Posts tagged comics
Posts tagged comics
I know next to nothing about GotG, so I’ll be reading all of this before the movie comes out.
This is a masterpost for anyone who is interested in the Guardians of the Galaxy and isn’t sure where to start or what to read. I’ve compiled a masterpost based on the reading list by marveloki. The masterpost is arranged in correct reading order, but please feel free to consult marveloki’s reading list if you’re still having trouble figuring out what to read next.
The Guardians of the Galaxy team roster in these titles includes: Drax the Destroyer, Gamora, Adam Warlock, Quasar, Rocket Raccoon, Groot, Star-Lord, Mantis, Moondragon, Major Victory, Bug, Jack Flag, and Cosmo the Spacedog. Many of these characters will be appearing in Marvel’s upcoming GotG movie, so if you’re interested in learning more about them this is certainly a good place to start.
- Annihilation: Conquest - Read the Prologue, then the Starlord stuff, and then just plain old Annihilation Conquest.
- Guardians of the Galaxy #1-25 (2008)
- The Thanos Imperative - Read the main run and then Devastation.
- Annihilators/Annihilators: Earthfall - Read Annihilators first.
That GOTG run is something that I’ve definitely been meaning to get into, and I think I’ll start to now…
Here’s an alternate reading guide with some added stuff and more links (courtesy of /co/) in case you guys really get into Cosmic Marvel. Last time I checked most of these stuff were hard to come by (there are very few trades that are up for sale and they are expensive) so when you have the money and the means and Marvel re-releases them or makes them available please buy them.
I highly rec the Nova stuff with Richard Rider since it kind of goes hand to hand with the stuff that happens in GotG and it also leads to Thanos Imperative (and then move on to Sam’s stuff when you’re done with it!) not to mention the Nova corps is in the movie.
Personally I didn’t really like Annihilators/Annihilators: Earthfall, IMO it’s only worth it because there’s a Rocket/Groot mini in there but other than that it wasn’t that great (and TBH it is very skippable).
Check out these awesomely nerdy sweaters from WE LOVE FINE!
You’ve probably never heard of Jackie Ormes and that’s a goddamn tragedy. But it’s not surprising—there is no “Jackie Ormes Omnibus” available on Amazon.com, no “Collected Patty-Jo ‘n’ Ginger,” no “Essential Torchy Brown.” She won no awards, can be found in no hall of fame, and is usually treated as “an interesting find” by comic historians. She’s become a curio, a funny little facet of history, undiscovered, even, by today’s wave of geek-oriented feminism.
Jackie Ormes was the first African-American woman cartoonist. Yeah. That’s who we’re ignoring. Her work for the Pittsburgh Courier and the Chicago Defender—both incredibly influential African-American newspapers—was utterly groundbreaking and remains unique, even in the context of modern comics. Her first work, Torchy Brown in Dixie to Harlem, featured the adventures of the titular Torchy, a stylish, intelligent young African-American woman who (feigning illiteracy) boards a whites-only train car to New York City and changes her life. Torchy’s story is a great, irreverent window into the migration of Southern-born African-Americans to the North, a movement that defined 20th-century America—but it is also the story of a girl on her own, living her own life and making her own choices. Torchy was an incredible aspirational figure, the likes of which barley exists in modern comics: an independent, optimistic, fashionable and adventurous black woman. Ormes would later revive Torchy’s story in Torchy in Heartbeats, a strip that introduced international adventure into the heroine’s life. In Heartbeats, Torchy traveled to South America, dated idealistic doctors, battled environmental exploitation and confronted racism at every turn. She was, frankly, awesome.
And then there was Patty-Jo ‘n’ Ginger, her most successful and longest-running work. Patty-Jo ‘n’ Ginger was a single panel gag strip, like Family Circus—an illustration with a caption beneath it. Ginger was a beautiful, stylish young woman always accompanied by her little sister Patty-Jo, a clear-eyed, sardonic kid who spent most strips calling out the bullshit they endured on a daily basis as black women. Ormes’ talents shine through especially well in these little stories: her canny wit, the absolutely gorgeous clothes she drew her women in (seen also in her Torchy Togs paper dolls) and her skillful, succinct way of imparting to the reader just how goddamn stupid our society can be about gender and race. Patty-Jo is never shamed or taken down a peg for being an intelligent, outspoken little girl—in fact, she was made into a highly popular doll that wasn’t an obnoxious Topsy-style stereotype. She preceded Daria, Emily the Strange, Lian Harper, all those wry little girls we celebrate today—and yet, I see her on no t-shirts, can find her in no libraries. Patty-Jo is celebrated only in doll-collecting circles at this point, as the cute little symbol of a bygone age.
