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: Special guest Kurt Busiek is the J. Rober Oppenheimer of X-Men, Rachel and Miles learn to love the Silver Age, Cyclops gets a job, Bernard the Poet falls from grace, we really wish X-Men: The Secret Years was a real book, everyone recites poetry, and we still don’t get around to Marvels.
Traditionally speaking, TV tie-in comics have been a pretty mixed bag. The ones that are bad tend to fall flat pretty hard, ranging from forgettable to outright terrible. Occasionally, it's because they feel like cheap cash-ins, but more often, it's just a simple case of the tie-in not being able to capture the same spirit and feeling of the source material. But sometimes, every once in a while, you get something like the Bill and Ted's Excellent Comic Book series that Evan Dorkin did for Marvel back in the '90s, where he took the Wyld Stallyns on a full year of increasingly bizarre adventures and ended up making something that's actually amazing, or the recent Eisner-winning Adventure Time comics.
This week marked the launch of Dynamite's Bob's Burgers comic, and while it's only one issue in, I'm already going to go ahead and say that it goes far beyond capturing the spirit of the show, to the point where it feels like it could be a lost episode. It's not just a great translation of Bob's Burgers to comics, it's great Bob's Burgers, period.
Mostly because it starts with Erotic Friend Fiction about Tina being a horse.
Jack Kirby is arguably the single most influential figure in the history of American comics. He produced countless stories in a career that spanned seven decades, inventing and re-inventing genres and styles every step of the way. He inspired generations of artists and writers; created and co-created thousands of characters; defined the visual vocabulary of superheroes; and believed in the potential of comics to be both entertainment and art, long before most people imagined these stories would be remembered past the four weeks that they sat on newsstands.
This Thursday would have been Kirby's 97th birthday. We've assembled some pieces to celebrating the life and work of the man American comics also knows as "the King." This one focuses on Kirby's strength as a cover illustrator.
Natasha Allegri is leading a movement. A quiet, earnest, doe-eyed movement to be sure, but one that is unstoppable, and unquestioningly vital. Bee and Puppycat, her already widely beloved series produced for Frederator's Cartoon Hangover channel, is about to relaunch, to widespread fan salivation. Her social media accounts swell with more and more followers every day. Puppycat plushes and inflatable swords were everywhere at San Diego Comic-Con, as was cosplay and fan art.
Allegri's work, in its sincere, unfailingly sweet way, has announced to the world that animation aimed at an adult (or at least teen) female audience is not just viable — it is a verified path to critical and commercial success. ComicsAlliance sat down with her at SDCC to discuss her success, the importance of cuteness, and what we can expect from the new Bee and Puppycat animated series.
The Arkham Sessions, hosted by clinical psychologist Dr. Andrea Letamendi and Brian Ward, is a weekly podcast dedicated to the psychological analysis of Batman: The Animated Series. Nostalgic, humorous, and even a little educational, each episode promises to lend some insight into the heroes, villains, and classic stories of the Dark Knight.
As a special exclusive for ComicsAlliance visitors, new episodes of The Arkham Sessions will stream on CA several days in advance of their syndication to iTunes.
This week, we discuss the highly acclaimed, Emmy-winning episode of Batman: The Animated Series, "Robin's Reckoning." We cover Part 1, in which we're shown Robin's origin story. We discover who killed Robin's family and how he joined forces with Batman.
Emily Carroll’s collection of horror comics, Through the Woods, operates largely on the alienation of the inexplicable experience. More specifically, with one exception, it explores that alienation in women, particularly young women. The struggle for many of these characters is the insidious horror of trauma, and all of the ways that trauma pulls you apart, both from yourself and your community, and leaves you susceptible to further terrors.
This trauma that suddenly makes you unreliable to the world around you, and indeed unreliable to yourself, provides much of the claustrophobia that characterizes the slowly closing trap of Carroll’s flashlight-whispered tales. These are spellbound stories through which every strength of the comics medium is put into employ. There are frankly very few writers in comics who can go toe-to-toe with Emily Carroll in this regard. The totality of these comics is a testament to the largely untapped potentials inherent in this medium.
Listen: I love Robin Hood. Outside of Dracula, who I think we can all agree is pretty great, he's probably my favorite public domain character in the history of fiction, and between the sidekicks, the secret headquarters, the recognizeable costume and the uneasy relationship with local law enforcement, he's pretty much a direct ancestor to the kind of superheroes that we have today. So really, if there was anything that was going to get me back to being excited about the hardcovers reprinting Floyd Gottfredson's Mickey Mouse strips after the last volume left such a bad taste in my mouth, Mickey going on an adventure with Robin Hood was going to be the thing that did it.
Which, as it turns out, is exactly what they did. The latest Mickey volume from Fantagraphics is a collection of Gottfredson's full-color Sunday strips from 1936 to 1938 -- plus a whole bunch of bonus features from his later career -- that includes "The Robin Hood Adventure." And folks, this one isn't just a great story from a great creator, it's the kind of story where I want to just start grabbing people on the street and telling them they have to read it, because it's one of the weirdest things I have ever read.
When the New 52 launched back in 2011, one of the interesting things about the lineup of titles was the presence of a lot of books that attempted to break out of the standard superhero genre, at least a little. There were horror, fantasy and war comics, but the most creatively and commercially successful by far was DC Comics' All Star Western, featuring Jonah Hex. Now, however, All Star Western is coming to an end after three years with a story where Jonah Hex is faced with what may be his toughest foe yet: Jonah Hex.
This issue marks a pretty notable conclusion for a few reasons, most notably being that, if you count the Jonah Hex series that launched back in 2006 before rebooting as All Star Western, writers Jimmy Palmiotti and Justin Gray are two of DC's longest tenured creators, having written over a hundred issues about Jonah Hex, the disfigured old west era bounty hunter originally created by John Albano and Tony DeZuniga in the early 1970s.
The second is that the issue marks the auspicious return of award-winning artist Darwyn Cooke to the character for his final adventure.
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 explains why the film adaptation of Archie Comics' Josie And The Pussycats is the best movie ever.
Marvel launches the eighth of its nine solo titles with a female lead in November with Spider-Woman #1, and the book sadly already has a cloud over it. A variant cover by master erotic artist Milo Manara stirred enough controversy last week to garner mainstream attention. The cover featured Spider-Woman with her apple-shaped butt raised high in decidedly unheroic manner. It was exactly what one would expect from Manara, who has created a number of superheroine illustrations for Marvel, but the image suggested a particularly overt tone of sexual objectification that could alienate the sort of readers who attended the Women In Marvel panel at San Diego where the series was announced.
As far as I can recall, Marvel has more female solo titles now than ever before, with a ninth title, Angela: Asgard's Assassin, launching in December. On paper, that suggests a laudable effort to reach out to superhero comics' growing and under-served audience of female readers. Yet the Manara incident serves to remind us that books about women can very easily be targeted to a male audience.
There's currently an unspoken contest between Marvel and DC to see who can produce more comics aimed at a female audience. It's possible the contest only exists in my head, as I've been keeping a tally of solo titles with female leads for the past several months -- but I wouldn't be surprised to learn that editors at the two publishers have also been keeping track.
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