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kc-anathema · 5 years ago

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I’m so sorry I did another long post so soon...

So a long time ago, I received a flame on Spec Ops 98: Jazz's Interrogation at Soundwave's Pedes. I hadn’t received a flame in a long time, and I haven’t received one since (which is amazing, since this was on chapter 26 back in...dear heavens, 2015. This fic is officially an epic.)

In fact, I stopped reading the flame once I realized it was a flame, about four chunks in. 2015, five years ago, I was changing principals, changing schools, trying to figure out how to marry my Canadian then-fiance and figure out immigration. (Fun type--marry her in Vegas, wait a couple years, bring her over. Use a lawyer to make sure it’s all kosher.) So yeah, didn’t read.

And then a concerned reader mentioned to me that I didn’t deserve this awful flame and that they loved the story. And I thought...oh yeah, there was a flame on this. That was a couple months ago.

I finally decided to break the flame apart like I used to. This feels very nostalgic to me. I found out that this is really the flamer’s only claim to fame--they flame fics and troll writers. I’m not going to name them then, although you can find the easily on the ff.net review page for this fic.

My father once told me that, if anyone ever spraypainted slurs across my house...leave the slurs up. Don’t pay to remove them. Let the awful words stay up until everyone in the neighborhood is begging us to take them down again.

I think leaving the review there says more about her than me. And I’m going to enjoy clawing this apart, I think, like a cat scratching apart a lizard.

Flame begin:

We’ve got a problem if Soundwave is involved here and he’s not pulling his usual ‘Decepticons, Superior’ line. Add on a fic about perverts and we get this. Ah, well. What are you gonna do?

Remember the character Sheldon from The Big Bang Theory, and how he said “Bazinga” all the time? That kind of went from a joke to an overused character crutch. Like ‘dynomite!’ or ‘did I do that’? Is it really good to rely on a character line to the point where we can call it ‘usual’?

“I’ll take my pleasure and that sweet aft” – Sounds like a cheesy commercial for Robot Chicken. Fireflight is locked up in a dungeon and is about to be whipped by a BDSM Starscream. That’s not at all OOC. Basically it’s a fanfiction that talks about fanfiction.

I...um. Yes. Yes, it’s an OOC line modeled directly after pulp fiction zines and tijuana bibles. I literally looked up several of those on the Internet Archives and various old men’s magazines covers. It’s not fanfiction directly, although it’s certainly what fanfic evolved out of.

Do these look subtle? Low key? Classy? Tasteful? It’s cheap trash and it’s fun as hell. I don’t think readers at the time thought that these were in any way true. This is right along the lines of drawn hentai. So I think the flamer admitted despite themself that I did good.

“We’re stuck here in the middle of a war...we don’t have time for sex” – That’s right. But that fact doesn’t apply does it?

...reading trashy, porny magazines is not sex. It’s actually something you do when you can’t get sex for whatever reason. I would know. A lot of us would know. Apparently not the flamer. No one thinks that “hey, I got a chick/dude willing to bang right now...but the new issue of Men’s World is out! Can’t miss that!” Unless you have some serious fetishes that your partner is too weirded out by, I think this does indeed apply.

Then Jazz gets captured and lo and behold, Soundwave is revealed to be the Christian Grey of the story. I hope he has some maid outfits for Jazz.

...our flamer hits the sludgy bottom of the joke well and grabs their shovel. They do not try very hard for originality in their insults. And, while Grey was a jerk, Fifty Shades wasn’t quite a prisoner of war scenario. No, that was a cheap romance for chicks. I’m writing more akin to men’s...oh.

The flamer is a chick.

Their only bdsm or bad romance experience is with Fifty Shades.

I don’t think they read much.

Annnnnnnnnnnnnnnd we have a shower scene. Damn if it’ll be Carrie!

Iiiiiiiiiiiii did not write a shower scene?

Dudette, did you even do the reading you say you did?

There’s no point in adding moral ambiguity, especially in regards to Soundwave. He won’t be swayed easily, or at all, by Jazz’s speech. He’s cold hearted for a reason. He serves the Decepticon cause until the very bitter end. He’s a lot like Shockwave that way. Highly doubtful he would find meaning or even the relevance of writing pornographic fanfiction, but eh, this was never meant to be serious, was it?

...no. It’s a humor fic. The flamer is criticizing a humor fic for being humorous. Kudos for identifying the genre? I mean, the flamer is also complaining that I did not write Soundwave as a one-dimensional factionalist without examining what that means for him and how the mission creep has left the original political crusade behind. It’s not like I took pieces of Soundwave from Gen1, IDW, and the comics and blend them all together.

This reminds me of the fanboys in the TMNT fandom who keep pushing for every iteration to simply rehash their nostalgia boner for the original toon. I feel like I’m getting the Transformers version of wanting less of this:

because it isn’t the familiar characterizations of this:

“So what’s the down low?” – You, Jazz. You’re going to give the down-low to Soundwave. I can’t wait to read how shiny his robo-vagina is.

...wow. Classy there, flamer. Also I really don’t think they read anything. This whole fic is plug n’ play. There’s exchanging of cables, talk of code and positronic souls and sparks and revving engines. There isn’t a drop of sticky, spike, or fluids.

Chapter 15’s sex scenes bore me. Nothing is worse than having a guy ask to remove every bit of clothing. Just do it already! And why is Jazz a virgin? Come on!

Look--the thing about sex and fetish and whatever revs your engine is that it’s not going to rev everyone’s engine. You don’t like the type of interfacing here? Fine. I don’t like those kind of sex scenes in my porn either. But I wasn’t write that scene for porn. I wanted write warbuild Jazz dealing with violent subroutines while interfacing with Prowl. I had fun with it.

Why is Jazz a virgin? The previous 15 chapters discuss that.

I really don’t think the flamer read the fic.They scanned for anything remotely sexual, so I don’t think I’m going to take anything they say about this fic being ooc for perversion’s sake.

“Everyone here is damn pervy” – In which a character talks about the author.

“We gotta get Soundwave to finish writing his story” – Why? I mean, what’s the point? It’s not doing anything for them, unless it’s to show how castrated Soundwave is. I’ve seen him act better in Mary-Sue fics.

There is a whole plot about Starscream and Skyfire, and I thought I could trust the readers to be intelligent enough to make the leap with the parallels between Soundwave and Jazz.

This is literally the only review that questions why Jazz said that.

The Mary Sue shot just echoes the Fifty Shades swipe. I think this flamer did most of their flames roughly ten years ago--the insults are pretty dated.

The Decepticons don’t know about Ratchet? Why? I mean, he’s one of the oldest dudes there. He has a reputation. When you have a reputation, people know about you. It’s inevitable. I think your inner logic slips a lot.

At this point, I literally have 21 previous chapters of world building.

I am not surprised that the story’s logic was slipping away from one of us.

It’s funny to read the forum responses in the story. It’s like the author is trying to make fun of detractors yet ends up making fun of herself.

Okay, this part is hilarious for a reason only briefly noted in the fic. I think that the only things this can refer to are the comments from the chapter titled Flames of the M4gn1f1c3ntSkyPr1nc3--because those are literally the first flames/comments I put in the fic. And I didn’t write them!

My wife wrote them! I don’t write Starscream well but she just poured those out like water--she’s seen more of the hysterical side of fandom, particularly the earlier TF fandom, and I snipped out pieces for the fic.

So...I mean, we’re pretty happily married, so I don’t think she counts as a detractor. ^___^ Ultimately I started writing this fic for her.

“Your optics make me crazy” – Not at all a cliché.

Good thing I didn’t write that, then. Here is that little section in the Prowl/Jazz section. (Took me a bit to find it since I plugged that into the Find and couldn’t bring it up.)

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I like what you do to me. Jazz allowed him in, tilting his helm. I never really understood it, y'know? How mechs could lower their guard so much. Let someone this close.

And now? Prowl drew back, wanting to see Jazz for the answer. With a quiet ping, he warned the other mech even as he raised his hand, touching Jazz's visor.

I still think you're crazy always going on about my optics, Jazz said, venting even as he disengaged the locks and let Prowl gently remove the blue polycarbon.

Your optics are perfection, Prowl corrected him. And you let me see them. Hundreds of mechs wondering what's under that visor, but I get to see.

Still shy about letting someone else see them, Jazz turned his head, only for Prowl to touch his cheek and turn him back, coaxing his optics to open with a soft brush of his thumb.

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Not bad for an asexual, I think. I mean, it’s not like I have a ton of hands on experience, being kinda broken that way. But I have read plenty of pulp magazines and pulp radio shows!

This didn’t take long. I skimmed through this work, because there was so little content. Lots of ridiculous shit, though. Soundwave writes fanfiction, the Autobots are weirded out/turned on, capture Soundwave, Soundwave realizes that his whole life was a life and decides to defect. Yeah, about that. He wouldn’t do it lickety split, let alone EVER. Hell, the reactions in the forum bits show what some would think of this, if they weren’t too busy fapping.

The funny thing is I don’t think the mechs can even fap. I don’t write them doing that. But yes, flamer, I do believe that you skimmed through the work. Particularly since you’ve recounted it backwards...Soundwave captures Jazz as the capstone to a long internal conflict within himself, but rather than go through chapters of internal monologue and Decepticon politics, I started the story as close to the inciting action as possible, not quite in media res.

I won’t hash out why Soundwave defects. I mean, I spent 22 chapters at that point explaining it. But it’s my fault the flamer skimmed, I guess?

