#vertigo visions: the geek

[tinkerbitch69]

DC Pride: A Celebration of Rachel Pollack. Reprinted from Vertigo Visions: The Geek. Art by Mike Allred

>>>>>>>>>

The Barbie movie ripped off Rachel Pollack smh. A trans woman did it first 30 years ago!

Happy pride 🏳️‍⚧️🏳️‍⚧️🏳️‍⚧️

[smashpages]

Rachel Pollack, who passed away last year, introduced DC’s first trans character Coagula during her run on Doom Patrol back in the 1990s. As a part of Pride Month, DC will release DC Pride: A Celebration of Rachel Pollack, which will feature reprints of Doom Patrol #70, Coagula’s first appearance; Vertigo Visions: The Geek, the long out-of-print one-shot by Pollack and Mike Allred; and a new Coagula story by Joe Corallo and Rye Hickman.

Read more

[inhousearchive]

House-ad for Vertigo Visions: The Geek (1993) one-shot. Art by Michael Allred.

[smashedpages]

On this date in 1993, Rachel Pollack and Michael Allred's The Geek hit comic shelves. It was part of DC's Vertigo Visions line, a series of six double-sized one-shots that focused on a different DC character -- and Vertigo-ing them up.

It was based on DC's Brother Power the Geek #1, who had first appeared in comics back in 1968 and was created by Joe Simon. Brother Power's original series only lasted two issues, as its sympathetic portrayal of "hippe culture" proved too controversial for DC management. A third issue created by Simon never saw print, and he never released any artwork from it.

The Vertigo one-shot pulled some elements from the original issues, such as Brother Power being caught by and forced to perform in a "psychotic circus." It also featured Cindy, the sympathetic hippie from the original series. Now a prostitute, Cindy and the Geek are reunited, and he dies saving her before being reborn in the body of one of her dolls.

[thefingerfuckingfemalefury]

<3_<3

Oh my gosh this all sounds AMAZING

But what especially caught my eye was

The special will also include the out-of-print Vertigo Visions: The Geek one-shot, drawn by Michael Allred, and a brand new, original Coagula short by Rachel's friend and collaborator Joe Corallo, and drawn by Rye Hickman.

I don't know if this is a flashback or if Coagula is going to be back among the living like she should be but either way I am here for more of her and I will be buying this one shot <3_<3

And ahhhhhhhh

I am SO EXCITED for a new Pride special and for the Dreamer and Harley graphic novels we have coming our waaaayyyyyy

[mayamistake]

In the 1990s, writer Rachel Pollack did the impossible: she raised the bar for surprise and strangeness in her beloved run following Grant Morrison's career-making Doom Patrol! This one-shot reprints the debut of the iconic Coagula, DC's first transgender superhero, from Doom Patrol #70, along with the long-unavailable one-shot Vertigo Visions: The Geek (with superstar artist Michael Allred)! And in a final, original short story, Rachel's most beloved creation, Kate Godwin, a.k.a. Coagula, returns to the spotlight in tale of triumph over death itself written by Joe Corallo, Rachel's longtime friend and collaborator, and drawn by Rye Hickman!

[ultrameganicolaokay]

DC Pride: A Celebration of Rachel Pollack by Rachel Pollack, Joe Corallo, Michael Allred, Scot Eaton and Rye Hickman. Cover by various. Out in June.

"In the 1990s, writer Rachel Pollack did the impossible: she raised the bar for surprise and strangeness in her beloved run following Grant Morrison’s career-making Doom Patrol! This one-shot reprints the debut of the iconic Coagula, DC’s first transgender superhero, from Doom Patrol #70, along with the long-unavailable one-shot Vertigo Visions: The Geek (with superstar artist Michael Allred)! And in a final, original short story, Rachel’s most beloved creation, Kate Godwin, a.k.a. Coagula, returns to the spotlight in tale of triumph over death itself written by Joe Corallo, Rachel’s longtime friend and collaborator, and drawn by Rye Hickman!"

