/cripcycles

Foreword

A starry field with vibrant nebula clouds.
A starry field with vibrant nebula clouds.
A starry field with vibrant nebula clouds.
Lights up. Camera rolling. No sound cue, because captions were here first.

I’m a Deaf crip and lifelong card-carrying member of the “Can’t Hear You” gang. I think in pictures, edit in jump-cuts, and punctuate every sentence with a flourish only captions can keep up with.


I say crip on purpose. It's a loaded word, exactly why I use it. I'm not sanding off the edges or asking for permission. Crip is about claiming space. It's a refusal to speak softly in rooms that never turned on the mic. If it makes you uncomfortable, good. That means you're finally reading what I've been saying all along.


That's why Crip Cycles arrives dressed like a screenplay: scene headings, smirking stage directions, and dialogue sharp enough to slice through centuries of ableist bullshit. I didn't pick this format for kicks. I picked it because it's how my mind naturally storyboards the universe. When the world forgot to include me in the conversation, I rewound the tape, wrote my own narration, and made sure every line had open captions baked in.


But script pages alone aren’t the revolution. Why I’m doing this matters more than how:


To hijack the canon—History books worship flawless heroes chiseled in marble but I'm here for the cracks. Crutch marks on ancient stairs. Hand-worn grooves in stone. Penis graffiti. Proof that the margins have always talked back.

I’m a Deaf crip and lifelong card-carrying member of the “Can’t Hear You” gang. I think in pictures, edit in jump-cuts, and punctuate every sentence with a flourish only captions can keep up with.


I say crip on purpose. It's a loaded word, exactly why I use it. I'm not sanding off the edges or asking for permission. Crip is about claiming space. It's a refusal to speak softly in rooms that never turned on the mic. If it makes you uncomfortable, good. That means you're finally reading what I've been saying all along.


That's why Crip Cycles arrives dressed like a screenplay: scene headings, smirking stage directions, and dialogue sharp enough to slice through centuries of ableist bullshit. I didn't pick this format for kicks. I picked it because it's how my mind naturally storyboards the universe. When the world forgot to include me in the conversation, I rewound the tape, wrote my own narration, and made sure every line had open captions baked in.


But script pages alone aren’t the revolution. Why I’m doing this matters more than how:


To hijack the canon—History books worship flawless heroes chiseled in marble but I'm here for the cracks. Crutch marks on ancient stairs. Hand-worn grooves in stone. Penis graffiti. Proof that the margins have always talked back.


To build ramps between past and present—Each story is a time-travel episode, less DeLorean, more powerchair, where the curb cuts we overlook today trace back to rebellions we skipped over.


To prove access is a plot device, not a prop—Inclusive design isn’t a charitable subplot; it’s the main action sequence. For folks like me, the real boss fight isn’t some cinematic villain, it’s an American Sign Language interpreter who never shows. And I’m still expected to play.


To leave receipts—Every joke, sight gag, and punchline carries an invoice for the systems that still send disabled folks the bill. Pay up, or at least read the fine print.


So, roll the camera, slate the take, and adjust your focus. The following pages might make you laugh uncomfortably or might piss you off. You might Google a footnote and realize it’s painfully true. Either reaction means it’s working as intended.


Now dim the lights, mute your assumptions, and press play.

To build ramps between past and present—Each story is a time-travel episode, less DeLorean, more powerchair, where the curb cuts we overlook today trace back to rebellions we skipped over.


To prove access is a plot device, not a prop—Inclusive design isn’t a charitable subplot; it’s the main action sequence. For folks like me, the real boss fight isn’t some cinematic villain, it’s an American Sign Language interpreter who never shows. And I’m still expected to play.


To leave receipts—Every joke, sight gag, and punchline carries an invoice for the systems that still send disabled folks the bill. Pay up, or at least read the fine print.


So, roll the camera, slate the take, and adjust your focus. The following pages might make you laugh uncomfortably or might piss you off. You might Google a footnote and realize it’s painfully true. Either reaction means it’s working as intended.


Now dim the lights, mute your assumptions, and press play.

A dug-out ditch showing a half buried skeleton with twisted spine.

King Richard the Third

1452—1485

The king who broke his back to pave the way for English reform—and got cemented into history.

Click to Read Story
A dug-out ditch showing a half buried skeleton with twisted spine.

King Richard the Third

1452—1485

The king who broke his back to pave the way for English reform—and got cemented into history.

Click to Read Story
A dug-out ditch showing a half buried skeleton with twisted spine.

King Richard the Third

1452—1485

The king who broke his back to pave the way for English reform—and got cemented into history.

Click to Read Story
A man sitting in wheelchair holding a sign with his teeth that says "Tanks for nothing" while he is surrounded by military tanks. US Capitol building is visible in the background.

The Bonus Army

1918—1945

It did cost them an arm, a leg, an eye, a lung, trench foot, shell shock, mustard gas burns, shrapnel to the spine, half a face—plus change.

Click to Read Story
A man sitting in wheelchair holding a sign with his teeth that says "Tanks for nothing" while he is surrounded by military tanks. US Capitol building is visible in the background.