At Jackie Ormes’ height as a cartoonist, her work reached one million people per week. In the 1940s and 1950s, she reached one million people per week. She didn’t just surpass barriers—she leapt merrily over them. She introduced the general populace to a voice that had always existed, but was seldom heard—a voice that is still smothered today. She created African-American women who unapologetically enjoyed glamour, who pioneered their own futures, who refused to keep silent about the walls they found themselves scraping against every day. I haven’t even covered the half of it: Ormes was also an avid doll collector, served on the founding board of directors of the DuSable Museum of African-American history, and was targeted by the McCarthy-led witchhunts of the 1950s. Remember Jackie Ormes. Celebrate Jackie Ormes. Visit The Ormes Society and support the essential work they do. Keep her memory alive so that we may enjoy a million more Torchys and Patty-Jos in our comics—instead of the paltry handful we are offered today.
(First in a series on women in the comics industry.)
The DC vs Marvel debate only makes sense if you’re talking about it from a business standpoint.
For example, Marvel has (recently) made better decisions regarding how to translate their characters to the silver screen compared to DC.
Marvel is innovating in a way that DC currently is not.
DC, despite all controversy, is a pioneer for rebooting their entire line, and initial sales prove that this was a wise financial decision, one that Marvel has since psuedo-imitated.
The DC vs Marvel debate is childish if it boils down to:
DC sucks because Marvel is better or I prefer Marvel because DC sucks.
I KNOW Marvel is better than DC. Has nothing to do with different universes at all. I just prefer the characters and writers and artists and events and stories.
So you don’t know, you just prefer.
And Marvel automatically loses points for letting Jeph Loeb write a book.
DC loses all points and may god have mercy on their soul
Actually Liefeld has written comics for DC and Marvel. Loeb wrote one of the best Superman stories of all time and Liefeld created Deadpool so what are either of you talking about?
Each of these companies has gone through dark times of bad management, crappy creators, and lack of progressiveness. Just because you prefer one universe doesn’t mean it’s better than the other.
Its a comic book kind of day! The Blurays were a Christmas gift from my little bro and sis, and the comics were a gift to myself for surviving comprehensive exams:-) #batman #wonderwoman #justiceleague #comics #bluray #captainmarvel #ooohshiny
Can any of you tell me how to sync my main Comixology account with my Android app? If I purchase a comic on the app it syncs to the main account, but not the other way around.
Captain Marvel #9 (Preview)
Previews Contain Spoilers
A PERFECT JUMPING-ON POINT FOR FANS NEW AND OLD! PART ONE OF A NEW STORY.
• Carol finally returns home, but is changed. What is weakening Captain Marvel’s powers?
• PLUS: Carol gets a JOB.
• Find out why CAPTAIN MARVEL is being hailed as one of Marvel’s best new series this year!
Available Wednesday, January 16th.
This is completely non-Damian related, but X-Factor and Young Justice (both the original comic series, as well as several for the cartoon series) writer Peter David just suffered a massive stroke December 30th 2012 while on vacation in Florida. According to his wife, Kathleen, on his blog “he has lost most of the use of his right arm, his right leg is incredibly weak, the vision in his right eye is blurry, and the right side of his face is drooping slightly.” Though he seems to be improving with each update, the cost of recovering from a stroke is immense.
I ask if you want to help PAD, please click the link above and help out by buying his books until they come up with a way to donate more directly. If you don’t have the money but still want to help, signal boost.
twelve days of dc christmas
Resentment of the Day: On Fake Geek Girls
‘Please, the Hawkeye Initiative is about drawing Hawkeye smut, nothing to do with with showing the disparity between the genders. There’s nothing wrong with that, but lets not call it something it isn’t. ‘
I did write a reply which some people wanted me to make re-bloggable, so here it is with some elaboration on why we need things like the Hawkeye Initiative.
Firstly, the Hawkeye Initiative is all about showing disparity between the genders. It was created solely for that reason, and of course to have a laugh at the industry’s expense at the same time. What better way to show the difference between the depiction of women in the comic media then by swapping the genders of the characters being presented?
In most cases, people won’t recognize things like the presentation of women in the media until the tables are turned. This initiative isn’t the first time someone has used it to illustrate such a disparity either. Some examples:
Breakdown of ‘if men posed like women’
While this initiative may not seem like much to you, it means a lot to many of us who are sick and tired of women depicted as nothing in comics other than a walking set of breasts. (Or asses, or both.)
Yes, it’s all in good fun and is pretty much just us having a laugh; and some people may be doing this for less than noble reasons. But that doesn’t negate the gender disparity issue this initiative is making fun of. Just yesterday when I shared my Hawkeye drawing on Facebook I was met with comments like:
‘Sex sells, so of course women are presented this way in comics.’
‘The guys are half naked too so maybe you should complain about that instead.’
‘You want to take the sexiness away from comics, prude.’
