Things got interesting over the past few days for comics folks who keep their ear to online skirmishes over how welcoming comics is or isn't --- and how welcoming comics should be in the first place. Between the new Killing Joke-inspired and tonally jarring cover to Batgirl #41 (which was just pulled at artist Rafael Albuquerque's request, and in line with the creative team's wishes) and Erik Larsen going on a Twitter rant about comics pandering to a "vocal minority" that in his mind wanted superheroines covered up, it would be easy for readers interested in the new world order of "comics for everyone" to feel discouraged. After all, if some of the decision-makers at DC and one of the owners of Image Comics don't get it, how can we expect everyone else to get it? The answer is easy: we move on without them.
Cameron Stewart - Page 3
Last year at San Diego, Dark Horse announced that Fight Club would be joining Dredd and Serenity in that rare pantheon of non-comics stories with official sequels in comics form. Written by Fight Club's creator, novelist Chuck Palahniuk, and drawn by Cameron Stewart, the comic takes place ten years after the events of the original Fight Club, when the unnamed narrator of the film is married to Marla Singer and suffering through the exact sort of tedious existence that he and his alter-ego railed against.
Now, thanks to our smoking-jacketed friends at Playboy, we can finally see exactly what the comic is going to be like in a six-page preview, where it is revealed that Palahniuk and Stewart are actually the same person. Uh... spoiler warning, I guess?
We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, as well as the special qualities of comic book storytelling, but because cartoonists, illustrators and their fans share countless numbers of great pinups, fan art and other illustrations on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, awnd some of it’s endearingly silly. All of it is awesome.
Sex Criminals co-creator Chip Zdarsky and Infinite Kung Fu author Kagan McLeod plan to take readers to colorful, strange, and rather gay new worlds with their new Image ongoing title Kaptara this April. Announced by Zdarsky himself and Image publisher Eric Stephenson at the one-day Image Expo in San Francisco on Thursday, the book sees a waylaid earthman sent on an odyssey through peculiar worlds inspired by the action figures of the 1980s, on a mission to save his home planet.
The two Toronto-based writer-artists have known each other for years, and as they told ComicsAlliance, the roots of this collaboration go back to the studio they once shared. Kaptara is written by Zdarsky and illustrated in full color by McLeod, an acclaimed magazine illustrator making his return to comics. The story offers echoes of Flash Gordon and John Carter, and of Brian K. Vaughan and Fiona Staples' Saga, only... gayer. More gay. ComicsAlliance met with the team to find out just how gay, and to get the ball rolling on Motivational Orb mania.
The fourth issue of Multiversity, Thunderworld Adventures, with art by Cameron Stewart, colors by Nathan Fairbairn and letters by Steve Wands, was initially described by Morrison as taking the All Star Superman approach to Captain Marvel. Set on Earth-5 — previously Earth-S in the pre-Crisis on Infinite Earths DC Multiverse — it's far more evocative of the original Fawcett Comics incarnations of these characters than any versions that have been in the DC Universe since.
Lighthearted and fun, with gorgeous art by Stewart and Fairbairn and a lettering style from Wands evocative of the neo-C.C. Beck take Jeff Smith took in his recent Monster Society of Evil prestige miniseries, it's the anti-Pax Americana in tone, subject matter and symbolism, while maintaining a consistency of message and intent.
On Monday I reported on the controversy surrounding the most recent issue of Batgirl, issue #37, and the hurt it caused readers with the presentation of a character who played into transphobic tropes. On Tuesday we ran a piece by activist J. Skyler that further placed the story in the broader cultural context of transphobic media. In both cases, our hope was to showcase and respect the opinions of the critics and put their voices ahead of those of the authors or any defensive fans. These are critics who are often marginalized and shouted down; what they had to say about this controversy is important and must be recognized and listened to.
As I also mentioned on Monday, Batgirl is a book at the vanguard of a movement towards genre stories for young, progressive, predominantly female readers -- a more modern and diverse readership than the one traditionally associated with the superhero genre. Because of this, and because the creators apologized for their mistakes, I think Batgirl still deserves support. Issue #37 damaged the book's image and reputation, but it remains one of the best and most important superhero books being published today.
In my online discussions of transgender representation in media, I’ve mentioned that I expect a degree of transphobia is every medium I read, watch or listen to. That’s simply how pervasive the problem is -- and it may take the form of a joke, an off-the-cuff remark, or a non-essential character created intentionally or unintentionally to perpetuate stereotypes about gender variance or utilizing gender variance to underline said character’s psychosis.
It’s with a heavy heart I’m forced to discuss this long-standing media trope within the context of Batgirl, the one area of geek life I considered to be a safe-zone. Within the pages of Batgirl #37 we come across an impostor posing as Batgirl who ultimately plans to kill her in order to assume her identity. As you might imagine, my eyes nearly rolled into the back of my head, accompanied by an aggravated sigh, when the would-be murderer was revealed to be an individual assigned male at birth.
DC's new take on Batgirl has been one of the pioneers of a new movement towards mainstream comics for a progressive young female audience -- a movement whose other flagbearers have become a mantra of sorts in 2014; Lumberjanes, Ms. Marvel, Gotham Academy, etc. In the hands of creators Cameron Stewart, Brenden Fletcher and Babs Tarr, Batgirl offered a satisfyingly contemporary and feminist take on Gotham superheroics.
So it came as a particular disappointment when last week's Batgirl #37 contained themes and imagery that were transphobic and transmisogynistic, leading several critics to call out the creative team for their insensitivity. This weekend the creators offered a statement of apology, saying, "we want to acknowledge the hurt and offense we've caused."
With long runs on hit titles like Captain America, Daredevil, Sleeper, Fatale, Criminal and more, writer Ed Brubaker has cemented his position as one of the most prominent writers in American comics, and he got his start with superheroes with Batman. After being brought in from the world of crime comics to write the Batman comics in 2000, Brubaker rose to prominence with his work on Gotham City's heroes, including cowriting the seminal Gotham Central, relaunching Catwoman with a critically acclaimed and influential new direction, and retelling the first encounter between Batman and the Joker.
This week, ComicsAlliance is taking a look back at Brubaker's tenure on the Dark Knight with an in-depth interview. In part one, we discussed the writer's work with Scott McDaniel on Batman and his collaboration with Sean Phillips on the Elseworlds one-shot, Gotham Noir. In part two, we talked about Brubaker's run on Detective Comics, his landmark work with Greg Rucka and Michael Lark on Gotham Central, and his and Doug Mankhe's influential Joker story, The Man Who Laughs. Today we conclude our discussion by talking about his relaunch of Catwoman alongside Darwyn Cooke and Cameron Stewart, why he was worried that it would be a "poisoned chalice," and why it's one of the most significant comics in DC's long history.
We've been pretty stoked about the cover to Batgirl #37 ever since we saw it way back in September, but here's something that might surprise you about the glittering, rhinestone-studded costume for our favorite Gotham City heroine: It's not just for the cover. It actually appears in this week's issue, as Batgirl takes a break from crimefighting and decides to try her hand at the other side of the fence, starting with a daring diamond heist with a quartet of thrill-happy crooks.
If that doesn't sound like Barbara Gordon to you, well, there's a reason for that. It seems Cameron Stewart, Brenden Fletcher and Babs Tarr have decided that Barbara's life just isn't complicated enough right now, and are giving her a criminal-minded impostor Batgirl to deal with on top of everything else! Check out preview pages below!