Needless to say: the romance bored me senseless. It was poorly written, and overall there’s really no skill attached to this. You don’t grip the audience and Jazz’s virgin mode made me roll my eyes. Reads like a first-time waifu manga.

Nah.

I’ve been writing way too long and am more than self-aware enough of my own failings that I’m also pretty self-aware of my own strengths, too. And no. It’s not poorly written. I definitely feel I could improve the first few chapters a bit, but that’s because I wrote those over five years ago and I’ve improved since then, too.

Empty insults. Maybe if the flamer had gone so far as to give a critique beyond a couple of misquoted lines and their own headcanons, I might have listened, but there’s literally nothing of substance here beyond a child tantrumming that I’m stupid and bad and should feel bad.

As for the other pairings, booooooooooooooooooooooorrrrrrrrrrrrrrrrring.

Usually I have a fun time setting these fics on fire, but this one bored me senseless. Yes, it was stupid, but the author’s attempt to authenticate it are just as sloppy as anything else.

“Authenticate”?

Is this person talking about using fandom tropes as my setting?

There are 22 chapters at the time, and now 51 chapters, building up this world and using roughly 20 years of fandom background to inform the fic.

Maybe if they hadn’t skimmed, they might have found something interesting. But considering that they skimmed over anything character related and stopped for the sex scene--I don’t think that says anything about my writing and more about their own proclivities.

They were trying to read one-handed. A plug n play fic. A long meta look at fandom in war in a humor fic. And they came here for the sexy times.

I don’t have to draw the conclusion here, do I? Well, for the flamer, probably. And then they’d glance at it for a second, call it sloppy, and say I showed nothing, and what I showed was boring, and that boring stuff was ooc anyway.

One thing I am thankful for is the fact that it is not long.

51 chapters later and I’m still not done.

Nothing’s worth remembering in this and I don’t need to tell you that these characters either act like simpering imbeciles, or are virginal waifus. All I’m missing is a senpai in the bed, some tissues, and some high quality lotion.

...why do they keep referencing gay human sex? I mean, I get it, they’re saying that it’s similar to yaoi fics, but.

This is anti-yaoi with its last hurrah, isn’t it? The late 90s, early 2000s, rising from its sludgy well to try to shame the easily cowed and intimidated, the young writers easily startled by long lines of text. No wonder the citations used are so...15 years ago. I mean, who was talking about Sues even 5 years ago. That criticism kind of faded a long while ago, even then.

I think the sad thing is, even the badly written Sue sex fics end up being more interesting than this. If Ebony Darkness D’Mentia Raven Way were to come along, I think this story would get better. What with her ‘I shot him a gazillion times’ lines.

...and there’s the cherry on the top. Third cheap shot firing blanks. Sue + Fifty Shades +...shit, I can’t even remember the title for that infamous fic. It’s that old.

...this fanfic flamer is old.

Like, don’t get me wrong. We’ve got fandom moms and grandmoms who cut their teeth on fandom print zines in the earliest conventions. They’re not “old” in the same way.

This person has lost any joy, humor, or playfulness that fanfic comes from. No one should go into fanfic expecting fine art. I mean, sure, it happens sometimes, but this is a playground of pulp, experimentation and just plain childish fun.

All in all, not worth remembering. It’s makes me tired to read it. It’s not even stupid enough to make me laugh. You’ll still get a fail rating for me, especially with the shitty version of Soundwave here.

Yes, fanfic flamer. You are indeed tired.

He should be on Big Brother. He’d be great making soy lattés and purees.

Big Brother in 2015 was in its 17th season. There were roughly around 6 million viewers at the time. The demographics for the tv viewing audience were graying even by the 2000s, and by 2015-18, it was significantly older.

Granted, it’s a very tenuous conclusion to draw, but combined with the old fandom references, the anti-yaoi vibes I’m getting, and the fanboyish desire to curate their own headcanon of a character to the point of insulting writers on the internet...

Flamer grew from being a reader to a bitter, old person angry and the whipper snappers for writing stupid, trashy crap that they criticize with broad, unspecific insults.Flamer is the stereotypical mean adult in any 90s cartoon or heavy metal rock video.

A little depressing. Poor flamer. I do hope they found more creative, engaging, and positive things to do.

Me? I just wanna rock.

Thanks for coming to my ted talk on pulp fiction and bitter cultural creators.

#in a nutshell #sorry for another long post #I just wanted to finally do this #after thinking about it for awhile #felt like a loose end #fandom #fanfiction #transformers fanfic

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ducktalkspodcast · 6 years ago

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IDW has become one of my favorite comic book publishers over the past few years. They first caught my attention with their Transformers series. In the past couple of years they have become Disney Comics number one publishing arm. They put out Disney Comics almost weekly. Most of what they publish are comics from Europe that have never been published in the U.S.

When we first found Disney Afternoon Giant listed on IDW’s solicitations for this year… we may have lost our minds. In the beginning we did not know much about this comic. I have personally wanted a compilation style book that would include rotating stories about our favorite Disney Afternoon franchises. Maybe we get a story about Darkwing Duck, then TaleSpin, followed by Rescue Rangers. Upon first finding Disney Afternoon Giant I thought IDW was answering my pleas.

We later found that the comic would be a reprinting of the DuckTales and Rescue Rangers comics published by Boom! Studios. These comics are considered very controversial by many who read them because of the characterizations of many of the franchises characters and because the license was abruptly pulled without the storylines being resolved.

I have been pretty excited by the prospect of collecting these books re-published by IDW. The stories took place during a time when I was not reading comics, and I missed out on these stories. I have read all of Boom! Studios Darkwing Duck comic when it was re-published in the Definitively Dangerous Edition by Joe Books Publishing.

Issue #1 of Disney Afternoon Giant kicks off the series with two comics bound in one giant-size issue. The stories contained in Issue #1 are DuckTales: Rightful Owners Part 1: Many Happy Returns and Chip ‘n’ Dale: Rescue Rangers: Worlwide Rescue Part 1. Both stories were four-parters so it is safe to say we will be enjoying these stories through issue #4 of DAG.

Of the two, I was most excited to read the Rescue Rangers story. I have read many outstanding reviews of this comic, and it has been on my list of back issues to collect. I had seen samples of the art before, and Leonel Castellani and Jake Myler were a wonderful team on the book.

The first issue was released in October and it truly excited me for the new series. The art of the DuckTales story reminds me of the Italian duck comics and you all know how much I love how expressive that art is. Castellani’s art is great throughout the story, but I do notice the coloring changes from page to page. I’m not sure what the time frame on this comic was, but it appears rushed at times (especially at the end). The differences were not a huge distraction from the story.

As I began reading the story I was surprised that I had read so many negative comments on the story in the past. The setup reminds me of many other Disney Duck comic stories. The characterizations may have been a little updated, but I did not notice the huge departures… Then things began to change. Warren Spector and Ian Brill did portray Webby very differently from the character we knew from the classic DuckTales show. That is not inherently a bad thing. In fact, of all the characters in OG DuckTales Webby is the one who gets on my nerves the most. There are times when she is cute, but she mostly annoyed me.

Another difference that I noticed may have more to do with my recent introduction to the Carl Barks and Don Rosa comics. I really enjoy these master duck writer’s depiction of Scrooge McDuck. Their Scrooge loves his wealth because of it’s connections to memories and experiences of his past. I feel this aspect of Scrooge is missing in this story. Overall, I enjoyed the first issue of the story and looked forward to the second part.

The second story was a Rescue Rangers story. The art, also by Castellani, and colors are gorgeous in this issue! Every page was dynamic and every panel had me drooling. Castellani knows these characters and his style is perfect for the Rangers. The panels are full of action and the story moves very quickly. In fact the pacing may be my only complaint with this issue. The story begins with a flashback and then jumps into the action before going back to a flashback… I’m not a fan of flashbacks in storytelling. I believe they are difficult to effectively utilize without making the story feel… choppy. I love the art and the fact that my favorite team appears to have continued rescuing even though I have not been able to watch their exploits. But I am afraid the story telling in this issue seems jarring.

I know this series has received rave reviews by Disney Afternoon fans, and I look forward to reading the rest of the story. I believe I will need to know all of the story before I can decide if I like how it was told. Overall, I enjoyed the first issue of “Worldwide Rescue” and I can’t wait to continue the story.

Check out IDW’s Description of Disney Afternoon Giant #1:

Disney Afternoon Giant #1—Cover A: James Silvani

Warren Spector, Ian Brill (wr) • Leonel Castellani, Jose Massaroli, Magic Eye Studios (a) • James Silvani (c)

It’s the first issue of a brand-new series featuring stories from your favorite Disney Afternoon shows! It’s a blast from the past in the present as we feature classic DuckTales, Chip ‘n’ Dale Rescue Rangers, and Darkwing Duckstories, all together in one place for the first time!

FC • 48 pages • $5.99

IDW’s solicitation included these bullet points which indicated that the series would be bi-monthly and that it would include stories from the Darkwing Duck series that was published by Boom! Studios. We hope this means the controversial story “Dangerous Currency” may be available in it’s entirety!

Bullet points:

Brand-new title featuring your classic Disney Afternoon TV favorites: DuckTales,Darkwing Duck, and Chip ‘n’ Dale Rescue Rangers!

Bi-monthly issues featuring rotating serialized content that will have you hooked from the start!