[augustheart]

vertigo books i've read this year, not including rereads:

vertigo visions: the geek

vertigo visions: dr. thirteen

vertigo visions: tomahawk

vertigo visions: doctor occult

greatest hits (dnf)

blood and water

midnight, mass

midnight, mass: here there be monsters

bite club (dnf)

angeltown

so that's an entire third of my list that's vertigo lmao

[beyondthespheres]

PMS chanting suffragettes, auto bombing while jumping the Volkswagen - Rachel Pollack and Michael Allred totally delivered for The Geek #1 in June 1993, aided by Laura Allred on colors and Clem Robins on letters. I guess The Geek’s creator Joe Simon is still rotating in his grave, but who knows, maybe he’s just happily turning around driven by sheer excitement. Vertigo Visions was a subline of the Vertigo imprint for more or less occasionally published one shots and lastet until 1998.

[ufonaut]

I know. I know. I’ll go on a trip. To the heart. I mean, the heart of America.

Brother Power the Geek in Vertigo Visions - The Geek (1993) #1

[aion-rsa]

What Sweet Tooth Changes From the Comic

https://ift.tt/3g1fJx0

This article contains spoilers for Sweet Tooth, both the TV series and the comic.

Sweet Tooth, the live-action adaptation of Jeff Lemire’s post-apocalyptic comic, has now arrived on Netflix and it’s a hit! Or at least that’s what producer Robert Downey Jr. ‘s overwhelmingly prevalent promoted tweet claims. I can recite “#SweetTooth is now certified fresh with a perfect 100% critics score. So incredibly proud of the whole @sweettooth team and can’t wait for you to see ‘the show of the summer.’ All episodes are now streaming on Netflix!” more readily than my own name at this point.

Still, it’s easy to see why Sweet Tooth found an audience on Netflix. The story of a gentle deer-boy hybrid named Gus and his quest to find his mother in a virus-ravaged world puts a refreshingly optimistic face on a well-worn post-apocalypse genre. Actor Christian Convery is a real find as Gus a.k.a. Sweet Tooth and the series eight episodes feel like an ‘80s Amblin Entertainment homage done right. 

Sweet Tooth is so inherently sweet that audiences might not realize just how much it deviates from its comic inspiration. Lemire’s comic miniseries, published from 2009 through 2013 by DC’s Vertigo imprint, has many fans, including some big pop culture names. Actor Michael Sheen wrote the foreword for the series first collected trade paperback. TV writer Damon Lindelof (Watchmen, Lost) conducted an interview with Lemire for the end of the final book. The comic is also decidedly less sweet than the TV show it inspired.

Arriving in an era before apocalypse fatigue fully set in for pop culture, Sweet Tooth really leans into the Mad Max side of its “Bambi Meets Mad Max” elevator pitch. The book is quite dark and unflinching. That Netflix and series creator Jim Mickle decided to go in a brighter direction for the show is an interesting commentary on entertainment’s priorities at the moment. But what if Sweet Tooth the TV series decided to hew closer to its source material? Read on to see how the comic and the show differ.

Tone

It cannot be overstated just how much darker the Sweet Tooth comic is than the TV series. The show acknowledges that the post-apocalyptic world after “The Sick” would feature some inherent violence. In fact, the whole plot of the show involves hunters trying to kidnap a child and deliver him to the military to be ground up into medicine essentially. That’s obviously dark. But the show still does its best to avoid as much onscreen violence as possible.

When the Big Man or another character rescues Gus from hunters, he does so in a largely bloodless fashion. Even when Big Man takes a bear trap to a poacher’s head, audiences are spared the grisly sights and sounds of it. Readers of the Sweet Tooth comic, however, are spared nothing. The pages of Lemire’s work are positively drenched in blood. Midway through the story, Gus is even forced to beat a fellow hybrid’s brains in with a brick. He says he feels bad about it, but not that bad.

The comic also delves into the realm of sexual violence as many post-apocalyptic stories have felt compelled to do before. Early on in the proceedings Big Man and Gus come across a town where a family captures women and forces them into prostitution. When Big Man rescues two women, they become permanent fixtures of their party. These characters, Lucy and Becky, do not appear in the TV show (though one character does borrow her name from one). 

