KOTUKI

“‘We Have Always Fought’: Challenging the ‘Women, Cattle and Slaves’ Narrative” by Kameron Hurley â A Dribble of Ink

Thu, 23 May 2013 10:40:18 -0400

“‘We Have Always Fought’: Challenging the ‘Women, Cattle and Slaves’ Narrative” by Kameron Hurley â A Dribble of Ink:

I often tell people that I’m the biggest self-aware misogynist I know.

I was writing a scene last night between a woman general and the man she helped put on the throne. I started writing in some romantic tension, and realized how lazy that was. There are other kinds of tension.

I made a passing reference to sexual slavery, which I had to cut. I nearly had him use a gendered slur against her. I growled at the screen. He wanted to help save her child… no. Her brother? Ok. She was going to betray him. OK. He had some wives who died… ug. No. Close advisors? Friends? Maybe somebody just… left him?

Even writing about societies where there is very little sexual violence, or no sexual violence against women, I find myself writing in the same tired tropes and motivations. “Well, this is a bad guy, and I need something traumatic to happen to this heroine, so I’ll have him rape her.” That was an actual thing I did in the first draft of my first book, which features a violent society where women outnumber men 25-1. Because, of course, it’s What You Do.

I actually watched a TV show recently that was supposedly about this traumatic experience a young girl went through, but was, in fact, simply tossed in so that the two male characters in the show could fight over it, and argue about which of them was at fault because of what happened to her. It was the most flagrant erasure of a female character and her experiences that I’d seen in some time. She’s literally in the room with them while they fight about it, revealing all these character things about them while she sort of fades into the background.

We forget what the story’s about. We erase women in our stories who, in our own lives, are powerful, forthright, intelligent, terrifying people. Women stab and maim and kill and lead and manage and own and run. We know that. We experience it every day. We see it.

But this is our narrative: two men fighting loudly in a room, and a woman snuffling in a corner.

This is a really interesting article about the way media, fiction and narratives repeated in society shape the way we see and assume reality to be, specifically (in this case) about how narratives about women being victims, or supporting men, but not being fighters or soldiers create the idea that women never did that, and it’s only a modern new thing that we think they could, when in fact that’s not true at all.

Also, specifically relevant to this blog are the parts about how that affects us when we create stories ourselves, and can end up adding to this narrative consciously and subconsciously. It’s the same with how women are depicted in illustrated fiction. I honestly don’t think a lot of the boobs and butt poses, or women in bikini armor, are drawn by people consciously thinking sexist thoughts, I think they’re just doing What You Do. This is a female character, this is just the pose we’re used to seeing women in. We don’t think twice about drawing her like that, because it’s just how we’ve become conditioned to seeing women pose in the medium. Same with stuff like this. It’s how we’re used to seeing female armor, and when we think “female warrior”, our imagination just instinctively runs in the direction of what we’re used to seeing. It’s just What You Do with female armor, and female characters, and female poses.

Since starting Escher Girls, I’ve gotten quite a lot of mail from people telling me that they never realized just how often they put their female characters in boobs and butt poses, or gave them bikini armor, just because that’s how they saw women drawn in video games and comics and never thought twice about it. It’s just what seemed “right” to them, and that they’re now a lot more conscious of it and try to have more variety in the way they depict women, and often in ways that make more sense to the story. :)

I think it’s just important to catch ourselves sometimes and think are we creating something because this fits what we’re doing, and this makes sense, or are we just doing What You Do? (This applies to all sorts of tropes and stereotypes too.)

"I’m not J.J. Abrams, who’s ultimately responsible. I’m just his Asian puppet. Which, by the way, is..."

Thu, 23 May 2013 10:32:30 -0400

“I’m not J.J. Abrams, who’s ultimately responsible. I’m just his Asian puppet. Which, by the way, is also the title of my autobiography.”

- John Cho (x)

yo my heart is racing at the guts it takes to say something like this knowing full well what could happen. damn!!!!

(via strugglingtobeheard)

WELL GODDAMN!!!!

John Cho has become my favorite fucking actor ever……

(via sourcedumal)

John has been growing bolder and bolder as of late. I’m loving the fuck out of this man as of late!

(via contentkiller)

But can you imagine? This may be the result of all the fuckass racist bullshit he’s had to put up with in the industry and especially probably while filming the movie.

