project, and figured while I was vectoring I would put sex and magic back in.

The opening title card of the movie “HOLES” is misspelled in DVD and Blu-Ray copies of the film.

Often when a movie is transferred to DVD, Blu-Ray, and 4K formats, the titles have to be redone to read more legibly. When Disney released “HOLES” in 2003, the title card itself was written in small text in the corner of the screen. If transferred to home video normally, this title would have been only five pixels tall and too faint to make out.

But in early 2004, when the time came to alter the title for home video, the digital technician responsible typed the name wrong and quality control never caught it, all the way through the film’s blu-ray release in 2018. No fans wrote in noticing the flaw, nobody in quality for the disc releases, nobody at all noticed, and so the flaw remains to this day.