Архив:Furry Sex Panel
| Авторы | Reed Waller, автор «Omaha the Cat Dancer» |
|---|---|
| Дата | ? |
| Место публикации | YouTube (10 января 2016) |
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Перевод[править]
В этой лекции я хочу привести исторический взгляд на забавных животных и их место в литературе секса.
Это будет непросто, поскольку история фурри, история секса в литературе, история антропоморфных животных, история комиксов, история газет, история Америки в XX веке, история фэндома научной фантастики, история видеоигр и история интернета — все неизбежно взаимосвязано.
Мне остаётся только рассказать вам то, что чему был свидетелем.
Итак, задумывались ли вы о том или нет, но в 1977 году один человек сел и создал «Omaha the Cat Dancer».
А пока предыстория.
В стародавние времена, когда ещё не изобрели компьютеры, забавные животные уже были мальчиками и девочками. Более того, мы, наивные дети, уже были вынуждены ломать голову над такими ребусами как отношения Дональда и Дейзи и какое родство связывало Дональда с его тремя племянниками. Но это всё дела давно минувших дней.
Комиксы, зародившиеся в начале XX века благодаря изобретению цветной печати, никогда не были особо политкорректными. Их рисовали и писали для рабочего класса, жившего суровой жизнью, далёкой от этикета высшего общества.
Персонажи газетных комиксов постоянно пытались улизнуть от жён, напиться, подраться — в общем, как-то справиться с безнадёгой. Героями комиксов были бомжи, аферисты, сироты и одноглазые моряки, а действие разворачивалось в хибарах, ночлежках и подворотнях.
В какой-то момент газетчики решили публиковать и материал, подходящий детям.
Так что вскоре комиксы — и с ними такое новшество как анимационные фильмы — наполнились животными… животными, одетыми в дырявые шляпы, охотничьи жилеты, но без штанов; животными, которые жили в пещерах, обставленных на манер типичного жилья эпохи Великой Депрессии.
Неудивительно, что животные прижились в комиксах и стали гоняться за самками (или убегать от них), пытаться обжулить друг друга на пару баксов и, конечно же, съесть друг друга.
Впрочем, не думайте, что это было изобретение 1930-х годов в США.
Художники и авторы комиксов опирались на тысячи лет фольклора, от ??? мифов о трикстере-койоте и легенд о лисе Ренаре из средневековой Европы до басен Эзопа и сказок Редьярда Киплинга. С самой зари сказительства животные уже разыгрывали сценки из нашей жизни и повторяли человеческое поведение.
Или наоборот?
Машинное распознавание речи[править]
The purpose of this talk is to provide a historical perspective for funny animals and their place in the literature of sex.
This will not be easy because the pre history of furry, the history of sex in literature, the history of anthropomorphic animals, the history of comics, the history of newspapers, history of twentieth century America, the history of science fiction fandom, the history of gaming, and the history of the internet are all inextricably tangled.
All I can do is tell you what I saw.
Okay you may or may not know that someone actually sat there in 1977 and that is why Omaha the Cat Dancer was created.
We’ll get to that.
Even then, before computers were invented, there were already boy and girl funny animals. In fact, us innocent children were given such conundrums to ponder as what relationship Donald and Daisy really had and just exactly how were his three nephews really related to him. That’s old stuff to you.
Comics, going back for their origins to the beginning of the twentieth century and the invention of the color web press, were never particularly wholesome. They were drawn and written and read by working class people rough around the edges and not too respectable.
Comic strip characters were always trying to cheat on their wives get drunk, punch each other up and otherwise make the most out of a tough life. The heroes of the comics were bums, con artists, orphans and one-eyed sailors, and the actions took place in dumpy shacks, boarding houses, and back alleys.
At some point newspaper publishers decided it was a good idea to publish tamer material suitable for children.
So soon the comics and the new animated films were populated by animals--animals who wore beat up felt hats and ruddy vests but no pants; animals who lived in caves about as well appointed as your average depression household.
Not surprisingly the animals took well in the comics, chasing, or running from females, trying to check each other out of a buck or two and, of course, trying to eat each other.
Now, make no mistake, this was not new even in the depression.
The artists and writers of the comics had thousands of years of folklore to build upon, from Kroll legends of coyote the trickster, Renar the fox from Europe of the Middle Ages and the cautionary tales of Aesop and Rudyard Kipling’s just-so stories. Since the beginning of storytelling, animals have been acting out human situations and aping human behavior.
Or is it the other way around.
The native Americans believed every human had a particular animal totem ancient humanity the animals each and everyone stood for a particular quality of being.
Everyone can identify with some animal it’s a little children’s game what kind of animal are you.
But somehow it persists into adulthood and helps us enjoy people in all their variety.
Sonny animals were a natural for young readers who instinctively love animals they took over children’s comics and children cinema.
No one worried about funny animals having a subversive effect on children.
Children love animals because they openly exhibit behavior that is understandable as opposed to the mysterious or disguised behavior for their parents and other adults.
