#Brian Michael Bendis Story

[keycomicbooks]

Age of Ultron #1 (2013) Bryan Hitch Embossed Foil Wraparound Cover & Pencils, Brian Michael Bendis Story, Emma Frost (Earth-61112)

#AgeofUltron #1 (2013) #BryanHitch Embossed Foil Wraparound Cover & Pencils, #BrianMichaelBendis Story For years the heroes of the #MarvelUniverse have lived in fear that the artificial intelligence known as Ultron would one day evolve to fulfill its desire to wipe out all organic life and take over the Earth -- that day has arrived. https://www.rarecomicbooks.fashionablewebs.com/AGE%20OF%20ULTRON.html#1 @rarecomicbooks Website Link In Bio Page If Applicable. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA #RareComicBooks #KeyComicBooks #MCU #MarvelComics #KeyComic #ComicBooks

[aanews69]

Unleash the chaos and dive into the wild world of Hit Monkey's Revenge: From Japan to New York Chaos! 🌍🐒 In this thrilling adventure, meet Hit Monkey, the ...

[graphicpolicy]

Brian Michael Bendis' Fortune and Glory returns with a New Edition

Brian Michael Bendis' Fortune and Glory returns with a New Edition #comics #comicbooks

Dark Horse Books and Brian Michael Bendis’ Jinxworld present a new edition of Fortune and Glory Volume 1, updated with new cover art and plenty of bonus materials.   Before co-creating Miles Morales, Wakanda Forever’s Ironheart and the Peabody award winning Jessica Jones, before the triumphant successes with Secret Invasion, Daredevil, Superman, Ultimate Spider-Man, and Invincible Iron Man,……

[burningfudge]

Black Widow, Winter Soldier, and WinterWidow reading list

I made this list for another post, but I thought I'd put it here too.

Black Widow (1999) by Devin Grayson - Natasha's first solo. It's only three issues, and it's the start of modern Black Widow. It introduces important aspects of her character, like the Red Room. Yelena is introduced for the first time.

Black Widow (2001) by Devin Grayson - Another three-issue comic, which I thought was a fun read. It's a Natasha, Yelena, and Matt team-up comic. It's a part of Marvel Knights, which told more mature and darker stories so I have a soft spot for the 1999 and 2001 runs for this reason.

Black Widow: Pale Little Spider (2002) by Greg Rucka - Another three-issue comic. While not focused on Natasha, it's a Yelena solo. It's part of the Max comics line, which was an attempt to tell adult-only stories, and it definitely shows because Yelena visits a bondage sex club. A very important comic for Yelena.

Black Widow: Homecoming (2004) by Richard K. Morgan - I think this comic was extremely influential for modern Black Widow. A lot of her mythos originated from this comic. The movie took a lot of inspiration from this comic as well, like the pheremones thing.

Black Widow: The Things They Say About Her (2005) by Richard K. Morgan - This one is decent. It's not entirely important, but I think it's worth a read. A classic Black Widow story where Natasha is on the run and doesn't know who to trust. While it's overdone at this point, I think this was the first comic to portray it. Yelena and Matt show up in this one too.

Captain America (2005) by Ed Brubaker - VERY IMPORTANT. Bucky is reintroduced as the Winter Soldier and shows up in #1. While it's long, every issue is worth it. Natasha doesn't show up until #27, but #27-#50 is peak buckynat. This run is one of my fav comics of all time.

New Avengers #48-64, Annual #3, Finale (2005) by Brian Michael Bendis - Natasha isn't super important in this, and she barely shows up, but Bucky shows up frequently. I wouldn't say it's entirely important, but it's during Bucky's time as Captain America, and when he interacts with the Avengers, so I recommend it just for that. Also, I'm a little biased because New Avengers (2005) is probably my favorite comic ever.

Black Widow (2010) by Marjorie Liu - The best Black Widow story ever written. I don't think anyone has disliked it. 10/10, I always love to reread it.

Black Widow: Deadly Origin (2010) by Paul Cornell - A miniseries about Natasha's origin. Not entirely important, but it's a solid Black Widow story. Appearances from Bucky and Wolverine.

Captain America #600-619 by Ed Brubaker - Again, it's very important for both Bucky and Natasha. It's a continuation of Captain America (2005).

Captain America & Bucky #620-624 (2011) by Ed Brubaker - Pretty important. It's a retelling of Bucky's life. #624 is all about buckynat and how they met. A lot of iconic buckynat content that the fandom gushes over is in it.

Widowmaker (2011) - Not super important and Bucky isn't in it. A fun team-up story about Clint and Natasha with Bobbi. I enjoyed reading it.

