In which we continue our delve into the eldritch end of the X-Universe, Illyana Rasputin has a rough childhood even by X-Men standards, Kitty Pryde is a Niven fan, Limbo is way metal, Vincent Price is our Belasco, and Rachel and Miles have feelings about female friendships in Claremont's X-Men.
For weeks, a friend of mine had been asking if I’d attend Marvel Universe Live with him. For weeks I had been saying “no,” because I had little interest in attending a two-hour production geared for kids that mainly consists of people running around in costumes on the floor of Brooklyn’s Barclays Center. The mistake I made was mentioning this to my editor, who then insisted it would be a good idea for me to attend.
Movie rumors on the Internet are notoriously difficult to verify or confirm. (What I've started referring to as the Katee Sackhoff Incident is proof enough of that.)
So take this with the appropriate grain of salt: Collider, citing unnamed sources, is reporting that Marvel Studios is moving ahead with an Inhumans movie, with a script written by Joe Robert Cole, a writer who worked his way through the studio's in-house writing program.
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, it's Magneto's family reunion, which involves a talking cow. Really.
Each week, ComicsAlliance’s Chris Sims and Matt Wilson host the War Rocket Ajax podcast, their online audio venue for interviews with comics creators, reviews of the books of the week, and whatever else they want to talk about. ComicsAlliance is offering clips of the comics-specific segments of the show several days before the full podcast goes up at WarRocketAjax.com on Mondays.
This week, Chris and Matt start off by gushing about Grayson #2 by Tim Seeley, Tom King, and Mikel Janin. Then, they do pretty much the opposite to Genius #1 by Marc Bernardin, Adam Freeman and Afua Richardson. Then, it's back to gushing about Moon Knight #6 by Warren Ellis, Declan Shalvey and Jordie Bellaire!
When Wendy and Richard Pini released the first issue of Elfquest in 1978, the landscape of the comic industry was wildly different. The "direct market" model of retailing was still in its infancy, with a loose network of regional companies distributing titles to comic shops around the country, and there was a sharp divide (in both content and style) between the mainstream superhero titles of Marvel and DC, and the adult-themed "comix" from underground publishers. Star Wars was a pop culture sensation, and the public was hungry for more adventure, seeking out all manner of sci-fi and fantasy in theaters and bookstores.
It was the perfect moment for Elfquest to appear, and almost immediately, the Pinis had a best-selling comic on their hands. Within a few years, they sparked a second revolution, collecting Elfquest in a series of full-color paperbacks that pioneered the influx of comics into mainstream bookstores, and effectively laid the groundwork for the graphic novel market.
Now, 36 years later, they're still working on their signature creations, and have partnered with Dark Horse to publish a new series, Elfquest: The Final Quest, as well as new collections of the original series and a special "Gallery Edition," shot from the original artwork. ComicsAlliance got the chance to catch up with them at the Dark Horse booth at San Diego Comic-Con, and discuss how Elfquest has impacted the world of comics, both creatively and business-wise.
Q: Just watched the latest Here's The Thing. I'd love to hear you expound on some of the attempts at re-creating Spider-Man. -- @stophatinisbad
A: In case you missed it, this week's episode of Here's The Thing was focused on the idea of legacy and how it shaped the Green Lantern franchise -- and how it ultimately failed to really take hold in the way that it did in books like Flash and -- but one of the things I mentioned was that Kyle Rayner was one of many attempts to create a character in the mold of Spider-Man. It happens like clockwork, not just at DC and Marvel but across the board, and it's one of the most important aspects of how superhero comics developed.
So really, I'm glad you asked, because the reason behind this gives me a chance to dive into some of my favorite subjects, like the socioeconomic impact of the rise of the teenager as a social construct, and how that led directly to the creation of Darkhawk.
Welcome back to Rachel and Miles X-Plain the X-Men, a weekly podcast in which X-Perts Rachel Edidin and Miles Stokes explore the ins, outs, and retcons of fifty years of Marvel’s greatest superhero soap opera!
This week: Dr. Nemesis is delightful, Bill Sienkiewicz foreshadows himself, Dracula hits on absolutely everyone, Blade Godwins a crossover event, Jubilee get a jet ski, the X-Men do Castlevania 2, Rachel and Miles pick a vacation destination, and Cyclops wants you to follow your heart.
This week, Marvel Comics announced that it's planning to publish a new printing of the Howard the Duck Omnibus in October, collecting the character's first appearance, all 33 issues of the original Howard the Duck series, and several other appearances in Marvel Team-Up, Marvel Treasury Edition, and Man-Thing.
It's the first time the omnibus has seen print since 2008, and it's a great resource for anyone looking to familiarize themselves with Howard -- a great, satirical character often held in low regard because of the 1986 movie. It's also an opportunity to get to know the work of Steve Gerber, the writer who co-created the character with artist Val Mayerik. Gerber died in February 2008, six months before the original release of the omnibus, and did not hold very positive feelings towards Marvel for decades after his Howard the Duck comics were first published.
Guardians Of The Galaxy just enjoyed a very successful weekend at movie theaters, taking home around $94m, far in excess of expectations. The movie also stands at 92% positive reviews on aggregator site Rotten Tomatoes, joining all previous Marvel Studios movies in receiving predominantly favorable notices.
Marvel Studios is doing very well. In six years and ten movies, it has avoided both critical and commercial disasters, and frustrated naysayers who hailed the demise of the superhero movie at every step. Marvel's rivals at Fox, Sony Columbia, and Warner Bros, have enjoyed commercial success as well -- but not with the acclaim, consistency, or proliferation of Marvel. So how does Marvel do it, and can they keep doing it?