#if the writers can’t think of anything interesting with their superhero and their roster of villains

[norsferatu]

Because the multiverse has always been part of the DC universe. And it's not an anime, it's a western show.

superhero fatigue my dearly detested <3

[northstarfan]

Alpha Flight #42 - (Bill Mantlo and David Ross, January 1987)

So we get two terrible bits of writing this time around, one in full bloom and one just seeded.

Let’s start with the immediate bullshit, Heather’s response to Northstar after he manages to shake off Kara’s conditioning again. 

So, as I’ve noted before, most of the early indications we have of Northstar’s sexuality are varying degrees of snark and homophobia from his teammates. And that’s a whole lot of not great. But this one is really beyond the pale. Northstar was kidnapped and sexually assaulted by the person they’re debating letting onto the team, and Heather completely dismisses it as a joke. Not only that, she does so even as she acknowledges that it would have been worse for Northstar because Kara was a woman - an indication that she knows that the assault would potentially be more traumatic for him as a gay man. And she just doesn’t care.

That’s not just “quit the team” territory, that’s “quit the team and put your leader’s head through the wall on the way out”. Scenes like this are one more reason why I maintain that anyone who gives Northstar shit about his attitude toward Alpha Flight has never actually read Alpha Flight.

Then there’s the more infamous element - the cough that marks the start of the aborted storyline that was supposed to culminate in Northstar dying of AIDS. For the sake of redundancy, I’m not going to cover every panel that had Northstar sniffle, cough, and stagger his way to Alpha Flight #50, but since this is the issue where it first rears its head, I am going to give a general overview.

So this goes all the way back to Bill Mantlo taking over the title. Mantlo, who was on The Incredible Hulk at the time, was enthusiastic about taking over the book when John Byrne offered to swap titles. As Mantlo told Amazing Heroes: “I was bowled over [when Byrne called], because this was John’s creation and I’ve had nothing but admiration for the way he’s been handling it. So I said ‘My God, yes!’ And that’s how we decided to switch.” (Amazing Heroes #76, 1985). This enthusiasm also seemed to include a plan to out Northstar. As John Byrne put it in that same interview: “[Bill] is going to try and say the unsayable about Northstar in no uncertain terms; I wish him luck.” 

Outside of that particular point, however, Mantlo seemed to have little interest in the Beaubier twins and had no real direction for them outside of Aurora’s fluctuating powers. From AH #76: 

“So far the least interesting to me are Aurora and Northstar. John played them up the most, and really went heavily into their origins, but he made so many changes to them that it’s almost impossible for me to say what the norm is any more. I’m just giving them a chance to relax and recuperate while I concentrate on the others.” 

Ultimately, Mantlo’s plans to out Northstar were blocked by editorial, and he found writing Jean-Paul under the same limitations Byrne had dealt with to be quite frustrating:

“I always felt Northstar had possibilities if his background could be developed as a logical extension of his character. But I was prevented from doing that because of creative restrictions. Therefore, I had to look at the character as a viable superhero with the reality of his gayness kept largely in the dark. And as a character, his flying and running fast just didn’t make him and integral part of the team without his uniqueness - being gay.” (The Advocate #479, 1987)

 This lead to Mantlo’s decision to reveal Northstar as HIV+ and kill him off. From the same interview: 

“Northstar… could have been made to just vanish or even quit the team, but Mantlo wanted to be true to the character’s integrity. He decided, instead, that Northstar would die of AIDS. It seemed, [Mantlo] says, plausible given the fact that there had been allusions to numerous relationships during his years in the book. ‘It would give me the opportunity to deal with a frightening, sad, controversial topic in a comic book - which I had always understood Marvel was all about,’ he adds.”

Alpha Flight’s editor, Carl Potts, was not on board with this. From the same interview with The Advocate: “We had never openly declared that Northstar was gay. Now we had the only fairly popular Marvel character generally acknowledged as being gay and he was dying of AIDS. You shouldn’t equate one with the other.”

The two came to a compromise on the storyline, wherein Alpha Flight’s foe, Pestilence, would sicken Northstar by quickening the “corruption” in his body, with the disease remaining unnamed and the intent being that Northstar would never realize he had contracted HIV, even as his illness progressed.

Said Mantlo: “It was really AIDS in another guise, and there were still complaints about it being too similar.”

The storyline was ultimately resolved by Mantlo having Loki tell the Beaubier twins that their respective ailments (Jean-Paul’s wasting disease and Jeanne-Marie’s increasing mental instability) were the result of them being half-elves unsuited to life in the mortal realm. Jeanne-Marie used her powers to heal her brother, Jean-Paul got sent off to Asgard to live with the elves, and both were written out of the series for about two years worth of issues. (The twins were eventually brought back by other writers via the expedient explanation of Loki being a lying liar who lies.)

Mantlo was displeased with the compromised ending:

“It’s really a fallback position, since we were precluded from doing anything else… Quite honestly, I think it’s hypocritical and pointless, but that’s comics. You can’t do anything controversial, even if it has integrity, even if it’s honest, even if it’s an attempt to deal with a serious issue affecting thousands of people and likely to affect millions more.” (The Advocate #479, 1987)

Though there were apparently plans to revisit the twins at some point, Mantlo left Alpha Flight before this came about.

So, there’s a bit to unpack here, the biggest point being Mantlo’s reasoning behind trying to kill Northstar off. This was a writer who was plainly frustrated by the limitations being imposed on him, but, at the same time, he also sounds very much like he’d limited himself by reducing Northstar’s character to the sum of his sexuality. Aside from a brief aside in Marvel Fanfare #28, it seemed Northstar’s jam-packed past of childhood trauma, circus life, professional disgrace, and political terrorism held no interest for Mantlo as something that could be used to open the character to wider exploration, nor did even his own ideas for Northstar and Aurora’s otherworldly origins. No, if Northstar couldn’t be outed, he had to die. And if he couldn’t die, he still had to leave the book.

I’ve said before that I admire Mantlo’s integrity in not dropping the subtext related to Northstar’s sexuality, and I hold to that. As a writer, he could have saved himself a massive headache by simply making Northstar straight or immediately dropping him from the roster. So I do believe that Mantlo was in some part sincere in his desire to do something authentic and emotional with his planned storyline for Northstar; he’d stated that Jean-Paul’s sexuality was a unique quality in the comics landscape and seemed to want to make that an open part of the book by whatever means he could. There’s even a case to be made that, for better or for worse, linking Northstar to AIDS and the scrutiny that storyline brought made it that much more difficult to downplay the queer subtext surrounding the character, in turn making it easier for a later writer to make a case for making his homosexuality canon.

However, I have a real hard time scraping up much patience for a straight writer who decided that portraying a semi-closeted character was just too hard, when that very life experience would have been authentic to any number of queer readers, particularly in the middle of the AIDS crisis. I’ve even less patience with the apparent conclusion that the way to remedy that frustration was to kill Northstar instead of finding more subtle ways to advance the character, as Byrne had managed, or even just having him leave the team. The notion that it would have been out of character for Northstar to leave Alpha Flight is absolutely absurd; this is a character who only ever stayed with the team for the sake of his sister. All that would have been required for Jean-Paul to plausibly leave would have been for the writer to stop torturing Jeanne-Marie for an issue or two, or to have her take a bad enough turn that he took her off the team for her own safety and that of others.

Finally, I can’t say I have much faith that Mantlo would have been able to execute his plotline at all well, particularly given how little sympathy he seems to have had for Northstar as a character or how little interest he had in him beyond the controversy of his sexuality. Whatever Mantlo’s intent, it’s hard to believe that we’d have gotten any deathbed emotion that rang true to Northstar as a character or was particularly honest as commentary on society’s treatment of AIDS victims from the same writer who had Northstar’s teammates blow off sexual assault as delivery for a truly nasty homophobic joke and who thought a gay character possibly having had two romantic relationships in his life (I’m assuming this was in reference to Raymonde and Maurice) made him so promiscuous that it was plausible he’d have AIDS. And on top of that, regardless of other motivation, the decision to get rid of Northstar seems to have come as much from Mantlo’s frustration with his editors as any desire for meaningful character development. 

In conclusion, for whatever good I might be able to say about Mantlo, I’m not the least bit sorry that his plans were derailed. He seems to have been, at best, a writer with better intentions than capability when it came to the sensitive subject matter he’d decided to tackle, and it seems for the best that other writers were able to give Northstar the development he couldn’t.

Next Time: The Man You Were

Previous installments of the series can be found here and at AO3.

[ordinaryschmuck]

What I Thought About "What If...Captain Carter was the First Avenger" from Marvel Studios' What If...

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Back when Marvel Studios announced the new lineup of films and shows, I was admittingly underwhelmed. Nothing we've seen so far has been poorly written, far from it, but during the announcement, nothing really popped out at me as worth getting excited for. That is, except for one series: Marvel Studios' What If... An animated series that changes the canon of the Marvel Cinematic Universe, all through the simple question. The question being, "What if this happened instead of that."

From the get-go, I was sold on this idea. I'm a sucker for hypothetical scenarios, thinking up all the ways of how some of my favorite stories in fiction could be drastically different thanks to one tiny change. Some might call that "Fanfiction the Series," and while you're not wrong, I fail to see how that's a criticism. Because fanfiction can be fun...just as long as you ignore the sick freaks, sure, but it still can be fun! So whether Marvel Studio's What If... is fanfiction or not, it still didn't change how excited I was to watch it. Was it all worth the hype? Well, to answer that question requires spoilers, so keep that in mind as we dive deep into Marvel's most ambitious project yet.

Now, let's review, shall we?

WHAT I LIKED

The Watcher: Gonna get the generals out of the way before I talk about what I specifically like about this episode. Ok? Ok.

Now, using the Watcher as the narrator for this series is just perfect. What If... already has a similar energy to The Twilight Zone: An anthology series that takes viewers to new and mysterious realities all through the guidance of an omniscient narrator. And using the Watcher as that type of narrator might just be the second-best choice...number one would be Stan Lee, obviously, but...he's dead now. May he rest in peace.

I haven't read that many comics, so there's not much that I know about the Watcher's character aside from a ten-second Google search. But something tells me that a character described as a celestial being that observes and records the events surrounding the galaxy sounds like the exact type of omniscience to guide us through the unknown. All added with Jeffrey Wright's performance, who really does convey a character that sounds like he's as old as time and wise beyond his years. Plus, it's pretty cool that such a seemingly odd character now technically plays a major role in the MCU canon. Comics are weird, and if the Watcher proves anything, it's better to embrace that weirdness than deny it.

The Animation: Looks like someone watched Spider-Man: Into the Spiderverse.

That really is the feeling I got when watching this. What If... doesn't look as good as Spiderverse (Nothing can be as good as Spiderverse), but the idea is still there as it combines primarily CGI animation with a few hand-drawn elements. It makes certain scenes just pop and, at times, even makes specific shots look like they're straight from panels in a comic book. Besides, while Spiderverse still looks better, that doesn't mean the animation isn't phenomenal in What If... The scenery looks gorgeous, the CGI models moderately match their live-action counterparts, the expressions are fantastic, and movements are as smooth as butter. There was definitely some money that went into this series to make it look as good as it did, and my eyeballs were more than grateful because of it. Especially when it comes to--

The Action: Holy s**t, was it a good thing that this series was animated!

The MCU has had its fair share of great fight scenes in the past, but it always felt restricted to what the big superhero fights could be due to everything needing to look "realistic." That all changes in What If... Because now that this series is animated, we can finally chuck realism out the window and allow these characters to be as epic as they were in the comics. The movements are swift, the blows look like they hurt, and best of all, you actually get to see characters fighting each other! There are no random cuts to hide the stunt doubles or weird camera angles to avoid audiences seeing how ugly the CGIed replacements are. We get to see all of the action with zero restraint, thanks to the fact that animation is limitless and allows writers to get away with literally anything. And shows like this make me wonder, "Why the hell isn't the MCU animated?"

Peggy as Captain Carter: It's here that we get into the specifics, and by golly, do I love me some Peggy Carter making a return. And what a return she made!

Seeing Peggy kick Nazi ass as Captain Carter is as awesome as it sounds as she gives a new definition of a "Strong, independent woman." She took s**t from no one and was more than willing to destroy anybody who said differently. It's a ton of fun for fans (the ones who aren't sexist, at least) and even fun for Peggy as well now that she gets a chance to wreck shop. However, that in itself could cause problems. If you watched Agent Carter (a great show, by the way), then you'll know that Peggy doesn't act as...somewhat meatheaded as she does here. As she said it herself, she's "usually more covert than this." And she is, as she was pretty much the first superspy in the MCU, who's impressive through how she effortlessly infiltrates her way to winning the day with diminutive requirements for fighting. So stripping that away gets rid of a core part of what makes her character so interesting. Although, in fairness, you could blame the fact that the reason she's acting like this is that the super-soldier serum is messing with her brain a bit. We've seen through U.S. Agent the reciprocations of the wrong person taking the serum, and while Peggy is far from the worst pick, there are hints of why Steve Rodgers was the best choice. Still, even though it's not the same Peggy Carter, that doesn't mean Captain Carter is a poor addition to the hero roster in the MCU. She's cool in all the right ways, even though they're drastically different from what made her compelling, to begin with.

Howard Stark: Another character I'm more than happy to see again!

Howard didn't leave that much of a grand of an impression in Captain America: The First Avenger, but in Agent Carter (Seriously, great show), he was a blast. You can just tell he was Tony Stark's father through all the ways he fast-talks in and out of problems and brilliantly comes up with solutions thanks to being tech-savvy. The main difference between Howard and Tony, however, is that Howard prefers to stay on the sidelines, where Tony learned to be more proactive. You get a sense of that in this episode. Because even though he goes to save the day, you can tell that he would rather be anywhere else. And, as a bonus, Howard's just funny. Probably not up there as one of the funniest characters in the franchise (Paul Rudd's Ant-Man reigns supreme), but he still cracks me up more times than not. Howard may be nothing more than a side character, but he'll always win me over no matter how small of a role he has.

Steve Rodgers in the Hydra Stomper: Don't mind me. Just admiring the fact that despite being crippled and skinny, Steve Rodgers still finds a way to fight the good fight, which is who Steve is to me. One of the best things about The First Avenger is that it fully understands the hero that is Captain America. Serum or not, he will do all he can to do the right thing and won't give up despite how many times others tell him he should. So if Steve's going to fly around in a suped-up Iron Man suit that's appropriately named "The Hydra Stomper," then Steve'll f**king soar. Because he is a gosh dang superhero, no matter what name he takes at the end of the day.

