Does politics belong in comics? Can comics influence politics? And what impact do we expect the election of Donald Trump to the presidency of the United States to have on the comic industry and on the stories it tells over the next four years?
ComicsAlliance contributors Elle Collins, Kieran Shiach, Tom Speelman, and Tara Marie join editor-in-chief Andrew Wheeler for a roundtable discussion about the relationship between politics and comics.
This week there’s been a lot of talk and controversy surrounding J. Scott Campbell’s Midtown Comics variant for Invincible Iron Man #1, featuring the 15-year-old Riri Williams, AKA Ironheart. Fan response to the cover pointed out the highly sexualized depiction of Riri and the inappropriate decision to assign the cover to an artist known for his pin-up work, but things got worse when Campbell and other creators responded to the controversy.
Campbell and his defenders’ rebuttals featured the typical lines about social justice warriors and censorship, and creators in this situation seem to always assume that they’re infallible when it comes to the art they create. Yet another week of controversy in comics has me asking; What’s so wrong about stopping to listen to what people have to say?
LGBTQ representation in comic books is important, and it’s something we’ve talked about --- and will continue to talk about --- at ComicsAlliance at length. But what doesn’t get said enough is that LGBTQ representation is especially important in all-ages and young adult comic books. Representation at such a young age can be legitimately life-changing for children, and while certain publishers are making tremendous strides in the right direction, others are missing the boat completely.
Since the announcement of the Death of X crossover event between the X-Men and the Inhumans, fans of the Marvel's merry mutants have been worried that the end may be nigh for the Children of the Atom. These worries certainly weren't abated when Marvel released the Marvel NOW Previews book, which contained no mention of the ongoing X-Men titles continuing into October.
At a panel on Thursday during San Diego Comic Con, Marvel editors and creators spoke about the tease of what Death of X might mean for the franchise, but several of the ongoing titles such as Uncanny, All-New and Extraordinary X-Men were confirmed to be continuing. The big news, however, is that Laura Kinney AKA Wolverine will be following in her mentor's bloody footsteps in a sequel to Mark Millar and John Romita Jr's "Enemy of the State."
San Diego Comic Con is without a doubt the biggest event on the industry’s calendar, and people will be flying from around the world to attend panels, watch trailers, meet creators, and make friends. This year’s event is bigger than ever, with so much going on every single day that it can be difficult to sift through all that information and decide how to spend your time.
Yesterday we gave a rundown on what to expect on Thursday and Friday, but things heat up as the weekend kicks in and the major studios make their presence known. Expect big reveals from Marvel Studios, DC's TV offerings and more, plus great panels featuring your favorite creators in comics.
Recently, Marvel has been releasing teaser images with the tagline "Divided We..." featuring two characters separated by shattered imagery, and all we knew was that it pointed to the publisher's fall slate of comics set to be unveiled later this month under the Marvel NOW banner. Today, Marvel released a complete teaser titled "Divided We Stand," featuring two distinct groups of heroes and villains separated by a literal divide.
If you know that a crime is going to happen, how far should you go to prevent it? That's the question at the heart of Marvel's first 2016 crossover event, according to a piece in Sunday's New York Daily News reporting on a recent Marvel writing summit for Civil War II. A sequel to the 2007 event Civil War, which inspired this spring's big Captain America movie, the new series from Brian Michael Bendis and David Marquez will see Iron Man go up against Captain Marvel in a battle of ideologies and punching, rather than pitting Stark against previous Civil War opponent (and movie rival) Captain America.
Bobby Drake, aka Iceman, became comics' biggest gay superhero last week — again, but also for the first time, because nothing is ever simple in superhero comics. In a scene by Brian Michael Bendis and Mahmud Asrar in the pages of Uncanny X-Men #600, the older of two Bobby Drakes (from two different points in time) acknowledged his gayness to the other, younger Bobby. The younger Bobby had previously come out in a very similar scene in All-New X-Men #40 back in April, also by Bendis and Asrar. (Both scenes involved an unsolicited confrontation, an intrusive Jean Grey, and an acknowledgement of teammate Angel's good looks.)
While I have a few problems with how all of this was executed, from Jean's willingness to violate people's privacy to Marvel's willingness to taunt readers with an inexplicable six month delay between the two coming out scenes, I think that how Bobby came out matters much less than the fact that he came out at all. It's an especially welcome step forward coming less than a week after Marvel editor-in-chief Axel Alonso fumbled the coming out of another Marvel character.
The mythological demigod Hercules is bisexual. How you feel about that fact doesn't change the fact; the myths of antiquity have told us that Hercules loved women and men alike. Lustfulness is at the core of his character, and Hercules' appetites aren't limited by gender.
Like many ancient myths, and like much of history, Hercules' stories have been bowdlerized by those who think same-sex relationships are sinful. Audiences introduced to the character through the Disney cartoon, the Kevin Sorbo TV show, the Dwayne Johnson movie, or the Marvel comics have good reason to think the character is heterosexual, because that's all they've ever seen. But that doesn't make it true. Hercules is bisexual. To deny that fact is to participate in the erasure of same-sex relationships on the grounds of a narrow and prescriptive morality.
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