[QVall]

@темы: DC

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Арт-спам

[QVall]

— Нейт Беллегарде (Nate Bellegarde - ДА-галерея, блог) рисует хипстерш Иксменьш (похоже, у автора личная нелюбовь к Эмме Фрост):

смотреть дальше

— Чувак с этого тумблера выкладывает гифки Покемонов-героев комиксов:

смотреть дальше

— Сканы, выловленные на просторах тумблера - Готовим вместе с Доктором Стрейнджем, чтобы он там не готовил

смотреть дальше

@темы: QVall-picspam

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[QVall]

Еще один раунд «Если бы мужские супергерои были нарисованы как женские»

via tumblr

@темы: DC, Marvel

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Drink like a geek!

[QVall]

@темы: DC

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[picspam] - 2012-08-30

[QVall]

Предупреждение: содержит спойлеры, сцены насилия, сексуальное напряжение, языковые извращения и разные культурные отсылки

Меня до сих пор интересует, почему Альфу (нового сайдкика Человека-Паука) зовут Энди МакГвайер, а не Тоби Гарфилд =))

















Очередная порция лингво-клюквы, на этот раз - японской


Факу десу!


Да ладно, как же без родной-то речи?! =)








































Русские треккеры - они существуют!

@темы: QVall-picspam

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[Quissenonego]

Киевский международный фестиваль рисованных историй создан для развития девятого искусства на территории Украины. В планах сделать фестиваль ежегодным, интересным не только для жителей Украины, но и стран ближнего зарубежья.
Место: АртПричал
Дата: 10-11 ноября


Уважаемые издатели, владельцы интернет-магазинов манги и комиксов , авторы - которые хотят презентовать свой проект или провести мастер-класс и т.д. Если есть желание принять участие в фестивале рисованных историй, комиксов и манги, который пройдет 10-11 ноября в Киеве, прошу связаться почтой: [email protected]
Группа фестиваля: vk.com/club41947717

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The Coldest City GN (2012)

[QVall]

скачать

Издательство – Oni Press
Сценарист - Antony Johnston
Художник – Sam Hart

Берлин накануне падения Стены, шпионские игры, секреты, двойные агенты и увеличивающийся список трупов. Для тех, кому нравятся произведения в духе «Шпион, выйди вон!»

@темы: Скачать, Oni Press, Antony Johnston, Sam Hart

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Optic Nerve

[QVall]

"Optic Nerve" - эта серия комиксов художника Adrian Tomine, начиналась как зарисовки небольших жизненных историй, возможно, с автобиографическим оттенком, но с дальнейшим увеличением до полноценных историй. Для комиксов Томине характерно обрывания повествования на рефлексии главного персонажа после какого-то события в жизни, которое могло бы послужить поворотным моментом и началом для новой истории. "Optic Nerve" может служить хорошим стартом для знакомства с альтернативными комиксами, рисунок четок и не шокирует какими-то графическими экспериментами, простая раскадровка, неспешный нарратив. Shortcomings - эта история на три номера серии, главные герои которой переживают кризис первой четверти жизни, кризис отношений, самоопределения расы и гендера.

Optic Nerve #09
Optic Nerve #10
Optic Nerve #11

@темы: Скачать, Drawn and Quarterly, Adrian Tomine

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Fun Home - A Family Tragicomic (2006)

[QVall]

Автобиографический комикс Элисон Бехдель (автора стрипов «Dykes to Watch Out For» из которого и родился Тест Бехдель) о своем детстве в семье владельца похоронного бюро и скрытого гея.

скачать (87 Мб)

@темы: Скачать, Alison Bechdel

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[Jaya]

В принципе у меня всё ещё затянувшийся хиатус. Может быть я выйду из него на следущей неделе.
Скорее всего нет.
Но я ещё и старею, и мне хочется, чтобы это хоть кому-то приносило радость. Так что вот вам всем:

Полностью под катом

Или можно просто скачать.

@темы: Скачать, Moebius

---

Pherone GN

[QVall]

Издательство - Image
Сценаристы - Patrick Baggatta, Jim Sink, Viktor Kalvachev
Художник - Viktor Kalvachev

Pherone GN - это очередная вариация на тему femme fatale, "Ее звали Никита" и иже с ними. Но данная вещь интересна своим визуальным рядом, схожим с Sin City, хорошо, что ее не стали заливать стандартным цветом, как можно увидеть на промо-артах в конце номера.

скачать (41 Мб)

кадры из комикса

@темы: Скачать, Image, Viktor Kalvachev

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[picspam] - 2012-07-22

[QVall]

Предупреждение: содержит спойлеры, сцены насилия, тентакли, фемдом, лучи любви

Арты к комикс-приквелу сериала «Arrow»








































Суровые русские космонавты на диете

@темы: QVall-picspam

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Запоздалый линкспам-2: DC

[Jaya]

Премия имени Скотта Снайдера (подзаголовок - "заткнись уже!") в этот раз достаётся Энн Ноченти, которая с октября будет сценаристом "Женщины-Кошки". По этому поводу Энн дала аж четыре интервью о планах на персонажа

Премия имени Скотта Снайдера (подзаголовок - "заткнись уже!") в этот раз достаётся Энн Ноченти, которая с октября будет сценаристом "Женщины-Кошки". По этому поводу Энн дала аж четыре интервью о планах на персонажа:

Interview: CATWOMAN Gets A New Creative Team - I think that when a comic does something that has been building for years and years it's fun -- it's kind of a cool thing. But the idea that they would then actually have a relationship? You know, I don't know. It seems like a cool idea to say 'alright, these two are finally going to consummate this buildup,' and I think that gives a kind of a release from that tension…and it goes back to something much, much more complex. To me it seems like she has some rescue fantasies, you know, it's almost like she needs to know that he will rescue her yet again. That's the real sexuality if you know what I mean.

BREAKING! New Writer Ann Nocenti Talks About Taking Over CATWOMAN From Judd Winick - Yes, she has the heroism of a damaged person. You know, maybe she’s more human? Most people I know don’t run around devoting their lives to saving other people; although I do know people like that. But most humans just kind of take care of their own stuff and they don’t feel particularly heroic. I mean, the heroism of the ordinary person is more like, they’re getting food on the table for their kids, you know? Or helping their neighbors a little bit or something. So she’s not driven by heroism she’s driven by something so compulsive. It’s heists but it doesn’t feel like the kind of thing you’ll see in, like, an old French film about a heist. It’s more like almost a kleptomania. It’s like something that she cannot stop.

ANN NOCENTI Takes Over a 'Still-Sexy' CATWOMAN - It is true that, for those of us who have experienced addictions, it's unquestionably fun, you know, to be at a poker table, or at least it is for me. But in Catwoman, I want to play with the idea that there's just a tiny bit of disassociation. There's a moment where you're about to go to the casino, and you just say, "I'm not going to go. I know that ride. I know how it ends." But then she goes. And your point is well taken. It's fun!

Ann Nocenti Takes Over "Catwoman" with #0 Issue - She's got this little orphan girl sort of trauma and she'll never be able to have enough stuff to feel safe. So I don't really think she's somebody who goes out and just robs -- she goes on heists sometimes because she needs money, but I think it's way more complex than that. It goes back to never feeling safe. She's sort of the opposite, in some ways, of Green Arrow because he was born with a silver spoon.

Да, я тоже заметила, что Энн повторяется. Вот что бывает, когда ты одновременно даёшь четыре интервью на одну и ту же тему.

Сам Скотт Снайдер, кстати на удивление затих. За почти три недели он дал всего три интервью. Всего три! То есть: раньше он выдавал по три-четыре интервью в неделю! Мало того, одно из этих интервью старое, то есть на самом деле он их дал два! Избавляться от зависимости крайне тяжело, и чтобы поддержать Скотта в этом правильном начинании, я в кои то веки дам ссылки на все - всего, я всё ещё не могу в это поверить - три его интервью

Сам Скотт Снайдер, кстати на удивление затих. За почти три недели он дал всего три интервью. Всего три! То есть: раньше он выдавал по три-четыре интервью в неделю! Мало того, одно из этих интервью старое, то есть на самом деле он их дал два! Избавляться от зависимости крайне тяжело, и чтобы поддержать Скотта в этом правильном начинании, я в кои то веки дам ссылки на все - всего, я всё ещё не могу в это поверить - три его интервью:

COMICS ANONYMOUS TALKS TO SCOTT SNYDER - Batman is my favourite character – he’s always been, ever since I was a kid. With me, if I don’t have an idea that I don’t care as much as Court of the Owls or the next story line we’re going to do, if it’s not as important to me or as deeply personal as these stories are, I won’t do Batman. I’m not going to stay on Batman past that point where I have a story that, to me, isn’t as important to my character and to myself as the one I’m doing now. So that’s the way I perceive Batman – I joke that ‘you’ll have to kick me out of Gotham’ – but I would happily leave Gotham if I don’t have the story for it.

Snyder Promises Bat-Tie-Ins with JOKER's Nightmarish Return - But because the story is so big, and because Joker is attacking all those members of the Bat-family, essentially, to prove this point that he's come back to Gotham to prove and to expose this secret that he has, you will see Joker attack Nightwing in Nightwing. And you'll see him come after Batgirl in Batgirl. And you'll see him go after Damian in Batman and Robin. And Tim, even, in Teen Titans. And Jason in Red Hood [and the Outlaws]... So in a way, he's sort of saying, "You've created this false family around you. You've created this group of people. And I'm here to show you what's wrong with that. And you've forgotten about me. And now I'm going to show you why that's wrong. And I'm going to expose this secret. And in doing that, I'm going to tear you guys apart worse than you've ever seen."

Interview: Scott Snyder Talks 'Return of the Joker: Death of the Family' - He feels he knows them better than anyone else. He serves him as almost a court jester to his king in that way. In that, he makes these horrifying nightmares to life to make Bruce stronger. He feels he has a very special bond and relationship with him that way. It's something that only the two of them share... That Joker, to me, is something that's built on a lot of versions that have come before but is also important to me in a personal way. It's my own take on the mythology of this event that we'll explore in this event. It has to do with the symbolism of the court jester, the tarot card of the joker, Peter Pan and all kinds of stuff that I'm going to roll into it to make it something that's different even if it's built on the legacy of the character.