Winter Soldier (2012) by Ed Brubaker - I cannot tell you how much I love this comic. It's the best Bucky's ever been written and I don't think anyone will disagree when I say that no one has ever understood Bucky like Ed Brubaker. Extremely important for buckynat.

Winter Soldier: The Bitter March (2014) by Rick Remender - I'm not going to lie; I don't really remember much from this comic, but I know people like it.

Black Widow (2014) by Phil Noto & Nathan Edmondson - Another popular comic for Natasha. It's probably my second favorite Black Widow comic after Liu's. Another Black Widow is on the run story, but Liho is introduced in this! Bucky is in #8, 15, 17-18. A must read.

Bucky Barnes: The Winter Soldier (2014) by Ales Kot - This isn't my favorite, but the art is absolutely beautiful. I don't think it's essential. Natasha is not in this.

Black Widow (2016) by Mark Waid - I enjoyed reading this comic. I'd rank it third after Liu and Noto. Bucky is in #9-10. Essential Black Widow comic.

Tales of Suspense #100-104 by Matthew Rosenberg - A Winter Soldier and Hawkeye team-up where they look for Natasha after she was killed by Hydra Cap in Secret Empire (no need to read it; SE is trash). A fandom favorite, and I absolutely love it. Winterhawk exploded in popularity after this run.

Winter Soldier (2018) by Kyle Higgins - Natasha does not show up in this, but it's very important for Bucky. It's a short five-issue miniseries, and it's probably the best Bucky has been written since Brubaker.

Black Widow (2019) by Jen and Sylvia Soska - It's a miniseries, and it's a fairly dark one. Natasha is back from the dead, and she's PISSED. Bucky doesn't show up in this one, but Steve does, and it's after her murder at Hydra Cap's hands.

Web of Black Widow (2019) by Jody Houser - Another Natasha miniseries where she's on the run and her friends are worried about her. Bucky shows up in #2 and #5.

Falcon and Winter Soldier (2020) by Derek Landy - A fun team-up comic with Sam and Bucky. Natasha doesn't show up. Not essential.

Black Widow (2020) by Kelly Thompson - It's...not great. Many people have already talked about what they didn't like, so I won't go over it, but it has some fantastic buckynat moments. However, I will say that I really love Natasha, Yelena, Clint, and Bucky teaming up in this comic. That group together is highly entertaining. It doesn't seem like anything from this comic will be paid attention to in the future, but I would still read it.

Captain America: Sentinel of Liberty (2022) by Jackson Lanzing and Collin Kelly - Really trash. I didn’t like this at all. Bucky isn't written well, and I think Natasha shows up like twice. Skip.

Captain America: Cold War (2023) by Jackson Lanzing and Collin Kelly - Another trash event. Skip.

Thunderbolts (2023) by Jackson Lanzing and Collin Kelly - Buckynat FINALLY get back together after they broke up in Winter Soldier (2012). A boring comic otherwise.

[daresplaining]

Matt: "No, no." Milla: "I'm not trying to make you uncomfortable. But I-- I just couldn't think of any way to approach you other than this." Matt: "It's just that you are mistaken about my being Daredevil. That story just isn't--" Milla: "I can't stop thinking about what happened the other day. When you saved me from that truck-- it really... I mean, I know you are in situations like that...every day...but I am not. Nothing like that has ever--" Daredevil vol. 2 #43 by Brian Michael Bendis, Alex Maleev, Matt Hollingsworth, and Cory Petit

Matt: "Ironically, I'm not Daredevil." Kirsten: "Remarkably, you have a very slippery grasp of the truth for a l-a-w-y-e-r." Matt: "You really think I'm Daredevil." Kirsten: "I really know you're Daredevil. My nephew knows it, and he still believes in Santa. Let's get to why I'm here." Daredevil vol. 3 #1 by Mark Waid, Paolo Rivera, Javier Rodriguez, Joe Rivera, and Joe Caramagna

In any given superhero story where secret identities are a thing, it is always going to be a key factor in the relationship dynamic that the hero has with the other people in their life. For Matt Murdock, who experiences secret identity drama on scales previously unmeasured by science, that secret, and who knows it and who doesn't, quite often has the power to change everything. Whenever someone new enters his life, the arc of their relationship is frequently shaped by when, and how, they find out. Usually, it doesn't go well. In most cases, the big reveal is a shock to the status quo, a hurdle to overcome. Look at what happened when Maya first found out. Or Foggy. Or jeez, Heather.