Fast-Forwarding Through Events: Some fans might take issues with this. Don't get me wrong, I would love to see all the little changes that Captain Carter makes to the story, but realistically that's not the best choice to make. Let's be honest, there's not that much to show other than what this episode did, and doing a full-on rewrite of Captain America: The First Avenger would have rubbed some fans the wrong way. Besides, from what I can tell, most of the What If... comics are one-shots that very rarely branch out into longer arcs. The primary goal is less to write this large-scale story and more of this self-contained narrative that does what it precisely delivers: Show fans a glimpse of what would happen if this happened instead of that. That's what we were given, and I can't really complain that much. I would have loved to have seen more, but I can learn to be happy with what I got.

Colonel Flynn Taking Credit: This guy is sexist and an idiot, and that's why I hate him...but I'd be lying if I said that I didn't at least chuckle when he said everything was his idea. It's such a scumbag move that I couldn't help but find the humor in it.

(Like, what even was that scene where Peggy was pissed at Steve kissing a girl. THEY WEREN'T EVEN DATING !)nd Steve falling in love inThe First Avenger, which certainly wasn't helped by how they had these dumbass misunderstandings of each thinking the other was dating someone else. Here, they at least get to interact, confiding in one another about their insecurities and offer support when needed. And while it may be a little rushed, I'm more willing to believe their romance in under thirty minutes than I did in over two hours. It could have been better, but it also could have been much, much worse.

(Like, what even was that scene where Peggy was pissed at Steve kissing a girl. THEY WEREN'T EVEN DATING AT THE TIME!)

“I won’t tell you anything.”/”He told me everything.”: That's the Peggy Carter I know and love! Added with a solid joke, too.

Steve’s Pratfall: It's nice to know that no matter what universe we see, Marvel is still funny.

Peggy’s Sacrifice: Much like Peggy and Steve's romance, I buy Peggy's sacrifice way more than Steve's. Several fans already pointed out how it makes no sense for Steve to crash the plane into the icy waters when it seemed like he had enough control to land it or could have easily jumped out after aiming for the crash landing. Here, there's a more legitimate reason why Peggy sacrifices herself. The monster was undefeatable, and the only way to stop it was to push it back through the portal. Peggy, being the only one strong enough to do so at the moment, was the only option, and there was no way where she didn't end up going through with the monster. Even her return makes more sense, as I think her being lost to time and space sounds more believable than Steve surviving being frozen in ice. Something no mortal man should live through. Peggy's sacrifice proves that while the MCU can't change its cannon past, the writers learn from their mistakes and make something better.

WHAT I DISLIKED

The Reasoning Behind Peggy Becoming Captain Carter: So, the idea that one small change can greatly alter the story we knew is a great one, and it's one of the main reasons why I was excited about this series...but how does Peggy staying in the room cause the Hydra agent to detonate the bomb early? I understand the ripples that come from the Butterfly Effect, but I feel like that's too big of a leap to reason how Peggy ends up taking the serum instead.

Colonel Flynn: How is it possible that this guy is somehow even more of a pain in the ass than the general he replaced? At least Chester Phillips had the decency to respect Agent Carter!

Red Skull is Still on the Dull Side: Red Skull isn't an awful villain, but he wasn't really a great one. It's the same here, as he's just as forgettable and wooden an episode of television as he was in a full-length movie. But at least he had a cooler death this time.

Sebastian Stan is Not a Great Voice Actor: He's not awful, but his talent really doesn't shine in this regard. Some people think that being an actor and a voice actor is the same thing, but it's not always the case. Through live-action, actors are given a chance to express emotion through their expressions, movement, and voice. With voice acting, actors still have to convey emotions, but strictly through their voice. Meaning that actors like Sebastian Stan are limited to what they're used to and can stumble a bit when trying to perform in a field of acting they're unfamiliar with. You can tell he was trying his best, but this type of thing can take far more practice for others to perfect.

“Whew. Thanks. You almost ripped my arm off.”: ...hhhhhhhhhhHHHHHHHHA! HA HA! Ah...oh man...I, uh...I felt the internal bleeding with that one. Wow. Just...wow.

Bucky Leaving After Steve “Died”: Ok, now that's the biggest bout of bulls**t I've ever heard. BUCKY WOULD BE WITH STEVE 'TILL THE END OF THE LINE AND WOULD NOT HAVE LEFT THAT QUICKLY!

...This episode did Bucky dirty, didn't it?

IN CONCLUSION

I'd say that "What If...Captain Carter was the First Avenger" is an A-. It's still a solid start of what I can already tell will be a great series, but some elements could have used some polishing out. I loved it, but it wasn't as bloody brilliant as it could have been.

(And I meant it: WATCH AGENT CARTER! It's pleasantly surprising!)

[popculturebuffet]

New X-Men Xtrospective Part 1: E is For Extinction “They Will Need Us”

I am SO fucking excited for this one. As might not be obvious to ALL of my readers but should be obvious to some, I fucking love the X-Men. They are one of my favorite superhero teams period as are several of their spinoffs such as X-Factor (All versions), New Mutants, and Marauders. I love the wide cast, the hugely vast universe within the already vast and wonderful marvel universe, and the sheer amount of GREAT stories. I own all 11 movies, have several action figures, and two posters from Jonathan Hickman’s current and utterly dynamite run right above me right now as I work, as well as a marvel 80′s themed poster behind me that’s at least half x-men for good reason. I love this gang of mutants and I have not talked about them enough. 

I”ve done some X-Men stuff sure: I’ve talked about hickman’s time as head writer of the books a year in earlier this year, I did a few scattered reviews back when I did single issues of comics, and then we get to the one I beefed big time: covering ALL of X-Men evolution. While it’s a noble endeavor I freely admit to overexerting myself: I recapped the episodes way too closely, gave myself no real schedule and did so while I was already covering two shows a week at the time. My point is it was a good idea, but the timing was REALLY fucking bad and if I do it again, I intend to do it right and iwth a proper place in my now properly paced schedule. I also planned to do the movies which, unlike evolution, I have solid plans to do once I clear out some of my projects. Point is I burned bright and then exploded and took a whole projecet with me phoenix style. 

I had until this moment yet to do a really big x-men project, something digging into the comics, something that could help fans both of the comics and not get familiar with something really good, and help me dig into both the good and bad of something. I jsut needed the right start. 

Then Christmas gave me that spark, that project that gave me the idea for a butload more x-men content on here and was the perfect starting point for some. See my friend Marco lives in Honduras, and so since i couldn’t afford to send him anything for christmas in the mail, as i’m not exactly rich, I instead offered him three reviews of anything.l He still hasn’t taken up two of them, nor one I gave him for graduating college, but the first one was a doozy, something he hadn’t read due to not liking the art, which is fine as I have some art in comics I don’t like everyone has diffrent tastes, at least for the first arc, and something VITALLY important to x-men as a whole and that’s the backbone of hickman’s current run: the first arc of new x-men, e is for extinction. And given New X-Men is one of my faviorite comics of all time I not only lept on it.. but decided fuck it I’m covering the whole thing. So every so often on here from now until I finish, i’m going to be covering Grant Morrisons ground breaking, mind shattering, status quo destroying run on the children of the atom. This.. is going to be fucking awesome. Buckle up. 

New X-Men came about in 2001. Stop me if you heard this one: The X-Men, once marvel’s best selling title and one of i’ts most beloved, had been set adrift in a seal of editorial bullshit, bad writing, bad storylines and a stale continuity where not much could change or grow and things always reset to about the same place it was last week. If this sounds familiar it’s because it somehow happened AGAIN thanks to Ike Perlmutter’s bullshit, hence the current hickman run, but we’ll get into all of tha tsome other time. Point is as it was in 2018, so it was in 2001: The x-men were in bad straits and marvel reached out to a host of various creators to swing for the fences and find a new direction, something to bring sales and life back to the book. To my shock they actually took a LOT of diffrent pitches in before Morrisons won and from huge names: Geoff Johns, who had not yet returned to DC never to leave, Alex Ross, Keith Giffen.. all huge creative types. but in the end the best man won.

For those unfamiliar with him, Grant Morrison is a gloriously batshit scotsman with a long, storied and delightfully insane history in comics, mostly at DC before and after this comic. This is for good reason: DC scouted Morrison specifically because of his early work at 2000ad. See at the time Alan Moore had hit it really big with Swamp Thing, taking a d list, so so book and making it into an utter masterpiece and giving it thoroughly interesting mythology. Given it was a blockbuster hit that’s still widely loved and discussed, as it should be today, DC decided to repeat the strategy of asking British indie comics creators to come do the same to another property. This same experiment is why Neil Gaiman’s The Sandman exists, so.. yeah it was actually a great strategy and naturally Grant had their first big hit with Animal Man, a metafictional take on a b-list hero that made him a loveable family man, while also putting him through hell and playing with the medium and dc’s vast history, the last two being Morrison’s trademark from then on out.

 They’d next go on to reinvent one of my other faviorite teams: THE DOOM PATROL!  The patrol are a bunch of victims of strange accidents who got powers out of them that are basically curses... and Morrison solidified that concept, taking over after a weak run that ironically enough was trying to imitate the x-men’s success at the time. Instead Morrison just went all out with his weird shit for the first time and made them a team of broken but likeable people with weird powers fighting just the weirdest most incomprehensible shit, a run i’ll likely be digging into eventually along with the team as a whole. It’s also, along with Gerard Way’s recent run, the bedroock for the current and utterly masterful doom patrol series I need to catch up on. They also apparently once wrote a satrical comic starring and lik mocking hitler... a fact I somehow JUST learned but naturally doesn’t surprise me at all. 

Morrison’s career at dc, after doing some creator owned stuff there when Vertigo opened up, hit it’s peak in the late 90′s as they were given the go ahead to reinvent the Justice League, with the wildly successful and awesome JLA, another book I probably need to take a look at that put the big 7 back into the team.  And by now your probably getting the point of me covering his career pattern.. besides giving morrison the praise they deserve, and they’d have some really great runs after this.. and some terrible ones but no one’s perfect. My point is that at this point in their career Morrison’s greatest skill was taking something that had grown stagnant or been forgotten, blowing it up and reworking it into something glorious and new. Taking what worked, scraping away what didn’t and on the whole making something fucking glorious out of it. So here we are. The X-Men needed a new coat of paint and uncle grant had their lcd laced psycadelic paint bucket and brush shaped like a pidgeon at the ready. And for better, way better and admitely sometimes here and there worse,they changed the x-men for good. Some changes were rolled back out of spite, others finally got their chance after said rollback recently, and some were just outright thrown on the grown and smashed with a hammer. But for the most part Grant left a huge impact on the x-men and i’m here to show you why, warts and all. To me my x-men, this is new x-men.  Now naturally there’s even more exposition but i’ts more in what COULD’VE been. Originally while Wolverine, Cyclops, Jean Grey and Professor X were all part of the team the other two members of the slim roster for this run, Beast and Emma Frost.. weren’t. Originally Morrison was going to have Colossus and Moira Mactaggert, long time team ally, token human until very recently, and now thanks to hickman one of the most important x characters peirod and long before that a fan favorite of mine, on the team, with Moira taking over for beast. 

This.. didn’t pan out since Marvel apparently either didn’t give a shit about their plans or already had things in motion as the climax of the longtime legacy virus storyline killed both off. Colossus until Joss Whedon, bastard he may be, brought him back for his terrific Astonishing X-Men, and Moira SOMEHOW stayed dead until House/Powers of X. See this speaks to one of the big roadblocks morrison faced: Jonathan HIckman currently has absolute power and all his writers working in concert, a new way of doing things comic companies shold honestly copy en masse as it’s really working wonders. Grant.. was just one of many writers and one of three main x books the others being Chris Claremont’s XTREME X-MEN, basically “let the legend do what he wants since he can’t get freedom on the main book” and another writer on uncanny... before eventually chuck austen took over and I will tackle that horrible mess some other time. Point is while Morrison was setting the tone, costume style and making the big waves, they still didn’t have full power and thus had to play nice with eveyrone else.  So their next idea was Rogue, making mer more like her x-men evolution version.. except Chris wanted her, so that was out, though being a decent enough guy he willingly gave up Beast since the moira thing meant Morrison needed a science person. As for Colossus replacement, as it turned out a fan had suggested Grant do something with Emma Frost since Gen X was canceled and while Morrison had zero intention for it clearly Emma clicked with hthem and she was soon both a main part of the cast and one of their biggest contributions to X-Men as a whole.

As for what I think of the needed changes.. they ended up being for the best. I do like Moira... but Hank ended up being a much better fit for the team dynamic wise and power set wise, while Emma was the same. While Colossus, Rogue and Moira are all fantastic characters, I think what we ended up with was just a better mix overall. I DO think the team is incredibly white, but that’s a general x-men problem, even with having an assload of diverse and intresting characters, so it’s not entirely his fault. All in all it’s a fantastic roster: four of the x-men’s best, their leader in the field for the first time in forever, and a new and intresting wild card. IT’s a nice ballance of characters and we’ll get more into it as we go. Now all the expositions done, we can finally dive head first into new x-men. I hope you survivie the experince under the cut. 

After an utterly gorgeous and striking cover, the one used up top, we get one solid page to introduce us to Morrison’s mission statment, how  they feel and how good Frank Quitely’s art looks

I cropped it best i could for tumblr but this one image immidetly says a lot. Our heroes are just.. easily taking down this sentinel, an old model... the same one we’ve seen a dozen times. What were once the grim, possible destroyers of an entire race of beings in days of future past and devistating killing machines in the present.. had become stale easily defeated murder bots There had been noble attempts to really make the sentiinels work again like the horrifying omega sentinels, humans forcibly converted into sleeper agent killing machines, during operation: zero tolerance, but otherwise they were mostly just a prop for the x-men to knock down. And that.. really is morrison’s whole point. Lampshading and mocking the fact the x-men had grown stale, things hadn’t really progressed.. and that it was time to move on. But to Uncle Grant’s credit, they not only uses this as a mission statment but it’s plot relevant: this mission will both be explained soon and explains why Logan and Scott are out and about enough to end up where the plot will soon need them. It also helps, via the sight of the syndey opera house establish something Morrison made a staple of their run: the X-Men going global. While the x-men were never really NOT global post claremont, Morrisons run has them handling rescue missions and what not worldwide far more often than most runs before it sans Claremont, and really made it feel like they weren’t just another super team but a global force of good with a specific goal and mission. More on the global aspect next time, as that’s where it really comes in but I felt it was important to show it was there for minute one. 

So yeah before we move onto the first full scene of the run, let’s talk about the costumes. 

