Welcome to the latest episode of ComicsAlliance Presents “Kate or Die,” a series of exclusive comic strips created by one of our favorite cartoonists, Kate Leth! In this episode, Kate talks about the phenomenon of anonymous internet comments, and the brave, compassionate souls who leave them.
Opinion - Page 2
Welcome back to All For the Wookiee, where we take a look at the recent Star Wars universe offerings from Marvel and pick the most Star Wars-ish moments to share with you, dear reader. Today we’re joined by royalty for the first issue of the Princess Leia miniseries from Mark Waid and Terry & Rachel Dodson, with colors by Jordie Bellaire.
As usual, spoilers follow. You have been warned.
Q: What are the arguments against a shared universe? Like, would Hawkman be tolerable if he wasn't standing next to Superman? -- @Dan_Toland
A: I gotta say, I am probably the last person on the face of the planet that you should be coming to with this question. Not only do I love the concept of a shared universe in general, but I love it specifically in how it's evolved to become a defining feature of superhero comics, to the point where it's actually as much a part of what I think of when I hear the word "superhero" as powers and costumes.
On the other hand, I am also a dude who has never passed up an opportunity to make fun of Hawkman, so allow me to answer that part of your question first: No. Nothing will ever make Hawkman tolerable. Hawkman is the worst.
A lot of writers, when asked for advice on how to write better women characters, respond "treat them like people." While that's good advice, and sadly not obvious to everyone, it also misses some of the nuances that make up individuals. Writers who just write any character like they were a man miss a big part of the point. We live in an age where works with female leads are increasingly financially lucrative and thus attractive to publishers, so it's important that writers learn how to write a gender-diverse cast, even if their motive is profit rather than progress.
One of the most pleasant surprises of the New 52 relaunch was Francis Manapul and Brian Buccellato's run on The Flash. With clever, Will Eisner-inspired titles pages and chaotic compositions that emphasized movement rather than structure, Manapul's layouts were impressive without being superfluously...flashy. Eye-popping, complex designs weren't slathered across every page; they were saved for the moments when it best served the story. So it's not too much of a surprise that his work on Detective Comics looks completely different.
Where The Flash was colorful and kinetic, the current story in Detective Comics is a dark mystery, and appropriately, Manapul takes a different approach.
Welcome back to the ComicsAlliance post-show analysis for Agents of SHIELD, the spy show set in the Marvel Cinematic Universe. This is where we break down each episode using our unique S.H.L.E.I.D. recap system --- recapping the show, looking at highlights and lowlights, and exploring the show's relationship to both the comics and the wider Marvel movie world.
In this week's episode, Raina and Skye try to come to terms with their inhuman transformations, Coulson tries to take down HYDRA, and everyone loves dead Tripp. 'Aftershocks' was directed by Billy Gierhart and written by showrunners Maurissa Tancharoen and Jed Whedon.
The seventh issue of Grant Morrison's Multiversity, Mastermen, chronicles the story of Earth-10 (the pre-Crisis Earth-X), a world where the Nazis conquered America and won World War II and the Endless Reich is ruled by Overman, who's built a utopia on Hitler's massacres and doesn't feel very good about that fact.
We first met this version of the character in Final Crisis: Superman Beyond, when he was one of the Supermen on the Ultima Thule who traveled with Superman, Ultraman, Earth-5's Captain Marvel and the rest of the gang to try to stop Mandrakk/Dax Novu from destroying the multiverse, and all of the Monitors.
This issue is drawn by DC co-publisher Jim Lee, with inks by Scott Williams (and an assisting crew), and colors by Alex Sinclair (with assistance from Jeromy Cox).
The question most often asked of the ComicsAlliance staff is a variation of, "Which comic books should I be reading?" or, "I'm new to comics, what's a good place to start?" The Wednesday deluge of new comic books, graphic novels and collected editions can be daunting even for the longtime reader, much less for those totally unfamiliar with creators, characters and publishers, and the dark mysteries of comic book shopping like variants, pre-ordering, and formats.
It's with these challenges in mind that we've created Best Comic Books Ever (This Week), an ongoing guide curated by the ComicsAlliance staff. This is where new comics readers and seasoned Wednesday shoppers alike can find our picks of the best books the medium has to offer.
Over the past 40 years, Tom Batiuk’s Funky Winkerbean has transitioned from a gag-a-day comic strip about a high school to an ongoing chronicle of pure, abject misery. Thanks to the commentary on Josh Fruhlinger’s Comics Curmudgeon, I am now completely obsessed with it, which is why I spend a little time every month rounding up its finest examples of crushing despair.
I'm not going to lie to you, folks: Tommy B was in rare form last month. After crushing every ounce of hope I had left in me with January's monumentally disappointing Dick Tracy crossover, I assumed, having never learned my lesson about assumptions in the years that I've been reading this strip, that February would bring an upswing in quality. I mean, mathematically speaking, it would almost have to. And yet, Funky Winkerbean continues to defy all expectations. These strips might not have made me quite as angry as January's did, but believe me, folks: they get dark, even by Westview standards.
You don't have to look too hard to see the prevalence of difficult father-son relationships in the work of Jason Aaron. In Scalped with R.M. Guera, Dashiell Bad Horse was adrift in a sea of father figures, unable to choose his own path and incapable of avoiding the same fates that befell the father who left him. In 2014, Aaron launched Southern Bastards with Jason Latour, about a conflicted man who returns to the home of his dead father, a legendary lawman; and Men of Wrath with Ron Garney, is about a father-to-be on the run from his own dad, a hired killer.
Despite the prevalence of the topic in comics, Aaron has carved out his own niche when it comes to father-son relationships, with an unflinching perspective that rings truer than most.