And don’t think he probably ain’t catch that segment of Zoe’s mess saying “color doesn’t exist” and that “people are pink”. I bet he side-eyed the fuck out of that too.

(via heirofmedusa)

John Cho snarks more about Star Trek Into Darkness
(via racebending)

staceythinx: A Map of the World: The World According to...

Sun, 19 May 2013 01:11:51 -0400

staceythinx:

A Map of the World: The World According to Illustrators and Storytellers is a book of creative insights about our diverse planet edited by Antonis Antoniou, R. Klanten, H. Ehmann and H. Hellige.

About the book:

A Map of the World is a compelling collection of work by a new generation of original and sought-after designers, illustrators, and mapmakers. This work showcases specific regions, characterizes local scenes, generates moods, and tells stories beyond sheer navigation. From accurate and surprisingly detailed representations to personal, naïve, and modernistic interpretations, the featured projects from around the world range from maps and atlases inspired by classic forms to cartographic experiments and editorial illustrations.

Find out more…

ikenbot: Star Trek: Into Whiteness If there’s one thing that...

Sun, 19 May 2013 01:10:12 -0400

ikenbot:

Star Trek: Into Whiteness

If there’s one thing that most fans of Star Trek will agree on, it’s the fact that Gene Roddenberry’s vision for the show — and, more optimistically, for human society — was predicated on the idea that all life is valuable, and that the worth of a person should not be judged by their appearance. Much of this was done through the old sci-fi trope of using aliens to stand in for oppressed groups, but Star Trek didn’t rely on the metaphor; it had characters who were part of the ensemble, important and beloved members of the Enterprise crew, who were people of colour. It had background characters who were people of colour. And, here and there, it had anti-heroes and villains who were people of colour … one of whom, Khan Noonian Singh, became well-nigh iconic.

Image 1: “Who is your favorite villain?” ; Actor John Cho (Lt Sulu) answers.

Image 2: TOS Khan looking at a watercolor of himself. Yes, he’s wearing a dastar (Sikh turban)

Image 3: Cumberbatch and Montalbán (as Khan)

And who is now being played by white actor Benedict Cumberbatch in the new JJ Abrams reboot movie, Star Trek: Into Darkness.

We’re all cynical and jaded enough to know the standard dismissal when it comes to matters of media representation: Paramount Pictures and most film studios are not interested in diversity or visibility, they only care about the bottom dollar. Star Trek as a franchise is too much of a juggernaut to affect with boycotts. There are too many people who love it, who love those characters and that world, and will go to see the movie. And for some of these people, this devotion to the idea of a future where even South and East Asian men get to pilot a starship and love swashbuckling, where Black women make Lieutenant on the Enterprise and actually get the boy, will be trivialized and eroded and whitewashed when the most formidable and complex Star Trek baddie becomes a white man named Khan.

It wasn’t perfect in the 60s when Ricardo Montalbán was cast to play Khan (a character explicitly described in the episode script of Space Seed as being Sikh, from the Northern regions of India). But considering all of the barriers to representation that Roddenberry faced from the television networks, having a brown-skinned man play a brown character was a hard-won victory. It’s disappointing and demoralizing that with the commercial power of Star Trek in his hands, JJ Abrams chose not to honour the original spirit of the show, or the symbolic heft of the Khan character, but to wield the whitewash brush for … what? The hopes that casting Benedict Cumberbatch would draw in a few more box office returns? It’s doubly disappointing when you consider that Abrams was a creator of the television show Lost, which had so many well-rounded and beloved characters of colour in it.

Add to this the secrecy prior to release around Cumberbatch’s role in the film, and what seems like a casting move that would typically be defended by cries of “best actor for the job, not racism” becomes something more cunning, more malicious. Yes, the obfuscation creates intrigue around and interest in the role, but it also prevents advocacy groups like Racebending.com from building campaigns to protest the whitewashing. This happened with the character of the Mandarin in Iron Man 3, as well as ‘Miranda Tate’ in The Dark Knight Rises, who ended up being Talia al Ghul but played by French actress Marion Cotillard. This practice is well in effect in Hollywood; and after the negative press that was generated by angry anti-oppression activists and fans when Paramount had The Last Airbender in the works, studios are wising up. They don’t want their racist practices to be called out, pointed at, and exposed before their movies are released — Airbender proved that these protests create enough bad feeling to affect their bottom line.