We’ll talk about Emma’s later since she’s not introduced to the story for a while but yeah. There’s a sharp, obvious and immediate change just in the outfits, which take after the movie’s more military look, having the x-men not only look more like a unit but more like a professional orginization. Someone to come and help when needed. While this would take on more siginifigance in a bit, we’ll get to it, it also fits Morrisions own views that the x-men were less of a traditional superhero team and more something different on the edges that fought things out there, sorta what like he did with doom patrol. And it’s honestly a valid interpretation as the x-men are often seen as outlaws and misfits by society for beingn well.. mutants. Not as trusted as the avengers. So having them adopt this look played into that: Having them look more professional and focused as The X-Men have a less blanket mission statement than the avenger.. but also mildly threatning. Something to alarm the humans. It’s an utterly brilliant look thrown best together by the big yellow x’s, still giving it a nice flash of color to show off and show this is still a comic and this is still damn colorful.. this just isn’t your AVERAGE supherhero comic or the x-men your used to. IT’s a real shame the only fox x-men movie to use it was fucking dark phoenix.. a film where it didn’t even fit as xavier was getting flashier and more reckless so why wouldn’t he have more garish and colorful and more traditional superhero outfits. They did look good in their variants in first class though. Props there. Point is this is a classic, utterly stunning look, and tha’ts coming from someone whose fine with goofy superhero outfits and perpetually bitter hawkeye is almost never allowed to wear his actual comic outift and is instead stuck with shades instead of you know.. a mask. Or anything resembling an actual good looking costume. This though this is how you do a less superheroy costume: practical and realistic, but still cool looking and comic book friendly. 

We cut to a mysterious lady, we’ll come to know her as Cassandra Nova and while I know her origin... i’m saving it for later as the comics themselves explain it eventually, and a simpering dolt she brought with her, Donald Trask, a distant relative of the creators of the sentinels who, via holograms she’s showing cro magnons slaughtring the neanderthal. Her point is that Mutants are going to do this and she’s clearly fearmongering him and trying to talk him into genocide: to wipe them out before they wipe out humanity. And it’s here we get one of hte most important plot points of Morrisons run and one of the most intresting: according to cassandra’s research Humanity will be no more in 4 generations. Mutankind is on it’s way to overtaking them at last.. i’ts still a few decades off.. but it’s coming. It’s sometihing that the whole decimation nonsense sadly snuffed.. and John Hickman has thankfully brought back. I’ll get to his run once i’ts complete in a few years, but point is it’s an utterly marvelous plot hook: Humanity, whose already attempted genocide a few times, is now in real danger of what their petty, racist, fearful attacks have been about: being replaced. It’s one of the central themes of the work the other two being “Just what IS mutantkind and what will it be”. WHat are they as a people? We’ll dig into these as we go but the threat of exctincion is the backbone of this arc... and will lead to something truly ghastly. 

It’s then we get our title page.. which nothing really to add it just looks really good and helps show off who are cast is and what they can do with striking simple art. 

And since we’re already talking the art of the book, let’s take a moment to discuss an intresting detail of this run: despite it’s short length there’s quite a few diffrent artist, who we’ll talk about of course as we get to each one. The most common and notable though is Frank Quitely. Frank Quitely is one of Morrison’s closest and best creative partners, having a unique, squishy art style.. i.e. the one my friend didn’t like which is why i’m covering this. And while I like the art style quite a bit, I do get why it’s not everyone’s cup of tea: His art is squashed, weird, and admitely some faces can be good god no incaranate. But it’s also why I like it: his characters feel unique, each body and figure feels like it was custom made and thus feels.. real. Like this is a person before you. And given comics can often surrender to having everybody look the damn same, this is nice. His faces may sometimes look similar but his bodies are where the action is. But while having a realistic feel his work also has a weird alien quality that perfectly fits Morrison, and thus his run on x-men. I will say while I love All-Star Superman, his art fits less there in the more hopeful silver agey story, so he’s not an artist for EVERY STORY OF EVERY TYPE.. but when it comes to sci fi weridness, he fits it like a glove so i’ts unsuprising he and morrison are practicaley soul mates, nor that his art sets the tone perfectly for the run: this is something new, diffrent and strange.. and what says x-men at it’s best more than that?

So after our opening titles we cut to the mansion where Hank is showing off his latest and greatest invention: Cerebra. Cerbebra is a massively upgraded version of Cerebro, aka Professor Xavier’s iconic helmet that allows him to track mutants to help them out.. and covertly backup their conconousness for his long game plan, but shhhh, don’t tell anyone yet that’s not going to be retconned in for a few decades. Though i’m damn certain if Morrison has heard about the current era of x-men and how it both builds on what he built, shatters the status quo and is incredibly weird, he’d be damn proud. As for how it’s diffrent Cerebra not only has a large dome around it but said dome allows the machine to amply Charles powers to a global reach. He can now see mutants all over the world anywhere in the world, something I didn’t realize wasn’t ALWAYS a thing because it seems so simple. It’s also likely to bring it more in line with the movies. And while marvel has done TERRIBLE with bringing things in from the movies or in line with them in recent years, i.e. making star lord more like his movie self while forgetting that’s how he already used to be in canon before later writers thankfully did hte better step of merging the two, Hawkeye’s outfit, Cap’s outfit or Nick Fury Jr.  But for every mistep there’s also been tons of times it’s worked out really well such as here, as well as bringing hulk into the avengers for the first time since the founding, making tony stark more like the mcu version and less like a nightmarish self righetous dicktator who rightfully gets beat up and called out a lot, making Scott Lang prominent since he became prominent in the MCU, Wakanda being a major force in the marvel universe as it always should have been and various titles that have popped up to tie into movies, often bringing back a team or property that hadn’t had a book in some time like Ant-Man, Black Panther, and Shang Chi just to name a few. It’s not always hawkeye looking all jeremy renner is what i’m saying.. though thankfully comics clint isn’t that uninteresting. Hopefully the series will change that. 

So yeah along with a bigger shinier cerebro we’re also introduced to a big change in Hank whose taken on his lion form rather than his classic gorilla with a weird haircut or his return to that except bald. Here he’s more like aslan in a human body and I.. love it. It looks great, helps sell hanks delima of being brilliant while looking like a beast and makes sense: he kickstarted what was likely his own secondary evolution by drinking the potion that made him bestial, so it only makes sense his body wouldn’t be all that stable even if it took years to change again. And even that makes sense as hank was breifly turned back to his original hairless ape mutation during x-factor, easily one of the books.. worse decisions honestly and one that louise simonson thankfully later undid. That probably bought him some time hence why it’s only mutating further now.  It also adds an intresting wrinkle which the run will explore further: how far does this go? Will he regress? and how much hank will be left? And how will society treat his new form? 

For now he’s actually extatic. While he’s going through hormonal changes, and giving out some excellent banter with Jean

Which also includes one of the greatest lines in comic book history, one that’s been in my head for decades and made me absolutely love henry mccoy. 

He’s just great is what i’m saying. As you can tell it’s stuff like this why i’m glad Moira fell through. While I love her.. Morrison’s hank is just a delight and one really questionable subplot aside, we’ll get to that, he’s one of the highlights of this run with an intresting internal struggle, and great chemistry with EVERYONE. And that is the main reason i’m glad Moira fell through as his history with everyone but Emma, who he still has a great raport with, means each interaction has weight. He’s close friends with both scott and jean and thus serves as their needed confidant, while still being able to buddy and banter iwth good old weapon x, and speak with his mentor charles as an equal. While I love moira... Beast just fits into the cast too perfectly and I 100% suspect Morrison was only using her because, while she’s awesome, Claremont wanted her and thus gladly snapped her up when he no longer had a science person. I’ll get into his Jean soon enough but she’s likewise fantastic and easily my faviorite version of the character.. not that until very recently there was much honest competition. 

So Cerebra fires up showing a massive cloud of mutants, showing just how much of a huge spike theirs been with Xavier wondering what it all means.. and Hank seeing a weird flare on the mointor for just a second with his special eyes. But since Xavier isn’t stupid and isn’t the kind of idiot who just dismisses it as a fulke, and since Scott and Logan are in the field, he decides to confrence call them in to see if they can go take a look. 

And naturally we get to see what their up to and get context for what the hell happened in the first page. Our heroes were on a rescue mission to save Ugly John, tha’ts what people called him, a three faced mutant who ends up passing out as they head out of the atmosphere for a second. Wolverine is regenerating and smoking out of his neck becaue he could still smoke back then before marvel decided “he’s setting a bad example”.. in a comic meant for teens and adults. 

I mean I get it on some level as the x-men cartoon was a huge thing in the 90′s and Ben Grimm is basically a giant children’s toy with the mind of a surly 40 year old jewish man from yancy street, but stilll it’s just.. why. I may not like smoking but it’s not like it was SPIDER-MAN saying

It’s a grown man.. whose not a sterling roll model and who Claremont went out of his way to have Logan point out his healing factor means it really dosen’t hurt him in the long run and when Kitty, an actual teenager, tried one of his cigars she choked. I know it’s a weird thing to get hung up on but while i’m all for keeping kids from smoking, this was a really clumsy way to try and hehlp that that made no sense and will never make any sense. 

One tangent later we find out that Cassandra was showing Trask a simulation on a flight to, unsuprisingly, south america, to a sentinel blacksite. Between covertly funding civil wars as they do, the US Goverment naturally founded an experimental sentinal project, and a second master mold during the production of the first line... when larry trask asks where it could possibly be well...

Subtly was not the trasks strong point.. or common sense... or.. not realizing their creations would dominate humanity too or not dying. 

Anyways we then cut back to the x-men, as their having a psychic zoom meeting with Charlie giving one of his patnted big speeches.. and like a lot of this comic it’s too damn good not to use 

The reason I couldn’t should be obvious: This one speech sums up the x-men, why their great and why their necessary in a nutshell: in a world full of prejucided morons.. there’s plenty of scared kids who NEED the x-men to protect and guide them, and with a surge in the mutant population, their needed now more than ever. We also get a good explanation in universe for the uniform change: Charles had them in the superhero outfits hoping humanity would accept them if they were packaged as something they know. Since that clearly hasn’t worked he’s trying new ways to reach out and thus going with a diffrent more rescue team approach to the uniforms. He assigns Wolvie and Cyke to go check out the flair as you’d expect and the meetings over. On the blackbird we get our first hint at a subplot as Logan noticed Cyclops couldn’t wait to get out of there, and is being a tad distant to his wife. He actually has reasons for being kind of cold for once instead of just bad writing as he just came back from being possed by apocalypse. Yeah that happened. So the experience has rattled our boy some what. More on that as we go. But Jean ducks the subject with hank but does breach the fact that Charles has been going kind of crazy with the spending, new uniforms and ambition lately. Hank explains it perfectly: After all the death, suffering and misery the x-men have endured lately, the aforementioned deaths I talked about that took Colossus and Moira off the roster, have lionzed Charles to make sure it was all worth something and look towards the future. 

But enough hope time for horror as Cassandra makes her first direct move, trying to take over Charles brain , make his body her own and use cerebra to kill lots and lots of mutants. We then get one of the best moments of Morrisons run with Charles response to a horrifying monster trying to take his brain

While it is shocking to find out Charles has a gun..it’s a grim but kind of understandable precaution. The guy once got fully taken over by a brood, assembling the New Mutants in part because the brood wanted to create more of i’ts kind with more super powers. You’d be paranoid too if some of your beloved students were brought together partly due to your good intentions and partly because a space monster wanted to make more space montsters out of helpless teens, and even horribly gaslighted one of them. We’ll get to that some day. Point is Charles brain is one of the greatest weapons on earth and if the wrong person got a hold of it, it’d be the end of said earth. Thankfully Charles does not need plan gun, as Jean yanks Cerebra off him but the sheer HATE Charles felt from Cassandra, the sheer power has rattled him.. and also told him she’s in Ecuador and his X-Men need to be warned NOW. It’s a great way to set up just HOW powerful Cassandra is.  Speaking of which as our first issue of the arc ends, we find out two things: Cass faked being int he government but really just used dead soldiers as prop.. and just what kind of sentinels are out there.. wild sentinels. Easily my faviorite variant of the old killing machines and one that’s barely used despite being really damn awesome. Their adaptive killing machines, designed to mutated just like their pray and take tech from around them, as a result they look like a jumble of guns and parts.. but not only does it give them a unique, cool look.. but it makes them ten times deadlier as instead of being big bricks of robots that while intimidating, the x-men know how to kill... their unpredictable variable killing machines. You can figure out how to kill one sure.. btu the next might be entirely diffrent. They are one of morrisons best creations and I hope someone uses the idea again.. aka hickman. Please use it jonathan I know your focused on nimrod but come on. 

And we end on one of the best lines of the entiire run as we close out the issue

Yeah it goes without saying but i’ll say it anyway; Morrison is really damn good with dialouge and being damn quotable. 

So we open with another great quote “When I got up today I didn’t expect to kill 20 million people”... and Cassandra being aware Wolverine and Cyclops are on their way and sending the Wild Sentinels to dispatch them. Also our heroes brought Ugly John along while while a dumb move, Wolvie does point out how dumb it was to divert to Ecuador with a civlian in tow.. after the plane crash of course. As for “wait what plane crash’, the sentinels attack and start picking it apart... and since letting them have such good tech is a terrible idea, Scotty blows up the damn plane. So to recap our heroes are stuck in ecuador, surrounded by murder machines, and oh look their there and knock off cyclops viser. Fantastic. So yeah our heroes are fucked. And naturally captured by the enemy.

The rest of the x-men are doing SLIGHTLY better. While beast makes a note for his girlfriend, more on that later on, Charles is in bed, half alive, explaning the rationale I gave for why he has the gun with Jean refusing to let him get back out of bed and you know.. put on the device that just nearly killed him. But when beast announces they lost contact with our boys.. yeah that ceased being an option. 

Back in the Ecuadorian Genocide Factory, Cassandra does the obvious and kills donald trask as his real purpose..was to stick around and be stupid for a bit while she copied his dna so she could have full control of her new murder toys.She soon uses them, having a horrifying death chamber slaughter john.. or at least flash fry him. Wolverine takes it how you’d expect and since the sentinels need to “perserve trask dna”.. they can’t fire on him without killing her. Scott escapes.. and in a heart wrenching scene mercy kills john.. before getting badass. 