But Milla and Kirsten exist in a special category all their own: they come into Matt's world already knowing--and not only that, but knowing with such conviction, and with so little interest in having the conversation at all, that even when Matt tries to uphold the lie, they just...ignore him. For Milla, Matt being Daredevil (and not only that, but being Daredevil and blind) is the key reason for her interest. She is thrilled by him. She thinks he's great, he saved her life, and she wants to ask him (him, Daredevil) out on a date. And Matt's first encounter with Kirsten, in the scene above, is due to his Daredevil identity leaking into his professional life: she comes from the D.A.'s office to advise him (him, Daredevil) that he might want to dial back his court appearances, because the fact that he's a suspected superhero is creating disruptions. Later, as their relationship turns romantic, Matt's increasingly halfhearted attempts to convince Kirsten that he's not Daredevil even get integrated into their flirtation.

Matt's Daredevil identity is all tied up in power and agency. It is a form of empowerment that he chose for himself following his father's murder, and one way he exerts and maintains control in his chaotic life is through having a say in who does or does not know his secrets. As Matt says in his perpetually-quotable conversation with Foggy at the end of Daredevil volume 3 #22: "I enjoyed having a big secret. When people make you feel like you're weak and helpless, it's empowering know something they don't", and the times when Matt has lost control of that secret have been nightmare ordeals for him. At the same time, history has shown how dangerous that secret can be to the people around him, especially those who haven't been given the full story about someone they are allowing into their orbit. And that's not to mention the toll on Matt; while secrets are empowering, they are also constraining, and since all the way back in the sixties he has resented his deep-seated need to split his identity into neatly-delineated boxes. Daredevil volume 4 allowed Matt a chance to experience true identity freedom, and he enthusiastically embraced it. In an ideal world, in a world where he didn't feel that need to control and safeguard the closest parts of himself, would he tell all of his friends, all of his prospective partners, anyone he wanted, that he was Daredevil right off the bat? Would it be a relief to avoid that moment of later shock and conflict he invites by keeping such a huge secret ticking like a time bomb? Maybe. (I might point toward his first interactions with Elektra as some evidence for the answer being "yes", at least in certain contexts).

Either way, it's compelling to have Milla and Kirsten as two examples of relationships in which the specter of secret identity angst does not even begin to exist; where the big secret is out on the table right from the start, whether Matt wants it to be or not. When he meets Milla, the circumstances are dire; his secret identity is in a huge amount of danger and he is extra paranoid about it. When Kirsten shows up, the situation is far more relaxed. But in both cases, it is a shift in the typical superhero/civilian power dynamic: Matt holds none of the cards and has to cope with losing that sense of control that's so important to him. At the same time, the guy is a daredevil. He likes being a little bit out-of-control. And it's neat to see him in this kind of a situation, where both sides know the score right from the beginning, and they are able to move forward without the burden of secret identity drama looming somewhere on the horizon.

[fae-morrigan]

Okay, guys, I have to be so honest, the cyborg Jon stuff is not actually out of nowhere if you've been paying attention to the themes and ideas present in Jon's story. Actually, something to this affect has been hinted and foreshadowed all the way back in Supersons.

Jon's story, fundamentally, has always been about agency, and how being the son of a public figure like Superman hinders his ability to self-determinate. It is an idea that is present in every story, yes, every single one, starting from his debut as a character.

The cyborg stuff isn't meant to be a replacement of past traumas- it is an evolution, the thesis of what all the things he's been through have been leading up to. It is the ultimate culmination of everything Jon has been struggling with his whole life- being seen as nothing more but a tool that can be exploited.

Clark and Lois robbed Jon of knowledge about who he was for a large portion of his childhood (1). Manchester Black tried to use Jon as a weapon against his father, actively possessing him in order to do it, explicitly against Jon's wishes and opinions (2). Kid Amazo wanted to use Jon as a flesh puppet, a new healthy body that he could take over (3). Ultraman robbed years of his life and literally confined him in a place where he, literally and metaphorically, had no power. Jor El and Jon had a whole conversation about fate vs. free will in the age up arc (4). The entire central conflict of Son of Kal El was Jon fighting against a capitalist dictator who was trafficking marginalized people, altering and taking over their bodies for profit (5). Adventures of Superman Jon Kent has Jon going up against a version of his father thats a dictator, a man who has (in the words of the text) made the whole world a prison (6). In all of these situations, Jon's put in these positions specifically because he is the son of Superman, and he will forever be defined by it against his will. It is commentary on what it means to be the child of a hero, and it is an exploration of legacy that I think is very very interesting.

We've BEEN headed here! It was always going to come to some plotline of this nature. Sure, we couldn't know it'd be specifically this, him getting borged was specifically a surprise, but Mark Waid is an incredibly intelligent writer who knows what he is doing and does not just present events in a story, but ideas. The Speed Force is a love story. Absolute Power is about, well, power. And Jon Kent is fundamentally, at his core, about agency. The robot stuff isn't meant to be strictly literal!