So the studio has now found a way to keep it secret and underhanded. Racebending.com was there for most of the production of The Last Airbender, and were even able to correspond with Paramount Pictures about it. This time, for Star Trek: Into Darkness, their hiding and opaque practices has managed to silence media watchdogs until the movie’s premiere.

As I said, this racist whitewashing of the character of Khan won’t affect how much money this Trek movie makes. And I’m happy that the franchise is popular, still popular enough to warrant not only a big-budget reboot with fantastic actors but also a sequel with that cast. I’m happy that actors I enjoy like Zoë Saldaña and John Cho are playing characters who mean so much to me, and that they, in respect for the groundbreaking contributions by Nichelle Nichols and George Takei in these roles, have paid homage to that past.

But all of that will be marred by having my own skin edited out, rendered worthless and silent and invisible when a South Asian man is portrayed by Benedict Cumberbatch up on that screen. In the original Trek, Khan, with his brown skin, was an Übermensch, intellectually and physically perfect, possessed of such charisma and drive that despite his efforts to gain control of the Enterprise, Captain Kirk (and many of the other officers) felt admiration for him.

And that’s why the role has been taken away from actors of colour and given to a white man. Racebending.com has always pointed out that villains are generally played by people with darker skin, and that’s true … unless the villain is one with intelligence, depth, complexity. One who garners sympathy from the audience, or if not sympathy, then — as from Kirk — grudging admiration. What this new Trek movie tells us, what JJ Abrams is telling us, is that no brown-skinned man can accomplish all that. That only by having Khan played by a white actor can the audience engage with and feel for him, believe that he’s smart and capable and a match for our Enterprise crew.

What an enormous and horribly ironic step backwards. For Star Trek, for media representation, and for the vision of a future where we have transcended systemic, racist erasure.

(via RaceBending)

strawberryrhubarbpie: trulykristan: nightracer: pixelddump: r...

Sat, 18 May 2013 03:21:07 -0400

strawberryrhubarbpie:

trulykristan:

nightracer:

pixelddump:

reblogging this from my other blog cause it made me laugh a lot

OMG

This is amazing.

Frank Fartpoop.

*hugs*

Cleverly Playful Personalized Cutting Boards by Elysium...

Thu, 16 May 2013 23:37:25 -0400

Cleverly Playful Personalized Cutting Boards by Elysium Woodworks

I use this cutting board
periodically

uwu

mynameismad: characterdesign101: Creative Uncut updated their...

Thu, 16 May 2013 23:32:26 -0400

mynameismad:

characterdesign101:

Creative Uncut updated their FF12 gallery with much bigger images of the character concept art!

I love FF12 so much, and Akihiko Yoshida is one of my favorite character artists.

If you’re going to dress a female character in battle-lingerie, it better be as exquisitely designed as Fran’s.

aaaa i really liked ff12

that1guydannyb: Chicago theatres celebrate Asian American...

Thu, 16 May 2013 23:28:39 -0400

that1guydannyb:

Chicago theatres celebrate Asian American Heritage Month with all Asian cast of CLOSER by Patrick Marber.

Victory Gardens Resident Theaters Rasaka Theatre and Bailiwick Chicago in cooperation with The League of Chicago Theatres presents Flip The Script, an all Asian American staged reading of Closer by Patrick Marber at Victory Gardens Theater’s Richard Christensen Theater on Monday, May 13, 2013 at 7:30 PM. Flip the Script is an effort to stage a reading of an established play (traditionally cast as predominantly Caucasian) performed by actors of color, and may grow to become a larger series. This event strives to broaden perspectives by showcasing talent that represents the multicultural world we live in. Info/reservations here.

norsegays: astrolope: People being angry about ~dem gays~ on...

Wed, 15 May 2013 11:18:18 -0400

norsegays:

astrolope:

People being angry about ~dem gays~ on Target’s Facebook.

I just want to give my two cents on this and tell you a story.

A couple weeks ago, I was hired at Target. I have a job at Target. Not a big deal right?

It is a big deal because i’m a transman.

It doesn’t take a genius to conclude that it’s hard for me, my brothers, and sisters to get a job. There are legal restraints regarding the job and if you don’t pass, it’s hard to be taken seriously at a job interview.