To anyone who says Scott Summers is boring, unintersting, or a stupid asshole idiot head I present exhbit shut the fuck up. Morrison gets scott just right, deconstructing his emotional suppression, while showing him off as a dedicated, companionate man who gets the job done and who seconds after tearfully having to mercy kill an innocent mutant whose death was partially his fault, wastes no time making it painfully clear to the person responsible she WILL die if she tries that again. Logan however realizes she’s already won in some fashion as she’s grinning.. and yeah never a good sign when a genocidal madwoman is grinning like a loon.. and when we find out why.. it’s even less good>  We cut to Genosha. A lot of you probably know what happned to Genosha but in case you don’t know what it is it was once a horribly racist country that genetically enslaved mutants and used them for slave labor. It was freed, but still struggled to truly move on.. till Magneto showed up, took the country for himself and made it a home for all mutants. When we last saw him he once again tried to take over the world leading to Logan seemingly killing him. Right now though Emma Frost finally enters the scene teaching some mutants.. when a young one named Negasonic Teenage Warhead.. yes that one and yes she was entirely chosen for deadpool for her name, reveals, via precognition, that their all going to die.. right as the sentinels attack. 

Genosha.. is gone. In an eyeblink 16 million mutants are dead, a possible future gone, and one of their greatest leaders is no more. Yeah Magneto WAS alive.. but paralyzed so he could do nothing when his island was utterly slaughtered. Only a handful of mutants will be revealed to survive. Humanity had done a lot to mutants before .. but for once.. they’d succeeded in wiping a massive chunk out. What was an x-men location for DECADES at this point.. was now a smoldering crater. A what could of been that would hant the x-men ever after, even now into utopia it remains the darkest day in mutant history outside of hte decimation. It is a truly horrific moment.. and if the changes already hadn’t made it clear this is morrison saying “NO character is safe, nothing is safe, and nothing will be the same and I damn well mean that”. In one act of hate the world has changed. And it hasn’t finished changing yet. 

Issue Three opens hammering in things, as Jean and Beast are in the ruins of genosha, with Xavier having found ONE surivor among the rubble, and our heroes sturggling to find even them, though Jean eventually picks them up and uses her TK to sift through the rubble. 

They find Emma who emerges from a bunker in shock, clutching NTW... and not realizing she’s dead until later and revealing she now has diamond skin, her own secondary mutation. Secondary Mutation was a birlliant idea, new powers sprouting up within established mutants.. it’s just morrison barely used this great idea as did hardly anyone else. Only X-Men Blue ever really dug into it and those were artifical at that. IT’s a great idea..it’s just barely used and at most heavily implied to explain changes in powers like Jamie Madrox Multiple Personalities later on or Doug Ramsey’s vast increase in power. Disapointing. 

While Charles takes in the tragedy and the fact his old frienmie is dead, the x-men wonder what the fuck Cassandra is and what to do with her.. why did she kill 16 million people, and what the fuck is she. I mean I know, but as I said i’ll explain that when the story does.  IN the other room Beast tends to Emma who wants none of not fucking killing Cassandra.. and is utterly right. Bitchy, because i’ts Emma, but right: she killed 16 million people. Say what you want but while it may not be up to the x-men to kill her.. she shoudln’t be living much longer. She commited genocide. Emma decides fuck that and prepares to leave summoning a cab and making peace with being a glorious living fabrige egg. Emma did apparelty change in generation x.. but Morrison is responsible for returning her not only to being a bitch, but a gloriously delightful one And really I don’t think they reset her character entirely: she’s not the heartless monster she started out as: she has empathy, grace, and caring.. she just buries it under a lair of absolute bitch and after you know, surviving a fucking genocide who can blame her? And honestly.. I love their verison of her. She provides a nice contrast to the more idealistic, even logan, x-men and a nice contrarian voice in the room without being obnoxious and her style and sacrastic swagger makes her endlessly entertaning. Thanks to morrison she’s stuck around to this day and went from a pretty good character.. to a great one. And what makes her this way, or as jean puts it “such a bitch?”

With that settled, Hank explains what Cassandra is: a competing species. As he puts it sometimes evolution takes a quantum leap forward.. and Cassandra is the result. Thus she wants to wipe out the compettition and is so far above humanity, she dosen’t need them... especially since she knows what Hank now knows: humanity is at an end. As hank puts it we have an E Gene, one that basically shuts off a race.. and thus the x-men now know what we learned earlier and that cassandra wasn’t lying: in 4 generations there are no more humans and something has to repalce htem. And Cassandra wants it to be her. 

Before Logan can do what he does best, and asks why she looks like charles, Cassandra escapes, and Scott briliantly urges them to fight only on instict as she’s a telepath. A damn awesome fight insues including Cassandra donning Charles Psoonic battle armor, Scott being put in his black bug room and the general good looking chaos you’d expect from a superhero fight. While this goes on Emma has an ephinany and realizes she likes to teach, the x-men have a school.. and she shoudln’t give up on helping kids just because of what happened and turns around. 

Cassandra is near victory, slipping her way to Cerebra.. and planning to kill only one mind before getting to the millions she wnats, a horrifying slug manifesting around her.. only...

So the x-men accept this and cassandra rises.. seemingly saying “I am charles” Huh... and then charles uncaracteristiacally shoots her saying things must change

We’ll get to what all of that means next time as we close on Jean and Scott in bed. Scott explains why he’s been so distant as what I said earlier: fighting off apocalypse stripped away a lot of illusions about himself and he’s having a hard time walking back from that but Jean is willing to help.. but before they can resolve their  issues.. charles has an annoucnment to make and grant has one last whopper of a suprise to end his opening arc on, and just like genosha...it’s a game changer of titanic proportions

No longer is Xavier’s School hidden. Their walking into the light now and so is charles. Hope they surivive the experince. Obviously this move is brilliant: while it removes the veil of saftey the x-men had it also brings on tons of new possiblities and unlike secondary mutation, this one not only stuck but would impact the x-men for good: no longer would they hide and cower.. their mutant and proud.. and their here to stay.  E For Extinction is one of the best x-men stories period. Blisteringly paced, full of great character, great concepts and utterly terrifying and terrific moments that would impact the x-men all the way to present day. It’s beautifully drawn, well paced, and a masterwork. I highly recommend it and it’s a great kickoff to a great run. Shame the run couldn’t of ended on this kind of high but.. we’ll get to that. For now this is a masterclass in how to start a run and if you haven’t read it do so NEXT TIME ON NEW X-MEN: A bunch of weirdos try to harvest mutant organs, the x-men get a brain in a jar and a new teamate, and Scott maybe cheats on his wife. Until then, goodbye goodbye goodbye. 

[cap-ironman]

Developing Your Art Ideas for the Cap-IM Reverse Bang

EVENT INFORMATION | ARTIST GUIDELINES | WRITER GUIDELINES

The resources and tips for artists that we mentioned in the last post are relevant to any artwork involving Steve and/or Tony that you may choose to create (and some that are useful for any kind of art!).

In this post we’d like to focus on creating art specifically for the Cap-IM Reverse Bang, and what new elements you might want to consider when keeping the challenge in mind.

Once you have some ideas you want to move forward with, it's time to go back to the fundamental aims of your artwork: for the Reverse Bang specifically, you want to create an interesting piece of art that inspires a writer to tell an awesome Steve/Tony (or Steve & Tony) story!

So think about the kind of narrative you want your art to tell, and how your characters and setting can help you do that. It’s important to remember that for the Reverse Bang, writers will claim an entry based only on the artwork(s) that you submit—you can’t provide them with additional information until after you have been partnered up. Thus, we encourage you to make anything important about your artwork's story to be clear and visible in your RBB submission entry. That way, you are more likely to inspire a writer to create a companion fic that includes that piece of information, and the writer who ends up claiming your fic won’t be surprised by it.

With that taken under advisement, have a shot at fleshing out what sort of narrative you have in mind. What’s the main theme you want to draw upon? Is there a twist you can illustrate? What moment or piece of information is absolutely crucial to your idea? That thing should make its way into your art. For example, if your idea revolves around the identity porn trope where Steve has no clue that Tony is Iron Man, it’s important to try and convey that lack of knowledge through your art. If you really want Steve to find out that Tony is Iron Man, then it’s a good idea to centre your art entry around this: illustrate a scene that makes it clear Steve didn’t know about Tony’s alter-ego and now does (like the reveal itself, or a flashback) so that you’ve put forward this concept.

If you’re thinking of a particular point in canon, how can you make that obvious? Are there visual clues you can give the viewers? For example, Tony’s eye colour or facial hair can help identify a universe to some degree. So can superhero costumes and the Avengers’ team roster.

If you’re considering an AU or universe fusion, what part of Steve and Tony’s dynamic are you most attached to? What about their characters do you want to highlight?

Ask yourself what the most important element is about your scene or concept. What about this idea do you love most—the setting? The costuming? The potential angst or feels or fluff that the moment conveys?

The Cap-IM Reverse Bang runs from January until the end of May, which means that you have 4-5 months of time to spend with your artwork(s). You want to really love the idea you decide on illustrating, so choose whatever speaks to you most and focus on it. If you find something that you connect with, pay attention to it and carry it forward into your submission, as this investment and sincere love for your creation is what will make it shine! If your idea impacts you, chances are good that it will impact others, too.

You can take this event as an opportunity to try something completely new: maybe a format you haven't tried; a set of brushes you've been meaning to pick up; switching to a traditional medium like acrylics or charcoal; imitating a certain style you admire. Challenge yourself to create art in a universe you haven’t ventured into yet, or subjects you’ve never drawn before. Alternatively, you can create versions of Steve and Tony you know you do really well, or employ your distinctive artistic style, or play around with a trope that’s right up there in your comfort zone.

The Reverse Bang is a fun, collaborative event that lets you explore what you like best about drawing Steve and Tony, whether that’s experimenting with novel concepts or returning to re-imagine the familiar.

We look forward to receiving all your fabulous entries in our inbox! Remember that if you have any questions not covered by the Guidelines of the RBB (linked at the top of the post) you can flick us an email at cap.im.events@gmail.com.

[rael-rider]

My thoughts regarding Cates’ GotG #1

What I liked

I like the fact that Groot is still speaking, that Cates didn’t ignore what Duggan did to himi. This will sound as blasphemy but I would be OK if “I am Groot” never comes back in the comics. Not because it’s considered to be gimmicky, but because writers tend to use it as a writing crutch.

Having Groot say “I am Groot” and having other characters react with shock over what he said while leaving the reader (or viewer in case of the movies) wondering what he said it’s also pretty overdone. Let him talk.

I also like that he has his old personality back. He’s less pompous and regal and lacks his flowery speech (which I liked) and he comesoff as an angry teenager (but that has to do more with Cates’ form of writing) but he’s pretty similar to the Groot of old. Which I like because I find that Groot more interesting.

Peter is less of a clown, and more sharp, witty, and sarcastic.He’s more proactive and gives the impression that he really did care what happened with the missing Knowhere. I though him referring to the Novas “pigs” was weird since he was also technically a space cop at one point. Then again this new Nova Corps is infuriating and I loved that he started asking that Nova guy what the hell they were going to do about what was happening with the whole Knowhere is missing situation.

The whole cassette player being broken was Cates’ not so subtle way of saying “I don’t want to do MCU Guardians” which is good in my book.

I know I said I don’t like MCU synergy but Peter having a new ship named after Winona Ryder was pretty cool. The Nova guy asking if it was named after Rich was funny too.

I like how the Guardians formed, it’s spontaneous, maybe overdone in superhero stories but I liked it.

We get a new GotG team that’s not the MCU roster, finally.

Rocket is not in this comic for unspecific reasons but also because he’s going to be in Avengers: No Road Home. Not that I hate Rocket but Ewing is writing that Avengers comic and I liked his Rocket mini so I’m looking forward to him writing Rocket.

Wraith got sucked into that vortex thing.

Wendell is back as Quasar!

What I didn’t like

The implication that Cosmo, Darkhawk, Smasher, Wendell Vaughn, the Starjammers, etc... are presumed dead. Only because Wraith and Kallark who got sucked in and they appear in a future cover I am willing to bet they aren’t dead. I don’t worry about Adam or Vance because one can die and the other can find ways to come back. I hope they aren’t dead because killing all of those cosmic characters just like that is a good way to piss off cosmic fans.

It’s weird when you have big name characters in the background (at least big name for cosmic) and they don’t do anything. I have a hard time believing Wendell and Adam wouldn’t have said something in that scene with Eros talking about Thanos.

It’s a Thanos centered story and you only see Adam Warlock in the background? And suddenly Cosmic Ghost Rider is an authority on Thanos? Pffftt. Maybe Cates can’t write Adam.

What is the point of Cosmic Ghost Rider? Other than the rescue scene where CGR has his chain wrapped around Stormbreaker he was totally irrelevant and his scenes in the story stuck out like a sore thumb and did nothing to contribute to the overall plot other than remind us that he’s there. Seriously, outside the rescue scene, take the panels with him out and you wouldn’t really miss much. Heck the story would flow better without his constant inane interruptions.

Also CGR’s spot on the team could have gone to a better character.

Bill and Silver Surfer are worried about fighting the Black order meanwhile Rich is soloing them in the next issue of their comic. The Black Order shouldn’t be a match for those cosmic powerhouses.

I don’t expect Cates to know but it’s still a big sign writers and editors don’t care much about small time characters. Gladiator was in Darkhawk’s vicinity and not once did he tried to kill him. Chris killed Lilandra (though unwillingly) and Kallark loved her and mourned her death. It’s really not important to the story but if you know the characters this feels wrong.

The Thanos candidates thing doesn’t make sense. Why is Luke Cage being targeted as someone close to Thanos and who Thanos possibly implanted his mind into? Why not suspect Adam, Pip, Eros himself or any Eternal. Get people Thanos actually frequents in the list. Only Gamora made sense.

Even then it’s not that good of a plot. Augh just leave Gamora alone, let her rest. Better yet make peace with Starlin and have him write a story with her.

Cates should also give Thanos a rest, he really can’t write a good Thanos (nor can Jason Aaron for that matter).

Why are the Black Order even working for Hela? Also I miss when Hela was a pretty neutral entity instead of her being straight evil. I also hope she’s not the Thanos in her body.

A Nova fan asked Cates where Rich was and Cates just answered with “keep reading”. I am pretty tired of seeing Rich bounce from title to title once in a blue moon but unfortunately this is what it feels to be a fan of a character that’s not in the MCU or the writer/editor favorite. Still I rather he not appear in the cover of a comic he’s not going to be in because I get unnecessarily happy only to be let down. Also why put the other characters like Adam and Darkhawk anyway? They didn’t do anything either.

The art felt rushed in some panels and better in others, and the coloring wasn’t that great. What is up with Phyla’s cosmic awareness effect. Also at some point you see a panel with Knowhere floating above a planet and it’s painfully obvious they used a low res image of the moon for the planet and just put a greenish blue filter on it. Come on, I know Marvel people need to meet deadlines but I rather this comic comes out a month later and get a better product than this.