Post Bibliography so you can check that I'm not bullshitting you. I didn't want to go look up panels because I'm laaazy, you can go see for yourself:

Superman: Lois & Clark by Dan Jurgens

Super-sons by Peter J Tomasi

Superman Rebirth by Peter J Tomasi

Superman 2018 by Brian Michael Bendis

Superman: Son of Kal El by Tom Taylor

Adventures of Superman: Jon Kent by Tom Taylor

[samasmith23]

Dear @hellyeahheroes/@filipfatalattractionrblog,

All that me and my friend @sjbattleangel ask is that you and the rest of your friends on this blog please acknowledge and apologize for creating such a toxic echo chamber with your blog, which encourages and enables hyperbolic and inflammatory mischaracterization and harassment if comic creators that you personally dislike. If you don’t like the works of people like Jason Aaron, Dan Slott, Brian Michael Bendis, Donny Cates, Jonathan Hickman, Scott Snyder, James Tynion IV, Joshua Williamson etc., that’s fine; but it is UNACCEPTABLE to constantly slander and demonize them as “perverts”, "misogynists", "homophobes", "eugenists" or “fascist apologists” when there’s ZERO evidence to substantiate such extreme claims. Just because these creators wrote comics that you personally disliked does NOT mean that they're even remotely comparable to legitimately bigoted scumbags like Ethan Van Sciver & Chuck Dixon like you treat them as based on the way you constantly talk about them!

And some members of your community, like KK4EverStuff, have gone even further by using your defamatory statements as an excuse to write literal death threats towards said-creators such as these:

These are NOT ad-hominem or hyperbolic Angry Video Game Nerd style criticisms like majingojira once tried to claim. This is violent an unhinged cyberbullying on KK4EverStuff's part. Plain and simple. Your blog encouraged and enabled his kind of toxic behavior, and you need to acknowledge that and do better going forward.

Then there is the X-Men series (particularly anything non-New X-Men: Academy X or post-Schism), Batgirls, any post-One Year Later Cass Cain-stared story or any post-One More Day Spider-Man story. It's fine if they don't appeal to you but deliberately choosing to hate them way before you even read them or gave them a proper chance? That isn't good or healthy criticism, that's just hate-reading for the sake of hate-reading. All it does is create an atmosphere of constant negativity and toxic gatekeeping which really hurt comic fans who just want to have fun. If anything after Avengers: Arena, X-Men: Schism, Robin: One Year Later or One More Day upset you that much then why you are reading them if you're automatically going to hate them? Just don't read them. It's that easy.

So please, acknowledge that you have done wrong with your past attacks against specific comic creators, toxic bad-faith comic criticism and apologize. That’s all we ask for.

Do better!

[lilyvalerieorchard]

If anyone of you interacts with any irredeemable media such as

Steven Universe

She-Ra

The Owl House

Star Vs The Forces Of Evil

Avatar: The Last Airbender

The Legend Of Korra

Ducktales

Gravity Falls

Helluva Boss

Hazbin Hotel

Young Justice

Gargoyles

Neon Genesis Evangelion

Sailor Moon

Dragon Ball Z

All anime

All manga

Harry Potter

X-Men

G. Willow Wilson's run on Ms. Marvel

All modern Cass Cain/Batgirl story post-One Year Later

All modern Peter Parker/Spider-Man story post-One More Day

Super Mario Bros

The Legend Of Zelda

Wolfenstein

Doom

The Last Of Us/The Last Of Us Part II

Uncharted

Ratchet & Clank

Jak & Daxter

Sly Cooper

Metal Gear Solid

Tomb Raider (old and new)

Final Fantasy

The Original Star Wars Trilogy

Star Wars: The Clone Wars

Star Wars: Rebels

The Last Jedi

Lord Of The Rings

The MCU

The Mad Max saga

The Evil Dead Trilogy

Braveheart

Lethal Weapon

All films by Francis Ford Coppola

All films by Roman Polanski

All films by Woody Allen

All films by Terry Gilliam

All films by Brian De Palma

All films by Quinten Tarantino

All films by Stanley Kubrick

All films by Tim Burton

All films by Rian Johnson

All films by Don Bluth

All films by Steven Spielberg

All books by Stephen King

All comics by Dan Slott

All comics by Donny Cates

All comics by Jason Aaron

All comics by Jeremy Whitley

All comics by Grace Sina

All comics by Tom Taylor

All Comics by Tom King

All comics by Scott Snyder

All comics by James Tynion IV

All comics Brian Michael Bendis

All comics by Tini Howard

All comics by Vita Ayala

All comics by Joshua Williamson

Music by Michael Jackson

Music by Janet Jackson

Music by Prince

Music by Madonna

Music by The Beach Boys

Music by The Beatles

Music by Mozart

Music by Bach

Music by Beethoven

Music by Hyden

Music by Handel

Music by Wagner

Music by Dvorak

Music by Holst

Hideo Kojima

Greg Weisman

Weird Al

Rebecca Sugar

THEN YOU ARE AN EVIL NAZI ENABLER WHO MUST BURN!

