Sailor Moon is inescapable. There’s the new anime of course, and the new musicals, the merchandise, and the retranslation of the manga. But it’s the emblem of a wider renaissance as well, a resurgence of love for mahou shoujo, or magical girl anime and manga — a movement led by women well out of their childhood years. A quick stroll through Tumblr reveals Sailor Moon cupcakes, punky Sailor Moon jackets, heartfelt essays about what the portrayal of lesbianism in Sailor Moon meant to the reader, dozens of artists working together to reanimate an episode of the anime, Sailor Moon nail art tutorials, cats named Luna, Beryl, Haruka and everything in between, hand-sculpted figurines, ornate embroidery projects, and an endless avalanche of fanart. Sailor Moon as an Adventure Time character. Sailor Moon cheekily clutching a Hitachi Magic Wand. Sailor Moon as a vicious biker chick. Sailor Moon protesting the Supreme Court's Hobby Lobby ruling.
Sailor Moon fans have not so much rediscovered their love for Naoko Takeuchi’s sword-and-sparkle epic as they have elected her queen mother of their imaginations and ultimate aspirational self. She is, simultaneously, symbol, cause, and leader.
This resurgence is animated by more than typical fannish passion. This is a need to return to a world where young women are in charge. This is an anger at the pabulum of Good Role Models for Girls, at boob windows and “fridging" and “tits or gtfo.” This is 15-year-olds covering their notebooks in “MERMAIDS AGAINST MISOGYNY” stickers, yet also gravely serious grad students applying bell hooks to Takeuchi’s use of Greco-Roman myth. This is a collective invoking of spirits, made more potent in their absence — Usagi Tsukino and all her friends as saints and saviors, carrying the light of childhood optimism to an adulthood in sore need of it. This is nostalgia as a weapon. “Pretty soldiers” indeed.
Next month, Otto Octavius will once again don the red-and-black tights and highly reflective lenses of his Spider-Man costume in Superior Spider-Man #32 by Dan Slott, Christos Gage, Giuseppe Camunicoli and Adam Kubert.
There's just one major problem with that: Octavius was inhabiting Peter Parker's body when he was Spider-Man, and Peter has that back now. He is the sole owner of his own body. So how in the world could the Doc Ock Spider-Man's title come back? The easy answer, of course, is simply "comics," but let's explore some of the possible explanations, shall we?
To celebrate the centennial anniversary of Superman co-creator Joe Shuster's birth, some of the men and women who've benefited from his tremendous artistic influence have paid homage to and shared their impressions of Shuster's work, his legacy, and his signature character.
Q: G.I. Joe: Where do I even begin with their myriad continuities? -- @Eric_R_Wilson
A: I've spent the past few weeks catching up on recent G.I. Joe comics with a stack of paperbacks that I picked up at HeroesCon, and while I've been really interested in seeing all the changes and new characters that set the IDW books apart from the original Marvel series, I'm still pretty surprised by this question. I mean, yes, there's a lot of G.I. Joe out there and a lot of different takes on that core idea, but when you get right down to it, it's no more complicated than your average superhero comic.
Which is to say that it's actually very complicated. Especially when the ninjas start getting involved.
Archie Comics has developed a reputation for doing the unexpected and somehow pulling it off. The wholesome publisher pipped Marvel and DC to the lead in launching an ongoing book with a gay teen protagonist in Kevin Keller; it broke with the conventions of comic book continuity with its attention-grabbing Archie Marries... books; and it successfully brought zombies to Riverdale with its critically and commercially successful Afterlife With Archie books, potentially kicking off a new line of horror books.
So it feels in keeping with that spirit that Archie Comics announced yesterday that it plans to relaunch its cheery (and under-exposed) Red Circle superhero line as 'Dark Circle,' a line of adult-oriented series with the sophisticated narrative ambitions of HBO or Showtime. It's certainly unexpected. Can Archie Comics pull it off?
Wonder Woman has been quite the topic of conversation of late, thanks to the news that the popular and critically-acclaimed Brian Azzarello/Cliff Chiang creative team would soon be leaving her title after a three-year run to be replaced by the already controversial team of Meredith Finch/David Finch -- who have already made some troubling statements in simply trying to promote their run -- and the news that Gilbert Hernandez will bring his talents to the character for Sensation Comics.
While we were all talking about the Finch family, feminism, and the premier female superhero in comics history last week, we may have missed the fact that DC Comics just published an excellent Wonder Woman comic, one that cherry-picked elements from her most popular iterations (her weird-but-awesome Golden Age persona under the guidance of her creators, the Lynda Carter TV show, Super Friends) and presented them in dismemberment-free, all-ages comic that could be enjoyed by anyone from the littlest girl to the oldest old man. A comic book that was both fun and funny, and had just a touch of good old comic book insanity.
An artist who played an integral role in the superhero renaissance of the late '50s and early '60s, and whose line lent a smooth and elegant air to every character he touched, Murphy Anderson is one of the true living legends of the comic book business. This week sees the artist's 88th birthday.
Anderson began his career in comics in the mid 1940s, and worked on titles for a number of different publishers over the next decade, including Timely/Atlas, Ziff Davis, Pines, and the company that would prove to be his primary home for the next four decades – National/DC Comics. In the 1950s, DC increased his assignments and he became a fixture of the company's sci-fi and superhero titles, pencilling a number of different features and providing inks for many of the early Silver Age's most enduring and influential stories, working over artists such as Gil Kane, Carmine Infantino, and Mike Sekowsky.
I was excited for Ms. Marvel from the moment it was announced. I reblogged it, retweeted it, called my mother about it, chatted it up at my local comic shop. But secretly, I was more than a little certain that it would suck in all the usual ways. Sure, the cover was splashy, and sure, I was hearing good things about G. Willow Wilson. But I was girded for — and expected — twenty or so lackluster issues before cancellation.
The first issue came out, and it was good. Really good. It was bright and fun and electric with personality in every way a comic can be, from its color palette to its ending splash. Still, though, I was unconvinced — fantastic first issues have given way to mediocrity before.
But the second issue was great. And the third. And the fourth. And with the fifth issue and the first arc completed, I feel that I can finally let out the breath I've been holding and say that Ms. Marvel is truly wonderful work.
The past few weeks have brought some truly surprising and exciting announcements from the Batman corner of the the DC Universe, but this one tops them all. Today it was announced that Cameron Stewart and Brenden Fletcher would be taking over as the new writers of Batgirl, with Stewart providing covers and layouts for new comics artist Babs Tarr.
Any one of those creators alone would be a pretty big deal deal, but while Stewart and Fletcher are pretty intriguing choices for the adventures of Barbara Gordon, the biggest news by far is Tarr, who will be best known to ComicsAlliance readers for her incredible cosplay-inspiring art and frequent appearances in the Best Art Ever (This Week) feature. This is, to say the least, a move that we never saw coming but are completely in favor of.
If our weekly Ask Chris column isn't enough of definitive comic book (and pro wrestling) opinions for you, good news: ComicsAlliance is proud to present Here's The Thing, a series of videos where you can join our own extremely opinionated senior writer, Chris Sims, as he dives into comics history to explain why you're wrong and he's right.
This week, a reader wants to know just what the big deal is about Mark Waid's run on Flash in the '90s, and, as tends to happen with this sort of things, that simple question sends Chris into a lecture about the history of the DC Universe and the underlying themes, with an argument that Flash is the third most important character in DC History.
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