Marvel also needs a better quality printer, sometimes the ink comes off if I hold a comic for awhile and gets in my fingers. I also leave finger prints in my comic. It’s annoying AF and it’s not the first time it happened. They either need better quality printers or switch to the cheap paper or I dunno do something about it at the least. All in all it was an OKish issue, not anything great and I think the one thing I liked the most was Peter Quill reading like THE Peter Quill of old.

[aacomicscorner]

Clark Kent and Ben Grimm as the Jumping off Point of their Respective Universes

So I’ve been thinking a lot about where the morality of Superhero comics have gone in the past 80 years since Action Comics 1, and I think something that’s very interesting about that is how you can see both the DC and Marvel universes having a similar progression, with Marvel simply going through the early stages much faster, and DC somewhat following behind somewhat dragging its feet, somewhat jumping in out of nowhere. But both of them start off with a similar concept: A guy who will always do the right thing. 

 Now ultimately, Clark Kent didn’t really start out perfect, I know that. But the interpretation of him that we all know now is the version of Superman that does things the right way every time. He doesn’t like that he can’t punch Lex Luthor out, but that wouldn’t be the right thing to do. (You can’t ignore that part of his image comes from being made more like Captain Marvel to compete with him, especially since he was eventually written by Otto Binder.) He’s one of the few Heroes who survived the Comics Code, and those were actually some of the stories where the Big Blue Boyscout is more of a dick. However, for a very long time, the most popular hero in the world is a guy who likes helping people with a smile on his face, and while he has complicated feelings about his place in the world and what his powers mean from a surprisingly early point, there is no truly Morally gray or Black action that defines our boy when he’s in character. 

I feel like before I get into the Ben Grimm introduction there are a few things I should say for clarity. 1. I was named after Ben Grimm, so I have a lot of affection for him and that’ll color this little essay more than I want it to I’m sure. 2. Some people might feel that Captain America is a good fit for this idea, but I disagree. Captain America was created by Joe Simon and Jack Kirby for Timely Comics, and he didn’t save his company or change the way that comics were being written in the way the Fantastic Four did. 3. Marvel Comics was different from DC from the moment the Fantastic Four were first published, and that starts off the development I’m getting at. 

The Fantastic Four are at their core an ensemble. They are three interesting, dynamic characters and Johnny Storm, who are a family before they’re a team. The Justice League had worked together for years, but they were still a bunch of Golden Age or Silver Age dudes (and one gal at any given time, maybe two here or there) who all acted like slightly different versions of either Superman or Batman. The Fantastic Four start off with four characters very distinct from each other, and one of them distinct from the rest of comics. 

While Sue Storm became a great character, unfortunately she got the poor treatment most women got in early comics as a woman who’s trait that made her most different was that she was simply not a man. That changes, and not long after she’s introduced there are some small moments where she feels like her own character, but its not for a long time that a writer makes her someone other than a mother figure or Reed’s girlfriend/wife. Reed is interesting early on, and he develops much quicker, but at the start he reads somewhat like the other genius superheros available at DC. 

Ben Grimm was something completely new. For the first time outside of a horror story, a superpower was a curse. The nicest guy in the entire world, the guy who would do the right thing and always help the people he cares about, gets turned into an ugly rock monster. What’s more, in comics to that point the thing (no pun intended) that didn’t look human, was super strong, and spoke like a bad mobster impression? Always the bad guy. Ben Grimm “Talks like dis,” but is a sweetheart who wants people to be safe. How unfair is it that a selfish kid like Johnny gets to have a power that lets him protect himself, shoot fire balls, and fly in a way similar to his company’s grandpa’s company early star? That’s the point. 

Superman can do anything, and he chooses to do the right thing. The world has cursed the Thing, people are afraid of him, and he chooses to do the right thing. Both stories and both characters have a lot of nuance added on by writers joining the narrative over the years but are ultimately that simple. When Superman has the chance to kill Darkseid? He won’t. When Ben has to choose between being human again or helping save the day? That handsome Yancy street mug will have to wait. And just like Superman before him, everyone loves Ben Grimm. 

Ben is a favorite of readers and writers at Marvel for years. He’s similar to Superman in the end result sure, but while Clark is your friendly smiling guy, Ben Grimm’s grumbling all the way. Yeah, he’ll save the world, but then something gets worse. What a revoltin’ development. Its new, its something that hadn’t been seen and people could relate to the guy who it felt like never got a break. So from there, the Fantastic Four are THE BOOK before another one comes along. When Thor, Hulk, Iron Man, or the Avengers as a whole show up? Sorry kids, the Fantastic Four you aint. They’ll handle Galactus, you can handle Count Nefaria. What drops the FF and Ben with readers, is a character pretty similar to him in concept but boldly original in the same way as Ben was when he showed up. Spider-Man.

Ben Grimm is my second favorite Superhero, Spidey’s my first. This isn’t the place to get into it, but just like Ben he has every bad thing that can happen to him happen, and after letting a crook run past him in his origin story, he tries to do what’s right no matter how hard it makes his life from that point on. What sets us on our path with him is when Gwen Stacey dies. Comics can be serious now, superhero comics can be emotional. Most importantly, comics can get dark. 

Gwen Stacy died in 1973 and it sparked a lot of darker storylines in comics trying to follow the leader in some cases, and in others stories that were now free from scrutiny. It’s no real coincidence that Wolverine debuted in 1974. He joined the X-Men in 1975, and hated authority, loved drinking and smoking, and was a violent animal compared to Marvel’s tame roster. I love Wolverine, in fact as a disclaimer, I love every character mentioned so far in this essay. What Wolverine did however, I don’t love so much. 

The careful planning and work that went into Wolverine did not go into the characters that tried to ape his style. Chris Claremont and John Bryne, and later Frank Miller all handled him with care. Your Punishers and your Ghost Riders and your Deadpools don’t have that when they’re introduced. (Punisher was introduced before Wolvie but only as a Spider-Man villain.) There’s suddenly way more guns in comics, or rather way more guns being used by “good guys”. The Anti-Hero is the new Hero. Things get so bad across the X-Men and really almost everywhere else that characters like Lobo pop up, or you have Gail Simone reinventing Deadpool so that someone can make fun of theses characters. Lobo is a parody of the badass tough guy vigilante so over the top it stops being a parody than becomes one again. Deadpool’s a character reinvented to make fun of himself. 

However, all this aside, the other big shift is the graphic novel. Graphic novels were taken as a great opportunity for comics to be taken seriously by the people writing them. Most of the ones in the eighties are like that, very serious, very dark, and luckily very good. Watchmen is spectacular, The Dark Knight Returns is a very good Batman story despite being a bad Superman story, and God Loves Man Kills is a half optimistic half heart breaking story for the X-Men. Readers and critics agree dark is good for comics. 

The Superman of the 40s doesn’t look normal standing next to Azreal or Jason Todd as Red Hood. Ben Grimm seems like an oddity next to Cable and Shatterstar. The good guys are seen as boring by a lot of people, and while we’re lucky that Superman hasn’t fallen to the side, it seemed like Ben Grimm was in danger of just that until a few months ago. Luckily, a lot of newer characters like Moon Girl and Ms Marvel are much brighter, and the DC Rebirth reboot has given us a lot more smiles on the page for Supes, Wonder Woman, Batman, and pretty much every hero really. The right thing might be the right story people want to read again, and that means that for comics’ big two, their moral centers might just get the credit they deserve again. And that’s a hell of a thing. 

[samanthasroberts]

6 Shockingly Dumb Reasons People Invented Famous Characters

You would think that every pop culture creation would come about one of two ways: as the result either of sudden inspiration from a creative genius, or of a laborious corporate process involving dozens of designs and focus groups. But in reality, famous creators have ideas the same way the rest of us do: via random thoughts, laziness, or last-minute desperation. For example …

#6. G.I. Joe‘s Snake Eyes Was Created To Save Paint

Snake Eyes, the silent ninja commando from the G.I. Joe series, has been a fan favorite ever since his debut, because children love characters who wear cool helmets and never say anything. And hell, look at him!

Eat your parentless heart out, Batman.

But Snake Eyes’ popularity is made all the more remarkable by the fact he only exists because a toy company was too cheap and lazy to paint a damn action figure.

And somewhere, a young Quentin Tarantino gets the idea for The Gimp …

G.I. Joe started as a comic, but it wasn’t long before toy company Hasbro’s profit senses started tingling, and they began to belch out action figures in a stream of screaming plastic vomit. But soon, the toys would come first, then were inserted into the comic as characters — they were simply a bunch of generic soldier designs painted different colors and hastily given names and backstories, because children don’t give a shit.

The most impressive thing about Hasbro’s G.I. Joe line was their dedication to maximizing their profit margins, and nowhere is this more evident than the design for Snake Eyes. To save money, they didn’t even paint the toy. It was churned out entirely in the same shade of black as the plastic that came out of the vat. Their explanation? Oh, he’s a ninja or something.

Because all ninjas carry MAC-11s and wear mini-satchels.

Amazingly, in spite of the fact his creation took less effort and imagination than putting a cape on a potato, Snake Eyes went on to become one of the most beloved characters in the Joe franchise. “He’s so dark and mysterious!” Sure, kids. Oh, and look, here’s his “invisible motorcycle”! Vroom!

#5. Batman’s Harley Quinn Was Created For A Throwaway Joke That Was Never Used

Most fans know that Harley Quinn, one of the most popular characters in the Batman universe, did not originate in the comics. Her first appearance was in Batman: The Animated Series, in one of the rare examples of an adaptation that donates a character to the source material, sort of like how Norman Reedus was created for The Walking Dead TV show and gradually began to appear in other movies.

But in case you think that Harley Quinn was brought about by some stroke of creative genius, think again. Her creators never had anything significant in mind for her. She was made solely because the show’s writers needed the Joker to have a female henchman in order to make one gag in a single episode make sense. And then they didn’t even wind up using the joke.

Or her original design, thankfully.

Quinn’s first appearance in the series came in the 1992 episode “Joker’s Favor.” The idea was that the Joker would make an attempt on Commissioner Gordon’s life at his birthday party by having a girl with a gun jump out of a giant cake, effectively ruining the Commissioner’s big day. Harley Quinn was created to be the person in the cake. You may recognize this as the same role Erika Eleniak played in Under Siege.

’92 was a big year for faux-pastry eroticism.

But while the episode was already in production, the writers decided that it would be funnier to have the Joker himself pop out of the cake rather than some ditzy dame, so they changed the script to make that happen. Rather than go to the trouble of removing Harley Quinn completely, since they’d already written her into the script and everything, they diminished her role to that of a background member of Joker’s gang, fully intending to never use the character again.

To everyone’s surprise, viewers loved Harley Quinn, so the writers brought her back for future episodes, and her popularity grew to the point that DC comics made her part of the official Batman canon. Granted, the official Batman canon also includes Batman turning into a weretiger and the Joker becoming an Iranian diplomat, but still.

#4. Shredder From Ninja Turtles Was Inspired By A Cheese Grater

The Shredder, the eternal nemesis of the Teenage Mutant Ninja Turtles, is a scowling Japanese man dressed in spiked metal armor like Road Warrior Hawk and/or Animal. As best we can tell, he never takes this armor off, even when he’s just hanging around the Technodrome in between battles. When you think about it, there’s nothing about Teenage Mutant Ninja Turtles that doesn’t sound like it was inspired by a late night of pizza and beer. Every aspect of the original comic created by Kevin Eastman and Peter Laird can be boiled down to a conversation that begins with “Hey man, wouldn’t it be funny if …”

Lots of beer.

The Shredder is no exception. According to Eastman, the inspiration for the character came to him one night when he was washing the dishes. There’s no word on how astronomically high he probably was at the time, but while washing one of those flat cheese graters with a handle, he gripped it like a wrist guard and remarked to Laird about how cool it would be for a character to wear them as part of a costume.

Considering how much pizza cheese that suit could generate, it’s a better design for an ally of the turtles.

“We could call him the Grater,” Eastman suggested. Luckily, Laird was either less stoned or generally more level-headed, and came up with “the Shredder” instead, which sounds more like a villainous ninja and less like an irritating shift supervisor. The two then went ahead and wrote a villain into their comic who wore cheese graters all over his body, and a pop culture legend / impossible-to-find action figure was born.

#3. Pac Man’s Inspiration Came From A Pizza

Back when video games were first invented, brainstorming meetings resembled an insane game of Mescaline Libs — which is like Mad Libs, only played with 100 percent more mescaline. “A plumber who gains strength from mushrooms and dodges barrels thrown at him by a gorilla at a construction site? Sure, why not? Kids’ll buy any goddamn thing we tell them to.” Any random object that a programmer saw in their day-to-day life could become the central component of a video game pitch, and Pac Man started in that exact way.

Back in the ’80s, Namco employee Toru Iwatani sat down to eat a delicious pizza. Upon removing the first slice, Iwatani remarked on how much the rest of the pizza now looked like a face with an open mouth. Anyone else would brush off this casual thought with the realization that sometimes stuff kind of looks like other stuff, but Iwatani’s mind started racing about the potential for a video game in which a pizza runs around a maze eating dots (see “mescaline,” above).

Don’t let anyone ever tell you that all life’s problems can’t be solved with pizza.

Quickly, this spark of inspiration ran through the usual hamster wheel of increasing absurdity until it became the story of a sentient pizza man eating his way through a maze while being pursued by vengeful ghosts. Iwatani pitched the idea as “Pakkuman” — “Pakku” being the Japanese onomatopoeia sound for eating. When the game was brought to the west, it became “Puck Man” (because “Chomp Man” would’ve sounded ridiculous and we are a nation of sober adults) and eventually “Pac Man.” And so, one of the most iconic characters in video game history was born — insofar as Pac Man can be called a “character.”

#2. Teen Titans‘ Wonder Girl Came About Because The Writer Never Bothered To Read Wonder Woman

Back in the 1960s, DC writer Bob Haney noticed that basically every major superhero on the company’s roster had a teenage sidekick, and thought it would be interesting to have them all team up. The idea became Teen Titans, and it initially starred Robin, Kid Flash, and Aqualad, who somehow had neither drowned nor been swallowed by a whale at this point. However, Haney eventually decided to rope in the rest of the Justice League’s abandoned plus-ones, including Wonder Woman’s lesser-known sidekick Wonder Girl.

It’s in Robin’s contract that he always gets to be the most scantily-dressed team member.