Разделаемся с интервью, не поддающимся разбросу по прочим категориям

Разделаемся с интервью, не поддающимся разбросу по прочим категориям:

SIMONE Talks BATGIRL #0 and 'Collision' with the JOKER - Гейл Симон о Бэтгёрл, Джокере и травме в пост-ребутном DC: I spent a lot of time speaking with specialists and survivors about this, and one thing we saw with trauma survivors over and over was, the nightmares often go on even after the body heals. It's not weakness, it's not self-pity, it happens to the bravest people on Earth; soldiers, police, on and on. And Barbara being who she is, she finds herself wondering why she is regaining her mobility when so many will never have that option. Because of her experiences over the first year, she's having to grapple with it. But again, she's Barbara Gordon, she will find a way.

Levitz On Brainiac 5, Female Friendship and the #0 Issues of "Legion" & "World's Finest" - Пол Левиц о том, что нас ждёт в нулевых номерах "Легиона супергероев и "Лучших в мире": We were able to come up with a storyline that simultaneously deals with stuff we didn't know about Brainiac 5 as a person, how he came to make his decision to join the Legion and also about how he has been dealing with essentially having inherited the great cosmic Pandora's box that is the original Brainiac's treasure trove of past stuff... I think it's the fun of the book; on one level, you have the Superman/Batman dichotomy with two very different sets of powers, and to some extent, different heroic worldview. But on another, you just have an utterly different emotional relationship than you've seen with Superman and Batman. Hopefully, you're really getting to like these two people.

INTERVIEW: Gregg Hurwitz - интервью с текущим (начиная с #10) сценаристом "Тёмного рыцаря": I have two favorite panels in this issue—one is the double-page spread which I think David just killed, with Batman swinging through and smashing the guy out through the car. And the other is the exact opposite kind of scene, with Batman sitting with Clair in her hospital room and she reaches over and takes his hand. And that scene, where he is there and he understands—he’s asking Clair questions and he realizes that he’s helpless to do anything and the only way he can help her is to sit with her and comfort her when he sits side by side with her. The next scene is the scene with Damian, where it’s his own son who’s trying to talk to him and he’s ill-focused. And that, to me, is the epitome of what it is that Natalya was talking about when she calls him to task. He’s there and enormously available to people when it isn’t intimate, when it doesn’t involve closeness, and why that is has a lot to do with the issues that the Scarecrow wants to pry into.

Аметист, Чёрная Молния, Синий Дьявол и скандал вокруг их появления в пост-ребутной Вселенной DC

Аметист, Чёрная Молния, Синий Дьявол и скандал вокруг их появления в пост-ребутной Вселенной DC:

Не так давно DC объявило, что, во первых, вновь собирается выпускать комикс про Аметист, фэнтези-героиню родом из 80-х, а во-вторых, в пост-ребутной вселенной вновь появятся Чёрная Молния и Синий Дьявол. Все три персонажа предстанут перед публикой во в той или иной степени изменённом состоянии. Интервью с авторами объявленных историй:

This September, the creator of Jem will write DC Comics’ most 1980s fantasy heroine - This will be a complete reboot. The first thing I wanted to do — based on the tonal guidance Dan gave me — was age her up a bit. She's just turning 17 rather than being 13. She has a very different family background, but the same basic things are there. She grew up on Earth with a strange childhood and ends up back in her homeworld which she's never seen before. I'm taking a more intimate, familial approach to her adversary, who is her homicidal aunt who does not want to share power. I'm going for something dynastic with emotional complexity that will draw people in, and not just a bunch of people swinging swords. I'm trying to avoid a sparkly-crystals-and-pegasuses kind of approach. This is an alien world with blood powers that are related to crystals, but I'm going for a much more holistic approach.

EXCLUSIVE: Andreyko Sees Black & Blue In "DC Universe Presents" - This was just in passing as we were waiting in line for rides, and then I kept bugging him about it and the ideas just started flying. It's a grand tradition in entertainment, literature and films of two people who are complete opposites becoming friends in spite of themselves, whether it's Maddie and David on "Moonlighting" or Felix and Oscar on "The Odd Couple," or even Bert and Ernie on "Sesame Street!" So the idea of taking these two characters, one who was explicitly magic-based and one who was explicitly not, added metaphorically to the differences they had... In the story, personality-wise, Jefferson Pierce is an Olympic-level athlete, so for him the training and discipline begets power, whether that's athletic power or honing his lightning skills. Magic to him is kind of foreign because magic tends not to be from A to B to C -- magic is sometimes A to C and then all around. So Blue Devil's very powers are contrary to the way Jefferson thinks and the way Jefferson lives his life. Jefferson is a very focused guy. You have to be to be an Olympic athlete. You have to have discipline and training. Dan comes from a Hollywood family and has always been this kind of guy who glides through life, taking jobs when he needs them and then, when the money runs out, taking another one. Magic sort of extrapolates on his persona. The conflict there is both personality-wise and super-powers.


Звучит любопытно, да?
Может быть. Проблема вот в чём: эти образы персонажей... несколько расходятся с тем, какими их представляют создатели. Для Аметист и Синего Дьявола это сценаристы Дэн Мишкин и Гэри Кон, а для Чёрной Молнии - сценарист Тони Изабелла и художник Тревор Фон Иден. В случае с первым из последних, точнее их правами на персонажа, всё не то чтобы так уж чисто ещё и с юридической стороны.

Latest Updates - Тони Изабелла реагирует на новости у себя в блоге: Yes, I have heard the news about Black Lightning. You don't have to e-mail me, private message me, phone me, or post links on my Facebook page. My only public comments to date have been "Words fail me" and, to my friend Dan Mishkin, "Forget it, Dan. It's DC Town." But, really, if you've ever read anything I've written about Black Lightning and DC's continued refusal to honor its agreements with me, and if you have half a brain, you already know how I feel about the news.

YET ANOTHER BLACK LIGHTNING INTERVIEW - Тони Изабелла о сути юридических проблем а заодно и о персонаже в целом: I really liked the Black Panther and the Falcon and Luke Cage, but I wanted to create a more relatable hero, one who wasn’t an African king or an ex-con... Black Lightning was supposed to be a partnership between me as his creator and DC Comics as his publisher. Unfortunately, DC has never honored its agreements with me.

"Amethyst" Creator Dan Mishkin Speaks Out On Character's "Sword of Sorcery" Revamp - Дэн Мишкин об истории персонажа, сожалениях, и том, почему изменения губительны для сути Аметист: It doesn't feel great. It doesn't feel great to see our characters handled in ways that don't seem true to what we were intending to do. I've really been trying to adopt a "don't hate the player, hate the game" approach, and I don't even hate the game! I can be unhappy about it; I can be disappointed. It's never been a thrill to have a writer say to me, "I would love to write Amethyst," or "I would love to write Blue Devil," as if I must be dead or something. I would like to write them too -- in fact, I created them! But this is the business... Would I like DC, if they're going to do this character they've announced, to do it with a completely new concept that doesn't trade on stuff Gary and Ernie and I created? Sure. But that's not going to happen... You can do that, and because of the rules of the game you can even call it Amethyst. But to say that it's essentially the same as what we did -- I'm sorry, I just don't think that's true, because essentially what we did was a story about being on the cusp of adolescence and discovering what the moral choices of adulthood are going to be. You don't do that at seventeen; you do that at twelve or thirteen... Let me put it this way: People look at superheroes and they say, "Power fantasy." What you see in a lot of comics is an exploration of power fantasies and embittered things; stories about heroes are often about the failure, maybe even the impossibility to living up to the greatest ideas of heroism. My stories, "Amethyst" included, tend to also be power fantasies, but the fantasy is, "What choices would I have to make if I had power? Will I be able to rise to the demands placed on me?"

Ну и, конечно же реакция породила ещё реакцию: Black Lightning Or Black Lightening?, Black Lightning, Blue Devil Creators Respond to DC's 'Black & Blue' Revival и иже с ним.

Новости рекламы

Новости рекламы:

DC решило включиться во внезапно сформировавшуюся тенденцию обращать внимание на авторов комиксов и выпустило серию постеров "Познакомьтесь с создателями".

По странному совпадению эта серия напоминает серию, уже некоторое время как выпускаемую Image, что не преминул с издёвкой отметить у себя в блоге издатель Image, Эрик Стефенсон.

DC Buys Into Maker Culture with New SDCC Ads - тут сравнивают слова, которыми DC ('makers'), Image ('creators') b Marvel ('Architects') называет "своих" авторов: "Makers" doesn't just feel less important than "Creators," it feels more temporary: Making isn't as unique as creating, it's doing a job, goes the implication. A maker is someone who can be replaced without the final product being affected too badly... It's the opposite tack from Marvel, which promotes its creators as "Architects," positioning them as being responsible for a "House of Ideas," although that branding also removes the "creator" term -- again, with good reason -- and portrays what the creators do as a job, instead of something more romantic and idealistic.

DC spotlights talent in new ad campaign - а тут сравнивают то, что показано на постерах: If you were going to characterize each campaign, we’d say DC’s present the makers as likable folks posing authoritatively. The Image campaign features people creating away at their drafting boards. So analyze that.

Эй, у меня есть идея! Знаете, как DC могло бы крайне успешно прорекламировать свои комиксы? Пусть какой-нибудь из их значимых авторов даст подробное интервью. Например Скоттт Снайдер!

Бэтмен и компания

Бэтмен и компания:

The 25 Greatest Batman Graphic Novels - очередной список Самых Важных Историй.

COMICS: Barbara Gordon To Replace Stephanie Brown as Nightwing In SMALLVILLE SEASON 11? - потому что всем плевать на Стефани Браун, как бы говорят они нам.

