Right from the start, Sam Humphries and Dalton Rose's Sacrifice is identifiable as a work of passion. It was self-published – a risky proposition in the direct market – and it was a story of personal importance to the author. Humphries has epilepsy, and Sacrifice is the story of a boy whose epilepsy isn't only a source of frustration and anguish, but also a superpower that propels him into an adventure at the zenith of the Aztec civilization – and perhaps also provides the ultimate key to his agency.
That's not the only source of passion evident in Sacrifice, though. The premise of the series – a suicidal Joy Division fanatic has a seizure that sends him back in time to before Cortés' invasion of the Aztecs – provides a venue for Humphries to spit fire over how profoundly outrageous and angering the perception and purported 'history' of the Aztecs is. As someone fascinated by and familiar with the truth about the Aztecs, Humphries uses the series' bedrock of time travel, violence, and destiny, to help readers take a step towards that truth.
For the most part, mainstream comics don’t care about fashion. But sometimes, something sneaks through and reminds us all of why this matters. Sensation Comics #7, illustrated by Marguerite Sauvage from a script by Sean E. Williams, is that rare, trembling shaft of light into the dank, Dragon Ball Z-print-button-downed basement that is the state of fashion in comics.
It is a truth, universally acknowledged, that Fabien Vehlmann and Kerascoët's Beautiful Darkness has been one of the undisputed standouts in the not unglorious year of comics 2014. Originating from the mind and sketch/notebooks of Marie Pommepuy (she, and partner Sébastien Cosset collaborate under the pen-name Kerascoët), the story of a group of tiny people springing from the body of a dead girl in the woods and the vicious lengths and efforts they go to to survive is appreciable on several, complex levels. One of the facets of great art is that it lingers in the mind, burrows and shifts, dredging up thought and questions, analyses, re-evaluation, and Beautiful Darkness is no different. And so, to accompany my original review, I've compiled a deconstruction of sorts presented here as various questions (answered and unanswered) and theories that dig further into the text and its potential readings.
This week, Laika and Focus Features release their stop-motion animated feature The Boxtrolls in theaters nationwide, and it seems poised to stand alongside Laika's previous films Coraline and ParaNorman in the ranks of offbeat, slightly spooky, perennial family favorites.
ComicsAlliance got the chance to speak with some of the film's creative team at this year's San Diego Comic-Con, and today we present our conversation with acclaimed animator and Laika CEO Travis Knight.
As a man who reads superhero comics, I confess that I share a commonly-held prurient interest in big-chested, long-legged heroes in skin-baring costumes that barely cover their naughty bits -- or as I like to call him, Namor.
Sadly, Namor is pretty much alone in his category. Contrary to the perception that male heroes in comics are frequently sexually objectified, it's my experience that even Namor is only rarely presented as someone to lust over. Yet I'm fortunate that my tastes run towards the Hemsworth end of the scale. Like many straight men, I admire the kind of buff dudes that are the staple of superhero comics, even though they are rarely sexualized. If I shared the tastes of most of the women I know, I think I'd find superhero comics an even more frustratingly sexless wasteland.
It's Celebrate Bisexuality Day today, also called Bisexual Visibility Day -- a day to celebrate and promote recognition of those who are sexually attracted to people of more than one gender. The day exists because people with non-monosexual queer identities face unusual challenges in being recognized by both mainstream and queer cultures, yet visibility helps break down barriers and encourage acceptance.
In superhero comics, the problem of bisexual invisibility is as ingrained as anywhere; the medium struggles to acknowledge the existence of anything that didn't exist in The Honeymooners or The Andy Griffith Show, unless it's a space god, a shapeshifter, or a parasitic psychic monster. Having a character say, "I'm bisexual" is apparently more implausible than any of those things. There are signs that the industry is changing in this regard -- but slowly, and rather half-heartedly.
The Finnish postal service launched its most successful limited edition stamps of all time last week -- featuring a pair of pertly muscular buttocks and a naked man being straddled by a biker. Advance orders for the stamp came in from 178 countries worldwide, and people lined up on launch day like the stamps had an Apple logo on them.
The reason for the stamps' appeal -- beyond the objective appeal of buttocks -- was the artist responsible, one of the nation's most successful comic book creators: the legendary homoerotic artist Tom of Finland. As part of very important series of articles about men as comic book pin-ups, ComicsAlliance explores the work and legacy of Tom.
In an interview with The Telegraph's Radhika Sanghani, Marvel editor-in-chief Axel Alonso offered some insights into how he regards the superhero comic industry's treatment of female characters -- and his own intentions towards diversity.
The interview is chiefly noteworthy for confirming what already seems apparent from recent changes in Marvel's line-up, namely that Marvel understands and is responding to demographic changes in the marketplace. "We believe there's an audience of women out there who are hungry for this [product] and we want to make sure they get it," said Alonso. "This is affirmative action. This is capitalism.”
Teen Titans Go is big, loud, and uncompromisingly silly. Recent episodes have included animated puppets, time-traveling with George Washington, and a subplot devoted to Starfire wearing a rubber mask of an old man's face and referring to herself as Jeff.
Nearly every character is voiced by their actor from the original 2003 series, which, paired with Dan Hipp's vivacious art direction, makes for a frantically fun trip down the more ridiculous avenues of childhood. As the second season kicks into high gear, ComicsAlliance spoke to Tara Strong (Raven), Scott Menville (Robin), and Greg Cipes (Beast Boy), and producers Michael Jelenic and Aaron Horvath, about getting the band back together, testing what they can get away with, and keeping things weird.
Terry Moore writes almost exclusively about women. He self-publishes his work through Abstract Studios, his independent Houston-based imprint, and he's been doing the kind of stuff that's currently inspiring strurm-und-drang in the comics world ever since the Internet first tied up our phone lines.
Today he works on Rachel Rising, a horror story where a pretty young murdered woman wakes up in a shallow grave and decides to take back her life — or, at least, her afterlife — from the otherworldly forces that wrenched it from her. With work ranging from science fiction (Echo) to epic love story (Strangers in Paradise), and even some superhero experience (Spider-Man Loves Mary Jane), Moore cuts a distinctive creative figure in the industry. ComicsAlliance spoke to him at San Diego Comic-Con to discuss female comedians, stories about underdogs, and the future of self-publishing.
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