But Haney apparently didn’t actually read the comics that featured Wonder Girl. Otherwise, he would have realized that she wasn’t a sidekick at all. Wonder Girl was Wonder Woman back when she was a teenager. This would be like drafting a team of Back To The Future characters and treating old Marty and young Marty as two separate people. See, in the ’50s, DC put Wonder Woman in a bunch of bizarre paradoxical time-travel adventures in which she teamed up with two younger versions of herself (one as a teenager and one as a baby) and her mother, and they fought dragons and swordfish, because these are comic books and not gold-leafed tomes of literature.

Remember what we said about the early video game industry? Double that for Silver Age comics.

Haney evidently only glanced the covers of these issues, because he couldn’t be expected to read a comic about a bunch of women. Consequently, he wrote Wonder Girl into the Teen Titans as a completely separate character. Infant Wonder Woman (named Wonder Tot, because comic books excel at being comic books) missed out on a Teen Titans membership card for some reason.

Well, maybe if Wonder Tot had stuck the goddamn landing …

However, fans of Wonder Woman quickly pointed out this bizarre blunder, and DC was forced to hastily retcon Wonder Girl’s backstory. It turns out that this Wonder Girl is a different person after all — a girl named Donna Troy who developed Amazonian powers and decided to take on the mantle. Because in comics, there’s no corner out of which you cannot write yourself.

#1. Where The Wild Things Are Was Created Because The Author Had Trouble Drawing Horses

Ordinarily, if you pitch a children’s book about a little boy getting stranded on an island filled with gigantic, grotesque monsters, international law requires you to phone Roald Dahl and ask for his permission first. Also, your mind’s eye will probably conjure up an image that is more H.P. Lovecraft than Richard Scarry. Author Maurice Sendak turned this concept into the beloved children’s book Where The Wild Things Are — which, incidentally, is full of illustrations that look like H.P. Lovecraft and Richard Scarry got into a fierce doodling war on the same cocktail napkin.

Lovecraft won.

But in Sendak’s original vision for the book, the titular “wild things” weren’t monsters at all; they were horses. He originally pitched the idea to his editor as Where The Wild Horses Are, and was given the green light to write and illustrate it. Unfortunately, several months into the project, it became increasingly obvious that Sendak couldn’t draw a fucking horse if it were the ransom of the Universe.

Eventually, his editor stopped tearing her hair out and asked “Maurice, what can you draw?” The answer was, obviously, horrific inhuman monstrosities. They decided that was going to have to do, considering the amount of money they had already pumped into the project, and Sendak was given the go-ahead to draw whatever the hell popped into his mind, changing the title to Where The Wild Things Are, because “things” could be anything.

Including repressed family trauma.

The idea of trying to endear a platoon of nightmare creatures to children could have been a disaster, but it became one of the most enduring classics of children’s literature, and one of the most successful last-minute audibles in history.

Source: http://allofbeer.com/6-shockingly-dumb-reasons-people-invented-famous-characters/

from All of Beer https://allofbeer.wordpress.com/2018/04/26/6-shockingly-dumb-reasons-people-invented-famous-characters/

[comic-watch]

Batman fights hard to save Ten from the clutches of Payback, who is willing to do whatever it takes to get revenge on Batman. Will help from an unexpected source be enough to save the day?

  Batman Beyond #19

Writer: Dan Jurgens Penciller: Phil Hester Inker: Ande Parks Colorist: Michael Spicer Letterer: Travis Lanham Cover: Bernard Chang & Marcelo Maiolo Variant Cover: Dave Johnson Group Editor: Marie Javins Editor: Rob Levin

What You Need To Know:  Melanie Walker – aka Ten of the Royal Flush Gang – has been captured by Dr. Stanton, father of the original Payback, now using the moniker himself to take revenge against Terry McGinnis, the current Batman. In an effort to help them both out, Bruce Wayne has deployed a last-ditch effort – Matt McGinnis, Terry’s younger brother – who has taken up some of Robin’s arsenal to help save Batman.

What You Will Find Out: Aware that Terry needs help, Dana Tan arrives at Wayne Manor, looking for Bruce, who sits in a wheelchair, haunted by memories of the man he used to be and no longer is. He wants more than anything to help Terry, but he physically can’t, and while Dana thinks it’s a good idea to call the police or the Justice League, Bruce admits that he’s sent someone else to Terry’s aid instead – Matt, Terry’s little brother. Dana is horrified by this discovery, and as Bruce gives Matt some solid instructions on what to do, Dana aggressively questions Bruce’s choice in allowing Matt to help Terry. Bruce actually agrees with Dana’s protest in sending Matt out, but also tells her that he didn’t have a choice in the matter – Batman needs help as soon as possible, and Matt was the closest person around to help.

Following Bruce’s instructions, Matt does what he can to help from outside, without engaging anyone directly. Meanwhile, Ten is able to free Batman from Payback’s bindings, and though a fight ensues, Batman is never quite able to get the upper hand. Matt, seeing this from the outside, crashes into the building, taking payback out with his flying bike.

Terry, immediately realizing that it’s his brother wearing the domino mask, asks Bruce how he could allow Matt to help Terry like this. Dana adds fuel to the fire by telling him that Bruce encouraged Matt in this endeavor, and Payback – seeing a Robin – goes after him, because who is more important to Batman than Robin? Matt takes a batarang out of his belt to fight Payback, but given his lack of training, he’s easily subdued, and Batman comes to his brother’s rescue, all while admonishing Bruce for not having asked Terry about Matt putting on a mask.

Batman manages to take Payback out after a speech about how it was all Dr. Stanton’s fault that his son Kenny took his own life and ho he was going live with that for the rest of his life and then takes Matt out of there in a huff. Ten, having observed the whole thing, and possibly having recognized Matt, wonders about what exactly she had witnessed.

As Dana leaves the Batcave – telling Bruce that someone should have called child protective services on him years ago – Bruce continues to stew in his own guilt about having allowed Matt out to save Terry. Terry and Matt arrive, and while Terry is still angry at Bruce, Bruce explains that they can’t change what happened, and the important thing is where they go from there. In Matt’s case, it’s that he clearly wants to become Robin, but Terry tells him that there’s no way that will happen. Before anything else though, Terry has something important he wants to do.

Turns out, that’s paying Stalker a visit after Stalker had hurt himself while helping Terry fight Payback a couple of issues ago. He’s brought enough food for Stalker’s village to last a while, and he promises that the food will keep on coming as long as they need it. Terry explains that he’s not doing any of this because Stalker saved him, but because it’s the right thing to do – and the right thing to do includes finding a way to give Stalker his legs back.

What Just Happened?: Matt McGinnis is finally on the road to becoming Robin, and that’s kind of great. We’ve already had a fleshing out of Terry’s world quite a bit with Ten (comfortable in her role as his Catwoman archetype), the Justice League, even a Batgirl – though Terry has yet to truly cross paths with her. The only thing missing was a Robin, and it really was only a matter of time before Matt would slip on that particular domino mask and join his brother out in the field. It’s clearly going to be an uphill battle for Matt, since Terry doesn’t want him risking his life, and even Bruce feels regret over having Matt go out into the field, but it promises to be an entertaining journey. After all, when has a Robin – be it Dick, Jason, Tim, Stephanie, Damian, or even Earth-2’s Helena Wayne – ever taken ‘no’ for an answer? There’s also the fact that while we’ve had fraternal dynamics amongst Batman and the Robins – Dick Grayson and Damian Wayne especially – we’ve never had actual brothers functioning together, and dynamic between the duo promises to be fraught with tension, but also clearly love.

Having Terry come to Stalker’s aid at the end of the issue was a nice parallel to the A-story that went on for most of this arc, featuring a positive sort of payback – even though Terry insisted that this wasn’t a payback, but rather doing what was right. Stalker has always been the Batman Beyond universe’s version of Spider-Man’s Kraven the Hunter, and it’ll be interesting to see how this new relationship between Batman and Stalker plays out. What does a villain do once their prey becomes their friend and comes to their aid? Hopefully, this isn’t the last we’ll be seeing of Stalker.

While it makes sense that Bruce may have been unable to get ahold of the Justice League to aid Terry against Payback – they may have been too far away, after all – one wonders why he wasn’t at least able to call on Nissa, the latest Batgirl. She would have been able to supply some aid to Terry without forcing Matt to go out into the field, and that could have cut a lot of tension. Granted, the out of story reason is that this is Matt’s awakening as Robin, but one does wonder what Bruce’s in-story reasons would be for not reaching out to a vigilante who already has a good working relationship with one of his own allies – Barbara Gordon.

Rating: 7/10

Final Thoughts: Another solid issue by Dan Jurgens, with some very setting-appropriate art by Phil Hester, this was another good installment in expanding the Batman Beyond universe. Though there were maybe a couple of in-story plot-hole hiccups, it’s thrilling to see the potential of a new Robin being born. Definitely well worth a read if you’re a fan of Batman Beyond and if you’re a fan of the ever-growing roster of Robins.

Follow us on Twitter and Like us on Facebook! 

Join our Age of Social Media Network consisting of X-Men, Marvel, DC, Superhero and Action Movies, Anime, Indie Comics, and numerous fan pages. Interested in becoming a member? Join us by clicking here and pick your favorite group!

Batman fights hard to save Ten from the clutches of Payback, who is willing to do whatever it takes to get revenge on Batman. Will help from an unexpected source be enough to save the day? Batman fights hard to save Ten from the clutches of Payback, who is willing to do whatever it takes to get revenge on Batman.

[adambstingus]

6 Shockingly Dumb Reasons People Invented Famous Characters

You would think that every pop culture creation would come about one of two ways: as the result either of sudden inspiration from a creative genius, or of a laborious corporate process involving dozens of designs and focus groups. But in reality, famous creators have ideas the same way the rest of us do: via random thoughts, laziness, or last-minute desperation. For example …

#6. G.I. Joe‘s Snake Eyes Was Created To Save Paint

Snake Eyes, the silent ninja commando from the G.I. Joe series, has been a fan favorite ever since his debut, because children love characters who wear cool helmets and never say anything. And hell, look at him!

Eat your parentless heart out, Batman.

But Snake Eyes’ popularity is made all the more remarkable by the fact he only exists because a toy company was too cheap and lazy to paint a damn action figure.

And somewhere, a young Quentin Tarantino gets the idea for The Gimp …

G.I. Joe started as a comic, but it wasn’t long before toy company Hasbro’s profit senses started tingling, and they began to belch out action figures in a stream of screaming plastic vomit. But soon, the toys would come first, then were inserted into the comic as characters — they were simply a bunch of generic soldier designs painted different colors and hastily given names and backstories, because children don’t give a shit.

The most impressive thing about Hasbro’s G.I. Joe line was their dedication to maximizing their profit margins, and nowhere is this more evident than the design for Snake Eyes. To save money, they didn’t even paint the toy. It was churned out entirely in the same shade of black as the plastic that came out of the vat. Their explanation? Oh, he’s a ninja or something.

Because all ninjas carry MAC-11s and wear mini-satchels.

Amazingly, in spite of the fact his creation took less effort and imagination than putting a cape on a potato, Snake Eyes went on to become one of the most beloved characters in the Joe franchise. “He’s so dark and mysterious!” Sure, kids. Oh, and look, here’s his “invisible motorcycle”! Vroom!

#5. Batman’s Harley Quinn Was Created For A Throwaway Joke That Was Never Used

Most fans know that Harley Quinn, one of the most popular characters in the Batman universe, did not originate in the comics. Her first appearance was in Batman: The Animated Series, in one of the rare examples of an adaptation that donates a character to the source material, sort of like how Norman Reedus was created for The Walking Dead TV show and gradually began to appear in other movies.

But in case you think that Harley Quinn was brought about by some stroke of creative genius, think again. Her creators never had anything significant in mind for her. She was made solely because the show’s writers needed the Joker to have a female henchman in order to make one gag in a single episode make sense. And then they didn’t even wind up using the joke.

Or her original design, thankfully.

Quinn’s first appearance in the series came in the 1992 episode “Joker’s Favor.” The idea was that the Joker would make an attempt on Commissioner Gordon’s life at his birthday party by having a girl with a gun jump out of a giant cake, effectively ruining the Commissioner’s big day. Harley Quinn was created to be the person in the cake. You may recognize this as the same role Erika Eleniak played in Under Siege.

’92 was a big year for faux-pastry eroticism.

But while the episode was already in production, the writers decided that it would be funnier to have the Joker himself pop out of the cake rather than some ditzy dame, so they changed the script to make that happen. Rather than go to the trouble of removing Harley Quinn completely, since they’d already written her into the script and everything, they diminished her role to that of a background member of Joker’s gang, fully intending to never use the character again.

To everyone’s surprise, viewers loved Harley Quinn, so the writers brought her back for future episodes, and her popularity grew to the point that DC comics made her part of the official Batman canon. Granted, the official Batman canon also includes Batman turning into a weretiger and the Joker becoming an Iranian diplomat, but still.

#4. Shredder From Ninja Turtles Was Inspired By A Cheese Grater

The Shredder, the eternal nemesis of the Teenage Mutant Ninja Turtles, is a scowling Japanese man dressed in spiked metal armor like Road Warrior Hawk and/or Animal. As best we can tell, he never takes this armor off, even when he’s just hanging around the Technodrome in between battles. When you think about it, there’s nothing about Teenage Mutant Ninja Turtles that doesn’t sound like it was inspired by a late night of pizza and beer. Every aspect of the original comic created by Kevin Eastman and Peter Laird can be boiled down to a conversation that begins with “Hey man, wouldn’t it be funny if …”

Lots of beer.

The Shredder is no exception. According to Eastman, the inspiration for the character came to him one night when he was washing the dishes. There’s no word on how astronomically high he probably was at the time, but while washing one of those flat cheese graters with a handle, he gripped it like a wrist guard and remarked to Laird about how cool it would be for a character to wear them as part of a costume.

Considering how much pizza cheese that suit could generate, it’s a better design for an ally of the turtles.

“We could call him the Grater,” Eastman suggested. Luckily, Laird was either less stoned or generally more level-headed, and came up with “the Shredder” instead, which sounds more like a villainous ninja and less like an irritating shift supervisor. The two then went ahead and wrote a villain into their comic who wore cheese graters all over his body, and a pop culture legend / impossible-to-find action figure was born.

#3. Pac Man’s Inspiration Came From A Pizza

Back when video games were first invented, brainstorming meetings resembled an insane game of Mescaline Libs — which is like Mad Libs, only played with 100 percent more mescaline. “A plumber who gains strength from mushrooms and dodges barrels thrown at him by a gorilla at a construction site? Sure, why not? Kids’ll buy any goddamn thing we tell them to.” Any random object that a programmer saw in their day-to-day life could become the central component of a video game pitch, and Pac Man started in that exact way.