If all the violence didn’t already make it apparent, the Sweet Tooth comic is particularly misanthropic. Nearly all of the human characters in the comic are monsters. Even Gus’s beloved Big Man Jepperd is useful because he’s a monster. Jepperd never loses sight of what makes him useful in this world, which is killing. He only becomes a hero when he applies that skill to those who deserve it. Throughout the series run, the comic continually intimates that perhaps planet Earth would be better off without all these humans anyway. 

Characters

Befitting the comic’s darker tone, the characters of Sweet Tooth are also quite a bit darker. While Convery’s depiction of Gus in the show is absolutely pitch perfect for a young Spielbergian hero, the Gus of the comic isn’t quite as self-assured or sophisticated. The education that Gus received from his “pubba” wasn’t necessarily top notch stuff so his vernacular is filled with more slang and abbreviations. He comes across as a true Nebraskan country boy. 

Meanwhile, Tommy Jepperds a.k.a Big Man (Nonso Anozie) gets an even bigger makeover for the show. Lemire describes the Jepperds of the comic as being inspired by the concept of an aging Frank Castle. There is absolutely no warmth in the comic’s Big Man. Instead of being an ex-football player, he’s an ex hockey player…and a pretty terrible one at that, only useful as his team’s “enforcer”. Anozie’s Jepperds is quite a bit more personable and open. Though he intends to sell Gus to the Last Men, he never goes through with it. In the comic, Jepperds does exactly that before changing his mind and rescuing the boy. 

The pig-girl hybrid Wendy (Naledi Murray) exists in the comic but her mother Aimee (Dania Ramirez) does not. Instead Gus meets Wendy at the Last Men facility after Jepperds sells him off. He meets Wendy’s little buddy Bobby there too. 

Gus’s “pubba” is a janitor at a medical facility in both the comic and the show, but as played by Will Forte in the show, he’s a lot more tender and smooth. The show Pubba is the perfect father to young Gus, open, communicative, and knowledgeable. In the comic, however, the character has lost some of his mental faculties in isolation. He is a God-fearing man who entertains and writes down his apocalyptic visions. Gus loves him and he loves Gus but he’s also not operating at full capacity. Also not operating at full capacity is Dr. Adityah Singh (Adeel Akhtar), who becomes inspired by Pubba’s writings and believes that Gus is a new god.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The Animal Army is quite different in the comic. Instead of being a ragtag gang of Neverland-style kids, it’s a disturbing cult of adults in animal masks, led by a deranged man who has five dog-hybrid children. Becky a.k.a Bear (Stefania LaVie Owen) is an invention for the show but she does take her name from a comic character.

General Abbott though? He’s pretty much that villainous in both iterations of the story. Screw that guy.

Story

Though Sweet Tooth’s first season begins and ends in a similar spot to the first “Book” (12 issues) of the comic, the path it takes to get there is wildly different. 

Read more

TV

Why Sweet Tooth’s Ending is Ultimately Hopeful

By Nicole Hill

Scenes at Aimee’s Preserve and at Dr. Singh’s Stepford-ian community are invented entirely for the show. The Preserve is mentioned in the comic, but it’s never confirmed to exist (and likely does not, given the comic’s relentlessly dark tone). The first time Gus and readers meet Wendy and Dr. Singh is at the Last Men facility where Gus finds himself in the final episode of the season. Also new to the TV series are Gus and Big Man’s side quest through an outdoor sporting goods store, and the entire Animal Army’s arc. 

In the comic, Gus, Big Man, and company’s journey stretches from Nebraska to Alaska (hey, that rhymes!). The show elects to shorten that a bit by having Gus venture from Wyoming to Colorado. In addition to introducing new stories, the show also abandons some comic stories entirely, likely in pursuit of its cheerier tone. 

Netflix has not announced Sweet Tooth season 2 yet. Based on the show’s apparent success, however, future seasons seem likely. When they arrive, they will undoubtedly have many more changes to make from the source material to ensure an appropriately sweet viewing experience.

