Q: You've mentioned it a few times now; what makes the idea of Captain Marvel an even better idea than Superman to you? -- @dispenserotruth
A: The thing about Superman and Captain Marvel --- or Shazam, as the kids are calling him these days --- is that you can't really talk about one without talking about the other. I mean, you can, but the histories of those two characters and how they evolved over the years are so tied up together, both on and off the page, that they couldn't really have happened the way they did about without each other.
Anyone can make fun of DC comics. Don't believe me? Go ahead and look around the Internet. I'll wait. The publisher's long life, huge catalog of characters and hundreds of thousands of pages of material have certainly provided a target-rich environment.
But it takes a very special mindset and skill set to make fun of DC comics within the pages of a DC comic – and I'm not just talking gentle ribbing or affectionate teasing, but fairly scathing satire. That Garth Ennis and John McCrea were able to do so on such a regular basis for so long in the pages of their 1997-2001 Hitman is pretty remarkable; almost as remarkable as the fact that DC invited them back for All Star Section Eight, a series that necessarily focuses on and amps up the superhero parody of the pair's Hitman series.
Hashtags. They’re a necessity for marketing on social media, but for corporations, their use is a path dotted with pitfalls. In the democratic environment of Twitter, users are sensitive to being manipulated and pandered to for corporate gain, and a “hashtag fail” can result in viral public embarrassment for a company. This is particularly unstable ground for comics publishers, since comics readers have long formed strong online communities and are particularly savvy to corporate attempts to infiltrate those spaces.
Q: Which 80s action film should be licensed as an ongoing comic next? --- @kingimpulse
A: When you get right down to it, '80s action movie nostalgia in comics probably hit critical mass back in 2006, when IDW published that Scarface sequel, based on the premise that Tony Montana did not actually die from snorting his body weight in cocaine, taking a shotgun blast directly to the back, and falling twenty feet into a shallow pool filled with irony. That thing was next-level bonkers, but at the same time, the fact that I'm not actually making that up means that there's really no limit on what you can do when you're trying to bring this stuff back for comics.
Fandemonium, the second arc of The Wicked + The Divine, is the work of creators at the top of their games. Jamie McKelvie gets more room than ever to showcase costume designs that tell you everything you need to know about a character at a glance, and expressive facial acting that tells you everything else. Kieron Gillen writes dialogue packed with wordplay and puns – and if they don't make you groan, the plot's gut punches will. Clayton Cowles' letters grant each god a distinct visual voice to match the way they're written and drawn, and Matt Wilson's colors add unique pyrotechnics, at one point reinventing his style between pages to create a convincing drug trip.
The sheer talent on display in these pages is enough to make you jealous and, if you haven't read previous Gillen/McKelvie collaborations Phonogram and Young Avengers, you might wonder where this team got their powers. What makes The Wicked + The Divine especially interesting is that this is exactly what the comic is about.
Many of comics’ most popular heroes have been around for decades, and in the case of the big names from the publisher now known as DC Comics, some have been around for a sizable chunk of a century. As these characters passed through the different historical eras known in comics as the Golden Age (the late 1930s through the early 1950s), the Silver Age (the mid 1950s through the late 1960s), the Bronze Age (the early 1970s through the mid 1980s) and on into modern times, they have experienced considerable changes in tone and portrayal that reflect the zeitgeist of the time.
With this feature we’ll help you navigate the very best stories of DC Comics’ most beloved characters decade by decade. This week, we’re taking a look at Aquaman.
The comics world is full of questions, from, "Who would win in a fight?" to, "Who came up with that weird idea?" to, "Why is Aquaman?" Here at ComicsAlliance, we spend a lot of time thinking about everything from the big questions that matter a whole lot to the small ones that probably don't matter at all, but are kinda fascinating. With this new recurring feature, The Question, we're going to give our writers the opportunity to answer some of these brain-ticklers, because if we're thinking about this stuff anyway, we might as well write it down.
For today's question, we asked our writers; Which comics should DC Comics launch after Convergence? DC's latest mega-event is finally behind us, and the publisher has already unveiled a more diverse slate of new titles, but there are still some obvious holes in the line. Given the way the audience is changing, our writers had plenty of ideas for books not currently being published that DC could and should introduce.
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. From deranged protocol droids to mad alien queens to rogue troopers, we have it all in this last month’s comics.
This installment is jam-packed, with two issues (5 and 6) of the main Star Wars series from writer Jason Aaron and artist John Cassaday, the penultimate issue of Mark Waid and Terry Dodson's Princess Leia miniseries, and issues 5 and 6 of Kieron Gillen and Salvador Larroca’s Darth Vader. And yes, we will discuss "The Moment" in the newest Star Wars issue and what that means for the new canon.
Yesterday Marvel Comics released the first teaser image for All New, All Different Marvel, the post-Secret Wars relaunch for the Marvel Universe. Editor-in-chief Axel Alonso and senior VP of sales and marketing David Gabriel hit the media to publicize it, Alonso telling USA Today that the new lineup of characters and creators will show “diversity in terms of gender and ethnicity.” The image itself highlights a lot of the company’s recent efforts in diversity, with characters like Ultimate Spider-Man Miles Morales, Ms. Marvel, Captain America Sam Wilson, and Spider-Gwen getting visible spotlights. The image also included an unexpected appearance by the Native American superhero Red Wolf.
On face value, rejuvenating Red Wolf is a fantastic idea, an opportunity to do something that I stated the need for the last time I talked about indigenous superheroes: increase the presence of North America’s first peoples in the medium. But there's a problem.
Marvel will launch about sixty new #1s in the four months after the end of Secret Wars according to a series of interviews with Marvel editor-in-chief Axel Alonso this morning. Set eight months after the events of the current storyline, the new titles will feature an all-new Hulk, and a Wolverine who may or may not be the resurrected Logan.
First-look promotional art by David Marquez suggests that both the Miles Morales Spider-Man and the Gwen Stacy Spider-Woman will take their place in the Marvel Universe alongside the Peter Parker and Jessica Drew versions. The promotional art also confirms that Sam Wilson will remain as Captain America, and the female Thor (whose identity was recently confirmed) will keep her hold on Mjolnir.
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