Back in the ’80s, Namco employee Toru Iwatani sat down to eat a delicious pizza. Upon removing the first slice, Iwatani remarked on how much the rest of the pizza now looked like a face with an open mouth. Anyone else would brush off this casual thought with the realization that sometimes stuff kind of looks like other stuff, but Iwatani’s mind started racing about the potential for a video game in which a pizza runs around a maze eating dots (see “mescaline,” above).

Don’t let anyone ever tell you that all life’s problems can’t be solved with pizza.

Quickly, this spark of inspiration ran through the usual hamster wheel of increasing absurdity until it became the story of a sentient pizza man eating his way through a maze while being pursued by vengeful ghosts. Iwatani pitched the idea as “Pakkuman” — “Pakku” being the Japanese onomatopoeia sound for eating. When the game was brought to the west, it became “Puck Man” (because “Chomp Man” would’ve sounded ridiculous and we are a nation of sober adults) and eventually “Pac Man.” And so, one of the most iconic characters in video game history was born — insofar as Pac Man can be called a “character.”

#2. Teen Titans‘ Wonder Girl Came About Because The Writer Never Bothered To Read Wonder Woman

Back in the 1960s, DC writer Bob Haney noticed that basically every major superhero on the company’s roster had a teenage sidekick, and thought it would be interesting to have them all team up. The idea became Teen Titans, and it initially starred Robin, Kid Flash, and Aqualad, who somehow had neither drowned nor been swallowed by a whale at this point. However, Haney eventually decided to rope in the rest of the Justice League’s abandoned plus-ones, including Wonder Woman’s lesser-known sidekick Wonder Girl.

It’s in Robin’s contract that he always gets to be the most scantily-dressed team member.

But Haney apparently didn’t actually read the comics that featured Wonder Girl. Otherwise, he would have realized that she wasn’t a sidekick at all. Wonder Girl was Wonder Woman back when she was a teenager. This would be like drafting a team of Back To The Future characters and treating old Marty and young Marty as two separate people. See, in the ’50s, DC put Wonder Woman in a bunch of bizarre paradoxical time-travel adventures in which she teamed up with two younger versions of herself (one as a teenager and one as a baby) and her mother, and they fought dragons and swordfish, because these are comic books and not gold-leafed tomes of literature.

Remember what we said about the early video game industry? Double that for Silver Age comics.

Haney evidently only glanced the covers of these issues, because he couldn’t be expected to read a comic about a bunch of women. Consequently, he wrote Wonder Girl into the Teen Titans as a completely separate character. Infant Wonder Woman (named Wonder Tot, because comic books excel at being comic books) missed out on a Teen Titans membership card for some reason.

Well, maybe if Wonder Tot had stuck the goddamn landing …

However, fans of Wonder Woman quickly pointed out this bizarre blunder, and DC was forced to hastily retcon Wonder Girl’s backstory. It turns out that this Wonder Girl is a different person after all — a girl named Donna Troy who developed Amazonian powers and decided to take on the mantle. Because in comics, there’s no corner out of which you cannot write yourself.

#1. Where The Wild Things Are Was Created Because The Author Had Trouble Drawing Horses

Ordinarily, if you pitch a children’s book about a little boy getting stranded on an island filled with gigantic, grotesque monsters, international law requires you to phone Roald Dahl and ask for his permission first. Also, your mind’s eye will probably conjure up an image that is more H.P. Lovecraft than Richard Scarry. Author Maurice Sendak turned this concept into the beloved children’s book Where The Wild Things Are — which, incidentally, is full of illustrations that look like H.P. Lovecraft and Richard Scarry got into a fierce doodling war on the same cocktail napkin.

Lovecraft won.

But in Sendak’s original vision for the book, the titular “wild things” weren’t monsters at all; they were horses. He originally pitched the idea to his editor as Where The Wild Horses Are, and was given the green light to write and illustrate it. Unfortunately, several months into the project, it became increasingly obvious that Sendak couldn’t draw a fucking horse if it were the ransom of the Universe.

Eventually, his editor stopped tearing her hair out and asked “Maurice, what can you draw?” The answer was, obviously, horrific inhuman monstrosities. They decided that was going to have to do, considering the amount of money they had already pumped into the project, and Sendak was given the go-ahead to draw whatever the hell popped into his mind, changing the title to Where The Wild Things Are, because “things” could be anything.

Including repressed family trauma.

The idea of trying to endear a platoon of nightmare creatures to children could have been a disaster, but it became one of the most enduring classics of children’s literature, and one of the most successful last-minute audibles in history.

from All Of Beer http://allofbeer.com/6-shockingly-dumb-reasons-people-invented-famous-characters/ from All of Beer https://allofbeercom.tumblr.com/post/173336373617

[allofbeercom]

6 Shockingly Dumb Reasons People Invented Famous Characters

You would think that every pop culture creation would come about one of two ways: as the result either of sudden inspiration from a creative genius, or of a laborious corporate process involving dozens of designs and focus groups. But in reality, famous creators have ideas the same way the rest of us do: via random thoughts, laziness, or last-minute desperation. For example …

#6. G.I. Joe‘s Snake Eyes Was Created To Save Paint

Snake Eyes, the silent ninja commando from the G.I. Joe series, has been a fan favorite ever since his debut, because children love characters who wear cool helmets and never say anything. And hell, look at him!

Eat your parentless heart out, Batman.

But Snake Eyes’ popularity is made all the more remarkable by the fact he only exists because a toy company was too cheap and lazy to paint a damn action figure.

And somewhere, a young Quentin Tarantino gets the idea for The Gimp …

G.I. Joe started as a comic, but it wasn’t long before toy company Hasbro’s profit senses started tingling, and they began to belch out action figures in a stream of screaming plastic vomit. But soon, the toys would come first, then were inserted into the comic as characters — they were simply a bunch of generic soldier designs painted different colors and hastily given names and backstories, because children don’t give a shit.

The most impressive thing about Hasbro’s G.I. Joe line was their dedication to maximizing their profit margins, and nowhere is this more evident than the design for Snake Eyes. To save money, they didn’t even paint the toy. It was churned out entirely in the same shade of black as the plastic that came out of the vat. Their explanation? Oh, he’s a ninja or something.

Because all ninjas carry MAC-11s and wear mini-satchels.

Amazingly, in spite of the fact his creation took less effort and imagination than putting a cape on a potato, Snake Eyes went on to become one of the most beloved characters in the Joe franchise. “He’s so dark and mysterious!” Sure, kids. Oh, and look, here’s his “invisible motorcycle”! Vroom!

#5. Batman’s Harley Quinn Was Created For A Throwaway Joke That Was Never Used

Most fans know that Harley Quinn, one of the most popular characters in the Batman universe, did not originate in the comics. Her first appearance was in Batman: The Animated Series, in one of the rare examples of an adaptation that donates a character to the source material, sort of like how Norman Reedus was created for The Walking Dead TV show and gradually began to appear in other movies.

But in case you think that Harley Quinn was brought about by some stroke of creative genius, think again. Her creators never had anything significant in mind for her. She was made solely because the show’s writers needed the Joker to have a female henchman in order to make one gag in a single episode make sense. And then they didn’t even wind up using the joke.

Or her original design, thankfully.

Quinn’s first appearance in the series came in the 1992 episode “Joker’s Favor.” The idea was that the Joker would make an attempt on Commissioner Gordon’s life at his birthday party by having a girl with a gun jump out of a giant cake, effectively ruining the Commissioner’s big day. Harley Quinn was created to be the person in the cake. You may recognize this as the same role Erika Eleniak played in Under Siege.

’92 was a big year for faux-pastry eroticism.

But while the episode was already in production, the writers decided that it would be funnier to have the Joker himself pop out of the cake rather than some ditzy dame, so they changed the script to make that happen. Rather than go to the trouble of removing Harley Quinn completely, since they’d already written her into the script and everything, they diminished her role to that of a background member of Joker’s gang, fully intending to never use the character again.

To everyone’s surprise, viewers loved Harley Quinn, so the writers brought her back for future episodes, and her popularity grew to the point that DC comics made her part of the official Batman canon. Granted, the official Batman canon also includes Batman turning into a weretiger and the Joker becoming an Iranian diplomat, but still.

#4. Shredder From Ninja Turtles Was Inspired By A Cheese Grater

The Shredder, the eternal nemesis of the Teenage Mutant Ninja Turtles, is a scowling Japanese man dressed in spiked metal armor like Road Warrior Hawk and/or Animal. As best we can tell, he never takes this armor off, even when he’s just hanging around the Technodrome in between battles. When you think about it, there’s nothing about Teenage Mutant Ninja Turtles that doesn’t sound like it was inspired by a late night of pizza and beer. Every aspect of the original comic created by Kevin Eastman and Peter Laird can be boiled down to a conversation that begins with “Hey man, wouldn’t it be funny if …”

Lots of beer.

The Shredder is no exception. According to Eastman, the inspiration for the character came to him one night when he was washing the dishes. There’s no word on how astronomically high he probably was at the time, but while washing one of those flat cheese graters with a handle, he gripped it like a wrist guard and remarked to Laird about how cool it would be for a character to wear them as part of a costume.

Considering how much pizza cheese that suit could generate, it’s a better design for an ally of the turtles.

“We could call him the Grater,” Eastman suggested. Luckily, Laird was either less stoned or generally more level-headed, and came up with “the Shredder” instead, which sounds more like a villainous ninja and less like an irritating shift supervisor. The two then went ahead and wrote a villain into their comic who wore cheese graters all over his body, and a pop culture legend / impossible-to-find action figure was born.

#3. Pac Man’s Inspiration Came From A Pizza

Back when video games were first invented, brainstorming meetings resembled an insane game of Mescaline Libs — which is like Mad Libs, only played with 100 percent more mescaline. “A plumber who gains strength from mushrooms and dodges barrels thrown at him by a gorilla at a construction site? Sure, why not? Kids’ll buy any goddamn thing we tell them to.” Any random object that a programmer saw in their day-to-day life could become the central component of a video game pitch, and Pac Man started in that exact way.

Back in the ’80s, Namco employee Toru Iwatani sat down to eat a delicious pizza. Upon removing the first slice, Iwatani remarked on how much the rest of the pizza now looked like a face with an open mouth. Anyone else would brush off this casual thought with the realization that sometimes stuff kind of looks like other stuff, but Iwatani’s mind started racing about the potential for a video game in which a pizza runs around a maze eating dots (see “mescaline,” above).

Don’t let anyone ever tell you that all life’s problems can’t be solved with pizza.

Quickly, this spark of inspiration ran through the usual hamster wheel of increasing absurdity until it became the story of a sentient pizza man eating his way through a maze while being pursued by vengeful ghosts. Iwatani pitched the idea as “Pakkuman” — “Pakku” being the Japanese onomatopoeia sound for eating. When the game was brought to the west, it became “Puck Man” (because “Chomp Man” would’ve sounded ridiculous and we are a nation of sober adults) and eventually “Pac Man.” And so, one of the most iconic characters in video game history was born — insofar as Pac Man can be called a “character.”

#2. Teen Titans‘ Wonder Girl Came About Because The Writer Never Bothered To Read Wonder Woman

Back in the 1960s, DC writer Bob Haney noticed that basically every major superhero on the company’s roster had a teenage sidekick, and thought it would be interesting to have them all team up. The idea became Teen Titans, and it initially starred Robin, Kid Flash, and Aqualad, who somehow had neither drowned nor been swallowed by a whale at this point. However, Haney eventually decided to rope in the rest of the Justice League’s abandoned plus-ones, including Wonder Woman’s lesser-known sidekick Wonder Girl.

It’s in Robin’s contract that he always gets to be the most scantily-dressed team member.

But Haney apparently didn’t actually read the comics that featured Wonder Girl. Otherwise, he would have realized that she wasn’t a sidekick at all. Wonder Girl was Wonder Woman back when she was a teenager. This would be like drafting a team of Back To The Future characters and treating old Marty and young Marty as two separate people. See, in the ’50s, DC put Wonder Woman in a bunch of bizarre paradoxical time-travel adventures in which she teamed up with two younger versions of herself (one as a teenager and one as a baby) and her mother, and they fought dragons and swordfish, because these are comic books and not gold-leafed tomes of literature.

Remember what we said about the early video game industry? Double that for Silver Age comics.

Haney evidently only glanced the covers of these issues, because he couldn’t be expected to read a comic about a bunch of women. Consequently, he wrote Wonder Girl into the Teen Titans as a completely separate character. Infant Wonder Woman (named Wonder Tot, because comic books excel at being comic books) missed out on a Teen Titans membership card for some reason.

Well, maybe if Wonder Tot had stuck the goddamn landing …

However, fans of Wonder Woman quickly pointed out this bizarre blunder, and DC was forced to hastily retcon Wonder Girl’s backstory. It turns out that this Wonder Girl is a different person after all — a girl named Donna Troy who developed Amazonian powers and decided to take on the mantle. Because in comics, there’s no corner out of which you cannot write yourself.

#1. Where The Wild Things Are Was Created Because The Author Had Trouble Drawing Horses

Ordinarily, if you pitch a children’s book about a little boy getting stranded on an island filled with gigantic, grotesque monsters, international law requires you to phone Roald Dahl and ask for his permission first. Also, your mind’s eye will probably conjure up an image that is more H.P. Lovecraft than Richard Scarry. Author Maurice Sendak turned this concept into the beloved children’s book Where The Wild Things Are — which, incidentally, is full of illustrations that look like H.P. Lovecraft and Richard Scarry got into a fierce doodling war on the same cocktail napkin.

Lovecraft won.

But in Sendak’s original vision for the book, the titular “wild things” weren’t monsters at all; they were horses. He originally pitched the idea to his editor as Where The Wild Horses Are, and was given the green light to write and illustrate it. Unfortunately, several months into the project, it became increasingly obvious that Sendak couldn’t draw a fucking horse if it were the ransom of the Universe.

Eventually, his editor stopped tearing her hair out and asked “Maurice, what can you draw?” The answer was, obviously, horrific inhuman monstrosities. They decided that was going to have to do, considering the amount of money they had already pumped into the project, and Sendak was given the go-ahead to draw whatever the hell popped into his mind, changing the title to Where The Wild Things Are, because “things” could be anything.

Including repressed family trauma.

The idea of trying to endear a platoon of nightmare creatures to children could have been a disaster, but it became one of the most enduring classics of children’s literature, and one of the most successful last-minute audibles in history.

from All Of Beer http://allofbeer.com/6-shockingly-dumb-reasons-people-invented-famous-characters/

[aion-rsa]

DiDio Says Dark Matter Is The First Step In Diversifying The DCU

Today, DC Comics revealed its next major publishing initiative: a run of brand-new comics starring new characters branded as Dark Matter.