Ed Brubaker isn’t walking through that door - про серию Gotham Central Эда Брубейкера: Seeing a mix of characters with varying levels of GCPD experience helped give Gotham Central the feeling that generally, the Major Crimes Unit had been dealing with the Bat-family for longer than it would have liked. In 2003, that meant somewhere around ten years. As mentioned above, if Gotham Central were relaunched today, naturally it could include the same names and faces, but it might have to go farther to create such a convincing world-weary atmosphere... The New-52′s backstory doesn’t appear to lean on existing stories as much as the old one did, which reinforces the perception — good or bad — that DC now sees its voluminous library as a storytelling liability.

Why Batman Always Falls for Bad Girls - о том, чем же именно Бэтмена привлекают злодейки: Bruce Wayne has spent his life taking on one challenge after another. He says he’d like to reform these women, they say they want him to walk on the wild side with them, and yet they all might get disappointed if any of these changes occurred. The line of law that separates them keeps things thrilling. As Catwoman once told him, “Honey, if I ever went straight, you’d never pay any attention to me.”

Meow! 10 Memorable Catwoman Moments in History - кстати о "плохих девочках", лушее из истории Кошки.

Detailed Infographic Depicts 73 Years of Visual Batman History - картинка. Думала перепостить, но она всё-таки слишком большая, лучше сходить по ссылке.

The Gotham Alphabat by Dan Schreiner - а вот эту

перепощу.

перепощу:

ADULT FILMS: The Dark Knight XXX: A Porn Parody arrives online this week - новости порно: The sensational cast of the parody, headlined by charismatic newcomer Giovanni Francesco as Batman/Bruce Wayne, includes Axel Braun’s contract girl Aiden Ashley as Catwoman, performing in her first ever boy-girl scene, Andy San Dimas as Kathy Kane, Penny Pax as Batgirl, Dani Jensen as Poison Ivy, and Christy Mack as Zatanna. Their male adversaries and partners include Brendon Miller in a brilliant turn as The Joker, Derrick Pierce as the villainous Bane, Brian Street Team as Nightwing, and Clarke Kent as Constantine, with porn-legend Tom Byron in a cameo as Commissioner Gordon.

The Final Birds Of Prey XXX Trailer As The Porn Parody Launches At San Diego Comic Con - ээээ... ещё новости порно. А по трейлеру и не скажешь -

смотрите сами.

смотрите сами:

Супермен и компания

Супермен и компания:

Superman, Batman and worldviews - чтобы переход был помягче, начнём с короткого сравнения персонажей и идей как в том числе маркетинговых концептов: Imagine giving a talk to a conference full of Batman types. It's going to be very different than one filled with people who share Superman's privileged and generous worldview, no?

More From George Perez On Working At DC Comics - продолжение рассказа Джорджа Переза о том, что же пошло не так: Things are being second guessed left and right, a case of too many chiefs, not enough Indians now. Whether it will work? Who am I to say. They want it to be like Hollywood, and it’s becoming like Hollywood, in producing comics, and what you have is a corporate room deciding where things are going to go. And part of the reason for me leaving Superman is that I had certain ideas I wanted to do unfortunately, stuff that they okay one day, they would change their mind the next day, and it was becoming way too difficult, slowing us down.

Sweet Superman: The Legacy of Christopher Reeve - как фильм сформировал представление о характере персонажа: Silver Age Superman was, quite frankly, the very definition of arrogance. It was quite common for this Superman to abuse his mighty powers and employ them in the execution of some cruel prank played on Lois and Jimmy, his defenceless mortal chums. And Silver Age Superman wasn't above using mind controlling devices to bend the will of his foes, such as the time he devised an "anti evil ray" to eradicate evil impulses across the globe.

DC Comics $20,000,000+ Payout For Superman – REJECTED - юридическое: последний эпизод в тяжбе семей создателей Супермена с DC.

"Seek legal advice..." - How Hanna-Barbera Took Millions From DC Comics - снова юридическое, не совсем про Супермена: история спора вокруг легендарного мультфильма Superfriends.

Supergirl: Where Do I Start? - Основные рекомендации для тех, кто заинтересовался Супердевочкой.

Чудо-Женщина

Чудо-Женщина:

On Wonder Woman - про сложную природу Чудо-Женщины и её преломление через Фрэнка Миллера.

Выдержки

Выдержки:

Wonder Woman is a special case of a superheroine created for a purpose. Most of them, sadly enough, were created for economic purposes. The competitive nature of the comics market in the early 1900s meant that a best-selling hero was copied and copied again, with Superman being the template for most of the other heroes that we have today. Wonder Woman came out of a different process. Rather than being created to grab market share away from Superman, Wonder Woman was created to push the ideology of comics away from the masculine fantasies that Superman represented.
...
Wonder Woman, conceived by Marston, is a tempering force that fights against the strict male ideology of the comic book world. She usurps the fantasy of Superman and implants one of powerful women, which Marston believed that men wanted more than anything. As a character, she is an interruptive force that preys on the “real” fantasies of a male readership: to be dominated by a strong woman.
...
Wonder Woman has a dual duty to both her family of Amazons and to justice and “rightness” as an abstract concept. Abnett and Lanning attach onto this concept during their Flashpoint Wonder Woman series–the social ties, and the ideological and theoretical underpinnings of those ties, inform the way that Wonder Woman deals with the world outside of Paradise Island. The matriarchal social structure of Amazon culture is written into her mind, and she applies it judiciously outside of that space.
It is because of these two poles that we have such a convoluted understanding of Wonder Woman. She is both retributive in her sense of justice and social organization and restorative in her belief that everything has the potential to love and be loved.
...
So I’ve done a lot of work to get around to this one point: Frank Miller presents Wonder Woman as the perfect libertarian.
Wonder Woman’s story, from Miller work to Miller work, is the most important and complex. Batman is a psychotic who, like a broken clock, just happened to come out on the right end and fight against an oppressive regime. It could have gone either way. But Wonder Woman, right off of Paradise Island, is equipped with a sense of moral duty and a love for all people that would make her a perfect ruler. The only way to keep her down is to be more powerful than her, and thus to capture her; sadly, we see that happen with Superman.


Frank Miller Hasn’t Even Seen the Venus Girdle - ответ на предыдущее с предположением о том, что дело в разном понимании сути любви, силы и власти Марстоном и Миллером.

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Выдержки:

In some sense, this is, as I suggested, simply a reversal of Miller — in DK2, the strong woman submits; in Marston, the strong man does. Male/female is not a purely reversible binary, though; the two terms have long histories of meaning and inequity which aren’t simply substituted when you flip them. Men on top and women on top are different in more ways than just the positions of the bodies.
Specifically, Miller’s fantasy of men-on-top is about love as a seizing of power; love and force go together, so that when Superman fucks Wonder Woman, he literally sets off an earthquake. The power of the love is attested by its violence. Men on top express real love by seizing and destroying.
Marston disagreed. “Love is a giving and not a taking” he wrote in his psychological treatise. And so Steve expresses his love not by grabbing Wonder Woman and taking her as his prize, but rather by submitting. With women on top, love is giving up power, not seizing it; embracing weakness, not asserting strength. And where Miller’s version of love involves male dominance and excited female submission, Marston’s version of love-as-renunciation seems more reciprocal.
...
In Miller, male strength emphatically enforces typical gender norms; Superman’s phallus turns Wonder Woman from battling Amazon to mother, and all is right with the world. In Marston, on the other hand, male strength feminizes…which doesn’t change the fact that when Steve submits out of love, he is also following a feminine ideal. Men on top reads gender straight; women on top, on the other hand, makes everything queer.
It’s probably needless to say that Miller’s version of the character seems to me in just about every way more conventional and less interesting than Marston’s. But more than that, I think Miller’s handling of Wonder Woman really suggests pretty strongly that Kunzelman is wrong when he says at the conclusion of his essay that “Wonder Woman is special.” After all, there’s nothing special about women-as-phallus; there’s nothing special about women as cog in male psychodrama. There’s nothing special (certainly not in Miller’s work) about fetishizing female strength in order to more fully fetishize the strong man who conquers it.

Зелёный фонарь

Зелёный фонарь:

Off My Mind: How the Third Army Will Change the Green Lantern Corps - суммирование имеющейся информации о нововведённой Третьей Армии: The Third Army will be able to take the Corps by surprise unless Hal and Sinestro can get word to the others. Hal is slightly limited with what he can do since he is using a green power ring created by Sinestro and still hasn't been allowed back by the Guardians.

This is really more about Alan Scott being compared to Swamp Thing than you’ve ever wanted to read. - связь между Аланом Скоттом и Болотной тварью в пост-ребутном DC: Oh, yeah, the whole “green” thing, with “green energy” being the embodiment of the Earth’s life force an’ all, like in the Swamp Thing comics, where it’s referred to as “The Green.” And it’s referred to as such in Earth 2... Anyway, minor connection between the two, right. Well, we’re still dealing with “The Green” and I’m sure no one writing comics, particularly not James Robinson, is unaware of that particular nomenclature being used by Alan Moore to describe Earth’s life force during his Swamp Thing run. So I guess it’s simply an alternate take on the same sort of thing Moore was getting at, down to the Green choosing a champion to fight on its behalf when necessary.

Pre-New 52 review: Green Lantern: War of the Green Lanterns - отзыв на "Войну Зелёных фонарей".

Выдержки

Выдержки:

Let me try again. It boils down to this: Villain attacks Green Lanterns, all of the Green Lanterns fight, our heroes come to their sense and get new costumes and powers, they beat the bad guy. It's got all the complexity of a Power Rangers episode, although there's plenty of nuance and texture for those primed to enjoy it.
...
Mogo is, of course, the Green Lantern who is also a planet created by Watchmen creators Alan Moore and Dave Gibbons for a short, one-off sci-fi twist story entitled "Mogo Doesn't Socialize" in 198-fucking-five. (One of the many, many, many things that makes me want to scream about this whole DC/Moore/Before Watchmen thing is the way the publisher has been continually, constantly exploiting every little bread crumb Moore gifted them with decades ago. Mogo is a joke character, yet at this point he's had more appearances than dozens of characters created to anchor their own books, and even appeared in the last Batman cartoon series).
...
John Stewart once destroyed a whole inhabited planet, in Cosmic Odyssey. How many planets are you allowed to destroy before they kick you out of the Green Lanterns...? (Actually, there probably isn't a limit; Hal destroyed all of existence in Zero Hour, and they let him back in the Corps).
...
One thing haunts me, though. At one point, Krona decides that since the Guardians of the Universe suck so bad at their jobs, because they try to run the universe without opening themselves to any emotions, he should make the four emotion-feeling Earth-born GLs the new Guardians, and he even captures Hal and Guy, dresses them in Guardian red robes and covers them with "ancient evolving bandages" that apparently turns people into giant-headed, tiny-bodied Guardians.
It really sucks that Mahnke didn't get to draw Hal, Guy, John and Kyle with giant, wized heads and tiny little floating bodies in robes. For a cover, if for nothing else.