The Bonus Army

1918—1945

It did cost them an arm, a leg, an eye, a lung, trench foot, shell shock, mustard gas burns, shrapnel to the spine, half a face—plus change.

Click to Read Story
A man sitting in wheelchair holding a sign with his teeth that says "Tanks for nothing" while he is surrounded by military tanks. US Capitol building is visible in the background.

The Bonus Army

1918—1945

It did cost them an arm, a leg, an eye, a lung, trench foot, shell shock, mustard gas burns, shrapnel to the spine, half a face—plus change.

Click to Read Story
An illustration of a mountaintop fortress.

The Siege of Masada

73 CE

The incline of the Roman Empire.

Click to Read Story
An illustration of a mountaintop fortress.

The Siege of Masada

73 CE

The incline of the Roman Empire.

Click to Read Story
An illustration of a mountaintop fortress.

The Siege of Masada

73 CE

The incline of the Roman Empire.

Click to Read Story
A close-up mugshot of Charles Rodman Campbell.

Charles Rodman Campbell

1954—1994

Sometimes accommodations fall through.

Click to Read Story
A close-up mugshot of Charles Rodman Campbell.

Charles Rodman Campbell

1954—1994

Sometimes accommodations fall through.

Click to Read Story
A close-up mugshot of Charles Rodman Campbell.

Charles Rodman Campbell

1954—1994

Sometimes accommodations fall through.

Click to Read Story
A night time shot of Camden Yards, where Baltimore Orioles are playing their baseball game.

Baltimore Orioles

2018

Because sometimes the biggest blind spot is thinking you’ve connected the dots.

Click to Read Story
A night time shot of Camden Yards, where Baltimore Orioles are playing their baseball game.

Baltimore Orioles

2018

Because sometimes the biggest blind spot is thinking you’ve connected the dots.

Click to Read Story
A night time shot of Camden Yards, where Baltimore Orioles are playing their baseball game.

Baltimore Orioles

2018

Because sometimes the biggest blind spot is thinking you’ve connected the dots.

Click to Read Story
Actual Portrait of Charles Proteus Steinmetz

Charles Proteus Steinmetz

1865—1923

Because sometimes the smartest man in the room is shaped like a question mark.

Click to Read Story
Actual Portrait of Charles Proteus Steinmetz

Charles Proteus Steinmetz

1865—1923

Because sometimes the smartest man in the room is shaped like a question mark.

Click to Read Story
Actual Portrait of Charles Proteus Steinmetz

Charles Proteus Steinmetz

1865—1923

Because sometimes the smartest man in the room is shaped like a question mark.

Click to Read Story

Abraham Wald

1902—1950

The refugee who saw holes in American logic—and then became one himself.

Click to Read Story

Abraham Wald

1902—1950

The refugee who saw holes in American logic—and then became one himself.

Click to Read Story

Abraham Wald

1902—1950

The refugee who saw holes in American logic—and then became one himself.

Click to Read Story
A vintage tintype photo showing Civil War soliders charging with rifles, flags, and bayonets.

Colonel Joshua Lawrence Chamberlain

1828—1914

Because sometimes you just have to pick a hill to die on, as long you can get up there.

Click to Read Story
A vintage tintype photo showing Civil War soliders charging with rifles, flags, and bayonets.

Colonel Joshua Lawrence Chamberlain

1828—1914

Because sometimes you just have to pick a hill to die on, as long you can get up there.

Click to Read Story
A vintage tintype photo showing Civil War soliders charging with rifles, flags, and bayonets.

Colonel Joshua Lawrence Chamberlain

1828—1914

Because sometimes you just have to pick a hill to die on, as long you can get up there.

Click to Read Story
A monochromatic illustration of an elevator door surrounded in flames.

Welcome to Hell

ETERNITY O'CLOCK

A sign reads: "Because exclusion is Heaven's thing."

Click to Read Story
A monochromatic illustration of an elevator door surrounded in flames.

Welcome to Hell

ETERNITY O'CLOCK

A sign reads: "Because exclusion is Heaven's thing."

Click to Read Story
A monochromatic illustration of an elevator door surrounded in flames.

Welcome to Hell

ETERNITY O'CLOCK

A sign reads: "Because exclusion is Heaven's thing."

Click to Read Story
Two wolves are nudging eachother.

Canis Lupus

LATE PLEISTOCENE

Where they go, the earth remembers.

Click to Read Story
Two wolves are nudging eachother.

Canis Lupus

LATE PLEISTOCENE

Where they go, the earth remembers.

Click to Read Story
Two wolves are nudging eachother.

Canis Lupus

LATE PLEISTOCENE

Where they go, the earth remembers.

Click to Read Story

Accessibility is the
innovation engine.

Accessibility is the
innovation engine.

Build for edge cases first; the mainstream will follow.

Build for edge cases first;
the mainstream will follow.

Meet my partners who are part of making the future inclusive.
Meet my partners who are part of making the future inclusive.
A bird's eye view of two tattooed arms holding and drawing on a piece of paper with a grid cutting mat underneath.
A bird's eye view of two tattooed arms holding and drawing on a piece of paper with a grid cutting mat underneath.
A bird's eye view of two tattooed arms holding and drawing on a piece of paper with a grid cutting mat underneath.