Classic tales from beloved characters that will appeal to readers of all ages!

The second issue of Disney Afternoon Giant #2 came out this month, December. It does continue the stories of “Rightful Owners” and “Worldwide Rescue.” Issue #2 of Disney Afternoon Giant switches things up by beginning with “Worldwide Rescue” Part Two instead of DuckTales’s story. The art continues to impress, and I love every panel of this comic. I love the opening scene and it’s obvious callback to the classic Rescue Rangers video game.

My only complaint with the first issue was that the story seemed to jump around in the timeline too much without a good reason. This issue moves away from that form of storytelling. The opening pages are a flashback, but it serves the purpose of introducing new readers to a character they may not know. After the flashback the story continues at a rapid pace, and we learn that this adventure may have real consequences for our small heroes.

I enjoyed the direction that “Rightful Owners” has taken. I do not have a problem with Webby’s characterization, but that may be because she feels like a proto-2017 DuckTales Webby. She is competent, smart, and confident. I enjoy that the story included a globe-trotting adventure, and that *spoiler* was revealed to be the villain after Scrooge’s treasure. This was very fun, and has me very excited about seeing where this story will go.

The abrupt changes in the art in this issue made me double check to see how many artists worked on the book. I was at least relieved to see that there had been multiple artists. I’m not sure how much deadlines hurt this comic, but it seems that the art was rushed. Don’t get me wrong it’s not horrible, but with a little polish I believe the panels could have been something special. The art itself isn’t bad, but the colors go from fully fleshed out to flat colors from panel to panel.

Overall, I am still interested in this story and I look forward to continuing the story in 2019.

You can read IDW’s description of the issue below:

Disney Afternoon Giant #2

Ian Brill and Warren Spector • Leonel Castellani, José Massaroli, and Magic Eye Studio (a) • Leonel Castellani (c)

Our brand-new series continues with two second chapters as we present part two of Chip ’n’ Dale: Rescue Rangers’ “Worldwide Rescue”and part two of DuckTales’ “Rightful Owners!”

FC • 48 pages • $5.99

IDW has also provided us with previews of the issues that can be found HERE and HERE (for issue #2)

Oh! And check out those gorgeous covers below!

IDW’s Disney Afternoon Giant #1 & #2 – Review IDW has become one of my favorite comic book publishers over the past few years. They first caught my attention with their Transformers series.

#Chip &039;n&039; Dale #DuckTales #IDW #Rescue Rangers

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mark-xeen · 6 years ago

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Top 3 Favorite and Least Favorite IDW Transformers Comics

It’s here the final Goodbye IDW list. Unlike previous lists, I’ve decided to combined two topics- my top 3 Favorite IDW Transformers comics and my top 3 Least Favorite IDW Transformers comics. For this list, I decided to go back read through the IDW Transformers comics from the Furman –ation to the Barber/Roberts/Scotts phase two in order to make it from a fresher take and not let nostalgia mess with my decision making.

Warning: It’s long.

3rd Least Favorite- Transformers vs Visionaries

Transformers vs Visionaries is about the evil Darkling Lords and Merklynn trying to transform Cybertron into new Prysmos with the Spectral Knights and the Cybertronians standing in their way. This crossover is an example of how to not make a crossover story with two unlikely sources. For starters, the writer made the Visionaries’ magic so strong that the Cybertronian characters could do little to stop them and had to rely on the Spectral Knights for help. Resulting in the story feeling more like The Visionaries guest staring the Transformers in the comic with the Transformers characters being grossly under focus and more like set pieces. Visionaries cast however are completely unlikable, with the exception of 2 or 3 characters on the Spectral Knight’s side, every Prysomisian supported the genocide of the Cybertronian race- even several Spectral Knights- and briefly defected to Merklynn’s side because of it. The problem with this is supporting genocide is like supporting the cannibalization of babies: No matter how you try to justify it, it’s just wrong. This resulted in me losing any sympathy I may have had left for them and just wanted them gone or wiped out. The pacing is all over the place making it hard to keep up with it. Seriously, I thought I was missing some issues throughout the series! Finally, everyone but Merklynn gets away with their attempted genocide and terraforming of Cybertron and were instead given a small, already terraformed, section of land. Essentially, these unrepentant mass murders who attacked, mutilated, and murdered the Transformers characters were rewarded for all their atrocities.

3rd Favorite- ROM vs Transformers: Shining Armor

ROM vs Transformers: Shining Armor is a great crossover, possibly the best Transformers crossover I’ve ever read. The story is about the Solstar order finding a Cybertronian protoform, later named Star Drive, raising her to become a SolStar Knight, and during a mission she comes into contact with the Autobots and Decepticons- causing her two worlds to collide. The crossover does a great job telling a story that’s not only about ROM and the Autobot characters, but also expanded on the lore and history of both sides, showing and revealing things such as why the Dire Wraith are against technology and possessing mechanical based beings, what happened between the Solstar knights and the Autobots to make them dislike each other, and how other species view Cybertronians with no personal experience. The series also deconstructs the classic trope of raising an alien child with the character Star Drive’s upbringing being so awful that the poor girl ended up developing lots of issues because the Solstar Order was trying to teach her how not to be “evil”, unlike the rest of her race. My only problem with the series was how the writer and the narrative kept claiming the Autobots are terrible and awful like the Knights but, besides a few insults and comments from Ultra Magnus and Blast Off, they were shown to be good people and to be honest, better people than the Solstar knights as a group.

2nd Least Favorite- The Transformers (Costa Ongoing)

The Costa run of Transformers was one of the most irritating, frustrating, and at times boring runs to read through. The comic follows the Autobots after AHM and shows how they’re doing after defeating Megatron- spoiler, not good. This series made me feel things I normally have reserved for the Bay movie sequels, Energon, and the Prime War Trilogy. The characterizations of the Cybertronians are so off it feels like they’re completely different characters. The Human characters are poorly written caricatures that are so unsympathetic I’m constantly asking myself why, in the name of all that is decent, are the Autobots even trying protect these a-holes? The pacing is either rushing or dragging in almost every arc. Then, the plots themselves make little to no sense the majority of time and I end up having to take breaks in between the arcs because they’re so bad. This was in fact the series that kept me away from the IDWverse for so long because of how terrible it is. Why, then, is it number 2? Because rereading it, while majority of it is awful, there are a few surprising good issues in the mix that I honestly enjoyed; Space Opera and Chaos Theory being the main examples. But, despite the few good ones, overall the Costa Ongoing was a terrible series overall.

2nd Favorite- Transformers: The Wrecker’s Saga

The Wrecker’s saga is an amazingly deep, dark, and action packed Transformers series. The series revolves around the Wreckers: a group of Autobots sent on missions too dangerous or too awful for most Autobots to handle. Each miniseries of the Wreckers explores the darker aspects of the Autobots actions throughout the war and the consequences of some of those choices from the damning evidence of the Aequitas trials and the cover up on Pova, to Prowl’s past dealings with Tarantualas and how his actions cause problems for the Autobots in present day. While being a twisted and dark series with a fatality rate that would make Bay himself cringe, the deaths all serve a purpose and don’t feel cheap at all. I even found myself crying at few deaths of characters I didn’t know before reading the series. But what I love the most about the series is all the character development the main cast goes through. Springer, Impactor, Verity, and even Prowl go through an amazing amount of development where each come face to face with enemies on the outside, personal demons on the inside, and come to terms with their pasts or the fallout their actions have caused.

1st Least Favorite Transformers Heart of Darkness

Heart of Darkness is the worst comic I’ve ever read. Similar to the Costa Ongoing, the four issue miniseries suffers from a lot of inconsistent characterization, terrible pacing, and the plot being borderline nonsense with little logic, thought, or even effort being put into it. The reason why this ranks higher than the Costa Ongoing despite the latter being longer comes down to two factors: One, the Costa Ongoing at least had a few good issues to show possible potential, this series was just bad from beginning to end. Second, the art was god awful. Seriously- I am very lenient on art in comics, I don’t mind Lawrence’s art in lost light, I’m okay with Livio’s art despite having a hard time telling characters apart at times, but this art is so horribly drawn that in almost every page and panel the characters are drawn so out of proportion that it makes me cringe. This has never ever happened before, me cringing because of a comic’s art and not it’s content. Because of those reasons, I ranked Heart of Darkness as my least of favorite comic of the Transformers IDWverse.

1st Favorite- Transformers: More Than Meets the Eye

I’m not going to lie, I LOVE More Than Meets the Eye. A dramedy that takes place after the war, where the Autobots go out into space looking for the ancient Knights of Cybertron and Cyberutopia, which turns into an insane adventure story. It has great characters, amazing pacing, and a deep and complex story with tons of surprises and twists that, if you look back, are hinted and spread out in such a way that it doesn’t come out of left field. Besides all these reasons, the number one reason why this is my favorite is because it’s the comic that not only introduced me to the good of IDW, but it’s also the comic that got me back into loving comics again. Prior to reading MTMTE, I was so burned out on reading comics due to all the BS Marvel and DC were putting in their series to the point that it became more of a chore just to go through one arc. Then, I found MTMTE, and it was unique, complex, interesting, deep, meaningful, but, more than anything else, it was FUN. This comic reignited my love for the genre and the industry. That is why MTMTE is my all-time favorite comic.