...

Прочее

Прочее:

Thursday WHO’S WHO: Solomon Grundy - Соломон Гранди и то, почему его новая версия глубоко неправильна.

Выдержки

Выдержки:

But someone handed me the first three issues of Earth 2 last week, and – well, they’re shitty comics, of course. I mean, it’s great that they’re setting up Alan Scott as basically Earth-2′s Superman equivalent, except he’s gay. But all this means, in practice, is that they replace a woman in a refrigerator with a gay lover on an exploding train; that the comic is slightly more progressive doesn’t make it not-shitty. It’s just a non-shitty note in a shitty comic. But the Nu52 version of Solomon Grundy shows up at the end of the third issue, and it is basically a microcosm of everything I now hate about DC Comics.
The new Solomon Grundy appears to be some sort of avatar of death – he bears an irritating resemblance to the revamped design of Necron that showed up in Blackest Night, with leather bondage straps and skirt-trousers and things like that (and has it really been over two years since that awful, no-good crossover finally ended? It seems like it was just yesterday that its unflagging shittiness was new to us). He is an avatar of death because Earth-2′s Green Lantern is, sort of, an avatar of life.
...
But regardless of who is actually writing this, it is bad, because Solomon Grundy is not an avatar of death. Nobody wants to read about Solomon Grundy being an avatar of death. What people want out of Solomon Grundy being in a comic is for him to be, when you get right down to it, a off-brand version of the Hulk who is usually a bad guy.
Seriously, this shit isn’t hard. Solomon Grundy is a copy of the Hulk that lets DC Comics write the Hulk into stories without having to negotiate anything with Marvel. That’s the entire fucking point of the character. He can be a vicious cunning Hulk (like in the Golden Age stories where he first showed up) or he can be a dumb savage Hulk (like he was in The Long Halloween), or he can be a gentle cute and cuddly Hulk (like in Starman). But that’s who he is. That’s who the fans expect him to be. There’s no reason to try and tie him into the rest of your superhero universe’s pre-determined theory; really, if you’re writing a superhero universe and everything ties back to one central origin element for everybody, you’re probably doing something wrong.


Hawkworld by Timothy Truman & Alcatena (1989) - про Танагар как политическую сатиру:

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Выдержки:

In Hawkworld, the reader who for twenty-years had known a sober and at times even austere and crabby Katar Hol suddenly found themselves face to face with a man revealed to have been a fascist foot-soldier, a murderer, a patricide, and a drug addict.
...
Saturated with themes of class conflict and imperialism, Hawkworld’s a tale so politically charged that it’s hard to imagine it being commissioned by DC Comics today. Truman’s decision to create a founding father for Thanagar in the figure of Kalmoran, who’s a combination of Julius Caesar and George Washington and Marcus Garvey, suggests something of the explosiveness of the ideas that he was set on exploring. His take on Thanagar presented the planet as a neo-fascist imperial power which bore a strange resemblance at times to certain aspects of the America of Ronald Reagan’s Presidency.
...
In that, Hawkworld was and is a condemnation of America’s role in creating and perpetuating a global system of economic and military exploitation every bit as much as a critique of the homeland’s own class system.
...
Indeed, the Thanagarians have reduced themselves to indulgent and occasionally supremely violent children, hopelessly reliant upon the very alien races which they most depend upon to survive.
...
On the one hand, Truman shows us the feckless wealthy with their conspicuous consumption and their sensation-addled lives, with their utter ignorance of their own culture’s past and their profound disinterest in the welfare of anyone from beyond their ranks. On the other, he presents us a struggling mass of individuals reduced to market-place cannon-fodder, desperate for the basic freedoms of economic security, free expression, and even access to decent health care. In some ways, today’s America seems closer to a Hawkworld than it ever did when the comic was first published.


The New 52 – Five Characters Who Are Stronger Than Before Flashpoint и The 5 Biggest Winners of DC's New 52 (and 5 Losers) - очередные списки про достоинства и недостатки пост-Ребута. Интересно посмотреть, насколько они пересекаются.

Catwoman and Huntress covers by Guillem March that have been changed - история изменений нескольких обложек с женщинами DC.

И отдельным блоком самые важные, необходимые миру и обожаемые мной приквелы в истории человечества - Before Watchmen

И отдельным блоком самые важные, необходимые миру и обожаемые мной приквелы в истории человечества - Before Watchmen:

Общее

Общее:

Exclusive First Look at BEFORE WATCHMEN Variant Covers - для тех, кого интересуют подобные вещи: альтернативные обложки от местами очень хороших (эх, Пол Поуп, я понимаю, что гонорар ты пожертвовал на благотворительность, но...) художников.

Contemplating “Before Watchmen” - о приквелах как оправданной неизбежности, и да, я очень сильно несогласна: It remains just as true today as it did then, as Before Watchmen is recycling old ideas and making them new. Perhaps this is simply how this industry must function. New ideas replacing old ideas that are meant to fit the parameters of a certain time space. The serialized comics often get flack for never truly progressing. Characters who die will often return before long to ensure readership more than anything.

Writer/artist Darwyn Cooke talks Before Watchmen and creating strong heroines - интервью с Дарвином Куком, в котором он, помимо довольно интересного прочего, говорит о своём отношении к оригиналу и своём участии в создании приквелов.

Выдержки

Выдержки:

Starting with Catwoman, [writer] Ed [Brubaker] and I both—right off the bat when they threw us together—we both were not happy with what was in the book as it stood. We saw her as a function for male readers, and we wanted to negate that and see what we could do with the female audience. That automatically took us into this area where we would have to redesign her look if we want any credibility with women. At that point my first thought was, “She has to look sexy, because women won’t accept her being unattractive, but you also have to look functional.” There has to be a realistic aspect to it, something that women can look at and go, “Well, it’s both. I could do that. And wow, she’s not wearing heels. There’s no push-up bra attached to it.” And Ed’s wife had a wonderful notion that instead of a mask, she wore an aviator helmet and goggles, and I thought that was brilliant.
...
I don’t consider it perfect or the masterpiece that some do, but I was mightily impressed. And I can remember, you know, how rare it is that anything you read can really actually move you—maybe once—but I can remember three, four times in Watchmen where as I read it, I was dramatically moved by what they’d put together. I think it’s an astounding achievement, especially when you consider the time they put it together. And yeah, it’s something I guess we all look at from a construction standpoint, and we all stand in awe of it.
...
In all honesty, I didn’t expect, “Poor Alan Moore.” I just didn’t expect that. So that sort of took me by surprise. I certainly expected people to have an opinion about whether this beloved material should be explored any further, and I believe that that’s a question, but it’s also a challenge that I’m happy to meet. All the stuff with Alan, I didn’t count on that or really give it much thought. It’s now an incredibly large issue. So, it is what it is. I guess the most important thing for me, and it’s funny because I have some friends in the business who I have an incredible amount of respect for, and they completely disagree with me on this thing.


Watching ‘Watchmen’: A Classic Comic’s Classless Return - помните Тима Мачмана? Да, он снова. На этот раз он берёт интервью у Лена Вейна, редактора оригинальных (гррр) "Хранителей" и сценариста двух серий приквелов. Как можно догадаться, получается весело, хотя с утверждениями про оригинального Озимандиаса я согласиться не могу.

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Выдержки:

Pam, who had arranged and was monitoring the call, works in some capacity for either DC Comics or its parent, DC Entertainment, a division of Warner Bros. whose mission, according to a press release from a few years ago, is “to fully realize the power and value of the DC Comics brand and characters across all media and platforms.” Warner Bros. is itself one of the many subsidiaries of Time Warner, which has annual revenues larger than the gross domestic product of about half of U.N. member states, which I mention because it suggests the scale of the vast unyielding drive for profit that has led to, among many more obviously horrible things, Before Watchmen. (I should also mention that I have happily cashed Time Warner checks.)
...
Moore hangs a lampshade on the ridiculousness of it all—Veidt, while wearing a purple-and-gold jumpsuit with a cape and tiara in his “Antarctic retreat,” rhetorically asks if he looks like a Republic serial villain—but Ozymandias, author of one of the most pointlessly intricate schemes in the history of pointlessly intricate supervillain schemes, is essentially a plot device. (“How much more fun can you have,” Wein asked, “than to be manipulating the guy manipulating the entire story?”)
It’s difficult to say anything definitive about how Wein is handling this nonexistent character without having read the full storyline (and because of the vague terms of the embargo my advance copy came with), though I will note that DC Entertainment and/or DC Comics has re-re-imagined Veidt’s sexuality, which may or may not be edgy and provocative. It is really a question of individual taste: either you think that the story of a man who kills millions of people with a fake telepathic squid is improved by the inclusion of details about how he was bullied as a child or not.
...
“I think after 25 years,” said Wein, “some of the weight of Alan’s objections have lost weight.
“All of what we are doing we have offered him, and all we are doing he has turned down. We spent a quarter of a century offering him opportunities to do things with these characters, and he kept turning them down.”
Not wanting to be rude, slightly mystified by the implied statute of limitations on ethical actions, and intrigued by the idea that if you ask someone if you can do something for long enough you can eventually just do it without their assent, I moved into a more general line about whether telling the back stories of such deliberately vague characters might not remove a bit of their mystique.


The Incredibly True Story of Before Before Watchmen - фанатский фильм о настоящей реакции Алана Мура на приквелы. То есть скорее трейлер, но суть ясна.

