Q: Why do you think the X-Men didn't find their audience until two decades after they were created? -- @godofthunder851
A: I've got a minor quibble with your timing in this question -- it was more like 12 or 15 years, really -- but you've got an interesting point there. I think most comics readers are well aware of that piece of trivia about how the X-Men were about to get the axe before Giant Size X-Men #1 breathed new life into the franchise and set them on the path of becoming what was probably the single most popular and influential franchise of the '80s and '90s, and that's not really how things usually work. In comics, you tend to either come out of the gate to massive, enduring popularity (like Batman or Spider-Man), come out strong and then fade away for whatever reason (like, sadly, Shazam!), or just sort of flounder in the midcard. It's rare that something sticks around on the edge of being canceled for a solid decade before it finds its footing, and nobody bounced back harder than Marvel's Merry Mutants.
But really, what you're asking here is two separate questions: Why didn't the X-Men take off in 1963, and why did they in 1975? So let's look at the history and see if we can't figure it out.
DC Comics' event series pitting its bad guys again some even worse guys from another universe reaches its penultimate installment this week, as the home team of villains finally takes the fight to the evil invaders from Earth-3, the evil universe! Which of course means our super-close reading of this superhero epic also reaches its penultimate installments.
I think it's safe to say that Spider-Man has been through some pretty weird stuff in his time, right? I mean, that's a fifty-year saga that started with a radioactive spider-bite that gave him limited psychic powers and super-strength that he immediately used to try to find fame as a professional wrestler, and the fine folks over at Marvel Comics have somehow managed to top that for weirdness time and time again. Heck, right now, Spider-Man comics are in the midst of a supervillainous Freaky Friday story that has been running for over a year. That should tell you something.
But for my money, the absolute craziest and most hilarious Spider-Man story in years isn't the one you'll find in the comic shops on Wednesday. It's the one that's happening right now in TheAmazing Spider-Man newspaper strip, by Stan Lee, Larry Lieber, Alex Saviuk and Joe Sinnott.
Turning 30 isn't everyone's favorite, but when it comes to Kevin Eastman and Peter Laird's Teenage Mutant Ninja Turtles, it's nothing but a cause for celebration. To commemorate this mutant milestone, in May IDW will release its Teenage Mutant Ninja Turtles 30th Anniversary Special, an anthology bursting with all-new content from a selection of the comic series' most influential creative teams. If that's not enough, the anthology will come wrapped in the first official TMNT collaboration between Eastman and Laird in years. To get the full scoop, ComicsAlliance got in touch with Eastman and TMNT editor Bobby Curnow. Click through to read the full interview and see the brand new Eastman and Laird art, along with a piece by Eastman, Simon Bisley and Ryan Brown.
Valentine's Day is upon us once again, which means that tomorrow, we are all legally required to give the people we love little pieces of paper that sum up exactly how we feel about them, in tribute to a Catholic saint who was clubbed to death and beheaded. Truly, it is the most romantic of all times.
But for superhero fans, it does present a problem. Obviously, we all want to express our devotion to romantic partners while also expressing our devotion to our favorite characters, but are any of the superhero valentines that you can find in stores across the country actually good? If you pick up the Batman valentines at your local Target, will your love life be soaring to new heights above Gotham City, or will it be gunned down in an alley leaving you alone to wage war on crime? It's a daunting task, which is why every year, I take the hit for you to find out if there are any good store-bought superhero valentines.
James Baldwin once described America as a "country devoted to the death of the paradox." He was right, of course. We're more comfortable seeing things in extremes, in black and white. A person from one culture or background can be instantly labeled as an upstanding citizen, exemplifying everything good about "real America." Superman is from Kansas, not San Francisco.
But if you're from another background, you can be instantly labeled as something else entirely: lazy, entitled, a thug, "Un-American." To many, there are those who fit into a certain label based on where they grew up, what school they went to, what church they attend. To think otherwise, to consider that there is more to us than blanket, largely basely assumptions, isn't as easy. And for many, it's too uncomfortable. It's too much work.
Ms. Marvel #1 stands in stark contrast to that sentiment. Written by G. Willow Wilson and illustrated by Adrian Alphona, each major character introduced in this first issue is a celebration and exploration of the paradox. It is a book full of characters who remind you of people you know, or people you knew. It's a book that's unique, but nonetheless familiar. It is also, by almost any measure, one of the best first issues of a superhero comic in years. And, if we're being honest, it probably needed to be.
After almost 20 years of great stories from the same team of creators, you could probably be forgiven for thinking that a comic book might run out of steam just a little, but the return of Kurt Busiek, Brent Anderson and Alex Ross'sAstro City last year proved that wrong by a long shot. It is, with no exaggeration, as good as or better than it's ever been before, taking the idea of focusing on "ordinary people" in a world of superheroes into new directions with amazing, heartfelt stories. With May's Astro City #12, they're adding another wrinkle: For the first time in the history of the series, another artist will take on a regular issue of the series: Graham Nolan, best known for his work on Batman.
To find out why the decision was made to open up their book to another artist after so long and why Nolan was the best fit for the story, I spoke to Kurt Busiek about art, scheduling, and the return of Astro City.
The chief spokesman for the former camp, Dennis Barger, Jr. of WonderWorld Comics in Michigan, said the cover sexualized young girls and was just not appropriate for children, who are the future of the comics industry. He's got a point, but whether it's the Powerpuff Girls cover he should be going after is debatable.
A: Comic book lettering is up there with inking and coloring in the holy trinity of underrated comic book skills, but it's also one of those things that, once you start paying attention to it, you'll never be able to not notice it again. I'm not exaggerating even a little bit when I say that it's one of those things that can absolutely ruin a comic if it's done wrong, even if everything else is perfect. But to be honest, of those three elements, lettering is still probably the most underrated.
The thing is, when it's good, it can be absolutely gorgeous in its own right. And fortunately for us, there are a lot of people who do it very, very well.
Last week, two of the very small handful of writers still working on DC Comics' New 52 titles they launched announced they were finally ending their runs. In the case of Teen Titans writer Scott Lobdell, the catalyst was the complete cancellation of the title with issue #30. Nightwing, meanwhile, will continue, but Kyle Higgins won't be writing it.
A distinctly different animal than the independent cartoonist, creators-owned collaboration or even work-for-hire artist, writing gigs in ongoing cape comics have always been fluid, but the turnover seems to be faster and more common now than it's ever been. Whether a result of cancellations, writers moving on to other things (often finite, creator-owned work), or creative differences with editorial, Marvel and DC writer runs are getting shorter and shorter.
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