I have been more than a little bit obsessed with romance novels, erotica, and romantic fanfiction for most of my life. It started with sneakily checking out books from the library and skim-reading to get to the “good parts,” then moved on to scouring Archive of Our Own, Fanfiction.net, and other glorious sites for all of my slash fic needs, no matter how niche (Draco Malfoy and Blaise Zabini, anyone?), and now, at long last, I can finally say that I am a proud sex nerd and devourer of all things romance and sexuality.
Given this extensive history, I think it’s safe to say that I couldn’t have been more excited to sit in on this year’s GeekGirlCon panel A Geek Girl’s Right to Erotica. This panel was the first live episode of the certifiably awesome Podice Rippers podcast, hosted by Natalie Warner and Lainey Seaton. When not podcasting “at length and girth” about romance novels, Natalie and Lainey are a cyber-security technical writer and an account manager, respectively. Together, they host a podcast that is an incredibly funny and thoroughly geeky exploration of all things romance, smut, and erotica.
Image Description: podcast hosts and panelists Natalie Warner and Lainey Seaton sitting at their panel table at GeekGirlCon ’17. Source: Twitter
“I belong in the refrigerator. Because the truth is, I’m just food for a superhero. He’ll eat up my death and get the energy he needs to become a legend.”
–– The Refrigerator Chronicles, pg. 144
If you’re a woman, girl, or other gender-marginalized person who loves comics, you’ve probably heard of “fridging.” Also known as being “refrigerated,” or “women in refrigerators,” fridging is a term coined in 1999 by comic writer Gail Simone, after reading a Green Lantern comic in which Kyle Raynor comes home to find his girlfriend, Alexandra DeWitt, killed and stuffed into a refrigerator. Since then, the term has spawned a website cataloguing the many ways in which women in comics have so often been treated as disposable plot devices within the broader narratives of male protagonists. Too often the wives and girlfriends of comic heroes, as well as other women comic book characters, are abused, injured, disempowered, or killed in order to provide a catalyst for the heroic actions of their male counterparts.
Drawing on this trope’s long and complicated history––as well as the format and mission of the Eve Ensler-created Vagina Monologues––prolific author and comic book fan Cathrynne M. Valente’s most recent book, The Refrigerator Monologues, began with her own Gail Simone-like call to action. As she describes in an article for The Mary Sue, after Valente saw The Amazing Spider-Man 2, she left the theater in tears, enraged and disappointed by the filmmakers’ treatment of Gwen Stacy. When Valente’s partner told her that, as much as they both might want to, there was nothing they could do to fix Gwen Stacy’s death because “‘she was always going to die. She always dies. It’s kind of a thing,’” Valente responded with redoubled enthusiasm to directly address that very inevitability.
“On Monday, I am Julia Ash. I dye my hair cranberry red and live in a trendy suburb with three cats, two teakettles, and one first edition Jane Eyre on which I have never once spilled ramen broth.
On Tuesday, I eat a star.”
–– The Refrigerator Chronicles, pg. 25
What results is a series of linked, monologic short stories, each centered around a different member of the Hell Hath Club, a tightknit group of “fridged” badasses, relegated to the monotonous obscurity of the underworld while their husbands and boyfriends heedlessly continue their above-ground heroics. Illustrated by amazing artist Annie Wu, the stories are by turns tragic and hilarious, snarky and earnest. Those who are familiar with comics will likely be able to place the inspiration behind Valente’s characters, and part of the fun is identifying the incredibly creative ways that Valente updates the stories of Jean Grey, Gwen Stacy, Alexandra DeWitt, Harley Quinn, and others. By drawing on familiar themes––updated and embellished by propulsive, acrobatic prose and galvanizing anger––Valente is able to honor the importance of comic books while simultaneously drawing attention to the very tropes that can hinder such pure enjoyment for us comics fans who aren’t cis white men.
At the same time, there are certainly limitations to what Valente is able to accomplish in The Refrigerator Monologues. The stories themselves––like those that inspired them––are, with few exceptions, heteronormative narratives involving white, cis men and women. Additionally, while Valente’s characters are given a voice and a spotlight through which to tell their own stories, the fact remains that they are still dead. United by shared experience and empowered by mutual storytelling, these powerful and complex women are not able to enact physical retribution on those who have hurt, oppressed, and used them.
Still, as someone who loves comics and graphic novels, I view Valente’s work as a celebration of the comic book genre precisely because it refuses to ignore the problematic tropes and themes so often contained within it. By putting a spotlight on abuse, misogyny, and the perceived disposability of certain bodies, The Refrigerator Monologues is a book that comes out of a deep love, addressing the anguish that results when that love is betrayed. As a nerd, that’s exactly the kind of representation that I’m looking for.
“The Hell Hath Club walks its newest member out into the Lethe Café, into music and moonlight and steaming cups of nothing that taste like remembering. Her frozen blue skin gleams like the bottles behind the bar. We help her into the booth, hold her hand, slip her a joke or two to make her smile.
What’s the difference between being dead and having a boyfriend? Death sticks around.”
For as long as I’ve been a fan of anything, I’ve been a fan of Star Wars. I have vivid memories of sitting on a friend’s couch watching The Empire Strikes Back and being completely immersed in the experience.
Princess Leia was my favorite character. She was a girl just like I was, and she was snarky, had great hair, and did everything the boys did. Years before I had ever heard of fanfiction, I was mentally writing elaborate adventures for Leia as she repeatedly saved the universe in increasingly spectacular (and improbable) ways.
Though GeekGirlCon ‘16 has come to an end, those who support its mission will inevitably continue their work throughout the off season. The world is full critically-thinking geeks and we’re here to point you their way while we gear up for GeekGirlCon ‘17.