Ну и по конкретным комиксам

Ну и по конкретным комиксам:

Before Watchmen: Ozymandias #1, комикс, который "added a “Women in Refrigerators” moment to WATCHMEN as the grossest of its sins[/b]":

BEFORE WATCHMEN: OZYMANDIAS #1 - I’d like to have seen the tales told more organically, but instead, because of the nature of the storytelling with Veidt speaking into a recorder, most of the book is narrated, restricting the amount of dialogue that takes place. Wein though has managed to craft an incredibly interesting backstory for Adrian, with his fascination for Alexander the Great taking him on a path of both enlightenment and training through the middle east. Veidt is a fascinating character, just like in the original Watchmen series, he stands perfectly on that boundary between genius and madness – is he crazy or is he so much more intelligent that he can see something we don’t?

…And the Superhuman Review – Before Watchmen: Ozymandias #1

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Выдержки:

I presume the bit people will be most interested in is this comic is revelation that Adrian was romantically involved with a woman. By the way, we are five comic books into Before Watchmen and we’ve already had two cum jokes. Two out of five! That’s kind of nuts.
...
As for the writing… I’m torn. If it wasn’t basically an expansion upon Watchmen #11, I probably would have liked it more. But, it WAS that, so it fell into ‘needless expansion of an origin story,’ something that I have a hard time with in comics. I hate origin stories at this point, especially retellings of ones that I’ve already read. Most of this comic felt unnecessary in the information it ‘added’ to Adrian’s past. How he built his empire and segued into costumed adventuring is much more open and seems like it will work better in this ‘expanded retelling,’ because those parts in this issue were miles ahead of what came before. I would have rather the comic start with his return and expand the rushed relationship with Miranda and her death. Actually give that relationship a little meaning instead of introducing her, having her interact with Adrian a few times, and, then, die. She was a plot device instead of a character and that’s a shame.
...
Especially because Adrian in Watchmen wasn’t a cold, distant person. He was able to rise above his emotions and do things that he found horrible, but he was a passionate, warm person at the same time. Or, at the very least, able to come across as such. After all, his entire plot to save the world is driven by passion and you can see that in how he reacts to it working.
...
The superhero who needs a person tragedy to give him the push to put on a costume and take down some bad guys… That it began as a slightly misguided attempt to make the world better was more in his character. He did it because it was fun and he was somewhat deluded into thinking that, by doing it, he made a difference — a delusion that was later shattered at the Crime-Busters meeting when he realised that his actions were on far too small a scale to really ‘save the world.’


I’d Like To Declare My Independence From These Pants

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Выдержки:

Basically, Moore is giving away the book’s ending, beyond even the seeming ambiguity of the famous corporate-owned ketchup dripping onto the world-renowned corporate-owned smiley face t-shirt of that fat guy whose childhood I am dying to explore.
Len Wein, in contrast, spends his opening page basically explaining the concept of ambiguity to the slower readers, via a block of metafictional rib-nudging wherein Ozy goes on about how very nearly flawless his crazy plan is, though history will be the judge in the end — because his plan totally might not stand up to history at all, that was the ending of the original book, remember? It’s dramatic irony!
...
All became clear, though, later in the story, when adult Ozy, standing nude and playing the stock market over an old-timey phone in front of — yes — a giant clock, says: “I have goals to achieve, dreams to make come true.”
This, of course, is a supremely awkward phrasing totally unbecoming of a man of Adrian Veidt’s supreme refinement, so I was initially very shocked, until the Sexy Girlfriend Character laying in Ozy’s bed responds with: “Well, then, let’s see what else you can make come in the meantime, shall we?”
I’m leaving open the possibility that Ozymandias, in his “GENIUS,” was actually playing 4th-dimensional chess with the poor girl and deliberately molested grammar in anticipation of his lover jumping on the opportunity for a terrible pun, thus reinforcing his sense of superiority over her, but coupled with that fucking thing with the blocks the circumstantial evidence becomes persuasive that Len Wein is simply writing a spectacularly crap sсript, the kind of misbegotten effort that flails at edgy sexuality by presenting one panel implying that the title character might have had sex with a man — thereafter defaulting to black lingerie routines straight out of an era when Moore was doing backups in American Flagg! – and seeks to match the richness of the original text with little more than soggy fan service.
...
The problem is, Lee presents here that rarest of superhero occurrences: art that seems to be making textual contributions exclusive of the scriptwriting. Lee is reunited here with frequent colorist June Chung, who applies an uncharacteristically bright-ish palette (directly, it appears, upon pencils) to accommodate a wholesale transformation of Lee’s aesthetic into a bizarre cross between Alex Raymond (circa Flash Gordon) and J.H. Williams III. Everything, suddenly, is bent to serve the page: clocks and posture and the curve of shoulders and knees.
...
Lee’s career-long build toward frustrating the cinematographic expectations of superhero comics by applying a sense of theatrical dramaturgy has now pivoted to accommodate Moore-like symmetries into its very mise en scène. In other words, it rejects Dave Gibbons, almost totally, in favor of absorbing Alan Moore into visuals.
...
In the end, this comic confirms everything I’d expected from this particular wing of the Before Watchmen franchising opportunity: a freakish blend of emphatic, imperfect, searching visual style with a goofy, purplish sсript that only seems capable of banal “homage” to the original, and only then on the most superficial of levels. You know what finally prompts Ozy to slip on the purple & gold? Len Wein kills off the Sexy Girlfriend Character to spur him to vengeance. Jesus F. Christ. Yet when Lee & Chung depict the sorry girl’s descent into drug abuse from her boyfriend’s neglect, she enters the top-most panel through a red curtain and pouts her way through a hellish void of scarlet mist and white silk that recalls the Rectum from Irreversible as framed by F.W. Murnau, with a Luciferian villain pulling giant hooped-plunger syringes from his velvet coat.


Before Watchmen: Nite Owl #1:

…And the Superhuman Review – Before Watchmen: Nite Owl #1

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Выдержки:

After three first issues that I enjoyed (even Minutemen was enjoyable despite its handbook nature), we’ve got one that’s pretty awful and, surprise surprise, it’s the first written by J. Michael Straczynski. A fact that, no doubt, surprises no one.
...
The ‘becoming the new Nite Owl’ part of the comic was no better from the Tim Drake origin (what happened to writing Mason a letter?) to Rorschach appearing right away, offering to be partners (I always got the feeling that they were more like Spider-Man and Daredevil and, sometimes, worked together) to his insistence that he felt some connection to Laurie at the Crimebusters meeting. All of it was so contrived and self-aware in the most obvious of ways. Really, really awful stuff. The kind of awful that everyone who trashed this project before it started was predicting. This was the cliched awful Watchmen prequel comic made real. Who at DC could have thought this was good?
...
I don’t know if I’ve ever told you the amazing plot idea I have for a time travel movie, but it is to have the two leads go back in time and everyone they encounter (everyone) will only talk in veiled references to the future. “Hi, how are you!” “I’d be better if someday there was a baseball team right here in Toronto, but I know that would never happen. Baseball in Canada! What a thought!” I thought of my incredible movie plot idea during Daniel’s interactions with Laurie.
...
Plus, one of the most famous sequences in all of Watchmen, from an art criticism perspective, is the wonderfully subtle interplay between the characters in the Crime-Busters meeting that Captain Metropolis holds. Dave Gibbons was masterful in the sequence. So why in the world would they decide to try to re-create that sequence in the comic – only not nearly as effectively? It was basically this over-the-top “HEY, EVERYBODY! I AM FLIRTING!!” bit. So odd.


Before Watchmen: Nite Owl Gives Some Odd Advice - Like much of its genre, on further reflection, this piece of advice strikes me as rather immature. Adults don’t do things solely because they’re meaningful — they also do them for income, to build a career, to take care of their family, because you don’t throw over your life on a whim or a bad day. There’s also obligation, living up to your word if other people are depending on you continuing what you said you would do. However, adults also don’t put on costumes to punch people, so perhaps this is as starry-eyed misguided as what that type of story has become. As an argument against self-reflection, though, I reject JMS’s “advice”.


Minutemen #2:

…And the Superhuman Review – Before Watchmen: Minutemen #2- I really enjoyed the contrast between Captain Metropolis’ ill-fated attempt to bring down “saboteurs” and the later (much more serious) mission by Mothman, Nite Owl and Silhouette to investigate the missing child. What really gets me, though, is that you could have started this series easily with this issue and not missed a beat. Maybe you would have had to throw in a little exposition, but this issue introduced the characters all very well and all their respective personalities. So it made the “Who’s Who?” feel of #1 seem even more pointless.

@темы: DC, Ссылки

---

Запоздалый линкспам-1: Marvel

[Jaya]

Возможно (скорее всего) вы этого не заметили, но линкспамов тут не было уже две недели.

Почему?
Ну... скажем так, это был небольшой личный хиатус. Нет, мне это слово тоже не нравится.

Что произошло за это время?
О, очень много всего!
Во первых, произошёл Самый Главный Комик-Кон. О нём я сейчас не буду, как потому, что технически всё, его касающееся, относится к следующему регулярному выпуску в четверг, так и потому, что все интересующиеся, думаю, и так пристально слидили за происходящим при помощи CBR, Comics Alliance, Comics Reporter, Newsarama и прочих подобных мест.
Во-вторых... произошло и было написано много прочих интересных вещей. И то, что вы всё это, может быть, уже видели, меня не остановит.

Я думала сперва объединить два пропущенных линкспама в один, но решила, что это не выдержат в порядке увеличения важности: 1) вы, 2) я, 3) лимит знаков в дайри-записи.
Так что в ближайшее время (э... ближайшие дни) на вас последовательно обрушатся несколько тематических линкспам-постов.

Итак, пост номер раз.
Осторожно: под катами возможны ещё каты!


Marvel:

Marvel NOW!

Marvel NOW!