#transformers #idw #tf #mtmte #goodbyeIDWlist #lostlight #rom vs transformers #transformers vs visionaries #heart of darkness #wreckers

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chrismaverickdotcom · 7 years ago

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Mavademics: Male Gaze through Visual Signifiers in Comic Art

Last week I saw an image for a cover to a Popeye comic. This version, drawn by Steve Mannion featured Popeye and Bluto with exaggerated vein popping musculatures and Olive Oyl reimagined as a sexy femme fatale in the style that, at least to me, is most close evocative of Salma Hayek‘s character from Deserpado. At the time I thought it was an upcoming series that reimagined Popeye in a modern context in the same way as recent series have done with Flintstones, Scooby Doo and Snagglepuss. I was intrigued and excited. I wanted to see what they were going to do with it. I’ve since come to learn that it was actually an older variant cover to Popeye Classics, IDW Comics‘ series of reprints fo classic Popeye adventures. I’m actually a little disappointed by this, because I was totally interested to see where it would go, but even without a new series to back it up, the image did make me think of some issues that I am working with in my dissertation that I figured it would be worth floating here in my blog to see what people’s thoughts were. In other words, it’s time for another fun round of everyone’s favorite game, “let’s comment on Mav’s dissertation research!”

Namely, I am interested in the fact that when I posted the image to Facebook, the main criticism that people jumped on immediately was the obvious sexualization of Olive Oyl. My friend Cenate pointed out that “A curvaceous Olive Oyl is just so strange. My brain can’t process it.” and a lot of this is because, as in the words of my friend Steve, “Admittedly I expect comic book bodies to be unrealistic, but man, my whole body is in pain just thinking about how deformed and twisted Olive’s skeleton must be. Either her left knee is twisted ninety degrees or she has a goat leg, likely both given the appearance of the silhouette of her right leg…” And while that’s true, my counter argument was that I find it interesting that this is what their attention is called to despite Olive Oyl never being particularly anatomically correct traditionally, and Popeye and Bluto also being extremely non-proportioned in they image. That is, I find it interesting but not surprising. In particular I see it as emblematic of the usage of male gaze in comic art. That is, here I am referring to “comic art” as an art style (or really set of styles collecting a series of like visual tropes) as opposed to the physical media (comic books), or the common genres most often associated with that media (superhero fantasy).

First, I think it’s worth defining the idea of “the male gaze.” I am not using it in the common internety way, of just saying “its bad to portray women as sex objects.” There’s an important conversation to be had there, but that’s not really where I am going with this. At least not directly. It’s an obvious connection that follows, however. When I am using the term I am doing so more in the vein that Laura Mulvey does in her original essay that introduced the term, “Visual Pleasure and Narrative Cinema”. Specifically, at least here, I am concerned with the techniques by which the art style uses the media to portray female characters as sexual objects inviting a voyeuristic gaze, in contrast to make characters being depicted as subjects capable of active agency, rather than the ramifications of doing so. In her essay, Mulvey focuses on the specifics of how this is done in classic cinema pointing to the manner in which the woman, who’s primary purpose is to-be-looked-at, rather than progress the actual action of the plot, must necessarily freeze the otherwise progressing action of the film in order to invite the audience to partake in the voyeuristic pleasure of admiring her body. Since Mulvey is concerned primarily with classic cinema, she uses examples like Rear Window and Marnie. But I’m a comic book geek, so I’m going to offer Ming the Merciless’s hypnosis of Dale Arden in the cult classic Flash Gordon:

Note that when Ming takes control of Dale, everything else in the film stops so that people can just look at her. No one attempts to save her. The extra-diegetic lighting in the room inexplicably lowers so that the audience we can more easily ignore Flash Gordon and the others and focus on Dale as she runs her hands up and down her body and dances for Ming’s (and transitively our) amusement. She’s fully clothed, and in fact, is far more erotically dressed in nearly every scene that follows this in the film, and yet this scene is inherently sexual. Her movements and slow semi-orgamsic moans expressly tell the viewer that this is about sex, however her explicit lack of consent and even awareness of what’s going on key us to read that her personal sexual enjoyment, or lack thereof is entirely irrelevant. Even Flash, her love interest in the film, who is very much aware of the fact that his girlfriend is being psychically sexually violated against her will, can’t help but acknowledge that looking at her as an object (her explicit purpose in the scene) is “sensational.”

That is not to say that the sexuality on display cannot be germane to the plot, or that even doing so makes it a bad narrative. After all, in Rear Window, Mulvey’s key example, the voyeurism inherent in watching is central plot of the film. This can also be seen in the actual scene from Desperado that I compared Olive Oyl to in the first place:

Here, we’re actually given far less time to focus on Carolina(Hayek) as an erotic object. In my head, before I rewatched the scene, I remembered there being far more time to focus on her than actually occurs. She is introduced at a key moment in the action as the Mariachi (Antonio Banderas) is being pursued by his adversaries. She does not freeze the action, but instead is inserted into it because of her sexuality. She is explicitly scantily dressed to key the audience in to the fact that her sexuality is important. We don’t get much time to focus on her bare midriff, flowing windblown hair, or the fact that her tight shirt is tied to frame her boobs — approximately five seconds while other things are going on — but we are entirely aware of them. Moreover, the car crash that happens as she carelessly walks across the street keys us in to the fact that men are so distracted by her beauty that they can focus on nothing else, and her laugh at the event tells us that not only is she used to this sort of thing, but she enjoys it. Immediately after this, we have all action occurring in slow motion as the Mariachi is transfixed by looking at her, so much so that he (and we) almost ignore the the armed assailant whom we all know is coming to kill him. And yet, from this point onward, Carolina is one of the key characters of the film. But she is defined by her sexuality because the tropes of filmmaking tell us to define her that way.

So that takes us back to the Olive Oyl image. Obviously she is sexualized. But the question becomes why… and how does she command specific attention in the image beyond what the other figures do. After all, Steve commented that “my whole body is in pain just thinking about how deformed and twisted Olive’s skeleton must be. Either her left knee is twisted ninety degrees or she has a goat leg, likely both given the appearance of the silhouette of her right leg…” but Popeye’s suffers from much the same issue, his left leg is raised higher than should be possible with out a dislocated hip. His elbow has been relocated to the bottom of his oversized forearm, which should be breaking both his underdeveloped bicep and shoulder from the sheer weight of support. Given the the relative length of his right upper arm, we must assume that his left lower arm has been severed from the occlude left bicep. Similarly, Bluto, whose left arm is more massive than Olive’s entire frame, appears to be missing a right arm entirely, unless we as readers are to assume he has a congenital birth defect causing an underdeveloped arm, which would then call in to question why Popeye is attacking a disabled man. In a sense, Olive may actually be the most realistically proportioned figure in the entire image.

She is also more realistically rendered than her classic interpretation, a wiry, frail woman with joints that seem irrelevant to the points at which her body is capable of bending. While the new interpretation of Olive, with her ample bosom (again, like Hayek’s framed in a tight, low-cut, midriff exposing blouse), skirt clinging tighter to her legs to suggest her crotch, and leg pointed suggestively to expose her new 4-inch heel Fuck-Me Boots, the classic Olive isn’t actually that far behind. It’s true that Olive was never classically visually depicted as having a body that is conventionally sought after as attractive by women of the current era or her 1919 origin, she was always a sex object. She is designed to be a flapper (hence her hair and skirt), a stereotype that has as much sexual connotation at the time as it does now. It’s just that the specific style that E.C. Segar used when drawing her and the other Popeye/Thimble Theatre characters wasn’t designed to “realistic” so much as expressive. She frequently made it clear from her posture and actions that she was extremely horned up almost all of the time. In fact, a LOT of Popeye strips are pretty much about Olive basically wanting to fuck whoever pays the slightest flattery to her. It’s one of the reasons Bluto and Popeye hate each other. When she is not actively seeking amorous attention, she is the perpetual kidnapped damsel-in-distress from Bluto, who desires her sexually.

The sexual aspect of the Olive Oyl character was so prevalent in the 1930s and 40s that she became one of the most common characters featured in Tijuana Bibles (NSFW, seriously… DO NOT click to enlarge this image unless you really want to see a raunchy, rapey, bisexual, anal threesome between Olive, Popeye and Wimpy that your grandfather or great grandfather probably jacked off to at some point during the during the war… I mean, who are we kidding, we all know you’re going to click on it, but you’ve been warned). While the authors and artists of Tijuana Bibles are generally anonymous, it is widely believe that many of the underground artists creating the pieces were employed by day as the regular artists or assistant artists of these very same strips. So while they are certainly not officially sanctioned, they were very much understood as part of the comic culture of the time in the same way sexualize fan art that you might find on DeviantArt, or commission from an artist at a comicon is today. And Olive became a favorite of these because she was understood to be an innately sexual character.

So if we return to the Mannion cover we see some very specific elements at work that call attention to this sexualization despite Olive taking up comparatively little space in the composition. Obviously, the clothing choices are designed to present a sexualized image consistent with modern 21st century fashion choices. Her her hips, boobs, and legs are extended in such a way as to accentuate her femininity as much as possible. While the other characters are more dynamic, she is positioned in front of them, signaling her importance to the composition. Finally, she is the focal point of a golden spiral, the visual instantiation of the golden ratio, φ. In layman’s terms’s Popeye and Bluto are positioned relative to the rest of composition to form the beginnings of a spiral that causes the eyeline to drift towards a specific focal point, as you follow the action. In this case, specifically you are drawn closer and closer to her torso, which continues the spiral which is now framed by her boobs and crotch. Mathematically, you the image literally signifies to you “tits and pussy, right here kids.” Like Hayek in Desperado, she seems both completely aware and totally disaffected by the effect her sexuality has on Bluto and Popeye behind her. She knows they’re there, but this is regular occurrence for her (and it is) so she is happy to mind her business and rejoice in her function, to be looked at as an object to drive the action rather than a participant in and of herself.