[yellowocaballero]

hi! i've been reading some of your older fics and was wondering if there's any merit in watching buffy for the first time in the year 2024

This may not be obvious, but this is actually an extremely complicated and highly subjective question. I'll try to go on for too long.

As background: my mother loved Buffy and its spin-off Angel growing up. It was our Bible (besides the actual Bible). Not kidding, she was on the forums and fan groups and wrote fanfiction for it and everything (These days, she's really into kdramas and Asian dramas, and calls me about how the Thai seem like big fans of gay people). So I'm quite biased.

BTVS is both a product of its times and ahead of its times. It was a show about feminism and the struggle of living in this world as a woman, when very few shows were doing that. It was the first show to have a long-lasting lesbian couple, and the first show to depict a kiss between them. For better or for worse, it was one of the codifiers of broody vampire boyfriend. It was pretty unafraid to be experimental in a lot of what it did. It had incredibly complex and nuanced character work and growth that I still aspire to. Spike's arc is still matched in quality only by Avatar's Zuko. Angel's long term arc, from Buffy to his spin-off series, still makes him one of the most complex characters on TV. It had the most complex depiction of depression on TV at the time and I still think it's one of the best. I think the show had very high highs.

It also had very low lows. Some of the feminism is problematic in retrospect. The sapphic couple has a rather famous element that was severely problematic. There are, overall, some deeply atrocious arcs that I can appreciate objectively but not in practice. Xander: a whole-ass character aged awfully. On a meta level, the workplace conditions were bad (thanks, Whedon.) There are no people of color. The spoiler's sake I won't go into detail on this, but in general the good stuff was so influential and the bad stuff was just awful.

I think these days people tend to brush off the entire thing because it's Whedon. That is more than fair. But I'd also say that Whedon & Buffy is extremely similar to Brian Michael Bendis & Ultimate Spider-Man. Bendis was fantastic at writing sassy, bouncy, permanently stressed-out teens - issue was, he wrote entirely different serious adult characters the way he wrote these sassy teens. Same with Whedon: the annoyingly constant quips are perfect for Buffy, because that's who the characters are. They're awful in Marvel, because Steve Rogers is not Xander. Kinda similarly, Buffy was genuinely feminist for 90s TV - issue is, Whedon has not grown or developed his views, and now his works feel so sexist (oh my fucking god why did you treat Natasha like that). After a certain point it's egotistical: you're writing like that because you're Joss Whedon and it's how you write, not because it's what's best for the characters and story. But it was really important to me to get the character voices right, and it's freaking difficult to endlessly write dialogue that distinct, full of voice, witty, and clever.

I think BTVS & Angel TV's greatest influence on my writing is how intensely character-driven both of those shows were, and how intricate the characters were. What every character did was something they would do, if that made sense. Even the stuff I hated to watch, that made me uncomfortable, was the culmination of so much (usually). I think I also picked up the constant wit and humor lol. On a personal level, the conversations I would have with my mother where she broke down the character motivations and composition of the story was my first exposure to looking at storytelling from an analytical perspective and a framework of critical analysis, which was an approach I carried into the rest of the media I consumed and that was the primary reason I was able to become a decent writer. Thanks, Mom. Have fun with your kdramas.

TL:DR: There is merit, especially if you care about good character work. There are things about it that may make you want to drop it, which is extremely valid. Season 1 is rough but interesting, Season 2 and 5 are the best, Season 3 is pretty good, Season 4 and 7 skippable, and Season 6 is........epic highs, epic lows......

[ectonurites]

Sorry to bother you, but you seem to know a lot about the comics, and specifically about Tim Drake. I was wondering if you knew off the top of your head when Tim and Steph last canonically dated? Because I see people blaming Meghan Fitzmartin a lot, but I could've sworn that they last broke up before she became Tim's author.

So, the people 'blaming' Meghan Fitzmartin are correct—but I can understand some confusion happening because the breakup occurred off-panel. So like, if you weren't following things closely at the time these books were coming out, it might seem like the first Tim story Fitzmartin wrote was referencing a breakup that already happened somewhere else... but that is not the case.

The other possible confusion point would be that there was an earlier 'break up & get back together' storyline with them in the Rebirth era, a few years before she wrote Tim.

To briefly go over the Rebirth & onward Tim/Steph dating timeline just to clear things up (and I'll be using cover dates just for consistency, so if you want release date subtract two months):

Detective Comics #934-935 August 2016 [written by James Tynion IV] Tim & Steph are established to be dating in Rebirth continuity. We don't see the actual moment they start dating, we're just shown that this is now the situation.