Right on the application, it asks what your preferred name is. It also asks if there is anything that target should know. I put the fact that I am a transman, expecting not to get a call because usually when you put that down, people will throw out the application. I got TWO interviews.

At the interview, they asked me about it. I told them I am on hormones and they told me that they didn’t care. Not in the sense that they don’t emotionally care, but that it didn’t matter. I was male and that’s all that mattered. They also told me that they give sex same couples benefits in states that do not recognize them as a married couple.

At my job orientation, I was not misgendered once. Even my supervisors who weren’t sure of my gender avoided pronoun use, which I found only happens when you’ve had pronoun training. They gave me a name tag with my preferred name and didn’t ask questions. I felt safe and respected, which is huge for a trans* person.

TLDR: Target is amazing not just for the LGB, but also the T. Shop there for the rest of your life.

hungryfeminist: fuckyeahfeminists: feminerdism: theriotmag: t...

Wed, 15 May 2013 02:30:57 -0400

hungryfeminist:

fuckyeahfeminists:

feminerdism:

theriotmag:

thatisnotfeminism:

perfect

Kittens for Feminism.

I’m going to print this on cards and pass them out to people instead of engaging in yet more fruitless explanations about what feminism is.

Damn you, Daily Mail!! *shakes fist*

HAD TO REBLOG, SORRY! Too hilarious.

"In the original Trek, Khan, with his brown skin, was an Übermensch, intellectually and physically..."

Sun, 12 May 2013 08:20:27 -0400

“In the original Trek, Khan, with his brown skin, was an Übermensch, intellectually and physically perfect, possessed of such charisma and drive that despite his efforts to gain control of the Enterprise, Captain Kirk (and many of the other officers) felt admiration for him.

And that’s why the role has been taken away from actors of colour and given to a white man. Racebending.com has always pointed out that villains are generally played by people with darker skin, and that’s true … unless the villain is one with intelligence, depth, complexity. One who garners sympathy from the audience, or if not sympathy, then — as from Kirk — grudging admiration. What this new Trek movie tells us, what JJ Abrams is telling us, is that no brown-skinned man can accomplish all that. That only by having Khan played by a white actor can the audience engage with and feel for him, believe that he’s smart and capable and a match for our Enterprise crew.”

- Marissa Sammy on Star Trek: Into Whiteness.

perfect commentary which parallels what Rawles was saying earlier about the possibility of Moriarty being a person of color:

“…The actual issue is that black people aren’t often allowed to play full and complete characters, and an antagonist who isn’t unintelligent, thuggish cannon fodder is just as much of a rarity for black men as the stubbly hero who saves the world or wtfever. “

“…The stereotype in no way intersects with brilliant geniuses who choose to step outside of the boundaries of society in order to exercise their intellect while having no concern for lesser beings.

Or to break it down further: the problematic stereotype regarding black people is that of being, in essence, subhuman. Characters of the Moriarty (and Holmes) archetype are rooted in being superhuman.”

You see? It’s more complicated than “people of color get typecast as villains.”

Black people get typecast as an extremely specific type of villain - they’re thugs, brutish and animalistic. South Asian actors are similarly typecast as scary oppressive (usually coded Muslim) terrorists.

But when your villain is of the superhuman archetype? When they’re brooding antiheroes, when they’re nuanced, when they’re multi-faceted?

They’re white.

(And check out this post on the glorification of white criminality in shows like Dexter, Breaking Bad, Weeds, Boardwalk Empire, The Sopranos, etc.)

"The musical Miss Saigon has been running for over 20 years, which means it’s lived longer than many..."

Sat, 11 May 2013 08:20:15 -0400

“

The musical Miss Saigon has been running for over 20 years, which means it’s lived longer than many Southeast Asian refugees gunned down by police brutality, violence, in poverty and with PTSD. Tickets are $125-$222 USD.

If you believe colonialism is the greatest love story of our time, how can we live in the same world?

Wait, don’t answer that.

The Mandarin, the dreadlocked Uruk-hai, the Indian savage, the Mexican illegal, the samurai who’s actually a Jap: they are the enemy, and we pay to see it. All the while Michelle Malkin agrees that immigrants are not as smart as whites, but what do you expect from the Asian who argued we should lock up Arabs like we did the Japanese. And the U.S. puts Assata on the Most Wanted list.