Как все уже в курсе, Marvel, никоим образом не вдохновившись опытом DC, ну что Вы, как можно, решилось начиная с октября перезапускать как минимум по одной серии в неделю. Внутри вселенной перезапуск будет объяснён последствиями битвы Мстителей и Людей Икс. Масштабы изменений и перекрутки континьюити пока непонятны (ну, кроме редизайнов), но рассуждать Интернету это, конечно же, не помешало. Наибольший интерес из уже заявленного вызывает Uncanny Avengers - серия, грозящаяся (в очередной раз)объёдинить две самые большие (как по количеству членов, так и по франчайзовой мощи) команды Вселенной Марвел.

Интервью

Интервью:

Inside Marvel NOW! – Interview with Axel Alonso & Tom Brevoort - Главный редактор и Исполнительный Редактор Марвел об инициативе. Я сейчас постараюсь снизить градус скепсиса, но всё-таки обзывание "свежим подходом" перебрасывания авторов, ставших за прошедшую декаду лицом Марвел, на новые серии, это... это прекрасно.

Выдержки

Выдержки:

As we’ve talked about at conventions and in interviews in the past, one of the objectives of MARVEL NOW! is to unify the Marvel Universe once again. At some point in the 90s the X-Men books sort of skewed off from the rest of the line, sitting technically in the same world, but feeling very much at a remove from the rest of the Marvel U. That’s something that we’re going to be looking to change going forward. The same is true for the “cosmic” titles and characters. At one point, everything was part of a singular Marvel Universe, but the focus changed and artificial lines were drawn, and things got separated. So we’re looking to mix it all up again into a big, fun whole.
...
In essence, as we attempt to bridge the divide between the Avengers and the X-Men as entities within our publishing world, Uncanny X-Men will be the primary bridging book, a place where the team is as likely to battle Apocalypse as the Red Skull, and where long-established X-characters will stand side-by-side with long-established Avengers characters, in a very public manner.
...
But to me, apart from the similarity that there are a bunch of #1 issues (and really, since around 1985, when has that not been the case), what we’re doing in Marvel NOW! is very much creator-based. We’re not changing our universe just to change our universe, what we’re instead doing is overseeing a coordinated transition of key talent, the end result of which will be a series of titles that, while familiar and reflective of what has come before, will simultaneously all be suddenly new and fresh and different again. For example, in the case of Avengers, Brian’s been writing that series, in various iterations, as its primary architect for 8 or 9 years now. There’s a whole generation of fans who’ve never known an Avengers comic that didn’t stem from his approach. So the changing-of-the-guard that puts Jonathan Hickman at the helm of that franchise is exciting–Jonathan isn’t a better or worse writer than brian, but what he does and the way he constructs his stories is different. It’s exciting, a new voice, a fresh perspective. And simultaneously, Brian will be moving into the world of X-Men, which he’s never really been involved in before, as that family’s prime mover–and that has to feel as seismic for some people as it did when he took over Avengers.


Alonso & Brevoort Make Theirs Marvel NOW! - те же о том же. Но мысль об избавлении от одной из системных странностей Вселенной Марвел - пропасти в отношении людей к супергероям-мутантам и иным супергероям - выглядит интригующе. В конце концов, в рассуждении о том, что Люди Икс как метафора любой дискриминации, будучи встроенными в "большую" супергероическую вселенную, выглядят совсем абсурдно, определённо что-то есть.

Выдержки

Выдержки:

"This is a world where people don't make quite the same distinctions between mutant super hero and scientifically endowed super hero or between them and a hero who is from another planet. The gap between theses three hero archetypes isn't going to be as big as it was before," Alonso explained. "That doesn't mean that there will be people out there who aren't inclined to hate mutants or destroy the world. It just means that super heroes as a community will feel different.
...
"It wasn't a surprise to me to learn that 99% of their stories were about the X-Men confronting yet another threat to their existence. That makes for interesting stories, but what about the story when they go and save the world? Or where they stop a villain from blowing a building up? So we asked ourselves, how can the X-Men be integrated into this universe and what are the limitations of that integration?"

Комментарии и размышления

Комментарии и размышления:

Marvel's Axel Alonso Made Me Laugh This Morning - Том Спёрджен, чей сайт на днях стал лауреатом Премии Айснера, ядовито комментирует слова Акселя Алонсо о ценах: Anyway, as I've written a ton of times in the past, price increases in mainstream comics are particularly dangerous because the damage they do is indirect. There's almost never a 1:1 effect in terms of raising prices/losing sales. What you have is a bunch of general damage, such as people leaving the habit of buying comics because their $20 a week buys them four comics instead of six. This means a bunch of comics get dropped, not just the more expensive ones, and the culprit is obscured. In fact, the damage is spread out in a way it's hard not to look at the $3.99 comics and think, "Hey, they're doing okay because everything is hurting; plus we get a $1 more per issue sold for those books." If you were a super-villain making a trap for an entity like Marvel's publishing wing, that's the trap you'd set.

9 Thoughts on Marvel NOW! - девять мыслей о: Uncanny Avengers sounds like that joke that people started making, back when Thunderbolts was announced as about to be retitled Dark Avengers. “One day, Marvel will have a book called X-Avengers that’ll just mix their two biggest franchises, it’s the only thing they haven’t done,” cynics laughed. Well, at least they got the title wrong.

What’s Going On With Marvel NOW!? Nine Thoughts About October 2012′s solicitations - э... ещё девять мыслей о. Я упускаю какой-то символизм?

Выдержки

Выдержки:

Given that Avengers Assemble has focused on Thanos trying to collect items of cosmic power — including the reality warping Cosmic Cube in his hand on this issue’s cover — and it’s not hard to imagine that there will be some sort of ill-defined “Flashpoint” style Magic Retcon Hammer wielded in the midst of Marvel’s Not-a-Reboot. But what would they even use it for? They’ve already got their Black Nick Fury, they’ve never been shy about subtley de-aging characters and updating their origins, and it doesn’t seem like they’re reversing anything coming out of Avengers vs. X-Men. Could this be how the Kid X-Men arrive in the present? Will this open the door for an Avengers reprint series where everyone has their movie costumes drawn over Jack Kirby art? Will they finally be bringing back all those beloved dead Avengers like Doctor Druid, Yellowjacket II, Swordsman, and Marella the Inhuman Nanny?
...
They just wrapped on Ends of the Earth, the “SPIDER-MAN EVENT OF THE YEAR” where Spider-Man was all that stood against the death of billions worldwide. And now, “dark times are coming for Peter Parker and change is closer than you even fear.” So we’ve got another big Spider-Man event coming up, one where he’ll have to… save the universe? Prevent the entire space-time continuum from being murdered? I know it’s just ad copy, but you’d think that someone would realize that the best-remembered Spider-Man stories are generally pretty low-stakes. It’s a weird thing to say “someone gets killed or nearly gets killed” is low-stakes, but the story is called “The Night Gwen Stacy Died”, not “The Night That Maybe Every Single Human Being Will Die in Flames”.


Marvel NOW!: TIME FOR ANOTHER RENUMBERING - и снова мысли о: Alonso's statement is telling of a few things. Most importantly, I believe he is completely telling the truth, which means that Marvel NOW! is nothing more than the name they're using this time in their bi-yearly renumbering. Marvel loves to relaunch series with new #1s, ever since their absurd success with first issues in the early '90s... And really, that's all Marvel NOW! is: a large scale shuffling of the creative teams on top tier books... That's the other thing his statement told us: he wants in on some of that reboot hype, even if that's not the plan.

The Stroke of Genius in the Marvel Now Plan — Never-ending Relaunch - туда же: In the last year, Marvel’s had a pattern of big launches and bigger than you’d traditionally expect drops on the second (and sometimes third) issues. As Marvel relaunches a book a week, if the title drops in month #2, there’s another new launch to take it’s place. Now, obviously all new titles are not created equal. A Wolverine relaunch is very likely to outsell an Ant-Man relaunch. Still, this will even things out. If the pattern holds the way DC’s relaunch went, a few things will hold readers and few will sink, but there should be an overall rising tide.

Deep, Rewarding Analysis of the Marvel ‘Reboot’ - и ещё.

Выдержки

Выдержки:

Wolverine will be in this team, which sadly squashes the hope most fans have had that the whiny traitor will get killed off at the end of Avengers Vs X-Men.
...
Recently exposed as being a fair-to-middling homophobe by Marjorie Liu in Astonishing X-Men, Havok’s inclusion on the team seems likely to suggest that Cyclops is going to do something bad, pretty soon. Joining the Avengers to try and make up for some supposed mistake his brother made is classic Havok behaviour.
...
As Angel and Jean are both dead in the main universe, this gives Marvel a chance to have the ‘real’ ones come back to life for a bit. Regular Iceman and past Iceman will also get to hang out, and wonder why they still have exactly the same personality and ambitions when there’s meant to be about a ten-year age gap between them.


Marvel NOW and again - и о том, чем же грустны ребуты: Because it’s very important to remember that when you see a new and younger Spider-Man or a fresh first issue on the stands for a book that was just renumbered what seems like last year, all of that gloss and fanfare just isn’t for us. It’s not for the longtime reader or the devoted fan; marketing rarely takes us into consideration. After all, they have our money. All they have to do is put together a solid creative team with a fresh idea and publish it regularly. And who wants to make it that simple?... Marvel NOW! is a push for popularity and new readership. Big sweeping changes to draw new fans in that can make an old reader feel, well… pushed out.


Чем-то мне это напомнило прочитанное мною пару лет назад грустное замечание: Anyway, it just kinda sucks that I'm apparently not old enough to have my nostalgia catered to, but not young enough to be one of the new fans people are trying to capture. I'm just old enough for my favorites to be killed off in comic events.

Люди Икс

Люди Икс:

AvX

AvX:

AvX - Тим о'Нил о глубоких идеологических проблемах Avengers Vs X-Men. Я уже Объёмно цитировала эту статью в другом месте, но знаете что? Сейчас я сделаю это снова.