Detective Comics #940 November 2016 [written by James Tynion IV] Tim is 'killed' (he's not really but everyone thinks he is, and he is out of the picture for a while) and thus that effectively pauses any relationship between he and Steph, obviously.

Detective Comics #969 January 2018 [written by James Tynion IV] Tim is back and reveals himself as alive to Steph, and the two of them resume their relationship. After a short timeskip, we then learn that in the aftermath of his return... Tim is not being honest with Steph about his plans (to not go to Ivy like he said he would, to instead continue hero-ing indefinitely).

Detective Comics #970 February 2018 [written by James Tynion IV] Tim & Steph start to have some tension here because of how he's overworking himself, how he's handling things with her, and there's a moment where she says she's leaving, he asks if she means 'The Belfrey, the team, or me?' and she says 'I'll get back to you on that.'

Detective Comics #974 April 2018 [written by James Tynion IV] In the aftermath of the team sort of exploding due to ~plot events~ Steph breaks up with Tim while he's throwing too much of himself into his work.

Detective Comics #981 July 2018 [written by James Tynion IV] More plot stuff happens (a whole big mess with Brother Eye) but once that's settled, the two reunite and rekindle their relationship as they head off ‘to Ivy University’ as they tell Bruce, but we know that’s not actually where they’re going.

Young Justice (2019) #5 July 2019 [written by Brian Michael Bendis] Flashbacks show us that after leaving Gotham, Tim & Steph had specifically gone to see the Justice League/Zatanna for help with timeline memory things rather than going to Ivy. Even though they’re in separate places at the main timeline of the book, this shows us that they're still together.

Young Justice (2019) #11-20 February 2020 - January 2021 [written by Brian Michael Bendis] Steph & Tim immediately try to get ahold of one another via text once Tim's back on the correct earth, and work on getting back in touch until eventually reuniting. They are shown together [and depicted as still dating] during the later parts of the book.

Dark Nights: Death Metal: The Last Stories of the DC Universe #1 February 2021 [written by Joshua Williamson, James Tynion IV, and Scott Synder] Shows the two of them together within the larger group of former Titans/YJ members—specifically one panel towards the end shows us Tim with his arm around her while they talk with others [fun fact that’s the panel my icon is from I just had edited Steph’s head out of the way]. As I recall/as far as I'm aware, this issue is the last time we see them interacting together/together as a couple before Future State and then the Infinite Frontier relaunch. [disclaimer that there could be like... a splash page group shot or something that I'm forgetting elsewhere during the Dark Nights: Death Metal event but like, that's not actual interaction that's just physically being present in the same group shot].

NON-CANON BUT RELEVANT: Future State: Robin Eternal #1-2 March - April 2021 [written by Meghan Fitzmartin] During the Future State event which was used largely to tease/set up plotlines for the Infinite Frontier relaunch, in this potential future Tim & Steph are seemingly no longer together but still on okay terms—teaming up in the story, but with clear tension and history there.

Batman: Urban Legends #4 August 2021 [written by Meghan Fitzmartin] We learn that Tim & Steph broke up off-panel before the events of the issue. Steph appears in the following issue further reiterating that they recently broke up.

So yeah! They broke up off-panel and this was first referenced in Batman: Urban Legends #4, thus under Fitzmartin's pen.

[keycomicbooks]

Invincible Iron Man #1 (2015) David Marquez Art, Brian Michael Bendis Story, 1st Appearance of Amara Perera & Biohack Ninja

#InvincibleIronMan #1 (2015) #DavidMarquez Art, #BrianMichaelBendis Story, 1st Appearance of #AmaraPerera & #BiohackNinja From the creators that brought you ULTIMATE SPIDER-MAN comes new armor, new supporting cast, new villains and a new purpose that is going to tear itself across the entire Marvel Universe and beyond. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA https://www.rarecomicbooks.fashionablewebs.com/Iron%20Man%202015.html  #RareComicBooks #KeyComicBooks #MarvelComics #MCU #MarvelUniverse #KeyIssue

[mythomars]

I did a school essay

About how Cyclops was right in AvX

If anyone is interested it’s under the cut

Argumentative Essay: Cyclops Was Right

In Marvel comics there is a man named Scott Summers or better known as Cyclops. He’s a mutant in a world that despises mutants and he made a vow to fight for mutant/human coexistence. Comics often deal with real life issues in a more fantastical way. They address social and political issues and Cyclops making a decision to start a war with the Avengers falls squarely into that category. There’s one side that says he was within his rights to do so. The other side says he went too far in starting this war. Cyclops was right to start war with the Avengers and Humans because an Avenger killed most of the mutant population, the Avengers came in way too hostile, and Cyclops understood and accepted his wrongdoings after the phoenix force was expelled from his body.