But while the headlines of the initiative will draw eyeballs with its list of all-star artists and writers, the real question surrounding Dark Matter is how it will fit in and find an audience in a changing comics marketplace. To answer these questions, DC Co-Publishers Dan DiDio and Jim Lee as well as Dark Matter artists John Romita, Jr., Greg Capullo and Andy Kubert met with a small group of press during Diamond Comic Distributor’s Retailer Summit (itself a prelude to this year’s C2E2 convention in Chicago).

At the press roundtable, DiDio and Lee spelled out their major plans for Dark Matter including its newly buzz-worthy practice of putting artists out front, its relation to DC’s Rebirth initiative, its potential to diversify the line both on and off the page, and its chances for sales success in a soft market.

RELATED: Full Details of DC’s New Dark Matter Line

Conceptually, books with the Dark Matter branding will serve two roles. First, the books offer up brand-new characters and concepts created collaboratively by some of the publisher’s top talent. But aside from that general “newness,” the creators stressed that there is a stylistic flourish here that will set these series apart from previous launches. “All this stuff is set in the DC Universe,” Lee explained, but that doesn’t necessarily make them straight superhero stories. He promised that all the series would be influenced by everything from action to science fiction to horror tropes, bringing a new sensibility to their core line of titles.

DiDio backed this idea up, saying Dark Matter represents “a style and tone of comic book storytelling that embraces what we know and love about comics.” He said classic storytelling themes like secret identities and the price of power will merge with fanciful new worldbuilding opportunities that are bigger than anything seen on a movie screen.

Of course, any new comic launch today faces not only an expectation that the genre ideas in play will be different, but that the content on the page will represent a more diverse world and readership. The DC creators spoke to the idea of diversity in the line, but many of them stressed the idea that more diverse characters would come not from a mandate but from the organic process of artists making stories in the 21st century.

DiDio in particular drew a line between the recent Rebirth launch and Dark Matter saying, “Rebirth was satisfying the old fanbase. Dark Matter is about building new fans.” He felt that readers would be more interested in getting on board with these characters than previous attempts at recasting DC icons with new identities because there would be “no preconceived notions.”

Romita backed this claim up, noting that the new hero Silencer he’s creating with writer Dan Abnett is a female assassin, but that “I don’t think of it as a diversity item. I think of it as a new character.” The artist said that if a story like this would be attempted with, say, Marvel recreating the Punisher as Francine Castle, he’d understand how readers would question the integrity of the story. But when artists start with the goal of making something totally new, there were no restrictions or second guessing, adding that with original characters as the focus, “There have been great female characters and great characters of color over the years.”

So if letting diverse characters organically grow out of the story is an important factor for Dark Matter, then why not have a more diverse lineup of creators? Why not, one reporter asked, have more women working on these books? DiDio said that at this first phase of expansion, DC was “Counting on folks who have a track record to do this for us.” The publisher is betting that big name artists who have already move big numbers in comic shops will give Dark Matter its best chance for initial success. But that doesn’t mean a more diverse roster of creators won’t be coming onto DC titles and even Dark Matter titles in the future.

Both DiDio and Lee pointed at the company’s new talent workshop pushes as a place where more new and diverse creators will funnel into the line – including many women. With the four assembled artists leading DC’s new “Master Class” initiative, the skills and experience of the veterans will ideally help newer talent learn the ropes quicker.

Overall, readers should think of Dark Matter as “the first stage in a long plan to expand the company’s appeal and the marketplace…not just the DCU” DiDio said. He promised that in the months ahead, even more new titles and ideas would be coming that would include a very diverse talent lineup – at one point citing creators like “Supergirl: Being Super” artist Joëlle Jones as the kind of person that will be seen more and more in the future of DC’s line.

With this initial focus on market-proven stars at the lead of new characters, the obvious question came up as to whether Dark Matter’s rollout was at all a rebuke to recent talk from Marvel Comics about artists no longer proving a selling point for their comics. DiDio gave two responses to the idea. First, he rejected the notion coming from anyone that artists don’t sell books. “The names sell, and it’s important for us to lean on them to be as confident as possible,” he said. But he followed that up by noting that this launch was in the works long before the Marvel artists quote hit the web, and that DC is following its own market instincts here and not looking to poke its competitor in the eye.

The outspoke Romita, however, had a more pointed take on the question. “People have the impression that writers are the gods of this process: they are not…I actually take offense to that notion. The notion that artists can’t move the needle is insane. I think saying that about a writer too is insane. It’s collaboration,” he said. The artist further noted that he feels that Marvel’s reluctance to promote books based around an artist is more a result of the publisher’s refusal to pay for higher-priced, “name” artists. “Their sales are reflecting it,” he said of that attitude.

DiDio quickly steered things back towards his upbeat view of how DC will capitalize on the big names they’ve tapped for this launch. He said his view of superstar artists comes from the fact that he “sits next to Jim Lee” in his job and sees how much influence the longtime fan favorite has with his work to this day. He compared the idea of big name artists making a splash to the Image Revolution of the ’90s, which he’s fascinated with. When you match superstar creators with new ideas, it stops you from just “servicing the existing audience,” DiDio said, and he wants DC to be fearless about what they do in publishing. It’s not enough to simply do the same stories with the same heroes over and over.

But, one reporter asked, hasn’t this kind of launch been tried before and failed? What would make Dark Matter more sustainable than the moment when Jack Kirby came to DC with brand-new ideas and found little sales success, for example? DiDio said he felt that the energy of the new launch will be sustainable in multiple ways. “What we want to do is instill a style of storytelling and sensibility that works for Dark Matter, but can also work in the DCU as well,” he said, adding that the cutting edge sensibility of the books will carry their own energy beyond the star power headlining the first comics’ arrival. Not every artist co-creator may draw 50 issues of these new series, he said, but DC was dedicated to making these properties long term successes due to their creative energy.

The Co-Publishers also outlined the basics of how the rollout will arrive in shops and what incentives readers will have to get on board. Dark Matter is a branding – an overall concept for creativity at DC – but it does launch on the back of the Scott Snyder-led “Dark Days” event which itself arrives in the form of two one-shots subtitled “The Forge” in June and “The Casting” in July. From there, Capullo and Synder’s “Dark Nights: Metal” will hit in August followed by no more than two new titles per month until the end of the year.

DiDio caled it “A nice slow rollout” with a $2.99 price point on every title. As an extension of that, the Co-Publisher promised that each title would have another simplified selling point. “We’re going to do something extraordinarily dramatic…we’re going to put one cover on it!” he said. “This is a starting point for fans and a starting point for the characters, and you want it to have one thing for people to own…We want this one book to be as accessible to as many people as possible.”

The post DiDio Says Dark Matter Is The First Step In Diversifying The DCU appeared first on CBR.

http://ift.tt/2oVm8Ol

[yasbxxgie]

Ta-Nehisi Coates on Creating Black Superheroes

When Marvel Comics announced in September 2015 that Ta-Nehisi Coates would be writing a new Black Panther series, the timing could not have been more fortuitous. That same month, Mr. Coates, who writes regularly for The Atlantic, was awarded a John D. and Catherine T. MacArthur Foundation “genius grant,” and, two months later, a National Book Award for nonfiction for “Between the World and Me,” his passionate letter to his son about being black in America.

The momentum for the hero was also tremendous. Issue No. 1 of Black Panther hit stores last April and went on to sell more than 300,000 copies, according to Marvel. He then made his big screen debut in May, with “Captain America: Civil War,” and was played by Chadwick Boseman, who will reprise the role in a solo film next year. In July came “Black Panther: A Nation Under Our Feet,” a collected edition of the first four issues of the comic. It was followed, in November, by World of Wakanda, a companion series in which Mr. Coates introduced two more newcomers to the roster of comic-book scribes: the feminist writer Roxane Gay and the poet Yona Harvey. This April comes a new series, Black Panther and the Crew, a team comprising only black heroes, written by Mr. Coates and Ms. Harvey.

Mr. Coates answered questions about the success of Black Panther, his approach to writing, the members of the Crew and what’s next. (The interview has been edited and condensed.)

Q. Does the response to the Black Panther series surprise you?

A. I guess I am in awe of the response a little bit, but I don’t know, man. I’m in the zone of writing, and that place is still really, really hard and really, really challenging. What I’m trying to do is to learn more. I’m reading a lot more, and reading as a fan is very, very different to reading as a creator. Maybe reading as a critic is close to it, but actually trying to figure out what people are doing and why it has certain effects on me is a very, very different way of looking at stuff. Selling is important because I want the book to continue, but when I’m done, I want people to say: “This was a classic run. This is one of the best things Marvel ever did.”

You must feel a certain level of confidence, or do you try not to reflect until the story is over?

I do think about it but I don’t think it will probably be knowable until a few more years. I don’t mean to impugn anybody that’s buying the series — I really, really appreciate it — but I think, often times, things may not always be appreciated in their time, where it turns out later that this was actually something great. And at the same time, there are probably things that are appreciated in their time that probably don’t pass the test of time.

How much of this is the movie? How much of this is Panther’s improved profile right now? How much of this is “Between the World and Me”? I don’t know. I don’t know. I don’t know. What I want people to feel ultimately is that this is part of the entire oeuvre that I put together. I don’t want it to be “Ta-Nehisi just took a break and did comics.” It is not a break for me.

You always seem to be working.

I try to be prolific, but not in a bad way. I don’t want it to be that I was just turning stuff out. With the Crew, I made the decision to put them in the Panther comic relatively early, and we had talked about a series. But unless I had what I thought was a really, really compelling story, and something that was compelling to me, there didn’t feel like that was a reason to do it.

So now you have a story that justifies the spinoff?

I think I’ve hit upon a story that I feel people should read, that people are going to want to read. I think the biggest influence on this book is Ed Brubaker’s work both on Captain America and some stuff he did after he was gone. I’m just hoping — I can’t be Ed Brubaker; there’s only one Ed Brubaker — that it’ll have that influence.

The Black Panther book itself is so steeped in Wakanda, the fictional African country of his birth. Is this a nice break, given that the new book is set in Harlem?

It is, but Wakanda is part of even this story. I like being in Wakanda. I was a big Dungeons & Dragons player when I was a kid. It’s a chance to just go back and be in this world that you create. At the same time, it has these moments where it intersects with the Marvel Universe, which is pretty cool, too.

How does the political climate now affect your writing? Do you save that for — and I’m going to put quotes around this — your “real” writing, your nonfiction writing?

[Laughs.] It has to influence. I think that is the tradition, actually, for comic book writers. Maybe not for all of them, but certainly the ones to which I was exposed. I think about this all the time. When you take a book like Spider-Man or Daredevil and the big thing is crime fighting, I don’t think that’s distant from the time when those characters were created. During that period, we had this rising crime, and the city was seen a certain way in a way that Manhattan is not seen today.

Even the decision to create Black Panther: It was not an apolitical decision to have this black character in Africa, in this advanced nation, and have him be highly intelligent. All of these were political decisions.

Is there anything along those lines that you’re going to explore in the Crew?

We’ll definitely be exploring this issue of the police — maybe not how people would expect, but we will be.

Do you ever try to write anything that is appealing to a young reader?

That’s hard for me to answer. When I was a kid reading the books, I don’t think they were made for people my age, necessarily. I started reading Marvel when I was 9 or 10. I think the “Mutant Massacre” happened when I was 11 or 12. I don’t know if that stuff was meant for someone my age or if the writers were thinking about that. But I love that stuff. It was provocative.

How do you filter reader reaction to your comic work?

How do I put this? I think, given that I’m writing for myself, it is hard for me to do that. Fans can say whatever, but if I’m not excited by it, I’m not going to do it. I don’t know if this is good or bad, but my excitement is much more important than their excitement. [Laughs.] And I think ultimately their excitement will come from my excitement.

How has the collaboration process been with your artists, Brian Stelfreeze and Chris Sprouse, on the main book, and Butch Guice, on the Crew?

It has been excellent. Brian has been extraordinary, and Chris has been extraordinary. I’ve seen the stuff from Butch and it’s incredible. I used to look at Butch’s stuff when I was a kid. It’s just fascinating now to be working with this guy. I’m in awe. I sent him this note, just gushing.

Is your approach to writing the comic different than your approach to your nonfiction work?

I don’t think so. It still requires an incredible amount of research. I guess writing is always this way: You research and you write, you research and you write.

Is the Crew, a team first published in 2003, something you thought about from the beginning of your Black Panther run?

I wanted to bring back the original Crew, but as it happens, some of those folks were not available. I had to then think about other folks. In the process of doing that it became this thing of, you know, there ain’t no women in the original Crew. That was a different era. This is like 15 years later. I opted to do something a little different. All these people have relationships with Black Panther. That was the big qualification. I wanted Storm to be in the book. He had this previous relationship with Luke Cage, and he had a previous relationship with Manifold. And I think he and Misty worked together before, but she’s probably the least tied in to the Panther world. But she’s tied into Luke Cage, and she’s tied into Storm from way back in the day.

I remember that story.

That’s old school right there. A lot of these characters are also deeply tied to Harlem. Storm’s dad was from Harlem. Cage is from Harlem. That’s how they meet the first time. Harlem wasn’t chosen at random.

What was your inspiration for the Crew story? They were in and out of Black Panther so quickly, I’m glad they are coming back.

You’re right about that. And I guess I kind of knew that. Did I know that? Maybe I didn’t know that. I knew I would revisit them again. I knew Marvel was interested in a possible series and maybe I was thinking about it at the time.

I don’t think you should expect a team full of people who are — how do I put this? — die-hard Black Lives Matter people. I think you should expect to read people who are trying to figure out their relationship to Harlem, their relationship, in this arc, to the police and their relationship to the protest movement that they are seeing around them.

The last time we talked, you were thinking about Black Panther ideas during an international flight. How do you get it all done?

I don’t know. I mean, it’s the joy of my life. It’s hard to think about what else would I be doing. I live a very, very simple life. I have my family and I have my work and I have a few friends. That leaves plenty of time.

What is a typical day for you?

I get up in the morning and I usually take a swimming lesson. I’m still trying to learn how to swim, trying to get this figured out. Once, twice or three times a week, if I’m lucky, I see my French professor. And my kid is like 16, so he’s on autopilot. For the most part, the rest of the time is writing. There’s a lot of open space.

And the World of Wakanda is ticking along.

I’m really proud. That’s mostly Roxane, and I think she’s done an excellent job.

Do you think you’re going to recruit any more writers into the industry?

Stay tuned. Stay tuned.

Illustrations:

Ross MacDonald