Mutants, Marvel Comics' best known superhuman minority group, have long served as an imperfect analogue for real world minority struggles and injustices, from the concentration camps of Days of Future Past to the segregationist society of Genosha.
Yet it's when X-Men stories are not trying so hard to draw parallels that they come closest to representing the experiences of one particular marginalized group. In the first of three essays in observance of LGBT Pride Month, I'll look at the special resonance that mutants have with LGBT readers, starting with an examination of the X-Men as a representation of queer family and queer community.
Alien invasion stories have always been fertile ground for allegory. Throughout the history of the sub-genre, spaceships filled with arachnid creatures, little green men, shape-shifting Skrulls, omnipotent super-beings, and brain-eating slugs have come to represent oppressive and militaristic governments, Communism, the disenfranchised, and several more variations of the great and unknowable Other, usually influenced by politics or social issues. Yet with all the metaphoric territory the alien invasions have covered, in Image Comics' Trees, Warren Ellis and Jason Howard prove there's still plenty left unsaid.
Yesterday, May 26th, Herb Trimpe celebrated his 75th birthday. The prolific talent is often referred to these days as the artist of Wolverine's first appearance, and while that is certainly one of his many accomplishments, it's far from the whole story – he's compiled an singularly impressive CV over a comics career that spans seven decades, and built a reputation as one of the medium's most distinctive and reliable professionals.
I think I speak for everyone when I say that the most anticipated new comics release this week is the paperback collection of Jack Kirby's Devil Dinosaur. It's one of my all-time favorite comics, and while there was a nice oversized hardcover put out a while back, it's been out of print for far too long. It's one of the most underrated and exciting comics that the King ever produced, and while it's not exactly hard to find -- most of Kirby's later work is shockingly cheap if you're willing to flip through quarter bins for it -- the convenience of being able to snag it in paperback is a great thing for the world of comics.
The early ’90s were spoiled for choice when it came to comic book adaptations. Not only was Batman: The Animated Series on the air, but X-Men led Marvel’s push to get on the small screen, diving right into the often convoluted continuity of everyone’s favorite mutants, luring in a generation of fans, and paving the way for cartoons to follow. That’s why we’ve set out to review every single episode of the ’90s X-Men animated series.
This week: The battle against Proteus continues, and we get some daddy issues that are way over the top, even by X-Men standards.
You may have heard that this week sees the release of X-Men: Days of Future Past, which, as far as I can tell from the television advertisements, is largely about a school of mutants trained to use their innate super-abilities to eat bacon cheeseburgers. If this premise has tickled your fancy, but you have never yet dared to dip your toe into the X-Men comics due to the justified fear that it is a cesspool of continuity that comes from fifty years of time travel, clones, evil alternates, mind control, primordial cosmic space entities, and hacky/borderline racist international accents, don't worry: I am here to help. Here I have assembled for you, in roughly chronological order, a round number of X-Men eras and stories that should make things a little less intimidating should you choose to further introduce yourself to Marvel's merry mutants.
So what have you been up to the ast three months? If you're penciller David Finch or inker Richard Friend, you were probably drawing liking a maniac, while avoiding daily, shouty phone calls from editors, as the seven-issue, "monthly" series Forever Evil finally shipped its final issue this Wednesday, a good three months after its sixth issue dropped. The delay has caused some trouble in DC's line, as it delayed the release of tie-in issues, and created some glitches in storytlines (Perhaps the most notable was that two issues of the series Justice League United, which picks up where Justice League of America ended, shipped before the final issue of JLoA).
DC Comics announced via its August solicitations the cancellation of six of its lowest-selling New 52 titles: All-Star Western, Batwing, Birds of Prey, Superboy, Trinity of Sin: Pandora, and Trinity of Sin: The Phantom Stranger. The books' final issues ship in August, one month shy of the third anniversary of the New 52 initiative which rebooted the entire DC superhero line with fifty-two new or relaunched series.
The total number of New 52 titles cancelled or discontinued in that three year period now stands at 47, which means just five more cancellations will tip the company over into a new New 52; fifty-two books that didn't work out. Is that level of turnover unusual, and if so, what does it tell us about DC's strategy?
The new Godzilla film opening this weekend will be the 30th to star the worlds' most famous giant monster. Toho made 28 Godzilla films in Japan, divided by fans into three cycles, each with their own continuity—the Showa series, the Heisei series and the Millennium series—and then there was the ill-fated 1998 Roland Emmerich-directed film that served as a sort of How Not To Make a Godzilla Movie cautionary tale for the makers of the new film.
While the movies are undoubtedly Godzilla's source turf, he's expanded his territory into other media over the years, from cartoon series to prose novels to video games -- and, of course, comic books, which he's been starring in for nearly 40 years now. With that in mind, we present a helpful primer for the King of Monsters' adventures on the paneled page.
Adam Warren'sEmpowered is one of the best superhero comics being made today. Sometimes I think Empowered might end up being one of the greatest superhero comics ever. The elements are all there: engaging characters, a plot that springs from them organically, an inventive setting, and scads of emotion. Its parodical beginnings -- based in the jokey premise of superpowered woman Empowered de-powering as her delicate, stereotypically skintight super suit gets shredded in battle -- has transitioned smoothly into a darker present, and it’s an evolution that’s been met with little in the way of fan whining for “the good old days.” Yes, Empowered is funny, surprising, moving, and original.
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