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But I often find that title conspicuously omitted from the roster of legal victories for comics. M: And independent comics owe a concrete debt to Omaha, in the formation of the Comic Book Legal Defense Fund. Can’t play ‘no, it’s better than that’ when it’s right out there. This was why I brought up Carl Barks’ and Osamu Tezuka’s material right from the start, because they wouldn’t be classified as ‘furry’ at all by most, yet they absolutely put out erotically charged furry material, relegating them to the bin everything else would get discarded in. You still see it come up sometimes, like when people are talking about Lackadaisy, or other furry media they like, this want to push away from this kind of definition that they despise, or are ashamed of for whatever mix of reasons. ST: You see this especially in the late 90s debates between slices of furry fandom, and later in the early 00s in the ridiculous net war stuff – also pieces of furry history that’d fall through the cracks elsewhere – this desperation into separating things that were “furry,” (bad) or “not furry,” (good), often using the short hand of “anthro” to imply that this wasn’t ‘furry’ – it was good and mature and other people liked it, so it couldn’t possibly be it.
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Omaha the Cat Dancer is important to both, and paradoxically, the series has fallen through the cracks. That early material is fascinating to me, because once furry became a discreet identity, there suddenly was a sharp divide between which comics made the cut to become just “Comics” like Usagi Yojimbo, which debuted in the furry zine Albedo Anthropomorphics and is now a widely respected title, and those which were relegated to this separate lower-grade “furry” status. You do a little digging into furry origins in comics and Science Fiction fandoms, which you might be into if you know to dig into Fred Patten’s archiving but not from outside sources.
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Half my writing on the Hooded Utilitarian is griping about lazy journalism about furries. You wouldn’t get “here’s how queer people have connected deeply with furry for years now” in like, say, a Salon piece going “Seriously, what’s up with furries?” for example. Something coming from the inside, and more accurate, as well as featuring personal, more anecdotal pieces that wouldn’t be part of those things. I wanted to get something down and out there before other outlets started to really make their own pieces on furry as it was starting to mainstream. Add in a bunch of other fascinations, gripes, things on my mind, and suddenly, one afternoon, I research and write this entire piece. Once that interview ended, my mind got to thinking about how “Jeez, all the pieces on furry culture and history always tend to come from people on the outside looking in” and how I was kind of tired of that, and how the history of furry itself was actually very poorly documented, scattered about here and there. I got interviewed to talk about some of the economics of the furry art market, and why so many artists seemed to find it easier to generate income and reliable funds, with less hassle from clients, in the commission market there. What drew you to use the Twine in particular, taking on this project?Ĭolin Space Twinks: It was actually sort of strange, because although I talked on and off about furry history all the time – on twitter, on tumblr, wherever – what really motivated it was actually someone asking me about it instead of me going off, apropos of nothing. Mouse: Everyone’s A Furry 2K16 is a history of what we call the modern furry community through your own experience utilizing Twine as a storytelling medium. This interview has been edited for clarity. Colin and I have had similar experiences growing up with furry, so I asked them to chat about the project and to dish about this and that. Everyone’s A Furry 2K16 not only documents the wildfire-like emergence of funny animal-identified folks since the advent of the internet, but also details a very personal history of utilizing online communities as a space for queer exploration and self-reflection when other options are scarce. Last May, they released an impressive history of the furry fandom using the medium of Twine, an innovative tool for stories and games which allows for endlessly branching narrative strands. Colin Spacetwinks is a furry writer and loquacious fan of comic books.