Nonetheless people line up to empty their pockets and listen to tragic staged Asians sing their song, the war that churned our people apart turned to a wet dream fantasy of Vietnamese written by two white Frenchman. How’s that colonialism working out for you. This is the world I helped bring a daughter into. Happy f—- Asian-Pacific Heritage Month.

”

- Poet Bao Phi on the play Miss Saigon. Despite continual protests from the Asian American community, theater companies like Towne Theater in Columbia, South Carolina continue to perform the racist musical—and to add insult to injury, this production has an all-white cast. The show is opening during Asian Pacific American Heritage month.

“In the Twin Cities, the problem is not that we haven’t organized against it. The play has been here at least three times and we’ve organized against it, with different strategies each time. Each time, the white theater tells us they’re sorry and they want to be sensitive to the community. They create focus groups, then ignore the focus groups when they advise them not to bring Miss Saigon back.

“All the while, new generations of people of all races go to see this play despite all of our educational teach-ins, our counter-shows and protests, and it’s the one ‘learning experience’ they have about the Vietnam War and Vietnamese people. I was a teenager the first time we organized against it - I’m 38 now and i’m tired of it. We’re still going to organize against it but a lot of this crankiness is with my frustration that there seems to be little to no progress. White supremacy is a machine that keeps grinding, I guess.”

(via racebending)

exhibition-ism: Mushroom bombing from Leigh Martin

Wed, 08 May 2013 02:39:16 -0400

exhibition-ism:

Mushroom bombing from Leigh Martin

seventypercentethanol: winter echoes

Wed, 08 May 2013 02:23:10 -0400

seventypercentethanol:

winter echoes

missmelmels: buellet: i like playing with skin tones so maybe...

Sun, 05 May 2013 12:56:56 -0400

missmelmels:

buellet:

i like playing with skin tones so maybe this’ll help a little (◕‿◕✿)

‘eeeey can always use some help with skin tones

staceythinx: Theories of Everything by Dayna Thacker Thacker on...

Sat, 04 May 2013 18:11:31 -0400

staceythinx:

Theories of Everything by Dayna Thacker

Thacker on her work:

John Muir wrote, “When we try to pick out anything by itself we find that it is bound fast by a thousand invisible cords that cannot be broken, to everything in the universe.”

This body of work takes inspiration from the “thousand invisible cords” of modern string theory, ancient Islamic sacred geometry, and the principles of ecology. These complex areas of study have several overlapping concerns: the harmony of relationships; the correlation between the very large and infinitely small; symmetry; repetition; beauty; an appreciation for the elegance of a perfectly balanced system; and the extreme interconnection of everything.

Continue reading…

brofiling: white privilege radically changes the appearance of...

Mon, 29 Apr 2013 21:31:04 -0400

brofiling:

white privilege radically changes the appearance of Tsarnaev bros

This is how brofiling actually works in real life. The Week Magazine ran with this image as their cover sketch.

Just so it is said, clearly and unambiguously: the Tsarnaev brothers are white guys. They are white. The FBI’s own wanted poster for Dzhokhar Tsarnaev lists his race as “white”, but you would never know it from the cover image on The Week.

Hold up the cover to someone else, and ask them how many white people they can see on the cover. Chances are they will identify Gabby Giffords on the top left and the image of the Boston policemen (all white men) on the top right, but how about those two guys in the center? Nope, not a chance that anyone would say these caricatures look white.

Why? Because in addition to being white they are also “Muslim”, which is the current dehumanizing “Other” that whiteness has constructed as a sanctioned target for violence in US popular culture.

This is how white privilege works in media representations and everyday life: when the criminal suspects are demonstrably white men, seize upon any aspect of difference and magnify it such that they become Othered, non-white, and menacing. If it is too hard to do so, simply dismiss them as aberrations and isolated cases of insanity. This is also how white culture, specifically the process of whiteness in conjunction with white privilege, portrays several non-white identities, including those that are now considered white but at one time were decidedly not so. For example, see here for how the Irish were depicted as violent apes or lazy drunks in the late 1800s to early 1900s.