Again, I’m not making a Frederic Wertham argument here. I’m not so much arguing that the objectification inherent in the image is “bad.” In fact, in this case, I think it’s used particularly well. But the argument is more in the fact that it is commonplace enough to have become a specific visual trope. I actually went to the comic book shop, Phantom of the Attic, yesterday to count how many female sexualized covers there were. From a pure blatant eroticization stanpoint, of the 216 covers that were on the shelf yesterday, only eight had covers that I think your common viewer people would claim were blatantly eroticized towards a male gaze, far fewer than I would have expected, honestly (and way less than would have been the case in the 1990s comic boom). However, 42 of them used golden spirals to draw the focus to an at least mildly sexualized female character or body part. While some of these make sense tonally or narratively, (as is the case with the Red Sonja/Tarzan cover pictured below), others (as in the Hit-Girl cover) seem almost incidental but for the fact that because the character is female, the focus on a sexual characteristic must be sexual.

In particular this becomes complicated by the manner in which we view an eroticized male vs an eroticized female, is is the case in two similar bondage covers that happened to be on the shelf, one for Spider-man and another for Breathless. The female cover takes on a much more erotic connotation despite being effectively identical to the male. This appears to be a function of the cultural view of feminine vs. masculine sexuality as portrayed in art. Clearly the sexual aspects of masculinity are as exaggerated, if not more so, in Popeye and Bluto than they are in Olive in the Mannion image, but it is Olive that appears to draw our attention, not only because of the focus of the spiral, but because we are more predisposed to notice the woman as sexual object than the male.

So anyway, that’s what I’m working with right now. I’m curious as to people’s base opinions and thoughts. This may possibly get worked into a future episode of the podcast… which reminds me… I want to end on a cheap plug. Check out my podcast, VoxPopcast which I do with Wayne Wise, Katya Gorecki and whoever else I happen to rope in that week. Subscribe on iTunes and Facebook and leave reviews and comment and all the things that will make me famous so I can just think about sex in funny books all the time. You know… for you.

Laura Hudson, Cenate Pruitt, Jessica Keller, Vox Popcast liked this post

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Mavademics: Male Gaze through Visual Signifiers in Comic Art was originally published on ChrisMaverick dotcom

#bluto #comics #desperado #flash gordon #golden spiral #laura mulvey #Male gaze #olive oyl #popeye

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cryptoriawebb · 7 years ago

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I want to talk about something. Something very personal and dear to my heart. Before I do, however, I’m going to ask right now that anyone stumbling onto this either takes the time to stop and read this in full, or carries on with their business, leaving this post untouched. I’m not here to talk about shipping. I’m not here to talk about which characters “are” better and what is and is not “canon.” I know the Sonic fandom is a toxic place filled largely with a young and/or aggressive audience. That’s fine. I was part of it once--on the younger end and adamant about who belonged with who.

I’m not, anymore. Nor do I have patience for any silly comments regarding these points. This is not about the fandom. It’s not about shipping and it’s not about blanket character statements.

This is about me, and how important the Archie Sonic comics were to me.

I don’t remember how old I was when I first stumbled upon the world of Sonic, but I do remember what it was. The Adventures of Sonic the Hedgehow used to air on one of Disney’s many channels, and one day my brother saw it for the first time. He described it to me, and for a while I hadn’t a clue what he meant. I remember trying to picture the series and my gosh, I was off the mark, design-wise. Regardless, I eventually did see the show and we used to watch it together in the morning. It was strange and silly and I didn’t think much of it, but I loved Sonic’s catchphrases, the theme song and Tails.

Sometime after that, we found the OVA at a video rental store (remember those?) I know a lot of people out there don’t think very highly of it, but I was young, and at the time didn’t have any Sonic reference beyond the cartoon. Honestly, I preferred the OVA after watching it. It was darker than the show, with a different type of humor I must have found more appealing. It was also one of the first anime-type-things I’d ever seen. I loved the design, this interpretation of Tails and Robotnik and I also quite liked Knuckles, having never seen him before.

I suppose I should state right now I was not allowed to play video games growing up, and the first computer I remember entering my home was in the very late nineties. Even then, we didn’t play a lot of PC games, mostly Disney and things like Clue Finders and Freddie Fish. At some point I know we discovered a sega collection of old Sonic games, and Sonic R, I just can’t remember when.

Anyway, after that, my next “Sonic medium” came in the form of advertisements for Sonic Sega Dreamcast. I don’t remember what I found so appealing about it, but I very much wanted to play this game. At this point I was pretty obsessed with the OVA and had acquired a lot of old toys relating to the Dreamcast game. Alas, twas not to be, and that was it for me and Sonic..

...until my brother picked up issue #110 for me at a store. I’d never seen a Sonic comic before--had no idea such a thing existed, and believe me, I carried that thing everywhere. The art and story I found incredibly confusing, as did I the side story about Sally and the Sword of Acorn. Who was Sally? How did she know Sonic and Tails? I hadn’t a clue, but I loved the art. A lot. If I were to go back and try reading that comic now I’m pretty sure it would fall apart...the cover’s already been detached from the pages ^^;

Sometime later, I was in a comic book shop--my brother and I loved super heroes and we were starting to get into manga--and I found #114. In it, I discovered a sort of continuation to #110, as well as another beautifully illustrated story by J.Axer. Imagine my surprise to discover not only more characters I’d never seen (Bunnie, Antoine and Rotor) but Amy Rose! Whom I knew, vaguely, from my toys and what I knew of Dreamcast. Like my previous comic, I loved this one so much it also fell apart. J.Axer’s art really fascinated me, I would trace and try to mimic it all the time. Artists today look down on such things, but through the course of doing what I did I broadened my horizons and grew to be a better artist.

It wasn’t long after that I discovered Sonic SatAM. I was thrilled. Sally, Bunnie and everyone else in a TV show of their own? Why was I not aware of this? I must have rented those videos a thousand times. There were only two or three available, with a handful of episodes each, but I didn’t care. I admit I was a bit saddened to see Tails as a mere side character, but that was the only drawback. I knew this story, or part of it--Sally’s father, King Acorn, I’d seen him before. I knew Knothole, Snively--I knew all of it. It was...amazing, quite frankly, and I’m sure I talked about it a lot...to such a point I started annoying my brother. But again, did not care. I had all this insight and I couldn’t get enough of it. So when I stumbled into another comic shop one day and found several back issues (#100, #103, #104, #105 and a few others) I knew there was no going back.

I admit, I can’t remember if I found those back issues before or after I realized it was a monthly series, but either way, once I did, I became a steady collector for the next ten years. I ordered back issues, specials, drew art and comics regularly...even when I got older and my interests tapered, I still collected. This world was so in depth, the art--at least most of it--detailed and rich--and I loved all of the characters. All of them. To me, these comics were the meat enhancing the bare bones that was the video game universe. I preferred them to any other incarnation I’d seen prior, and to be quite honest, I still do.

I can’t speak for the video games now--I know they’ve grown and added characters and I’m sure there’s a lot to be said for that world--but the last video games I played were Shadow and Sonic Heroes. I did watch Sonic X for a while, I just...didn’t care much for it. Shadow was the only one I felt matched the same thought, tone and creative care the comics had, and that’s because they adapted his history pretty well, at least I think so.

The comics had their ups and downs; I’m not the biggest fans of the #130s, but before the reboot, I really felt things were on a strong track forward. That said, I desperately feared the end of the Freedom Fighters...especially Sally Acorn. I remember actually crying about it to one friend. Since discovering her, Sally has been and remains my favorite Sonic character.

Please note again, my thoughts are my own and I’m allowed to have them.

Now then...Sally Acorn. Her and Bunnie, fluctuating occasionally because Bunnie reminded me of my favorite X-men growing up (Rogue) but I’d always come back to Sally. I know some people don’t like her. That’s fine, not everyone is going to like every character. For me, though, Sally was one of few tomboy characters I knew of as a child. Yes she was feminine, but her femininity never overwhelmed her. She never felt over-romanticized, at least to me, and I really appreciated her modest design. It always bothered me female animal-type-characters were heavily dressed while the boys rarely wore full clothes. I liked that she broke that norm, it fit her personality.

Her relationship with Sonic felt very buddy-buddy, too, as much as romantic. Like they were really equals, despite differing status and power. Sally’s sacrifice remains stapled to my memory; it is, I think, the defining nature of her character. Her “true” character, I think: what comes out when it’s down to the wire. I’m really impressed with how she’s grown over the years. Not only how she chose to “end” her life but how strong she became after breaking up with Sonic. I don’t at all believe he held her down--and unlike some people I wasn’t bothered by the slap. I just wasn’t. I am, however, so happy she was able to become the Sally I grew up reading, the one I was first introduced to, once again before her final moments. Above all else, she and the Freedom Fighters proved to me you don’t need special powers to be a hero.