Just in time for the arguably greatest time of year, Seattle’s Central Cinema will be staging the latest installment of their series Serious Fun, which pairs panel discussions with film screenings in an attempt to illuminate the complicated relationship between the horror film industry and strong women. On this Thursday, October 13 at 8:00 p.m., three panelists will come together to discuss the need for more and stronger women leads in horror before participating in a screening of The Descent.
The final moments of GeekGirlCon are always bittersweet. On the one hand, it is when it becomes very clear very fast just how near the end really is. On the other, it brings with it the Closing Ceremony, which is always such a magical way to conclude the other-worldly experience that is GeekGirlCon.
To start off, GeekGirlCon staff and board members thanked attendees for spending this weekend celebrating socially-conscious geekdom. They also took a moment to address the sheer amount of time and energy staff and Agents voluntarily and consistently dedicate to the mission of making GeekGirlCon a reality. They implored attendees to add their support to the pool as donors and volunteers. It was a moment of true gratitude all around and a real indication of just what sort of atmosphere GeekGirlCon cultivates. Here is a video compiled of scenes and feels from GeekGirlCon ’16.
After the last shoutout was given and the last round of genuinely heart-warming, congratulatory applause had trickled away, the main event was announced and actors from Jet City Improv took to the stage to debut their upcoming show: Periods in History.
I have a pretty established preference for the serious when it comes to T.V. drama. (TGIT, anyone?) However, one night, about a year ago, in a room-cleaning daze, I happened upon the silliest, most light-hearted, and most romance-novel romantic series I know of: Jane the Virgin. It’s the opposite of everything I’ve come to expect from a binge-worthy dramatic T.V. series and yet, I love it.
Jane the Virgin is about a woman, Jane, who, in the midst of finishing school, getting engaged, and suddenly reuniting with her long-lost superstar father, is accidentally artificially inseminated. The premise is loosely based on a Venezuelan telenovela, Juana la Virgen, and is a jarring but captivating juxtaposition of telenovela tropes and real characters and problems. The drama is decadent, the writing is masterful, and the characters are hilarious, but that’s not the reason I will recommend the show to anyone and everyone. That’s not what has caused me to write not one but two academic papers analyzing the story’s development. I love Jane the Virgin because I love Jane.
One of the biggest turnouts at GeekGirlCon ’15 was for a panel that was announced at the last minute. “In Conversation, Anita and Zoe” featured special guests Anita Sarkeesian (creator of Feminist Frequency) and Zoe Quinn (game designer and co-founder of Crash Override Network) as they discussed what it was like to be high-profile women in tech, online harassment, and what action we can all take to prevent online abuse.
Elizabeth Sampat, who moderated the panel, started by posing some questions to Sarkeesian and Quinn. “You are both successful women in the public eye,” she said. “What kinds of things do you have to do or put up with that men in similar positions don’t have to do?”
Quinn answered first: “I’m worried that people will see me in public and I look like crap.” With the amount of focus that goes into evaluating women’s appearances, she voices her concerns about how if she doesn’t look “acceptable,” she will find threads on Reddit the next day criticizing how she looks. “There are all the things that go into appearance. I got into game dev and writing so I didn’t have to see people but now with this public thing I have to use makeup. It’s easier now when I think of it as painting a Warhammer mini.”
Media is full of comedic women subverting the mainstream by using satire and parody as tools to challenge authority. GeekGirlCon ‘13 is proud to present Laugh Riot: Comedy as a Tool of Social Change. Join notable feminists Rebecca Watson of SkepChick, author Amanda Marcotte,writer Luvvie Ajayi, and speaker Kate Harding to discuss how comedic women combat oppression, the efficacy of combining humor and feminism for social justice, and how sometimes in the face of sexism and bigotry we could all use a good laugh.
Interested in learning more? Watch for upcoming interviews with the panelists and don’t miss this laugh-out-loud feminist panel! Get your passes before prices increase on Saturday, August 24.
By Adrienne M. Roehrich, Manager of Editorial Services.
What’s up, everyone! Shubz Blalack here! For those of you at the Con, join us in Room 303 for this moderated roundtable discussion with Anita Sarkeesian, Alejandra Espino, Suzanne Scott, and moderator Miley Martinez!
Alejandra Espino (AE): How can we create being politically engaged while not losing the pleasure of creation?
Anita Sarkeesian (AS): How can we be fans AND be critical? What does that mean and how do we actually do that?
Suzanne Scott (SS): Race, fandom, and social justice. Teaches about race, fandom and video game culture. How do you manage the “squee” in a critical fashion? We need to find a meaningful critical ground.
Check out the organization of transformative works!
Topics and questions raised:
How do we talk about representations of economic classes?
Chauvinism in favor of the STEM fields.
Creating characters in a feminist context in a culture of sexism.
Points made: AE: Being critical is what fuels creativity.
Who is being represented in geek culture is not always who is consuming geek culture.
What times of fandom are industrially valued?
AS:There are a lot of interpretations of feminism and what that means.
AE: I create fantastic characters with the idea of the “outsider” in mind, someone that is marginalized.
AS: Storytelling needs to be the way we change the world.
AS: Art is to make change.
SS: More attention towards the industrial structures that promote not promote social change.
It will take a social movement for oppressive storytelling to change.
We need to spend more time to what will create change versus what will pull the focus away from it.
Closing Statements SS: Discomfort often exposes the prejudices people have. Having a conversation about that will be a great step towards social justice.
AE: Don’t let others cease the criticism you may have.
AS: Your anger towards social injustice can be used to create something to fight it.