The mythological demigod Hercules is bisexual. How you feel about that fact doesn't change the fact; the myths of antiquity have told us that Hercules loved women and men alike. Lustfulness is at the core of his character, and Hercules' appetites aren't limited by gender.
Like many ancient myths, and like much of history, Hercules' stories have been bowdlerized by those who think same-sex relationships are sinful. Audiences introduced to the character through the Disney cartoon, the Kevin Sorbo TV show, the Dwayne Johnson movie, or the Marvel comics have good reason to think the character is heterosexual, because that's all they've ever seen. But that doesn't make it true. Hercules is bisexual. To deny that fact is to participate in the erasure of same-sex relationships on the grounds of a narrow and prescriptive morality.
Take the "bald journo in the dirty cyberfuture" of Transmetropolitan, take out the aggro and the orange, and center the story on his desire to please a woman --- a woman who wants, with elegant refinery, to dominate him --- and that's Junction True. In this technorganic near-future, there's... a process that's available, for those who really want to commit to the dom/sub bond. It's dangerous. It's illegal. It's what they want.
ComicsAlliance spoke to Ray Fawkes, who wrote the script for artist Vince Locke, about some of the decisions that went into his creative process.
When the DC Universe came out of Convergence, one of the biggest changes came from Superman. Not only was the Man of Steel back in the t-shirt and jeans look that he was rocking back at the start of the New 52, but his secret identity as Clark Kent had been exposed, leaving new writer Gene Luen Yang and returning artist John Romita Jr. to explain just how that went down.
It's a big change in the status quo, so to find out more, ComicsAlliance spoke to Yang about taking on the world's first superhero, collaborating with one of his favorite artists, and changing the dynamics between Clark, Jimmy Olsen and Lois Lane.
Brian K. Vaughan’s newest series, We Stand On Guard with artist Steve Skroce, returns the writer to the realm of political allegory in the blunt tradition of George Orwell’s greatest novels. Here Vaughan and Skroce are addressing the 2003 Invasion of Iraq through a science fiction narrative. We Stand On Guard takes place about 100 years in the future when the United States invades Canada after the White House is bombed in a drone strike from an unknown source. The story jumps from the initial invasion to 12 years in the future when the United States occupies Canada and only small bands of freedom fighters struggle against the American troops.
When Doctor Who made its triumphant return to television screens in 2005, with Christopher Eccleston in the role of the ninth Doctor, no-one could have guaranteed that the show would still be a hit ten years later. Yet Doctor Who endures, and with it comes the comic book spin-offs from Titan Comics that explore and expand the stories of the ninth, tenth, eleventh, and twelfth Doctors.
Cavan Scott continues his writer’s commentary for the five issue Doctor Who: The Ninth Doctor mini series with his notes on issue #2, exclusive to ComicsAlliance. Last month we met some stylish new alien races and left Rose Tyler in calamitous peril (oh, Rose). Grab your copy of Doctor Who: The Ninth Doctor #2 and read along as the story continues!
Many of comics’ most popular heroes have been around for decades, and in the case of the big names from the publisher now known as DC Comics, some have been around for a sizable chunk of a century. As these characters passed through the different historical eras known in comics as the Golden Age (the late 1930s through the early 1950s), the Silver Age (the mid 1950s through the late 1960s), the Bronze Age (the early 1970s through the mid 1980s) and on into modern times, they have experienced considerable changes in tone and portrayal that reflect the zeitgeist of the time.
With this feature we’ll help you navigate the very best stories of DC Comics’ most beloved characters decade by decade. This week, we’re taking a look at the best Captain Marvel comics.
My earliest encounters with transgender characters came in Vertigo comics in the mid-90’s, especially Wanda in Sandman and Coagula in Doom Patrol. Wanda dresses a bit like a drag queen (and dies a tragic death), and Coagula is a sex worker, but they both felt like real people, which is not how I’d ever previously been encouraged to view trans people in any medium. Growing up, reading comics has always played a role in my understanding of my own identity and worldview. I certainly wouldn’t say comics had an effect on my gender, but they definitely affected my understanding of gender.
Recently, I’ve been wanting to look back farther than Wanda and Coagula and the mid-90’s. Amidst recent discussions of trans representation in comics, I’ve found myself thinking about what preceded trans characters in comics, before there was any chance of them existing.
It’s funny, fitting, and sort of cruel that Ant-Man’s version of the Wasp is named Hope.
The comic-book version of the Wasp is named Janet van Dyne, the longtime romantic and crime-fighting associate of Hank Pym’s Ant-Man. The film’s Ant-Man is Scott Lang (Paul Rudd); its Hank Pym (Michael Douglas) is an older man who retired many years earlier. Hope (Evangeline Lilly) is his daughter, grown to adulthood and desperate for the opportunity to be a hero. Her father, though, has other ideas.
Last month, Denny’s unveiled a special menu of six new items tied to Josh Trank’s upcoming reboot of Fantastic Four. At the time, I was having issues with my press pass for Comic-Con; in a moment of extreme stupidity, I jokingly messaged ScreenCrush editor-in-chief Mike Sampson: “If I don’t get into Comic-Con, I’ll go to Denny’s and eat all of these meals and write about it.” His response: “Uh, now you’re doing that anyway.”
Reading Black Canary wasn't just reading another comic book --- the character comes with a lot of baggage for me, so I felt bound to be more critical of it than I am of any other book. But by the time I finished issue #2, I felt like a character I'd loved for a long time had been given a new life. This is what we should want for our heroes.
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