Sweet Tooth is available to stream on Netflix now.

The post What Sweet Tooth Changes From the Comic appeared first on Den of Geek.

from Den of Geek https://ift.tt/34XlXru

[arcticdementor]

Earlier this month at San Diego Comic-Con, returning attendees noticed a major change on the show’s massive exhibit floor. The booth for DC Comics, which had been a massive standalone pavilion in the center of the publishers’ area in the center of the hall, was gone. America’s oldest and second-largest comic book publisher had retreated to the far back corner of the hall, where it was incorporated into the multi-level WarnerMedia exhibit, in the shadow of banks of giant monitors previewing upcoming shows and cast appearances.

The subtext of this move could not have been clearer. AT&T—now the parent company of WarnerMedia and its divisions, including DC Comics (previously known as DC Entertainment), HBO, Turner, and Warner Bros.—does not seem terribly interested in being in the comic book publishing business. It’s telling that in a long profile of AT&T CEO John Stankey this morning in Variety, DC was one of the only WarnerMedia brands that was not mentioned. To the extent that DC matters at all in the company’s future, it’s as a source of owned IP for other media channels and as a lifestyle brand to serve as an ambassador to geek culture.

…

In recent months, DC has dropped the axe on its prestige imprint Vertigo, the creative engine behind hits like Sandman, Preacher, Swamp Thing, Doom Patrol and Fables. On the eve of Comic-Con, the company announced the cancellation of MAD, the venerable humor magazine that changed the face of American satire and has been continuously published since the mid-1950s. Neither of these was a big moneymaker in terms of month-to-month sales, but both brands occupy some valuable real estate in the psyche of fans. Even if the properties built on that land are in disrepair, it seems shortsighted to vacate the premises entirely.

…

So where does all that branding leave the publishing business? A generation ago, faced with a similar situation, DC’s then co-President and Publisher Jenette Kahn appealed to Time Warner management that wanted to dramatically cut back on DC’s current publishing in favor of reprints, saying that the company’s new material was the lifeblood of the company, a source of new fans and new IP without which the characters and related merchandise would decline into obscurity. She won that argument and DC, under her stewardship, ended up minting many of the golden coins in which it still trades, including The Dark Knight, Watchmen and Sandman, despite never being a gigantic engine of revenue within the Time Warner corporate umbrella.

Today, DC Comics is in a similar situation. Following a demoralizing mid-decade move from its traditional home in New York to Warner Bros’ headquarters in Burbank, CA, the company has stumbled through various events and line reboots, milking assets like Frank Miller’s once-fresh take on Batman and post-Alan Moore Watchmen for the last dregs of fan appeal and relevance, and relying on high priced milestone thousandth issues of long-running titles like Action Comics and Detective Comics to make up in dollar share what they are losing in unit share of an increasingly crowded comics market.

[wornic]

- you can call me mikey. mikey’s a good name. are you my friend?

- yes! oh goddess, yes, i’m your friend. i’m your friend forever!

vertigo visions: the geek (1993)

[smokeybrand]

Disappointment

I love comics. I do. I’ve loved them since I was a small boy. I remember fondly, journeys to my local comic shop before it closed. I remember buying first editions of Aliens versus Predator, Alien: Earth War, The Killing Joke and those three issues of Amazing Spider-Man where Carnage debuted. That panel where Pete realizes carnage left him a message in his own blood? Chilling. I remember the dour feeling I got when I first witnessed Miller’s bleak, almost nihilistic take on Batman with his masterpiece , The Dark Knight returns. I remember the jubilation as I scanned the pages upon pages of graphic violence in McFarlane’s Spawn for the first time. The Violator fast became one of my all-time favorites Comic villains. I watched the comic bubble grow and grow until it burst and the fall of an entire industry toward the late 90s, early 00’s. I remember the cringe worthy, poorly written, maxi-events born distinctly from that ridiculous “extreme everything” epoch of the mid 90s. I was excited when the industry rebounded on the back of epic storytelling and art that was head and shoulders above what I had as a youth, in the late 00s, early 10s. Even now, I pick up any one of the Bat books DC is shilling and I am wildly impressed. Capullo’s run, in particular, has been a creative and narrative refreshment. I’m going to miss him when he’s gone. I love comics as much as I love film, cinema, anime, manga, and f*cking pancakes. My geek card is legit and punched, particularly for Marvel Comics.