Smarter children eventually realize from reading their animal stories that people are really not very different from other animals they just pretend to be.
Children know instinctively that sex is probably in that bag of animal behavior the grown ups pretend doesn’t have anything to do with their.
Meanwhile any child especially a rural child can see animals mating.
A dichotomy exists.
On the one hand funny animals can be safe friendly and non threatening characters the children can enjoy and identify with.
On the other hand their animals and just under the cute cuddly service works the mysteries of nature that animals also represent the cause so much conflict and grown up humans.
No matter how carefully adults try to keep the animal characters nice the potential is still there they are still animals and reflect both the spiritual and the colonel.
This is not a bad thing.
So are funny animals for children or adults.
The word natural comes up frequently in any discussion about animals or sex.
Whether you regard nature is good or bad defines what side of the fence you’re on.
What could be more natural when kids get a little older than exploring the mysterious world of sex using the same animal friends and serve so well illustrate basic human behavior other kinds.
Stripped of returns and shown for what it is.
Funny animals are for both children and adults because they they have both child like an adult characteristics they can grow up with us and be our friends for life.
But in the nineteen fifties and sixties there was a Cold War on against godless communism and the world was divided into wholesomeness and San.
And you had to choose one or the other.
Where exactly you funny animals that in here.
I want to remind you of two books which I believe are central to the question of funny animals and why we need them both as children and growing up.
The first book is Jack London’s novella the call of the one.
But is a mixed breed dog raised as a pet the park will.
Was sold by his owner and then experiences a life of cruelty.
Eventually finds good man who don’t mistreat him.
Becomes a sled dog and has many adventures proving himself a hero.
But ultimately life among men becomes too aggressive and he follows another wolf into the wilds of the north’s.
Buck is a classic American mythic hero reacts against civilization and returns to nature.
Not an option for most of us.
The second book is Hermann Hesse’s your Steppenwolf.
The writer dissatisfied with life in feeling out of place in society meets a man who travels with a magic theatre and gives him a book.
This book speaks to him its author is a man with two natures one high and spiritual and the other Cyril a wolf of the steps.
He is disturbed and seeing himself in this description but not realizing it’s actually universal.
He thinks it’s unusual for him to be part will.
He meets a woman who elderly Moxon indulges him leads him into a life of pleasure and forces him to accept more parts of himself.
Finally when he is ready he meets the man again and is taken to the magic theater a place of illusions where he is free to experience both is white and dark fantasies and find acceptance of both his spiritual and animal self.
If only we had a magic theater.
- and social criticism.
In the late nineteen sixties and early nineteen seventies the war in Vietnam created a counter culture.
Colleges were crowded with young people avoiding the draft it was considered constructor for a forward thinking young person to break all the booze they could in order to raise their own consciousness and to bring about the collapse of the corrupt fascist police state which they believed America had become.
This counterculture phone expression in underground newspapers.
In New York City there was the East Village other and in San Francisco there was the oracle many other papers appeared mostly on college campuses expressing leftist an anti war politics and rebellious attitude towards sex and drugs they were in favor of the.
History repeated itself.
The new breed of newspaper publisher found they could increase circulation by publishing comics comics slanted toward not the Chevy illiterate depression or a forty years earlier but the book smart draft dodging a fluent politically paranoid and sex curious youth of the Age of Aquarius.
One such group of young rebels were click a cartoonist who call themselves The Air Pirates after a gang of making most bad guys.
They consist of Gary Hallgren, Dan O'Neill, Shary Flenniken, Bobby London and temperatures they believe that funny animals were the property of everyone.
Their project was to publish blatantly pornographic and politically radical parodies of the Disney comics in order to bring about a lawsuit which would establish that the Disney characters were in fact public icons and therefore fair game for satire.
Each artist zeroed in on a famous artists are all running legend Floyd got Francis Mickey Mouse, strip Bobby London’s Dirty Duck George your men’s Krazy Kat and saw.
Their adventures were salacious the politics were left far left radical and drugs and explicit sex were all over the pages.
There were three issues of Air Pirates Funnies which did indeed lead to a lawsuit which dragged on for years and ended in the Air Pirates being convicted of copyright infringement.
But not trademark infringement.
You lost said the attorney.
We once a mile Dan O’Neill.
Nobody was bothering to call of C. just yet.
But the most was out of the bag the grown up children of the day love their own comic books was funny animals having sex and smoking dope of course.
We were growing up and we won our funny animal friends to come along with us.
Under rounds proliferated well into the seventies and their success created small press publishers willing to back such comics such as the print man last yes rip off press and the kitchen sink press.
These publishers stayed in business after the underground comics when was over by publishing the new wave of independent creator owned comics that’s the underground’s and made possible.
One of these independent books was a cross between the old underground radical comics in the sixties and the new young adult comics of the eighty S..
That book was called Omaha the Cat Dancer.
I told you we’d get back to this eventually but not just yet.
And the vice centennial year of nineteen seventy six Ken Fletcher and I decided to create an apple an amateur press association.
