Meme of Brian David Gilbert saying 'I'm not your friend and you have no say on what I do with my body'

Of One’s Own

I'm thinking about how it's time I finally do some #Representation work in my storytelling.

I've a lot of complicated, jumbly feelings about writing stories which borrow too much from my life experience. Since forever ago, I've subconsciously and intentionally avoided writing what they call "ownvoices" fiction. I've so many strange stories featuring a varied cast of characters in my roster, but never one set in Malaysia, and never a character who completely shares major parts of my actual identity: Malaysian Chinese, ace, sort of? non-binary, definitely queer, first-gen immigration of Australia, and other biographical fun facts.

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Writing Alexander, Book 1

Last weekend I received feedback from my editor, A, finally completing the second of a two part alpha reading stage- allowing me now the comfort to feel I've reached far along enough that I can start talking about the thing. The writing thing.

I wasn't sure how to document the Writing Stage of Alexander Comic (or my graphic novels in general). It's not as instant, fast or natural as the rest of the graphic novel making process, when it's just me reading or sketching or drawing, and I can just post a screenshot/photo accompanied with a quip. You can't really show much with writing; only the end result. Additionally, I have this superstitious belief that the period of making a story come to life should be treated as sacred, private, personal. Talking too much about the writing while you're supposed to be doing the work is an invitation for a jinx, or at least... it invites said jinx to me.

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Letter to the New Year 2021

Since 2016 I've written and illustrated these letters to the new year, as a way to summarise my thoughts and feelings regarding the old year (and express my hopes and aspirations for the new). But for obvious reasons, I decided to skip it this year.

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The Iliad + Digital Island Project 2021 + A Comics Movement?

So I've moved on to the next stage of my Unofficial Residency. I'm back to doing Freelance Work. (Nov-Dec is one of my busiest seasons of the year. Of course I wouldn't miss it.)

Though I only completed like, almost 3/4 of what I set out to do during the first phase of the residency, I'm grateful for whatever progress I am able to make. Afterall, any headway during 2020 is a miracle! Luckily there's a second phase to catch up on things. So fingers crossed I can get some more in.

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Institutional Recognition

I will confess that I've always had the desire to be recognised by an Institution: schools, libraries, museums, universities, you know. Buildings. Bodies. I want my books to be analysed and mined formally, to bridge the gap between the public and institutions, to educate, to inspire joy in learning. I love the world. I love the platonic ideal of academia: to chase a subject wholeheartedly, to share and introduce to outsiders the joy and madness and wonder that comes from seeing something unexpected in a different way, to find interdisciplinary solidarity in fellow nerds. Though I've officially left academia to pursue a career that more aligns with my way of storytelling, of learning and teaching, I'm still a scholar at heart. I want to be a part of this network, because it is where I feel most at home in.

And yet recently I was reminded of the Reason why I left academia, and it's forced me to reconsider my desire to be Institutionally Recognised, if it's even worth it.

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Reimena Yee talks about political action

Politically Around

For the past few months I have been thinking about my political role as an artist. It is very strange to be at the point (both maturity and career-wise) when I must assert my intention as a person who tells stories and produces images/words for the world at large. I believe words and images have meaning, therefore they have impact. But what does impact mean on my own terms? (more…)
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Growing Up With Your Own Stories AKA I’m being sentimental

In the last 7 years since launching my side-hobby-then-career into storytelling, I've changed a lot. As I approach my mid-twenties, now is a good time for me to step back from the fast-paced rat race attention economy, to consider what I've learned, and how I want to move on towards a more thoughtful, more amazing thirties. (more…)
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Reimena Yee is a graphic novelist, artist and flamingo enthusiast.

She creates the webcomics The World in Deeper Inspection, and The Carpet Merchant of Konstantiniyya; the latter of which is the first Malaysian graphic novel to be Eisner-nominated.

Currently writing and drawing a whole bunch of stuff. Is a nerd for all things spooky and historical.

Melbourne / Kuala Lumpur

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Going through an art reference book from the 15th century to select an alphabet initial to sample in my graphic novel/modern illuminated manuscript is giving me emotions :’) I’m using the book the way it was meant to 600 years later, how WILD is that!!

Malaysians should enrich our conversations about Israel & Palestine from purely theological to colonial occupation, human rights & dignity. So, we can apply the same justice & empathy in our own context in regard to orang asli, refugees, religious minorities & LGBT community.

Do you like stories about friendship, ghosts, and growing up? Then check out this juvenile graphic novel: SΓ©ance Tea Party. It follows Lora as she discovers just how bittersweet getting older really is. #OCLSReads

Link to borrow: https://iii.ocls.info/record=b2295943~S1

Mah Meri residents should not be further displaced, much less for tourism in Sepang. Stop treating indigenous people as obstacles.

Malaysians are in the middle of protesting the violence and settler colonialism by Israel against Palestine. Please bring that energy back home too. https://twitter.com/msianinsight/status/1392978368279113732

TheMalaysianInsight@msianinsight

Orang Asli Mah Meri diminta kosongkan tanah untuk projek pelancongan https://www.themalaysianinsight.com/bahasa/s/315232?utm_source=dlvr.it&utm_medium=twitter&utm_campaign=msianinsight

I just think it’s rad that comics as a medium inherently present time *as* spaceβ€”time and space not as different dimensions but as different facets of the same thing. Every page is a unit of chronology-as-geography. How can anyone not get immensely excited thinking about this?

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