Ales Kot writes because nothing else makes sense. He's responsible for screenplays, video games, graphic novels and products/experiences which do not even have their names assigned as of yet. His portfolio includes Disney, Warner Brothers, Image Comics, Marvel Entertainment, DC Entertainment, Dark Horse Comics and more.

If you want to contact him, his email is aleskotsays at gmail and his cell phone is 310-259-7803. If you want to talk with his manager, contact Ari Lubet at 3 Arts Entertainment. If you want to talk with his agents, contact Roger Green and Phil d'Amecourt at WME Entertainment. If you want to talk with his lawyer, contact Caitlin DiMotta at Impact Law Group. If you want to talk with his imaginary platypus, you better imagine it.

From Burning Man 2014.

From Burning Man 2014.

"Digital" doesn’t equate "depersonalized" the same as "physical" doesn’t necessarily equate "real"

Great fashion writing doesn’t reduce everything to what is for sale, what’s hot and not. Great fashion writing looks at clothing and the uses of clothing with the same amount of cultural reverence we give a Lars von Trier movie or the U.S. Open, as something that exists, and it asks why it exists, and how it fits into its larger culture.
hazelcills:

Reborn, Journals, and Notebooks, 1947-1963 by Susan Sontag

hazelcills:

Reborn, Journals, and Notebooks, 1947-1963 by Susan Sontag


ADULT Regular


So hot

ADULT Regular

So hot

"As for the why of it, “ZERO” is certainly about war and how it thrives on (at least) two things: unprocessed loss and lack of the feminine. The lack of the feminine comes to its horrifying, troubling head with #9, but it’s present throughout: in the cast, in the absence of genuine nurturing, in emotions that are avoided or repressed, in creativity and sexuality redirected into violence and war, into the black war impulse, the “black thing,” as soldiers with PTSD often call it. Unprocessed loss is there from issue one, as well. If I look back at myself in early 2013, writing the first issues of “ZERO”, I knew I wanted to write it in order to dissect, understand and mutate precisely that bleak, dark thing that came hand in hand with anger and violent impulses. I’ve been in fights and I do believe in the beauty of a consensual fight, which is a way of play, but I do not believe in fight that is rooted in wanting to commit violence. And sometimes I saw an emotion or a thought pass through me and I went — what the fuck is this doing inside me? I need to investigate it. Where is this rooted? Why would a child ever smash ants? Why would a man ever get into a fight when there’s a chance to avoid hurting another person, or himself, or both? I discovered a lot of this bleak dark thing had to do with loss in my family. During writing Zero I had discovered, by asking questions and by being kind, and also by applying some psychomagic principles before I even knew how exactly psychomagic worked but I did it regardless because it’s essentially a shamanic tradition and I came to realize that I am a shaman. How could I not be? It’s part of what I do every day. I can enter trance states, I can help myself heal, I can help other people heal. Sometimes I can see spirits. Are they ghosts of other people or other life forms, or are they Jungian externalizations of my psyche? Shit, why not both? Anyway, loss: I discovered my grandfather on my mom’s side lost his father in Latvia during the Second World War. Then, before he was eleven or so, he lost a girl he loved — she was an Ukrainian prisoner of war who became a part of his family, shot to death by the Russians as they were liberating and “liberating” Czechoslovakia. My grandmother on my mom’s side spent days underneath the ruins of their house when she was just four years old or so, and likely saw multiple atrocities. My grandmother on my father’s side saw her father die of a heart attack on the Christmas day when she was about eight — he died in her arms as she stuffed his mouth with adrenaline pills the doctor left behind after his first episode. My grandfather on my dad’s side lost his father early as well. Thus I realized my family is riddled with unprocessed post-traumatic stress syndrome. Thus continued my way towards healing myself. And through that, perhaps, towards healing my family as well, and maybe helping others, too."

Me, interviewed for Multiversity. If you want to see a different kind of interview — I use photographs, hyperlinks, videos, poetry — read this. It’s layered, dense.

Regarding my post from the other day: this is probably a good time to mention that most of the characters in my 2015 fiction at Image Comics are in fact bisexual. Or, I mean, many.

By the way — thanks for the amazing responses, it’s lovely to see the community (not just comics, but humans overall) support fiction that reflects the world we live in. I don’t have time nor energy for supporting rigid ideas about gender and identity.

The only person who decides their identity is the person, no-one else.

It’s a really bad time to act gynophobic, homophobic or transphobic, as there’s more of us who won’t stand for your shit now. And there will be more and more of us, I believe — the old, harmful ideas are dying, and we can dance on their corpses & watch beauty grow.

This is not a war — this is a mutation, and everyone’s invited.

 

P.S. I would like to end this public service announcement by posting a gif of Jeff Goldblum & James Spader making out, so here it is.

Anonymous asked:
Please don't make Coulson gay because you can. He was created straight and written straight in Battle Scars.

Ales Kot
Ales Kot answered:

tehnakki:

aleskot:

Look, no-one said I was or wasn’t writing Coulson in Secret Avengers as gay. One beautiful thing about fiction is that we fill it with our own meanings. For example: was Coulson really created and written straight, instead of, let’s say, bisexual? How do you even do that unless you explicitly identify him as straight and choose to believe the character is telling the truth? You see my point? In case you don’t: fiction is infinitely malleable. There is no certainty, and there is no certainty in the universe, except perhaps change. 

I sense a certain dose of entitlement in your request — which, by the way, says a lot about you and nothing about the fiction you consume. I don’t react to entitlement well, but I am transforming my initial reaction into something positive here, and perhaps you’ll use that as a guiding light for yourself, too. Perhaps the question you want to ask yourself is, “Why am I so hung up on my perception of a fictional character’s theoretically heterosexual identity, and does me being hung up on it have anything to do with my possible uncertainty regarding my own sexual identity?”

It might. It might not. U-decide.

I just became a fan of Ales Kot. Now to figure out what he writes and buy it.

Zero (vol. 1 is out, vol. 2 comes out in 10 days), Change, Winter Soldier. And Secret Avengers.

The basic world conflict right now is occurring between various radical capitalist factions and various radical religious factions.

If we posit that radical capitalism, a belief-based structure based on fairytales, is a religion in itself, we end with the following:

The basic world conflict right now is occurring between various radical religious factions.

"The opinion that art should have nothing to do with politics is itself a political attitude."

- George Orwell