In the event series "House of M" by Brian Michael Bendis and Olivier Coipel The Scarlet Witch wiped out 98% of the Mutant Population with the 3 words “No more mutants” Only 198 Mutants survived this erasure. Some defend her claiming she was drowning in grief and anger over her father continuously putting the mutant race over her and her brother. Especially after having just resurrected her brother. However, that's no excuse to kill innocent, sentient beings. How is it the fault of millions of people that her father cared more about them than her? Cyclops has worked since 15 to prevent the extinction of his species so her easily wiping out what he has protected for over 30 years put the Avengers as a whole on his threat list.

The Avengers were clued in that the phoenix force was coming so they went to the mutant utopia with an air carrier full of heroes ready to fight, making no attempt to take this out rationally. They wanted to overpower the X-Men and take Hope Summers, AKA “The Mutant Messiah” to destroy the phoenix force. The Avengers knew this would be a new beginning for mutants and they attacked anyway. Despite Cyclops being on a mental decline since the erasure of the mutants. Becoming more radical and not thinking his actions through like he used to he knew the phoenix force would revive the mutant race. Cyclops was sane enough to weigh the pros and cons of the phoenix force coming down. If the Avengers had minded their business, everything would have very likely worked out just fine. Tony Stark admits this himself saying “In the end. With hope. The distorter. Everything. I knew it would create new mutants.” Him referring to the phoenix force coming down to earth. Despite the Phoenix Force being known to decimate lands and all life it sees fit; the Avengers knew from the beginning this would be a new beginning for mutants and they attacked anyway.

Cyclops understood and accepted his wrongdoings after the phoenix force was expelled from his body and took full accountability for every other mutant that followed his leadership. When Captain America tried to save face for himself and the Avengers, claiming no wrongdoing. Despite the burning passionate rage that filled him, Cyclops admitted to his pride and ignorance when it came to the phoenix force, thinking he could control a cosmic entity. Even though Cyclops temporarily made people terrified of mutants, making their already bad reputation worse; He revitalized the mutant race, keeping his people alive to fight for another day. He wanted to stay in jail and serve his time for the reputation damage to his people.

Cyclops was right to start war with the Avengers and Humans because an Avenger killed most of the mutant population then after that the Avengers came in with no sympathy, then after all that Cyclops still understood and accepted his wrongdoings after the phoenix force was expelled from his body. This isn't the first instance of Marvel comics depicting serious topics in fantastical ways but it definitely sticks out. It shows the story of a leader turned perceived villain. Scott saved mutants despite the stubborn human species.

[aanews69]

Unleash the chaos and dive into the wild world of Hit Monkey's Revenge: From Japan to New York Chaos! 🌍🐒 In this thrilling adventure, meet Hit Monkey, the ...

[victorsandvanquishers]

The Deification of One Bartholomew Henry Allen II

Fandom: DC Comics

Ships: Bart Allen/Kon El

Ratings: T

Warnings: horror horror horror horror, cosmic horror, mindfuck horror, some-thang-stole-my-bae's-face horror, tasteful nudity that is not at all sexualized

Summary: After sacrificing himself for the universe during the events of the Flashpoint Paradox, Bart resumes his existence in the afterlife. Everything’s boring, nothing’s real, and there’s a shadow blob thing who won’t leave him alone. Oh, and Conner Kent is as beautiful as the day Bart first talked to him, and Bart’s got to reconcile these repressed feelings with the fact that he’s dead – again.

[Lost scene between the end of Flashpoint: Kid Flash Lost and the start of DC's Rebirth; written for 2024 BartKon Week (Heart & Bones Edition), Day 5 - Fourth World]

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This was one of my favorite stories to write for this fanweek. To get a full appreciation for it, I recommend reading/rereading the following as the fanfiction pulls directly from these storylines:

Blackest Night: Teen Titans by J.T. Krul

Flashpoint: Kid Flash Lost by Sterling Gates

Young Justice by Brian Michael Bendis

You can search for Dark Crisis on the Web. I read it (and suffered through it) so you won't have to.

Next up, more terror! Make sure to tune in for the rest of the fanweek, and don't forget to leave a review! (〜￣▽￣)〜

[brw]

What's your thought on those who called Vision 'abusive' to Wanda?