Выдержки

Выдержки:

The problem with AvX is not that it's terrible - really, do we expect better than terrible? why would we do this? - but that it's terrible in a really repulsive way. As in, I feel dirty reading the thing because I think the "ideas" on display are really, really (can I say "really" anymore? I really mean it this time) ill-thought. It's not that the story presents a legitimate difference of opinion between rival squads of superheroes. That's what Marvel would have you believe the story was about (at least at the outset), in much the same way as was Civil War. I was about to type something relatively complimentary about Civil War here by way of using that faint praise as a club with which to bash AvX soundly across the head and shoulders, but that's not really helpful.
...
One problem with AvX is that it actually makes Civil War seem better in hindsight. If Civil War was a series of "kewl" moments strung together with bad exposition, AvX is nothing but bad exposition - with the actual meat of the series - you know, the part where the Avengers fight the God-damned X-Men - farmed out to spin-offs. Think for a minute about just how seriously fucked-up it is that a superhero comic event series actually has to have a spin-off specifically dedicated to fight scenes, because there's no room for these fights in the actual series itself.
...
The major problem at the heart of AvX, if we're being honest with ourselves, is that the central conflict is completely stupid.
...
The five X-Men who just happened to be possessed by the Phoenix force were the five most morally compromised X-Men - imperious and arbitrary Namor, ex-villain White Queen, unpredictable and occasionally evil Magik, Juggernaut-compromised Colossus, and bat-shit extremist Cyclops.
...
AvX makes a great argument as to why the X-Men franchise is currently broken beyond recognition. Everyone knows that the X-Men are based on a series of simple metaphors relating to prejudice and tolerance. The problem is that while this is a great thematic starting point from which you can tell any number of stories - and there have been many good X-Men stories over the years, let's not kid ourselves, there's a reason why the books were so popular for so long - there are also natural limitations to the kinds of stories the franchise can tell. Because you can only push the civil-rights metaphor so long before it starts to break down in the face of the fact that mutants are a substantially different kind of creature than black people or gay people, who are still always, you know, people. You can say, yes, irrational prejudice and hatred is completely wrong, but then you've got a story wherein the most vocal proponents of "mutant rights" are unilaterally making decisions with such far-reaching consequences that the death of the human race might be considered acceptable collateral damage - you've blown any sympathy for mutants as an avatar of real-world minorities out of the water.
Let's put it another way. Say for a minute that the United States government found out that the ghost of Dr. Martin Luther King, Jr. was heading towards the planet Earth for unknown reasons. The only thing they know is that Dr. King's ghost has recently destroyed a number of planets with billions of people on them, and we have no reason to believe that Dr. King's ghost will behave any differently when it reaches earth. So the world unanimously decides to try and prevent Dr. King's ghost from reaching Earth, except for a small group of African-American activists who accuse the rest of the world of being racists for not wanting to risk getting the planet destroyed by the pissed-off revenant spirit of America's greatest civil-rights leader.
The preceding paragraph, in case you hadn't noticed, doesn't make any sense at all.
...
The X-Men don't make sense anymore. They are unambiguously villains, and it makes me feel all kinds of weird to say that.
...
What are we supposed to take away from AvX - it's OK to hate and fear minorities because if they had the chance and the power they'd destroy all us normal folk?
The slipshod nature of the crossover is such as to betray a reflexive contempt for their audience. The basic, bare minimum that should be required of any crossover is that the main series and the tie-ins fit together - this is one of those simple concepts that didn't used to be a problem.


Riding the Gravy Train 13 (Wolverine and the X-Men #12 and X-Men: Legacy #269) - Чед Неветт в общем-то о том же, но не так однозначно-возмущённно

Выдержки

Выдержки:

The X-Men are the dominant force and the Avengers are the underdog group on the run. This is meant to be a shift in the dynamics of the story, but it's a false shift, because the Avengers were always the good guys. The X-Men were never the persecuted minority in this story, because them being mutants were never a motivating factor for the Avengers -- hell, it didn't factor into it at all. It was the X-Men that made it about mutants vs. the world. And it's still about that. They haven't made the world better for mutantkind (and wasn't that what they thought the Phoenix would do?) by 'resurrecting' the race. They've tried to make the world better and, when questioned, decided that it could be because the Avengers (Wolverine included) hate mutants, not because every time someone with incredible powers try to remake the world, they always prove themselves corrupt and unworthy of those powers (aka something that the X-Men have encountered many times).
...
Because, ever since Civil War, the entire direction of the Marvel Universe has been to undercut the idea that any of these characters are moral beings (aside from Captain America, perhaps, who has become the patron saint of Always Right). It's just perspective, just point of views, no right, no wrong -- just beat the shit out of anyone who disagrees. Civil War began that when a disagreement over how superhumans function in the United States had people go from best friends to trying to kill one another. No discussion, no attempt at reasoning, just zero to scorched Earth. And it's never stopped.



Riding the Gravy Train 14 (Avengers vs. X-Men #7 and Uncanny X-Men #15) - и снова он же о, помимо прочего интересном выверте одного из персонажей: Reading both Avengers vs. X-Men #7 and Uncanny X-Men #15 this week, it was fairly obvious that Cyclops is different from the other four in that his obvious character flaw to date actually makes him less likely to grow corrupt... It's a very clever bit of character work given how, up until now, Cyclops's zealotry has made him stand out as the 'worst' of the X-Men. He pushed them into this fight with the Avengers and refused to seek a compromise. That zealotry and faith, when greeted with the knowledge that he was right (for now) has tempered him, given him confidence and placed him in a position where he's comfortable.

Here’s Hoping They Buried Your Dreams With Him - колонка Такера Стоуна где он, помимо прочего, говорит об Avengers Vs X-Men #6, точнее о красных трусах Циклопа. То есть лично я всё ещё вижу там вовсе не красные трусы, ну да ладно: Cyclops’s red thong thing is the same. “Okay, so a guy with infinite power, with self-described God-like omnipotence has just created a weird red brief in his groin area, right where it would be a bikini bottom, so get it out of your system and let’s move on to the more adult tale of absolute power corrupting absolutely except Scarlet Witch.” Pump the brakes, pal. You don’t get to move on quite yet: God just reinvented reality, and he created a red thong. This is just another variation on the old Power Girl argument, that old fucking horseshit where Gigantic Tit Window gets called a feminist power move and the part where people call that argument by its proper name–which is “fucking horseshit”–gets put on hold forever while everybody writes endlessly on the different ways that there’s “some truth to that” while some old EC Comics obsessive keeps admonishing each other to watch their “potty mouths.”

Джин Грей

Джин Грей:

Она возвращается! Ну, то есть не совсем она, ну да ладно.

Phoenix Eternal: 6 Reasons Why It’s Time For Jean Grey to Return - почему это - хорошая новость: When she died, the team lost a vital piece of it’s center that writers tried to fill, unfortunately, with Emma Frost. But vamp though she is, Emma Frost isn’t Jean Grey and you can’t replace one with the other. Jean brought the warmth and love to the X-Men story that has been missing ever since her death, and to have her back might possibly cure the almost inescapable cynical “modern” vibe that the main X-Team have adopted lately. In a perfect world, Jean’s resurrection would signal a return to the ideas of Xavier’s dream, the linchpin around which the X-Men stories revolved in so many mediums and so many books for so long.

Jean Grey Getting Married - о свадьбе с Циклопом: First off, she proposed to him. As they both referenced as it was happening, he had tried proposing to her years before, but she wasn’t feeling it, but then she turns it around and is like “When are you gonna put a ring on it, dude?” and what’s he gonna say? This is a man who married a clone of her years earlier without ever really questioning that they looked exactly the same (yes, he questioned it, but when it’s an exact duplicate of your dead girlfriend, there’s not really an “enough” to tack on the end there).

Шельма/Роуг

Шельма/Роуг:

Rogue: Where Do I Start? - что вам надо прочитать, чтобы иметь болле-менее полное представление о персонаже.

Rogue Mirror - Роуг и... Лакан. Довольно невнятно.

Всё остальное

Всё остальное:

Magneto: Where Do I Start? - краткий список основных комиксов про Эрика Леншерра.

To me, my X-Men! - с чего всё начиналось: Most people are familiar with the X-Men as an allegory for the civil rights struggles in the U.S. but the reality of the text is that this comic concept is purely about the post-nuclear world. Professor Xavier’s parents were nuclear scientists. It is strongly suggested that mutants developed from radiation from the age of the Second World War. The theme of the X-Men is fittingly pacifism. Or, pacifism through violence.

Why "Uncanny X-Men" #14 Is Just Too Much Bother To Review - Колин Смит о комиксе, в котором Мистер Синистер создал свой шовинистический рай, политике и рисунке оформляющем идейноеядро.

Выдержки

Выдержки:

To create the visuals for such a complex culture from scratch, and to do so with such conspicuous success, obviously required a demanding degree of research and design far beyond that which the typical single-issue commission tends to insist upon. To present such work in a way which never draws attention to itself when it should be serving the beats and meaning of the sсript must have required an untypical degree of self-discipline. And yet, once the end of the issue's been reached, there can't be too many readers who've been able to resist luxuriating in Weaver's stage-sets, and in the twisted, sanitised chocolate-box perversion of the reality of mid-Victorian London's chaos, atavistic energy and filth which he presents. It's an accomplishment which surely deserves paying considerable and respectful attention to.
...
Weaver’s artwork offers us a world in which a self-perpetuating autocracy parades under Imperial architecture which evokes both the Great Exhibition, in all its cultural and technological arrogance, and Dostoevsky’s famous anti-Chernyshevskian symbol of the "Crystal Palace". Gillen even has Sinister declaring himself to be, with what seems to be a conspicuous lack of irony, Doctor Frankenstein’s heir. After all, a super-villain who can declare himself “a modern Prometheus” without seemingly twigging the nemesis he’s calling into being is one who's far too much the faux-rationalist to pay attention to the unquantifiable virtues offered by fiction. Chance and individual meaning, it's impossible not to suspect, will eventually do for Sinister, who, for all his genius, can't even grasp the teleological flaws in his own arguments.
...
By placing Sinister in a mock-Victorian setting while accentuating the horrors which his ideology inspires, the creators succeed in emphasising how regressive and reactionary are the lords and masters of 2012, who justify so many of their decisions with reference to disturbingly similar Victorian values. What clearly made no sense at all in moral and logical and practical terms in the context of 1851 surely makes even less in the now of some one hundred and seventy years later.