I love a good Marvel book. Don’t get me wrong, I can dig a DC outing, I rather enjoyed Judas Contract and Death in the Family in particular, but Marvel always felt real to me. DC comics was escapism. They were Gods pretending to be human in my eyes, the ideal way to live. That made sense to me as I grew older because they were created in a time where escapism was needed. Most of the groundwork for DC was laid in the 30s. WWII was beginning to rear it’s ugly head and there was a necessity for the American populace to have a place to divert their attention to fantastic tails in order to distract from the horrific realities of the world.  Marvel was born in the sixties. They’re a product of one of the most socially tumultuous times in out history. Marvel heroes are people thrust into godhood. They have to learn how to be heroes because they are inherently flawed. There are no Superman allegories here, no perfect specimens to light the way for humanity. Nah, these cast are assholes just like the rest of us, trying to stay above water. Only they can shoot f*cking lasers from their eyes sometimes. While DC relegated their more socially experimental or controversial stories to the oblivion of Vertigo or Elseworlds, Marvel embraced them. Reed Richards became an emotionally distant asshole. Tony Stark became a functioning alcoholic. The allegorical comparison of Mutants being black people struggling for human rights during the civil unrest of the 60s was not lost on anyone with a brain. I loved that Marvel let their heroes be human. I loved that they made mistakes and that those mistakes had real consequences. I loved that I could look at a comic and see myself, in both demeanor and ethnicity. Spider-Man is my all time favorite comic character. I wrote about this before but I WAS Pete as a kid and I think that’s why he’s so endearing. He is the best of that Marvel lot and epitomizes the genius Stan, John, and Jack had when they crafted the most endearing literary universe in the last century.

The fact that i love Marvel so much is why I am hurting with the direction they have decided to take with all of this SJW nonsense. If you know Marvel’s history, if you’ve read their books, then you know they were already one of the most progressive companies out there. I mean, they’re genesis was one steeped in social awakening! Hell, I’m not even mad Marvel is shoehorning all of this PC propaganda in their books or killing off characters I love (**cough**Wolverine**cough**), or subsisting on year-long maxi events or allowing Slott to ruin Spider-Man! Actually, I am livid about that Slott nonsense but I’ll get to that. I’m not mad Thor is a woman. She is a great character and a breath of fresh air in a narrative that was growing a bit stale for me. Jane Foster being Thor gave way to The Unworthy Thor story line, which is probably the best written Thor arc I have ever read. I’m not mad Mockingbird is a feminist. How can she not be? I rather enjoyed Spider-Island and that little tease at the end with MJ and Pete? That made my heart all aflutter. Speaking of, my favorite book at the moment is Renew Your Vows. Goddamn do I miss Pete and MJ and that book just reminds me of everything that could have been. F*cking Slott, man… I ADORE the direction they’ve taken Talon (X-23 and the current Wolverine for those of you who don’t know Laura’s actual X-Men code name) and even like a little of that whole Cyclops fiasco fallout. A little bit, not all of it. There are a few things SJW Marvel has done well, their increasing diversity is a big one, but it feels like those good things pale in comparison to the issue I think that is crippling Marvel; The writing is sh*t now.

