Internet privacy is easily one of the most confusing realities of life in the 21st century. It's the best ongoing story in collective awareness, complete with heroes, villains, victims and martyrs, turning points, and insane plot twists that regularly put The Good Wife to shame. PRISM, Wikileaks, Julian Assange, Chelsea Manning, Edward Snowden, XBox One, social engineering, News International, Anonymous, and even our stupid Facebook updates are all involved. Every player and plot-line are all tangled up in a worried knot that gets bigger and more complex every year. It's all one story, and we're all living it; spectators, beneficiaries, victims, and contributors. It's one of the defining issues of our age, a still-forming zeitgeist that could be explored for years to come.
Just not in comics. Because nobody's going to top Brian K. Vaughan, Marcos Martin, and Muntsa Vicente's The Private Eye.
Warner Bros. Animation's DC Nation shorts produced some pretty fantastic material and shined a mass media spotlight on a lot of obscure DC Comics characters. But my favorite, hands down -- and that of many viewers -- was the animated reimagining of Dan Mishkin, Gary Cohn and Ernie Colon's Amethyst, Princess of Gemworld. Over the course of seven 75-second shorts produced, directed and designed by artist and animator Brianne Drouhard, Amy Winston was upgraded from an '80s straight-faced sword-and-sworcery concept to a a synthesis of gamer culture and magical girl anime, starring a contemporary young woman pulled into a funny and dangerous video game world where she's a princess of destiny set on a quest to battle skeletons, slay dragons and save the world.
With the series of shorts concluded and available to watch online, we spoke to Drouhard about how she pitched the fan-favorite story, the trials of adapting her illustrating style for animation, and why it was important for Amethyst to have video games in her life. We also got plenty of gorgeous Amethyst art from Drouhard in the process.
DC has a Wonder Woman problem. Or perhaps more accurately, Wonder Woman has a DC problem. The idea of Wonder Woman as a feminist icon is so imprinted in her history, and in analysis of the character, that separating her from feminism should be near impossible. But that hasn’t stopped people trying.
Much has been written over the years about the ebb and flow of feminism in the Wonder Woman comics, the relative feminism of her appearances on the small screen, and her role as an icon for the movement. A recent interview with the new Wonder Woman creative team of Meredith Finch and David Finch has brought the topic back into focus.
There's a funny thing about superhero movies: Structurally speaking, they're fundamentally different from superhero comics, just by the very nature of how they're presented to the public. Or at least, they used to be. Until fairly recently, the appeal of comics had always been in the continuity, the ongoing sagas that built on each other and were designed to run indefinitely as a long-form narrative. The movies -- even when they were designed to kickstart a run of sequels -- were always meant to be self-contained stories.
That's flipped around the other way over the past ten years or so, with comics often looking to provide low-continuity, self-contained stories to readers picking up paperbacks and hardcovers even as the movies build billion-dollar franchises by creating a shared universe that stretches across multiple forms of media. It's no surprise, then, that if you really want to see where that trend got its start, you can trace it back to Batman '89 and the influence that came to the comics when screenwriter Sam Hamm was tapped to craft a story for Detective Comics #600 and provided the blueprint for the modern Batman event in the process.
Michael Uslan's name might not be known to most comic book fans, but he is probably one of the most important figures in the cinematic history of superheroes. He obtained the film rights to Batman in the late 1970s, spent ten years fighting to bring a project to fruition, and since the completion of Batman '89 twenty-five years ago has been credited as producer or executive producer on every major cinematic Bat-project since (including Batman: The Animated Series, Mask Of The Phantasm, the Christopher Nolan trilogy of Dark Knight blockbusters, and the upcoming Batman v Superman: Dawn Of Justice film). He's a life-long comic fan, a pop-cultural historian, a conversationalist, and an author (his memoir, The Boy Who Loved Batman, is an essential read for anyone interested in comics and comic-influenced media).
As the man largely responsible for Batman '89 existing at all, there's no person better suited to tell not just the story of the film's production, but the long and winding path the project had taken over the preceding decade on its way to success. But besides the unusual story behind Uslan's relationship with the Dark Knight on film, the producer told us about his broader goals for Batman and comic books in general, which went far beyond simply making a successful motion picture.
The X-Men did not have an openly LGBT team-member for almost their first forty years of publication. This was primarily an egregious act of self-censorship on Marvel's part, but it may actually have helped strengthen mutants as a queer metaphor. Where LGBT people couldn't be part of the X-Men's text, the experiences of LGBT people came to dominate the X-Men's subtext.
In the third of three essays examining the parallels between fictional mutants and real life LGBT people, I'll look at how the mutations themselves -- and the identity struggles of many X-Men characters -- served to underline the essential queerness of mutants.
On the occasion of the film’s 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton’s Batman ’89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan’s The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman ’89 down to the bone to get at what works, what doesn’t work, and what’s just plain crazy about Burton’s enduringly influential film.
Changing the racial identity of characters has become a contentious issue amongst fans of superhero comics and their adaptations in other media. The awful practices of casting white actors to play people of color, or of turning previously non-white characters into white characters, is all too common in movie adaptations of books, cartoons, TV shows, or even real life stories -- but rather surprisingly, superhero comics and their adaptations have mostly avoided this problem.
In comics, the controversy takes a different direction. Several white characters have become non-white, mostly in movies, and sometimes in reboots. Michael B. Jordan as Johnny Storm in the new Fantastic Four; Helena Bertinelli aka the Huntress in the New 52; Nick Fury in the Ultimate Comics line and on screen. These are changes that agitate some readers -- but realistically, the changes don't go far enough. Superhero comics have a cultural bias towards white characters that has everything to do with their institutional history and nothing to do with what makes sense to the stories.
On the occasion of the film's 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton's Batman '89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan's The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman '89 down to the bone to get at what works, what doesn't work, and what's just plain crazy about Burton's enduringly influential film.
I'm not a big fan of Tim Burton's 1989 Batman movie, which is celebrating its 25th anniversary this week, but there's definitely one thing that I think it did right. Burton's Gotham City, redesigned for the screen by Anton Furst, is absolutely beautiful. The Academy Award-winning production art direction is stylish, terrifying, visually engaging and arresting on a level that the rest of the movie has a hard time living up to, creating a world that looks like Batman could exist there.
It's also one of the movie's lasting influences on the world of the comics. Ever since Furst and Burton unveiled their version as a backdrop for the Joker blasting Prince from a boombox while trashing an art museum and Batman blowing up a chemical plant with his remote-control car, Gotham has adhered to their vision of the city, transforming from the bustling stand-in for New York that it was before and becoming its own unmistakable entity. And in true comic book fashion, the comics accomplished this by blowing everything up and starting over.
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