Specifically for funny animal cartoonists.
We were both lovers of funny animal comics and cartoons but these by now sanitized entertainments at all but died out with nothing on the stands or on TV except super heroes which we considered a genre of limited potential.
This apple was named forty.
After the famous farewell greeting of Jay Floyd clogs in the mad comix Verity of the Dave Galloway show to knowledge or indebtedness to the underground’s Harvey Kurtzman and mad comics.
We were part of an active local community of Twin Cities cartoonists in comic artists which included Steve Fastner and Rich Larson.
Larry Becker Timothy say Charles Smith believes you get Jim sure my sister Elsa rowing re alert and others including supporters like neighbors and Joel thing ball frequented comics in science fiction fan groups most of them were pastor present members of Kappa Alpha the comics ample.
Years later this rag tag group which formed the Minnesota cartoonists league and gather monthly at orders bomb in Saint Paul to drink heavily and discuss not drawing.
Out of town members of the would be included jambox cell Dan Stephan mark sure Mister grant foster, Richard Bruning, Greg Bear, Jerry Harvey L. Joan Hank you words Dennis Wolff George early John because growth Bob Lilly and Denis Kitchen.
Our requirements for forty was for each member to contribute to pages of comics for every other mailing which we would attempt to do wanna roughly by monthly schedule.
Can I lie and rich the fun by infusing the inter project with a full political zeal prohibiting all humans from our comic pages championing ourselves as the official organ of the funny animal liberation front.
This humorous for radicalism covered up the fact they’re real social radicalism hid beneath it.
Funny animals showed the way to the human heart but they have become the tool of the bourgeoisie and were rigorously police.
While working on gymbucks cells no ducks with writer instructor Tunis gym shoe Meister I was also playing guitar for a pick up band in the local strip clubs and drawing strippers to keep myself in the game.
One day Jim asked me why don’t you do your own funny animal comic about strippers you could call it Charlie’s bimbos.
Then a postcard came to forty headquarters cancels.
It was from tearaway and it said only.
There’s not enough sex in funny animal comics.
That was a red flag to me.
Rapidly I panned out a three page story called you gear drive the plastic which featured funny animal cartoon characters rebelling right off the page with explicit sex.
Wearing their right as animals to procreate freely.
It created a schism in forty.
Soon there were two factions one small group of radicals like myself finals are for adults and an equally vocal group of opponents funny animals are for children who were hoping for a future in the rigidly regulated kids entertainment children’s book mark.
Meanwhile I’ll side of Rudy there was a third group not so noisy of people were looking at funny animals in a far different way.
The Lynch pin was Steve go Archie.
In nineteen eighty Steve go out she created a sensation Norreys con to in Boston with his ideas for a space where serial starring funny animals partly inspired by Cordwainer Smith.
A group formed around this idea drawing fire fan artist in fan writers from everywhere and they began meeting and swapping sketch books and ideas.
Stephen I were going in the same direction for apparently different reasons he was going to grade science fiction and I was going to create a great realist novel.
Both using the comic book medium and funny animal cartoons for actors and which would put real adult material on the comic page for the first time.
We both wanted are funny animals stir grow up with us and plenty of people were interested.
In nineteen seventy nine I began drawing chapters of Omaha.
Borrowing shamelessly from Fritz the Cat from Chinatown from Victorian erotic novels in from local Minneapolis gossip and publishing them and bring.
Half the membership dropped out and fruity began to die.
Only had been an exclusive pro artist column experimental and radical sauna by artists with their background in sixties counterculture but funny animals are for everyone.
Rudy veteran mark sure Mister went on to phone Robert press.
Named after something that Albert the Alligator used to say.
Which would help create a base for the booming interesting funny animals forty barely scrape the surface.
Yes I was asked repeatedly why all the sex.
The answer is complicated.
First of all I wanted to use funny animal cartoons because they inhabit the comic page naturally.
There’s that word natural again.
No matter how realistically illustrator renders human beings.
The readers are trained experts in interpreting human faces and figures and it’s never going to look natural.
I wanted the readers to get involved with the characters and the story and forget about criticizing my art altogether.
And the sex well the story was about the sexual revolution that was taking place in the nineteen seventies then the other revolution that was accompanying it the women’s rights movement.
Young people were having sex like never before and refusing to make a big deal out of.
This commitment to the new morality made anthropomorphic animals ideal sexual role models.
Ironically it seemed funny animals were the only way to present sex you mentally on the comic page.
All the more important in the day when aids scare was threatening to drag America back into some.
So here’s the sixty four thousand dollar question why do funny animals insects go together like peanut butter and chocolate.
Why doesn’t work so well.
The answer is embarrassingly simple because human beings are animals.
No matter how much we try to deny it were part of the animal kingdom and share most of our behavior with many other creatures and sex is a big part of every animal slice.
And funny animals are the symbols of people heard that we grew up with and what.
The magic link between our two selves the link we have to cross to find happiness.
Back to nineteen seventy nine.