Sonic may have been the ace in the hole, but every one of the Freedom Fighters brought something unique to the table. Watching them evolve over the years--from one universe to the next, powers, kids and otherwise--has been such a wonderful experience. I’ve laughed, I’ve cried, I’ve invested for so long...I only wish I were able to see how the original story intended to progress. I tried describing the comics to a friend recently, particularly where it left off before the reboot. He was incredibly surprised by how vast and dark it was.

I’m going to confess I stopped reading shortly before Sonic rebooted the universes. I have read scans of that initial first issue, but once I discovered the story wasn’t going to continue, I lost a lot of my drive to collect. I’m not going to talk about Penders here--I think we all share mutual feelings in that regard--but in my opinion it was absolutely the defining nail on the coffin for this twenty+ year run. He remains one of few people I find incredibly difficult to forgive. I’m a firm believer in forgiveness, but I grew up reading Sonic. I wanted very much to continue reading it, to see the characters I love continue growing. I can’t do that, anymore. None of us can.

I don’t expect to see Sally and the others carried over to IDW. The Sonic gaming side of things has evolved so much from where it started out: most readers today know of the Freedom Fighting crew through the comics only. If it’s true Sega sees a different creative vision for their franchise, I think this is finally goodbye...I said goodbye years ago, but it’s final now. The comics as I knew them are over. Another staple of my childhood, already reinvented and reimagined, gone for good. The chances a new generation will find the comics, reboot or otherwise, and meet and connect with the characters I loved the way I loved them, rather than through internet fodder they don’t understand are fewer now and far between. That hurts me, it does. As a creative individual who held this so close to them, one thing I’ve always wanted is for people to discover something and experience what I did. Understand in their own way why myself and I’m sure so many others held onto the comics as long as we did. It’s not about shipping, it’s not about what’s canon or who’s better than the other. It’s about something else entirely. For me, it was an expansive, inclusive and ever-changing world. It was following a show that made something equally impressive from so very little and nurturing it until it took on a life of its own.

Maybe I’m a little dramatic, a little theatrical, but if you've stayed with me through this entire confession I hope you can forgive me. I loved these comics. They were a part of my life for a very long time, and I’m going to miss them, indefinitely.

Thank you, Archie Team, for creating something wonderful. Thank you SatAM and yes, even thank you, Sega, allowing them the chance to give us these memories.

#sonic the hedgehog #sonic the hedgehog comics #sally acorn #archie comics #sonic satam #whispersfromthecrypt #webbdesigns

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spectrumscribe · 8 years ago

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I've just been wondering, since I haven't read the IDW comics, why is Casey hated? (It's okay if you don't wanna answer, though I am very curious)

Hahahahaha okay, okay. So. Small essay, i’m sorry, but i have some feelings on IDW Casey and his writing.

(Also: my opinion is based mostly on what i’ve personally read and can remember; if i’ve messed any details, its because i forgot the finer points. Apologies.)

Casey started out a pretty neat character- to me at least- with his fucky abusive home situation, and he ended up being essentially adopted the hell out of that by the turtles the moment they found out about it. Good for a while there, their human buddy with a hockey stick and an over all solid friendship going.

And then…. idk, he just didn’t seem to return the same kind of familial care? That’s one of the points that gets me. when he got a gut wound, Raph camped outside his hospital window most nights- even neglecting to wash and feed himself- and spent a lot of time making sure his best friend (his first friend) was alright. And when Raph and his brothers went through some major shit- AKA that one point where Donnie was thought dead for a while, and then stuck as a robot, and also you know, the whole Foot clan war was still a thing- Casey had Zero Clue how Raph was doing during all that, let alone the whole family. When Alopex and Angel drop by his place for a rest during that arc, his comment is that he should maybe check in with April to see how the boys were.

He wants to ask April how they are, not go ask them himself. That’s a really weird thing for someone who’s one of the closest friends to the turtles to say. Like, they love Casey, i’m fairly certain. They have very few friends at first, and their social circle revolving completely around just Casey and April. No one else. And yet, Casey couldn’t be bothered to even go ask how they were coping with all this insanity in their lives. (They’re like three or five years old jfc, Casey please take care of these kids who’ve put all of their faith in you as a friend, god.)

And on the topic of April and him, their relationship has gone pretty shitty. While i sympathize with Casey’s former home situation, he’s letting that legacy of abuse control most aspects of his life. Hun said a bunch of shitty things to him about Casey being just like his old man, yada yada yada, and Casey has yet to really buck up and say i’ll never become you, and then follow through with that statement. That source of angst affected his behavior a lot, including emotional neglect of his and April’s relationship, and him snapping and pushing away at his friend group (plus his girlfriend). Eventually he broke it off completely and disappeared out of everyone’s lives for a bit, where he ran around breaking noses and feeling bad for himself.

And now, he’s taken over the Purple Dragons in his dad’s place, idk where Hun went, and he’s basically controlling them through violence and threats. Latest issue i read involved a gang war type setting, and lemme tell you, the mass of Purple Dragons all wearing Casey’s signature mask was a lot unsettling to see; especially with the dragon insignia on it. (He’s probably done even more after that point to give fuel to the argument, but i’m a little behind.)

I feel like most people won’t agree, but myself a couple of my friends see IDW Casey as a…. well, pretty weak willed individual. He doesn’t fit in with basically every other Casey in the metaverse, who are all stubborn, bullheaded, totally and completely confident in themselves sorts of individuals. Its what makes a Casey a Casey. The complete and total sense of self that they all have. The only person who decides who Casey Jones is, is Casey Jones. No one else.

And yet, here’s IDW Casey, who doesn’t hold up those classic traits, and just… is really falling down on the job as a partner, a friend, and a brother. (And i feel that’s what he was at the beginning to the boys; an older brother figure, who looked out for them and accepted them. I’m not so sure if he’s still that anymore to them.)

All around, IDW Casey has been a shitty friend of late, and really drifted from the mold of who Casey Jones has always been to the turtles. A steadfast dependable friend through and through, instead of someone who’s letting a lot of in his head type bullshit control his life and actions.

#Casey Jones #tmnt IDW #tmnt #i used to like him a lot really #his backstory was really interesting #and how he's just.... angry/distant/neglectful #he's not with the program at all #and doesn't bother to try being #:/#ask the writer #tmnt IDW spoilers #IDW tmnt spoilers

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paulsebert · 8 years ago

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Ok Marvel we need to talk... (diversity isn’t the problem)

Marvel has already stepped back from David Gabriel’s recent comments blaming diversity and a push for female characters for slumping sales, but that doesn’t change the fact that Marvel Comics has some SERIOUS problems that have to be addressed. There was a time not that long ago when Marvel was kicking ass: Secret War was possibly the best crossover ever, The X-Men were in the most interesting place since Morrison’s run. But it didn’t last and clearly something has gone awry in the past couple of years.

Marvel’s books cost a dollar more than DC’s. That’s like if Coke decided it needed to cost a dollar more than coke. The justification for this for the longest time is that Marvel included digital copy codes in their physical books thus adding extra value but that only screws over customers who don’t live near a brick and mortar store.

Speaking of brick and mortar stores there simply HAS to be a better way to offer customers intensives to buy physical copies than resorting to the variant-cover gimmickry which helped crash the market in the 90s. The selling point for U.S. Avengers #1 shouldn’t have been “check out our 50 variant covers, buy them all!” it should be “Al Ewing is the best team-book writer in comics and this is awesome!”

End the fricken’ pissing contest with 20th Century Fox already. Have you seen the box-office for Deadpool and Logan? They ain’t giving you those rights back. Oh and guess what despite all of your attempts at making Inhumans the New X-Men, people still wanted the X-Men. Oh and having the Inhumans responsible for a bunch of X-Men dying or losing their powers did NOT endear us to them. The whole Death of X/IvX storyline basically made the Inhumans look like oblivious idiots at best and genocidal zealots at worst. Oh and while the Fantastic Four haven’t been an A-list book since hell Marc Waid’s early 2000s run, a lot of people miss them.

Marvel had such confidence in “Deadpool & the Mercs for Money” that they gave it not one, not two, but THREE spin-offs. Then they changed the team line-up of the group in issue 4. So the anchor book that was supposed to sell the spin-offs no longer featured the characters in the spin-offs. It was like you were intentionally setting three books up to fail!

Speaking of Deadpool spin-offs you know the super obscure Marvel character from the film that everyone loved: Negasonic Teenage Warhead? All she gets is a spot in the Mercs for Money ongoing. Almost zero is done to cash in on her newfound popularity.

Lets talk Big Hero 6. An super obscure Marvel property gets turned into a $300 million dollar movie and the only new comics are a manga adaptation from Yen Press and a adaptation from Joe Books a publisher that’s not even on Comixology. How the hell can you not cut a deal to do a Big Hero Six series when YOU ARE PART OF DISNEY?!

Speaking of Disney, why are the only Disney comics being published right now outsourced to IDW and Joe Books a canadian publisher that isn’t on Comixology and whose website doesn’t even work?! I repeat YOU ARE PART OF DISNEY! Why are they outsourcing this?!

Anyone who reads my tumblr regularly knows how much I hate Avengers Arena. I hate to be a broken record but how can I become attached to your next young group of Avengers when the last time I got attached to some young superheroes you butched a lot of them for a cheap hunger games cash-in?! Why should I care about your next group of X-Men when the last time I fell in love with a group of new X-Men you slaughtered so many of them in Decimation?! These kind of kill-fests only discourage people from becoming attached to new characters.