It's, well, silly, and more than it's silly, it undermines so much of Wanda's character and her history that I feel like it's an opinion fundamentally exclusive to being a fan of hers. It's more than understandable to not like the relationship, to not be a fan, to find it annoying or overblown or what have you, but the core of their relationship NEEDS to be love for the dissolving of their marriage to mean something. For their children to mean something. It was through her love for Vision and their mutual desire to make a family that the twins were born, and it was Vision being essentially a walking corpse, a shell of who they once were, that made the loss of the twins all the more difficult to deal with, because there was nobody who could share her grief with her properly, who could support and understand her. If Vision was abusive, the narrative and the tragedy completely changes, and I have no idea why anybody would want to change that when it undermines so much of the story there.

I feel similarly to people who call Pietro abusive to Wanda. He is often messy, and toxic, and can be cruel, but to frame their relationship with that kind of power dynamic is ahistorical and does them both a massive disservice. He isn't always a good brother, but he does ultimately love her and does want good things for her, even if he does equally have an issue of projecting his own feelings onto what he thinks is right for her. But his love for her is ultimately what always overcomes this, and to disregard that complexity and nuance into "Pietro is only ever a bad brother and is abusive to Wanda and is the reason for all the bad things in her life" is ridiculous! And very Watsonian, as most of the bad things in Wanda's life are John Byrne and Brian Michael Bendis.

Not every relationship that can be toxic is abusive, and calling it that does not empower Wanda in anyway, it makes some of her most important and meaningful relationships have a completely different context and meaning and I don't know why you would want that for her. If you cannot accept the reality of her relationships with Vision and other characters... you should probably read something else, I dunno.

[daresplaining]

Daredevil vol. 2 #48 by Brian Michael Bendis, Alex Maleev, Matt Hollingsworth, and Cory Petit

I've written about this scene before, but I just keep coming back to it. Matt has just been attacked by Typhoid Mary, approximately thirty seconds into his second date with Milla. With the help of Jessica Jones and Luke Cage, who are bodyguarding for him at the time, Matt manages to fight Typhoid off and get Milla out of harm's way. He brings her back to his apartment, where he can treat his injuries and Milla can get some breathing space to recover. As the evening progresses, they end up in bed together.

There are so many stories— heck, so many Daredevil stories— in which a scene like this would turn sexual. And there isn't anything inherently wrong with that, and there are certainly undertones here for anyone looking for them. But instead, Milla and Matt get into something much more somber: a direct examination of what they've just been through, and what Milla wants to do about it. The bed scene begins with Milla tracing her fingers over the scars on Matt's body while he tells her which villain gave him each one. The conversation slides into the exchange above. This is not long after Karen Page's death (a fact that will pop up in more emphatic ways later in the run). Milla has just been on two disastrous dates, the latest of which put her in direct physical danger. Matt is brutally aware of the kind of target he is putting on her by allowing her to associate with him, and now he knows that Milla knows it too. In previous relationships he might not have brought it up; before Karen's death, before Elektra's, before Glori's, he might have said nothing here, eager for love and brashly confident in his ability to be the hero and keep his girlfriend safe. But no matter how much he likes Milla, and no matter how desperately he might want this relationship— because he's into her, because he needs something pleasant and consistent in his messy life, because the guy rebound dates like it's his damn job— he has the wherewithal, and the honesty, and the fear to tell her that she should take all of this danger seriously and leave. He gives her that choice.

It's easy for us as the readers, with the benefit of hindsight, to say that Milla was foolish to ignore the warnings and to pass up this opportunity to get out of the relationship before it turned ugly. But what I think hits me so hard about this scene is her conviction, and her courage to push all of that aside and offer up the hope that this time, things might be better. Milla has not known Matt for long, other than by reputation, but she has already proven that she is willing to go to great lengths to protect him. She isn't easily frightened, and she likes Matt too much to let him go this easily. Look at the framing and pacing of this moment. Matt makes his long speech about the horror Milla has just been through, and how much he likes her and how little she deserves what she will go through by being around him, and how he can't imagine why she would possibly want to stay. It's a speech full of stutters and pauses; Matt is rattled and frightened. And then there are two panels of silence, in which Milla seems to consider him, and he seems to consider her (it's almost framed as if they are looking at each other, and while obviously that's not what they're literally doing, it does create the sense that an examination is taking place). And then Milla just snuggles in closer and gives her answer: "Because I'm quite fond of you." And there's immense power in such a simple, almost casual response. She has witnessed the danger. She has thought about the danger. She wants to hang out with him anyway because she likes him.

The final panel is beautiful, framing Milla's single line of dialogue. A breeze lifts the curtain on the open window. The walls of the bedroom are transparent, letting in a view of the city and the sky, as if they are lying outdoors, perhaps invoking that feeling of the sounds of New York coming into the room and shattering that illusion of spatial separation. In this moment, neither of them can know what is coming, but with her choice to stay, Milla has conjured a world in which they can both imagine that this kind of peace might be possible.