SJW Marvel feels like they’ve traded actual, inspired, storytelling for “Woke” gimmicks and a pandered slathering of social commentary. There are too many soap boxed now and not enough passion in crafting a compelling narrative. Dan Slott (I told you I’d get to this asshat) is a perfect example of this bullsh*t. Bro has taken Spider-Man and basically turned him into Tony Stark. He’s erased, literally erased by having Pete and MJ cut a deal with the goddamn devil, their marriage. Slott, in his run on Amazing, has regressed Spider-man back to those harrowing and swinging days of being a College Freshman but with a multi-billion dollar tech company. For a second there, I even think Peter was an international spy or some sh*t. It’s wild nonsense that is just north of embellished fan fiction! What happened to the great tales we got like Kraven’s Last Hunt or Torment? Why do I have to sit through The Superior Spider-Man?? F*ck, then there’s THAT fuckery. Doctor Octopus is literally a Spider-man clone now. He is, and I am not sh*tting you right now, living in a perfect clone of Peter Parker, powers and all. But he leads Hydra or some sh*t. We’ll circle back around to that in a second, let me tell you, but first, this whole Fantastic Four bullsh*t. I liked Secret Wars II. I thought it was interesting that Doom finally got his wish and became a f*cking god. I thought his characterization in that whole event was brilliant. What I didn’t like? Marvel using that even to essentially erase the Fantastic Four. I liked Sue. She was a great character and had grown considerably over the years. All of that, gone. More to the point, I loved Valeria and her interactions with Doom. Those few books where she actually plays Robin and conscious to Doom’s villainy are spectacular. Marvel essentially nixing that relationship just to scorn Fox feels a lot like Slott nixing MJ because he thinks Peter should be a hoe.

Both circumstances are f*cking ridiculous and do nothing but leave the characters and company less. And it’s not just these instances. Riri Williams has a ton of potential but sucks and everyone hates her because she’s written as a smart-mouthed b*tch. America Chaves is another missed opportunity! And, oh my god, what did they do to my Carol Danvers?? I LOVE Miss Marvel. Her stint in Might Avengers and Heroic Age solidified that she could be the premiere female Marvel hero. In my eyes, Carol is their Wonder Woman and, for a time, she was on her way. Now? After all of this SJW branding and agendas have made her power absorbing Hitler. They’ve destroyed her character, assassinated nay real progress in an effort to portray her as a feminist icon. She was already one of those!

Carol Danvers doesn’t have to be the new version of 1610 Captain America! And then there’s THAT debacle. Secret Empire was a goddamn cash grab and the biggest farce I have read out of Marvel since Onslaught. Cap is a Nazi? Really? Get the f*ck out of here with that nonsense. And the ending? Just a bit too fan service-y for me. There was literal deus ex machina. Seriously, ClassicCap came out of the cosmic cube to punch out NaziCap. He allegory is just so heavy handed, it’s borderline insulting to my intelligence as the reader. I cannot stress how ridiculous this entire situation was, this entire stupid goddamn “event”. Also, the f*ck was up with Dead No More? Didn’t we learn our lesson about clones with Ben Reily and that whole clusterf*ck? Why are we even doing this nonsense again??

It’s not just the writing though, either. The art for most of these books is atrocious. Anything Olivier Coipel or Esad Ribic touch with a pencil is god’s work and Kris Anka is one of my favorites but the redesigns of some of those classic outfits are terrible. I mean, Spider-Man’s tech suit is ass. Riri’s armor looks like a knock off Rescue mod, and Foster’s Thor comes across as a hodge-podge of nonsense. That classic Ms. Marvel Leotard is my favorite of her outfits but I get the upgrade to her current garb. Running around in stilettos with your ass out doesn’t really bode well for gaining confidence you can protect the general public from giant, interdimensional, crab monsters or rouge government assassi-bots. What i don’t like is how masculine Carol’s drawn now. Chick isn’t She-Hulk, yo. Why you got her so yoked? Carol Danvers was a vision of beauty, legit model caliber. She’s always been fit, yeah, but there was still a softness to her. Just a touch, I’d say. Now, chick is a rock of f*cking angst granite. Not only is she poorly written but her overall design is sh*t! It’s like, goddamn Marvel! You want to push Ms. Marvel to the front, give me something to work with How am I supposed to root for an ugly, b*tchy, incompetent who constantly makes decisions that get people killed? How is THIS “Captain Marvel” a leader?? Bro, speaking of “leaders”, Sam Wilson Cap is ridiculous. That sh*t feels like blatant tokenism, particularly when there have already been several black captain Americas in Marvel history. There was this whole Tuskegee allegory about it. One of the grand kids was the Young Avengers, for chrissake!

