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.
Snuck out in the usual DC Comics PR is a little gift to discerning readers that may demonstrate that DC's digital wing really know what it's doing. Gilbert Hernandez, the legendary Love & Rockets cartoonist who gave the world Heartbreak Soup and Palomar, is going to write and draw a Wonder Woman story. Like, for real.
The story is part of the DC West Coast office's digital first line, and will appear in late September as part of the Wonder Woman anthology Sensation Comics. A print edition will follow in October.
On sale now, the first issue of the new Spider-Man 2099 series by writer Peter David, artist Will Sliney and colorist Antonio Fabela is the very definition of a light comic. It's loaded with jokes and goofy asides -- most of them pretty funny. There's a throwaway villain. The colors are bright and appealing. It's mostly a really enjoyable read.
Until the one moment that bothered the hell out of me. Expect some spoilers below.
Ravage 2099 and Stripperella co-creator Stan Lee has been channeling Andy Rooney in a series of videos on World of Heroes called "Stan's Rants." Like those missives of the late American broadcaster, these clips are mostly benign "cranky old man" bits. His newest one is about how he hates being on hold, for example.
But the video above, which is from last week, is a knife in the guts of less famous comics creators -- which is to say, nearly all of them. In the video, Lee complains about having to sit through long credits at the end of movies, including superhero movies.
"Nobody knows who [these people] are, nobody can read them and nobody cares," he says, astonishingly.
But here's the problem: Those credits are usually where the names of comics creators who wrote and drew the characters the movies are based on actually get seen.
Dick Grayson is one of those characters that's been rumored to be on DC Comics' chopping block for well over a decade now, so like a lot of readers, I expected his unmasking in Forever Evil to be followed by a quick and ignominious death at the hands of, I don't know, Deathstroke or Harley Quinn or somebody. When it was announced that it would instead be leading into a new series where he'd be ditching the Nightwing identity and joining up with Spyral as an international super-spy, I was actually pretty excited. There's a lot of possibility there, and if it was done right, it could take advantage of what the New 52 reboot had to offer by doing something that we hadn't seen before with that character, something that would be fresh and exciting even for a major DC character who's been around since 1940.
With the first issue of Grayson, Tim Seeley, Tom King & Mikel Janin and cover artist Andrew Robinson have done their level best at doing just that, and they've pulled it off. This is a book that jumps straight into the action, that's not afraid to drop some really, really weird stuff on you right in the first issue, and the end result is one of the strongest new titles since the New 52 got its start in 2011.
Based on a 1976 Detective Comics story by Dennis O'Neil and Dick Giordano, "Appointment in Crime Alley" is a memorable and heartfelt episode of Batman: The Animated Series. Gritty and sorrowful, the episode is centered around the anniversary of Thomas and Martha Wayne's murder in Park Row 30 years ago, and Bruce Wayne's annual appointment to visit the site of their death. We also learn more about Dr. Leslie Thompkins, the longtime friend and colleague of Thomas Wayne who consoled young Bruce on the night his parents were murdered. We realize Leslie's life was also greatly affected by the tragedy, and the two share a unique bond.
Are Bruce and Leslie enacting a healthy coping method by commemorating the Waynes every year in "Crime Alley", or is this a sign of prolonged grief and their inability to move on? In this episode of the Arkham Sessions, we discuss how some people who experience trauma and negative life events can get "stuck" on bad thoughts which keep them from overcoming the tragedies in their lives.
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