Addendum, posted 4.29.13:

As Tim Wise said on April 18, there are consequences for these kinds of things. Here are a few reasons why this is important:

Making white criminals who are Muslim appear to be more ‘brown’ than ‘white’ has serious consequences for brown people. Indeed, as we saw right after the Boston bombings, people that simply “looked” brown and Muslim were profiled and assaulted. Two men were escorted off a plane in Boston simply for speaking Arabic and thereby somehow making passengers “uncomfortable”. A Bangladeshi man in NYC was beaten up because he looked ‘Arab’. And this affects women too: a Muslim woman doctor in Boston who wears a headscarf was attacked by a man while she was out walking with her baby. And the white Muslim wife of the older brother has been demonized for simply being a Muslim American woman, especially after Ann Coulter called for women who wear hijabs to be arrested.

People have pointed out to me that The Week Magazine’s cover images are regularly caricatures/sketches of the main events of that week’s news. I know this—I read their print edition every week, and all their previous cover images are available online. But there are two main problems with this argument: (a) why caricature them in a way that makes them so explicitly ‘darker’ and ‘Arabized’ in their appearance? Contrast the way they look on that page with the other white faces on that same page—would anyone say that these men look ‘white’? So why is the caricature done in such a ‘racializing’ way (as if ‘white’ bodies have no race, but that’s point #3 below)? How is this any different from the more overt media racism that was used by Time Magazine (h/t @sarahkendzior), for example, to make OJ Simpson appear way more menacing? And (b) if The Week is simply trying to put a caricature of criminals who committed mass violence on their cover, then here are the covers for the weeks when Newtown happened, when Aurora happened, and when Tucson happened — where were their ‘racialized’ caricatures of Adam Lanza, James Holmes, and Jared Loughner? How come the ideologies and ethnicities and religions of those particular mass criminals were not profiled?

And so here is the more subtle consequence: when white criminals are treated as if they are just aberrations, and when white criminals who are Muslim are portrayed as more brown than white not just by The Week but by mainstream propaganda outlets like Fox News, then the problems of white supremacist violence and extremism become hidden, unaddressed. Indeed, as reports have shown, of the terror attacks/plots since 1995 in America, 56% of them were by right-wing extremists and only 12% by Islamist/jihadist groups — and yet the DHS was told to back off reporting on that or on analyzing right-wing violence for fears of backlash from conservative political groups.

So, my main point is that such a willful blindness hurts all people.

Photo

Mon, 29 Apr 2013 03:30:34 -0400

"Games with female-only leads - where you couldn’t choose any other option - did sell significantly..."

Mon, 29 Apr 2013 03:24:21 -0400

“

Games with female-only leads - where you couldn’t choose any other option - did sell significantly less, EEDAR’s COO Geoffrey Zatkin revealed.

“If you look at the first three months, with the smaller quantity of female-led games, they did not sell as well. The ones that were male-only sold better.”

Male-only hero games sold 25 per cent better than those with an optional female hero, and 75 per cent better than whose with a female-only hero.

But this doesn’t tell the whole story. These figures reflect the fact that games with female-only heroes get less than helf the marketing budget of titles with male-only heroes.

“Games with a female-only protagonist got half the spending of female optional, and only 40 per cent of the marketing budget of male-led games. Less than that, actually,” Zatkin concluded.

”

- Why publishers refuse games such as Remember Me because of their female protagonists • News • Eurogamer.net (via existentialcrisisfactory)

Dude: How come these girl games fail? I guess girls aren’t playing games.

Chick: Maybe it’s cause you’re not actually trying to sell them.

Dude: …naw

Dude 2: Naw

Dude 3: …nawwwwwwwwww

Chick: Oh really, then let’s make a commercial for it.

Dude: Yeah…that’s a no.

Dude 2: No

Dude 3: nopeeeeee

Chick: WHY NOT?

Dude: cause like if we do that and it doesn’t sell then we’ll be like, out money!

Chick: HOW DO YOU KNOW HOW WELL IT WOULD SELL IF YOU DON’T MAKE AN EFFORT TO SELL IT

Dude: cause…naw

Dude 2: naw

Dude 3: nawwwwwwwwwwwww

(via crackerhell)

I’m sayin though!!!!

How the fuck can you say “Oh, well women don’t sell” WHEN YOU AINT DOIN SHIT BUT MINIMAL ADVERTISING FOR THEM????

Get the fuck out

(via sourcedumal)

fluoric: 太陽咖啡 (by さぁ～dato)

Mon, 29 Apr 2013 03:20:28 -0400

fluoric:

太陽咖啡 (by さぁ～dato)