Comments like this usually arise when the representation of women in the media comes up, but there-in lies the problem and what I feel is a miscalculation of the comics audience. People say that ‘sex sells,’ but I’d like to at least think that quality comics featuring realistic and relate-able characters and their stories is worth far more to the average reader than how low cut Catwoman’s costume is.
And even if it is the case that ‘sex sells’ to the lowest common denominator of your buyers, is that worth the numbers of readers who will drop the books who start overly sexualizing women for no reason? The comics market, and the audience has changed. The fact that publishers are still sticking to an unsubstantiated prehistoric paradigm who assumes that their audience is just a bunch of sweaty virgins who will throw money at anything with a pair of breasts is insulting, to me and to their ‘target audience.’
Comic sales have been dropping steadily over the years, in 1966 the biggest selling title of the year as Batman from DC comics, they sold just under 900,000 copies.
In 1969 it was Superman, with just over 500,000.
In 1995 Marvel sold over 300,000 copies of Fantastic Four volume 2, #1.
In 2009, the highest selling comic was DC’s Blackest Night issue #3, which sold exactly 140,666 copies.
These days it’s phenomenal for a comic to break the 200k mark in sales, and there has been a steady long-term decline, with a small improvement in 2000 due to things like selling trade paperbacks and all of the comic book movies that had come out at the time.
Some of our comics are moretitillating than ever, so if ‘sex sells’ then why aren’t we selling more comics?
For that matter, why aren’t comic publishers like Zenescope and Big Dog Ink comics whose entire business model is based on the idea that ‘sex sells’ constantly out-selling the publishers like Marvel, DC and Image?
In 2011, Diamond’s final sale figures list the first company that wasn’t Marvel or DC to make it into the top 1000 best selling comics list for the year was IDW at 102 with ‘Godzilla – Kingdom of Monsters’ selling 71,700 books. Next, Image made it to 120 with ‘Spawn,’ selling 67,900 copies.
In fact, Zenescope first appears on the list at 487 for ‘Grimm Fairy Tales’ volume 9 with a mere 2,300 sales.
Gail Simone has pointed out that suggesting that we hate sex in our comics and want to ‘take the sexy’ away in comics is ridiculous, and it’s not what we want at all. I love sex in my comics and can enjoy seeing sex in comics, but my enjoyment comes down to how it’s presented.
Take these two examples of sex and ‘sexy’ female characters from two books that have come out in the past year or so. Catwoman #1 from DC and Conan the Barbarian #3 and #10 from Dark Horse.
In the first issue of Catwoman there was that infamous sex scene. I for one wasn’t bothered by the idea of a sex scene, especially one between Bruce and Selina. I think they’re a highly sexually-charged couple with a lot of potential for some hot and steamy rendezvous, but like most people who had an issue with this scene - I didn’t like the way it was presented to us.
For starters these scenes are about the male gaze. Selina is usually posed in ways to make both her buttocks and her breasts visible to the reader, even when it makes no anatomical sense.
Even in the last climactic panel when we assume they’re actually ‘doing it,’ we cannot even see Bruce’s face. We don’t know if he’s enjoying it, from what we can see it looks like he’s just sitting there not engaging with Selina at all. Like the viewer he seems like just a spectator, or another inanimate object for Selina to pose all over.
Not to be crude, but nothing ruins my lady boner faster than a guy who looks like he doesn’t even care if he’s having sex with me or not. For it to be hot for me, it has to be hot for him too.
Conversely, let’s look at a couple Conan and Belit’s sexual encounters. One thing to know about Belit, is that like Selina Kyle – this woman is sex on legs. She usually doesn’t wear much, at all… funnily enough Belit can usually be seen wearing more clothing just before sex than when she’s casually walking around her ship. However there is a huge disparity between the way Belit and the way Selina are both drawn from panel to panel.
During a lot of the sex scenes drawn by Becky Cloonan the emphasis is on touching and facial expressions. You rarely get a full-body glimpse of the couple, but the moment is still intense and you get the sense that the pair is a tangle of sweaty bodies and body parts.
In a later issue in a scene drawn by Declan Shalvey we have a clearer view of the couple in the throws of passion, and yet again we can see a lot of unbridled passion and intense need from both Conan and Belit. Conan isn’t just laying there like a dead fish, nor is Belit posing for a viewer she doesn’t know is there. Both characters are right there with each-other in the moment, not taking a second away from each-other and not being distracted by anything other than their (shared) passion.
For further reading on the disparity between the presentations of gender in comics I highly suggest reading Kelly Thompson’s, ‘It’s Not Equal.’ Especially before you’re about to spout something like ‘men are also objectified and idealized in comics.’
And lastly, think about this - the entire blog and idea of The Hawkeye Initiative wouldn’t exist for you to have an opinion on if such silly comic covers and pin-ups didn’t exist in the first place. So if you really feel that strongly, take your anger out on the industry that’s helping fuel blogs like this.