I don’t know, man. I think Marvel need to take a step back and figure why things were so good back in the day. Why the Ultimate universe was so successful and then why it wasn’t. I think they need to get some fresh blood in those executive chairs, cats with actual vision and a very poignant, very innovative story to tell because what I’m getting now feels a lot like that Extreme nonsense I got right before everything fell apart. The art might be better but the narratives are not. What I got with Secret Wars II feels a lot like what I got with the Clone Saga or Identity Crisis and them sh*ts were terrible. Legacy has a ton of potential but if it’s just a way to bring actual Jean Grey back from the dead, you can keep that sh*t. Give me back Wolverine. Let Laura and her father have some adventures. It feels like a crime Gabby hasn’t met her grandpa. Give me back Pete and MJ. You’ve already taken his daughter, first love, and uncle. At least let the guy have his wife. Give me back Doom and Valeria. The potential those two have together is profound and vastly untapped. Look, I get it. I’m pining for a bygone era.

Times are changing and this SJW sh*t is becoming the status quo. If you want to exist in this society, you have to embrace that sh*t to an extent. All I’m saying is don’t be so heavy handed with it. Have some tact. Use a deft touch. It‘s not difficult to be inclusive without being obnoxious about it or ruining entire character histories for a year or two of upped sales. Marvel is actually hemorrhaging money at the moment because of this ridiculous turn in narrative. Marvel Studios is essentially holding them up. Those motherf*ckers are printing money for Disney. Actually, Marvel Comics only has to look as far as their cinema counterpart to get the blueprint. Spider-Man: Homecoming is how you traverse this new age of social wokeness. Those cats wrote an outstanding story, full of diversity and social commentary, and grounded it in a world that felt real. And they did it with excellent characterization and a true reverence for the source material. Homecoming felt more like Spider-Man than any of the other Spider-Man films and it kept true to the current social current effortlessly.

That’s how you write Spider-Man. That’s how you write, period. That’s how Marvel Comics needs to write if they want to salvage their company. Hell, Logan is another great example. So are both of the Guardian films. Pretty sure Ragnarok is another but that remains to be seen. It’s wild to me that films, created for the sole purpose of getting scratch, cobbled together by a committee of producers and executives, can create something that has more depth, scope, vision, and soul than the motherf*ckers entrusted with the goddamn source material, themselves. That says so much about the people in charge of my beloved Marvel comics and what it says depresses the f*ck out of me.

[thefingerfuckingfemalefury]

DC PRIDE: A CELEBRATION OF RACHEL POLLACK #1

Written by RACHEL POLLACK and JOE CORALLO

Art by SCOT EATON, MICHAEL ALLRED, and RYE HICKMAN

Cover by VARIOUS

$9.99 US | 96 pages | One-shot | Prestige Format

ON SALE 6/4/24

In the 1990s, writer Rachel Pollack did the impossible: she raised the bar for surprise and strangeness in her beloved run following Grant Morrison’s career-making Doom Patrol! This one-shot reprints the debut of the iconic Coagula, DC’s first transgender superhero, from Doom Patrol #70, along with the long-unavailable one-shot Vertigo Visions: The Geek (with superstar artist Michael Allred)! And in a final, original short story, Rachel’s most beloved creation, Kate Godwin, a.k.a. Coagula, returns to the spotlight in tale of triumph over death itself written by Joe Corallo, Rachel’s longtime friend and collaborator, and drawn by Rye Hickman!

@judedeluca

THEY'RE GONNA BRING HER BACK <3

[impossiblelibrary]

Recommendation from Geek and Sundry’s Twitch stream: The Wednesday Club

Hello, I’m the Sorceress of Pens (aka SorcPenz), from the Twitch Chat.

I wanted to give ya’ll a nice list of all the titles thrown at us each Wednesday by the amazing Amy Dallen, Taliesin Jaffe, and Matt Key and the mythical Chatroom, creating a thirst for a comic store trip each week. It's a long list. Here's as many as I could catch from just Episode 1.