You announced Civil War II before Secret Wars was over. You announced Monsters Unleashed before Civil War II was over. You announced Secret Empire before Monsters Unleashed was over! Your jumping on points between crossovers actually became buffers between events. You basically told readers to take time off because these MAJOR WORLD CHANGING EVENTS are all that maters.

Ok let’s talk about the elephant room... HYDRA CAP. Now as a comics fan I could explain that Hydra was originally created as a Spectre-esc organization for Nick Fury to fight. Or that it’s canonical that Hydra is actually a secret society that predates the Nazis by hundreds of years. But guess what?! I shouldn’t have to explain that and it still looks to the causal reader that Cap is a fascist. Even defenders of this story have to admit this is a bad look particular at a time when people are worrying about genuine fascists! I mean I get it, Hydra Cap kind of works if you want a totally blunt metaphor for America being a lot more messed up than anyone ever thought but... that’s not what a lot of readers want.

Also get Nick Spencer off of twitter for awhile. I genuinely enjoy most of the dude’s work but he seems to come across as thin-skinned, prone to lecturing, and immune to even the slightest bit of criticism.

Between Image, Darkhorse, IDW, BOOM, Dynamite and that weird Canadian company that isn’t on Comixology the market for talent is the most competitive it’s been since the early 1990s. You have to work harder to retain talent because being not working for the Big Two isn’t the threat it used to be. I’m sure Robert Kirkman isn’t regretting an opportunity to write “Marvel Zombies On Ice” while he’s sleeping on a giant pile of Walking Dead Money.

Speaking of competition... lets talk about DC. Not that long ago DC was screwing up every week. It became enough of a running gag for news site “The Outhousers” to create “Has DC Something Stupid Today?” Well guess what. In 2016 DC got their act together, launched a ton of books that people genuinely like, brought back characters that people genuinely like, held off on the crossovers almost entirely and launched a bunch of books that were cheaper than yours.

Marvel Unlimited needs reexamination. People used to wait for the trades if they were uncertain on a series. Now they wait for Marvel Unlimited where for less than the price of one trade you can read until the cows come home. It’s an awesome service but it’s probably cannibalizing your sales. Oh and it still has no unofficial support for the Kindle Fire one of the most popular tablets on the market. WHY?!

The name “All New, All Different Marvel Now” kind of says it all. Marvel got complacent and decided to offer more of what was super-successful in 2013 and gave us more 4 years later without adjusting to a changing market.

#Marvel Comics #Marvel #Comics Fandom #Avengers Arena Ruins Everything #Hydra Cap

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nofomoartworld · 8 years ago

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Gerard Way’s ‘Doom Patrol’ Comic Continues to Amaze

Panel selection from Doom Patrol #4. Illustrated by Nick Derington, colors by Tamra Bonvillain. Screencap via the author

Each week, The Creators Project seeks out the best and brightest from the comics industry.

Kelly Thompson is the writer of an astonishing four comics currently on shelves: Jem and the Holograms, The Misfits, Mega Princess, and Hawkeye for Marvel. This week, she speaks to The Creators Project about some of her favorite new comics and what she thinks of the industry as a whole. “I buy far more books every week than I can possibly stay on top of,” Thompson explains, “so I am always falling behind. As much as reading comics inspires me and is important to creating great comics, there's also some truth that if I'm busy reading comics I'm not busy enough writing them. It's a tough balance!” She’s particularly excited for “the re-publishing of the book Loose Ends #1 by Jason Latour, Chris Brunner, and Rico Renzi... I also bought and read Saga #42, which is remains one of the most amazing books around. The consistency in the storytelling, the emotional investment it’s managed, not to mention the insanely creative world building is second to none. Fiona Staples and Brian K. Vaughan are the ultimate dream team. Wonder Woman #15. I haven't actually read it yet this week, but it's top of my pile when I get back to my ‘stack.’”

When asked about the state of current comics, Kelly Thompson says she’s conflicted. “On the one hand I think there are more great, interesting, smart, and innovative books out there than ever before,” says Thompson. “We've got an absolute embarrassment of riches, especially on the creator-owned front. On the other hand, apparently you maybe can have too much of a good thing? I think market saturation is making it harder than ever for some of those great books—creator owned and licensed —to be sustainable. The comic market remains a pretty niche industry and X number of people only have X number of dollars to spend and when there's so much out there, something’s got to give. Which makes it more important than ever to work toward expanding the industry and diversifying. Change is painful but it's vital in order to have growth.”

Reviewed this week: the impeccable Doom Patrol, a fast and fun G. I. Joe comic, beautiful manga artwork, and snow-covered Hellboy.

Doom Patrol #4

Cover for Doom Patrol #4. Illustrated by Nick Derington. Photo courtesy DC Comics/Young Animal.

The wonderfully strange comic reboot about misfit heroes on the periphery of the DC Universe returns with issue #4, written by Gerard Way and illustrated by Nick Derington. This issue focuses on an interstellar jailbreak, the surprise loss of a limb, and a convention of negative spirits. Way continues to tell a pleasantly complex story, and Nick Derington’s artwork has reached its apex in this issue. His linework, panel layout and composition, and effortless style (matched with Tamra Bonvillain’s colors) are some of the best in the business right now, and couldn't have found a better fit than Doom Patrol. As a bonus, this issue features a few extra pages of illustrations by pop culture artist Brandon Bird (of the Jerry Orbach Memorial Art Car fame) entitled “Bane’s Coloring Corner.” The pages feature coloring book-style illustrations of Bane giving life affirming lessons to the reader/colorer. It’s a perfect ending to one of the best comics of the month, and an absolute must-read.

G.I. Joe #2

Cover for G.I. Joe #2. Illustrated by Aaron Conley. Photo courtesy IDW Comics.

Written by Aubrey Sitterson (who spoke with us about his favorite new comics a few weeks back) and illustrated by Giannis Milonogiannis, the new G.I. Joe series for IDW is pure nostalgia and playfulness. Sitterson writes his Joes with big, bold personalities, and Milonogiannis draws them in a way so action-oriented they may as well have 16 points of articulation. This issue sees the team splitting up between an evil biker gang in Mongolia and a group of anarchists using dangerous symbology in Athens, Greece. There isn’t much angst, and this isn’t a “darker take” on G.I. Joe. Instead, it’s all action, all intrigue, and will absolutely scratch that Saturday morning cartoon itch.

Manga of the Week: Persona Q Shadow of the Labyrinth Side: P4 #23

Cover for Persona Q Shadow of the Labyrinth Side: P4 #23. Illustrated by Mizunomoto. Image courtesy Kodansha Comics

Persona Q Shadow of the Labyrinth Side: P4 #23 is the latest chapter in a manga based on the Persona series of role-playing video games. The story of Persona Q Shadow of the Labyrinth, essentially, follows groups of characters from various Persona games as they’re trapped in a maze full of monsters. This issue sees them battling against a giant clock-monster, and even though the plot could be plenty confusing for the uninitiated, the artwork is perfect for the genre. It’s fast-paced, frenetic, and completely captures a nice video game aesthetic. If the story sounds interesting, readers should go and read back volumes. But if there are readers out there who want to soak in some incredible action illustration, this issue #23 is highly recommended.

Hellboy Winter Special 2017

Cover for Hellboy Winter Special 2017. Illustrated by Sebastian Fiumara and Dave Stewart. Photo courtesy Dark Horse Comics

This year’s Hellboy Winter Special features three short tales all set at varying times in the Hellboy universe. The first takes place in 1891 and concerns a freak snowstorm and the odd artifact that may have caused it; the second takes place in the 1960s and features a possessed Santa Claus; and the third is set in 1979 and features a chilling witch story. All three, though short, are perfect little tales, tightly-wound and clicking along like clockwork. The artists for each perfectly match the story and writing style, and the end result is a comic that offers up tons of fan service to die-hards, and is still a blast to read for newcomers.

Panel selection from Hellboy Winter Special 2017. Illustrated by Sebastian Fiumara. Screencap via the author

What were your favorite pulls of the week? Let us know in the comments below or on Twitter: @CreatorsProject

Giant Monsters Smash the Marvel Universe in This Week’s Best Comics

Mr. Freeze has No Chill in This Week’s Comic Roundup

The 'U.S.Avengers' Are the American Heroes We Deserve

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nofomoartworld · 8 years ago

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Mr. Freeze has No Chill in This Week’s Comic Roundup

Panel selection from All-Star Batman #6. Illustrated by Jock. Screencap via the author

Each week, The Creators Project seeks out the best and brightest from the comics industry.

Comic writer Ryan Ferrier, author of D4VE, Kennel Block Blues, and many upcoming projects like a two-issue run on Teenage Mutant Ninja Turtles Universe, speaks with The Creators Project about his favorite comics of the week. Of God Country #1, Ferrier says, “Donny Cates and Geoff Shaw have knocked this series debut out of the park, and I think they're going to have quite a run with this one… They've done a wonderful job at rewarding the reader here, starting with a sympathetic, familial gut-punch, and ending in a big, loud, but most importantly fun way.”

Of the new spy thriller James Bond: Felix Leiter #1, Ferrier explains, “I'm genuinely loving everything Dynamite is doing with the James Bond license. Every team on these books has to be having a total blast because they just read so great, like someone's pipe-dream project. Felix Leiter's solo debut is no different. Essentially the issue is one long cold open, the kind we've come to expect from Bond stories, but writer James Robinson feeds in just enough information to keep it really effective and intriguing. Aaron Campbell's art is perfect for the tones of this story — a little less glossy than 007, a little more seedy, but still remarkably attractive. Campbell's authority of the medium and the genre here is on fine display.” He also recommends All-Star Batman #6, reviewed below. Keep an eye out for Ryan Ferrier’s newest work, D4VEOCRACY, out January 25th from IDW Comics.

