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It’s reflecting what’s happening in the world today. Well, to be honest, I’m a little daunted by it. Are you mindful of releasing your book in this climate? What do you want to communicate to trans kids? So, as you’ve said, this book could apply to anyone, any number of situations. Texas has begun, at the direction of the state attorney general, to investigate parents of trans children as child abusers.
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Sometimes it’s not even legislation at all. Not that it’s ever been easy, but there are new waves of legislation cracking down on trans kids’ rights to access health care, which is a step up from the bathroom and sports bills we’ve seen. I have to ask about this, also: It’s a difficult time to be a trans child. And someone who works in plumbing wanting to be a florist is less of a stretch than a plunger that says, no, I want to hold flowers-because it physically is unable to! Unless you’re very thoughtful about it. I felt like they were very fertile symbols. Their physicality serves one purpose and one purpose only.
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Household objects are created with an intention. I was coming to it from the idea of, What are we meant to be? The jobs that we are meant to have, the things that we are capable of, the paths that circumstance puts us on. Why the choice of objects to tell this story? And why have the hero be “assigned plunger at birth?” You’re very interested in this notion of inanimate objects having souls. Your own protagonist here is not a human being, but a plunger. Which is obviously a way more relatable experience!
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We’ve seen more kids learning that they have superpowers and how to control them than like, being poor. But also, I’m fascinated by how there are more movies about the plight of supernatural children than there are about like, the immigrant experience. One, they probably think, like, well, animals don’t have race, so any kid can buy this. Speaking of prevailing trends in children’s literature, I’m going to cite a really depressing statistic: There are more protagonists in children’s picture books that are animals than kids of color. If it’s a movie, it must be computer-animated. If it’s a half-hour comedy, it must be animated. Like, if it’s a children’s book, it must be illustrated. There’s so many rules that are in place that are just there because of custom, really. I’m really happy that the editors are so happy with it. I’m thinking specifically of “Wells for Boys,” My Favorite Shapes, and now this book. Vanity Fair: A lot of my favorite work of yours deals with childhood, especially queer childhood. We also chatted about the forthcoming second season of Los Espookys, his flair for fashion design, and his American Girl doll doppelgänger. I sat down with Torres in April to speak about the span of his career, and how his sensitive, surrealist comedy about childhood and queerness brought him to writing this book. He’d come away, I imagine, feeling more able to be himself-or herself, or themself.
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It’s just the kind of dreamy tale the boy from Torres’s landmark “Wells for Boys” sketch might pore over on a warm spring day. A curmudgeonly vacuum cleaner becomes irate at all this upheaval. A saucepan follows suit, choosing to become a garbage can. The children’s story, with dreamy 3D illustrations by visual artist Julian Glander, tells the story of a toilet plunger who decides he’d rather tote flowers.
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Julio Torres, formerly of the Saturday Night Live writers room and currently of cult HBO series Los Espookys, is now the author of a fittingly surreal book: I Want to Be a Vase, out June 7.