If you can’t wait for the titles from last week’s horror episode, be sure to check out Geek and Sundry’s articles on The Wednesday Club.

From the hosts:

Comixology as an online place to get sales on comics

Rumiko Takahashi- one of the richest women in Japan because of comics. Inuyasha horror and comedy. Strangers in Paradise America Chavez solo comic Patsy Walker Hellcat- for awesome Letters column with fans' cat pics.

Comics that changed you:

Tal- Invisibles-by Grant Morrison published by Vertigo

Promethea

Jack Kirby anthology, early DC stuff

Whatever happened to the Man of Tomorrow

Amy- Sandman, Funhouse, High Cost of Living, V for Vendetta

Matt- Nightcrawler- for a Catholic superhero that talks about god

Squirrel Girl, Dr. Strange, X-men

X-men Legacy 2012 run, Volume 2 (or 2nd run) The Last Boy on Earth by Jack Kirby Adam Warlock Generation X

Squirrel Girl The Wicked and the Divine Grant Morrison's Dune Patrol- psychotropic nightmare fuel Grant Morrison's Filth- gave nightmares to @erikredin Y the Last Man- same writer of Saga Runaways Avenger's Arena- Marvel's take on Battle Royale, horrifying, you have been warned DC Bombshells Gotham Academy Champions-where Ms. Marvel goes once parting from the Avengers Kamala Khan Ms. Marvel- tumblr girl with superpowers, Pakistani-American Muslim who writes fanfic Vision Kids Man Thing- swamp monster, RL Stein will be doing new run Secret Wars Ironheart- Female Iron Man East of West by Jonathan Hickman

Videos and other non-comic book recommendations: Legion TV show *!! Japanese 90s X-men intros !!* *!! The LARPosal (and trailer) !!*

From the chat:

@figure_04: Pathfinder, Rat Queens- medieval comics for beginners @Quaraxkad1: Fables, Y the Last Man, Alias, The Pulse, Powers @chaoticcloony: Avengers Annual #16 (1987), TMNT, Elf Quest @JJ_Dane: Superman Annual #11, Divinity @CosmicVoyagerX: Superman Peace on Earth- for idealistic inspiring stories @mogodontsocialize: Dark Horse Star Wars @Sorin_ Joss Whedon's Astonishing X-men, Man Without Fear (1993 run) @starpilotsix: Marvel 1602, Brian K. Vaughn @Readrlady: Allstar Superman @sorcpenz:Books of Magic, Tanpopo @Lwnasidh: No prize book @Toonimator: She-hulk #21 by Dan Slott- first talk on the A-holes @Serenitywake: Grifter, Godeater @niconico666420ni: Panorama Island, noir bySuehiro Maruo @chuckytheclown11: Blackest Night @TenguBruxo: Old Man Logan @bluelinnet: Finder by Carla Speed McNeil @Ser0nionKnight: Avenegrs Academy after Avengers Arena, All New Wolverine @charlierose11: Mockingbird 2016, Princeless, Lady Castle @esweed3: Unworthy Thor @Triamas: New Mutants Asgard Adventures, Warren Ellis's Moon Knight @RiskyPixels: Uncanny X-men, Wolverine Unleashed @jrobie_1970: Hulk #180 @Darthpapas: Iron Fist #14 @JodyHouser: Narbonic, start into webcomics @WDM1262: American Alien

Comics that changed them: @JodyHouser: Things from another world, Mad Love @HonoroableDiscord: Neil Gaiman's Death, Alan Moore's Kingdom Come @ThatNerd: Watchmen @niconico666420ni: Shoko Tsubaki @alanmac9: Doctor Fate by JM Dematteis, late 80s run @Greekheat: Paul Dini's Dark Knight: A True Batman Story @rhammpy: Logicomix: An Epic Search for the Truth, made them love philosophy again @0606evan: A History of Violence @kalrany: Order of the Stick changed D&D for them