Reviewed this week: Batman tussles with Mr. Freeze, an amazing new indie about robo-women, a classic manga, and a showstopping graphic novel adaptation of an Octavia E. Butler novel.

All-Star Batman #6

Cover for All-Star Batman #6. Illustrated by Jock. Photo courtesy DC Comics

In the newest issue of All-Star Batman by Scott Snyder and the artist Jock, Batman heads to Alaska to stop Mr. Freeze from extracting the oldest ice core, which he plans on using to unleash an ancient virus frozen in the ice. Ryan Ferrier also singled out this book as one of his favorites of the week. “Snyder is once again subverting our expectations,” he explains to The Creators Project. “Not of a great Batman story, but this one feels so different. The poetic, prose approach [the issue has no speech bubbles, it’s all through narration and exposition] paired with Jock's stunning artwork is just so beautiful and creepy, really creepy. Snyder and Jock have managed to, seemingly against the odds, find a way to end this issue with a total chest-tightener.”

Grave Lilies #1

Cover for Grave Lilies. Illustrated by George Kambadais. Photo courtesy Z2 Comics

This new indie comic from writer Cullen Bunn and artist George Kambadais follows five young women who awake from what looks like sleeping pods in an underground bunker after a bomb is detonated over their heads. They don’t have a scratch on them, and they only vaguely remember a past, but they know each other, and know they need to be on the run. Each woman has a special power (though for now they’re mostly alluded to) including healing, interacting with plants, and super-strength. This new comic is a surprise delight, with stunning, restrained, impactful artwork from George Kambadais. Cullen Bunn, always reliable for a killer premise, also writes in this book one of the best introductory pages to a set of characters in modern times, when we see each character with computer loadouts of their prime powers/directives, hinting at a mechanical nature to our heroes. A must-read, for sure.

Manga of the Week: Kikaider Volume 1

Cover for Kikaider Volume 1. Illustrated by Shotaro Ishinomori. Image courtesy Ishimori Production Inc.

Kikaider isn’t, by any means, a new manga, but it’s featured in this week’s Manga Staff Picks on Comixology, and it’s nice, every now and then, to read the beginning of a manga, instead of the usual “chapter 207” little slices as they release each week. The classic manga Kikaider, originally published in the early 1970s and based on a live-action TV series, is a high-flying action comic that screams classic ‘70s manga. It’s about a scientist who built evil robots, had a change of heart and built a good robot (Kikaider), then disappears, leaving the good robot to defend the world as evil robots attack and swarm. For manga fans who haven’t delved into the Kikaider mythos yet, this is a must-read as it set the groundwork for great works that would come later.

Kindred: A Graphic Novel Adaptation

Cover for Kindred: A Graphic Novel Adaptation. Illustrated by John Jennings. Photo courtesy Abrams ComicArts.

This adaptation of the classic science fiction/neo-slave narrative novel by Octavia E. Butler is required reading. The adaptation, rendered with care by Damian Duffy and John Jennings, follows the story of Dana, a black woman living in 1970s California, as she and her white husband Kevin are thrust between their present life and Maryland in 1815. The graphic novel, like Butler’s original masterpiece, looks unflinchingly at race and gender in both time periods, with Dana witnessing firsthand the horrors of pre-Civil War slavery. Creators Duffy and Jennings have brought Butler’s work to life with vivid detail, and this new graphic novel is stunning and almost as powerful an experience as reading the original novel.

Panel selection from Kindred: A Graphic Novel Adaptation. Illustrated by John Jennings. Screencap via the author

What were your favorite pulls of the week? Let us know in the comments or on Twitter: @CreatorsProject

The 'U.S.Avengers' Are the American Heroes We Deserve

‘Black Panther’ Tackles the Politics of Rebellion

Is Aquaman an Underwater Terrorist?

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nofomoartworld · 8 years ago

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The 'U.S.Avengers' Are the American Heroes We Deserve

Panel selection from U.S. Avengers #1. Illustrated by Paco Medina, Juan Vlasco, and Jesus Aburtov. Screencap via the author

Each week, The Creators Project seeks out the best and brightest from the comics industry.

With years of experience in the industry, comic writer and editor Aubrey Sitterson currently writes the new G.I. Joe series for IDW Comics, and this week speaks to The Creators Project about his favorite new releases: “A couple years back I made a conscious effort to start consuming less and creating more,” Aubrey explains. His highlights for the week include Jem and the Holograms #22, “I'm a sucker for band-based stuff,” says Aubrey. “But what Kelly Thompson is doing on Jem is something else entirely. It's fun, feels contemporary and, perhaps most importantly, has an instantly recognizable tone and aesthetic, which is due to the amazing work of Sophie Campbell, Meredith McClaren, and others. One of my big wishlist items for G.I. Joe is doing some kind of crossover with the Jem team—even if it's out of continuity! Cold Slither could show up! Rock 'n Roll could be the Holograms' roadie—it practically writes itself!” Aubrey also calls special attention to Optimus Prime #2 this week and The Unworthy Thor #3.

Of the comic industry as a whole, Aubrey believes “comics—like a lot of different mediums—are as good they've ever been right now. There are a lot of things to be pessimistic about these days, but ‘humanity's creative endeavors’ certainly isn't one of them.”

Reviewed this week: Bombastic American Avengers, a new super genius super heroine, too many supermen, and a manga about space brothers toughing it out in the Russian wilderness.

U.S.Avengers #1

Cover for U.S. Avengers #1. Illustrated by Paco Medina. Photo courtesy Marvel Comics

Looking at the cover for U.S.Avengers #1 it’s easy to roll one’s eyes and move on down the shelf. Surely this comic is bound to be be a chest-thumping, Americans-vs-Terrorists, simplicity-fest, right? Super-wrong. U.S. Avengers features a diverse cast of heroes including a Brazilian-American millionaire, a Chinese-American lesbian science genius, a Norwegian immigrant in a cool cyber suit, hell… even Squirrel Girl gets to join the fun. And even though they’re loud and explode-y, they’re also inclusive, diverse, tough-as-hell, and champion a sort of “ideal patriotism” where they fight for an America that’s truly a land of opportunity and unafraid of otherness (unless “the other” rides toward the coast in a giant floating volcano, which absolutely happens in this issue). This is a must-read for action comic fans who want something more than the traditional Cap/Thor/Iron Man Avengers can provide.

The Unstoppable Wasp #1

Cover for The Unstoppable Wasp #1. Illustrated by Elsa Charretier. Photo courtesy Marvel Comics

The most amazing part about The Unstoppable Wasp is that it’s all about brilliant female scientists. Nadia Pym is the titular heroine. She’s daughter of famed (and now sadly deceased) scientist Hank Pym—better known as Ant Man—and she continually bumps into super-geniuses who are her idols. Along with trying to get an American citizenship (she was kept in Russia in The Red Room for most of her life up to now) she spends much of the issue meeting other super-smart women and gushes over how much she loves their research papers on biology and radiation. Talk about positive role models: the women (mostly teenagers) fighting crime in this book are super-smart, speak like real humans, and fight to be noticed amidst their male counterparts. The comic even deals with representation in a perfectly nuanced way. S.H.I.E.L.D. keeps a list of the smartest people in the world, and there aren’t many women on the list, and Nadia and Mockingbird decide that that’s because the list is made by men who aren’t looking for women to be on the list, so Nadia seems to want to set out to find brilliant women and raise visibility… all this, and she takes down a giant robot, too.

Superman #14

Cover for Superman #14. Illustrated by Ivan Reis. Photo courtesy DC Comics

Creatures are tearing through the multiverse (a series of parallel universes in DC Comics, it’s extremely complicated) collecting various incarnations of Superman. They burst onto the scene, scream about collecting those on “the lyst,” and pose a serious threat to our heroes. This is not an easy comic to jump into, but not every comic has to be easy for newcomers every single issue. In a way, it’s sort of a cool, bold move of DC comics to let their tentpole superhero comic slide into an in-depth, potentially confounding story.

Manga of the Week: Space Brothers Chapter 287

Cover for Space Brothers Chapter 287. Illustrated by Chuya Koayama. Photo courtesy Kodansha Comics

Space Brothers is a long-running manga (since 2007) about a pair of brothers who made a promise to one another that they’d one day both be astronauts. At the start of the series, one of the brothers really has filled his end of the bargain, and the reader follows the other brother as he attempts to play catch up. In this issue the brothers train with the Russian space program, learn about their customs, and embark on a wilderness survival trip with them. For a manga so centered on space, this is an incredibly down-to-earth work about a group of people getting to know each other in the woods. As with all of these weekly snippets of manga, it will be hard to know exactly what’s going on story-wise from this issue, but it’s an absolutely perfect, tranquil, wonderful read nonetheless.

Panel selection from Space Brothers Chapter 287. Illustrated by Chuya Koayama. Screencap via the author

What were your favorite pulls of the week? Let us know in the comments or on Twitter: @CreatorsProject

‘Black Panther’ Tackles the Politics of Rebellion

Is Aquaman an Underwater Terrorist?

Kate Bishop Is the New 'Hawkeye'

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