Человек-Паук

Человек-Паук:

Ну как, все фильм посмотрели? Я? Я да, почти месяц как.
Посмотрели его может и не все, но повод поговорить он дал многим. Что вполне ожидаемо: два месяца все говорили о Мстителях, а сейчас я с содроганием жду цунами имени Бэтмена.

Для начала специфически-фильмоориентированное

Для начала специфически-фильмоориентированное:

Spider-Man: Raimi or Webb? or Why the Reboot is a Good Thing for Spider-Fans - почему ребут франчайза всего десять лет спустя - хорошая новость: The general moviegoing audience is given something that was once exclusive to comic book fans: the ability to discuss multiple versions of Spider-Man, which will keep the character vital and in the public consciousness. All it takes is a handful of people who fell in love with the character via these movies and in turn infect their friends, and the debate will rage forever.

THE AMAZING SPIDER-MAN Hunts For Uncle Ben's Killer In Storyboards - сториборды!

Dissecting Spider-Man: The Comic Storylines That Inform The Film - о комиксных сюжетах, которые в той или иной степени перекочевали в свежий фильм и, возможно, окажут влияние на сиквелы.

How Marc Webb Should End His Spider-Man Trilogy - и кстити о сиквелах: пришло время играть в угадайку! Что Вебб может предпринять,ориентируясь на комикс-канон: So basically, unless they change the story completely, Gwen's got to die at some point and Peter needs to bring the Green Goblin to justice, and then find a resolution to the story that's not a gigantic downer. Not only is it a superhero movie, meaning it has to end on a hopeful tone, but after the blockbuster that is The Avengers, I think people are now trying to look for light instead of darkness.

Отдельно о костюме, в кино и не только

Отдельно о костюме, в кино и не только:

Amazing Spider-Man Almost Changed the Costume–Dramatically - о том, какие варианты костюма были отвергнуты создателями фильма.

Spider-Man's Costume Through The Years - костюмы в комиксах и в кино. В комментариях постят дополнительные редизайны.

Начало Человека-Паука - создатели

Начало Человека-Паука - создатели:

Spider-Man got his start as a fly on the wall - Стэн Ли о своей идее: “Martin said to me, ‘That’s the worst idea I’ve ever heard,’ ” Lee recalls. “He said, ‘First of all, you can’t call a hero “Spider-Man.” People hate spiders. Next, you can’t make him a teenager — teenagers can only be sidekicks. And you say you want him to have problems? Stan, he’s a superhero . Superheroes don’t have problems.’ ”

THE AMAZING ‘SPIDER-MAN’: Stan Lee’s Top 10 Quotes About his Web-Slinging Co-Creation - и снова Ли: “For a long time, there was no personal involvement with some of the super­heroes. I’d read books and Dickens always had interesting characters. Mark Twain had interesting characters — so did Edgar Rice Burroughs, and Arthur Conan Doyle, who created the greatest fictional character of all in Sherlock Holmes. I wanted to write the kind of dialogue that would give the character personality.”

Discovering Steve Ditko - Хавьер Эрнандез комиксом о втором создателе Питера Паркера.

The secret hero of Spider-Man - разговор с Дитко в связи с выходом фильма. Дитко Человек-Паук... принёс гораздо меньше, чем Ли: To this day, Ditko has probably made very little off his billion-dollar co-creation. He has no ownership of the character and was paid a modest per-page rate at the time. He does collect royalties each time the comics are reprinted, but he says he has not earned anything off the films, despite his name appearing in the credits.

Начало Человека-Паука - комикс

Начало Человека-Паука - комикс:

Retrospective: Stan Lee and Steve Ditko's Amazing Spider-Man - о Пауке Ли и Дитко: The first thing that jumped out at me when reading this was the idiosyncratic artwork. Ditko seems to be incapable of drawing conventional superhero faces, or normal faces in general. Everyone kind of looks ugly or neurotic, which is perfect for Spider-Man, since Peter Parker is a guy dominated by his neuroses and psychological failings. I would hesitate to call Ditko's faces "expressionistic," partly because I'm not really sure what that means, but certainly his style more conveys the emotion of a situation rather than the realistic accuracy of a given image.

Amazing Fantasy #15: man before hero - о том, про что же на самом деле рассказывали Дитко и Ли.

Выдержки

Выдержки:

Parker doesn’t do a damn heroic thing even when it’s sold as this new super hero yarn. There’s nothing fantastic. No impressive feat occurs. There’s only a dude, and he’s simply getting by, looking at himself, judging, like any other would do on a day-to-day basis. Parker’s just this dude, and when he puts on the suit, he’s still just that dude. Maybe just a little more awkward because he doesn’t transform or strike a stone pose. The tights don’t life him up like a Clark Kent removal of the glasses. They just wrap him and embody the human shape underneath.
...
And while quaint, with narration decorated in the comics speak of the comics past, it still hits and performs like no other super hero yarn. Every ounce of quaint builds up the storybook tone, but while a storybook or childhood parable, is dark, mean and honest. Spider-Man’s origin is about being a man: leaving teenage-dom behind for the truth of adulthood. Ditko and Lee show the consequences, in a pretty bold fashion, of when you do not grasp the concept of responsibility and ignore adulthood to instead act like a child.

50 Greatest Spider-Man Stories: #5-1 - пять лучших историй про Человека-Паука. Любопытна вся серия постов, но вот этот её финал - особенно.

Майлз Моралес, ваш Человек-Паук другого цвета

Майлз Моралес, ваш Человек-Паук другого цвета:

Miles Morales: The Ultimate Spider-Man - Бендис, политика, расизм.

Выдержки

Выдержки:

So if I say that stories about super-heroes are meant to teach us to be more progressive, isn’t that like calling them liberal propaganda? Well, yes, if you take the phrase literally. Comic books can be like a form of propaganda because they teach kids to be good to people in a way that makes it cool and exciting. Is Miles Morales propaganda? No, Miles Morales is a little boy, a fictional one at that. Spider-Man, on the other hand, is propaganda for doing the right thing and helping other people. It’s just that Marvel usually tries to tell their stories from the perspective of a minority group because it feels more believable to do so, and from that you get a character like Miles Morales.
...
“Someone had once said to me, ‘When I was a kid, I could only play Spider-Man, I couldn’t play Batman or Superman because my friends would say you’re not the same color, but I could play Spider-Man because when I fantasized about Spider-Man, he looked like me under the mask,’” Bendis told the New York Daily News in an April 2012 interview. “That was a big inspiration.”
...
The character doesn’t have to be white to work. He doesn’t have to consistently be of any one particular race to work. Therefore, Miles Morales is not another non-white character that has been introduced with the admirable and sensible intention to further diversify a massively white super-heroic gene pool. He is not the “black Spider-Man” or the “half-black and half-Latino Spider-Man.” He is Spider-Man.


И смотрите, о нём снимют серию фан-фильмов!

Эпизод первый

Эпизод первый:

И развлечения

И развлечения:

Top 5: Spider-Men - десятка лучших не-Питеров Паркеров.

The 10 Worst SPIDER-MAN Villains of ALL TIME! - десятка худших злодеев: Upon finding a strain of mutated bees, he attempted to take control of the hive by defeating the queen. When that didn't work, because that's not how bees work, the bees devoured all of von Meyer's flesh (also not how bees work), and collectively took on his consciousness and Nazism (definitely not how bees work).

Cheap Cool Crazy : The Spider-Man Episode Feat. A Deluxe Spider-Man Costume! - вещи, которые вы (почему-то) можете купить.

Прочий Марвел

Прочий Марвел:

Creators rights activists take note: The Great Thanos War is brewing - на этой стадии очевидно, что главным злодее следующих "Мстителей" будет Танос. С таносом однако вот какая штука: в отличие от Кирби, Джим Старлин, создатель Таноса, ещё жив. И с юридическим статусом его создания всё не так однозначно: So yep, Jim Starlin created Thanos. No two ways about it. And in theory he then signed a check with a voucher on it for work for hire. But Marvel hasn’t been able to produce any records from that period (mid ’70s) so proving that rests entirely on the goodwill of the company-friendly New York state courts.

The Tale of the Infinity Gems - и кстати о: история появления самоцветов Бесконечности.

Nick Fury, Agent of … S.H.I.E.L.D. #2 - Мэтт Сенека продолжает писать о комиксах, достойных, по его мнению, называться Самыми Лучшыми. В это раз в фокусе внимания Ник Фюри от Стеранко: Steranko, though, made superhero comics the right way, ones in which the stories about big strong bossmen wrestling stood comfortably revealed as the sophomoric trash they were and would remain, and in which every single panel carried an explosive charge of pure energy, because who cares about moving such stupid plots along at an even pace anyway?

Warren Ellis and the Fantastic Four - отражения Фантастической четвёрки в творчестве Уоррена Эллиса: It’s a devastating (though not entirely original) deconstruction of the Fantastic Four. But it’s also implicitly the point of divergence between the Ruins universe and the normal Marvel one. Ben Grimm says, “I can’t help thinking it woulda been different if I’d flown her.” After this, all that remains is the epilogue, with one final twist. The Fantastic Four is the origin of everything, and in Ruins, their normal origin is exposed as always already corrupted by mind-bending stupidity...In a series that excavates the history of fantastical literature, the Four’s suppression of these elements parallels how the super-hero derailed the natural progression of the pulps. Those quasi-literary adventures disappeared behind the super-hero formula inaugurated by the Fantastic Four.

Thor Omnibus: Walter Simonson - неплохой отзыв на сборник комиксов про Тора: Simonson’s writing is superb. The ideas that govern Marvel’s Thor are from another era and not in-line with the sensibilities of contemporary audiences. Simonson defeats this problem perhaps effortlessly (at least it seems so) by giving all his characters overly dramatic monologues, which they happily trade back and forth as if in dialogue. Their language is ludicrously flowery and their verbal ticks would be clownish if it weren’t for their identities as gods. Somehow all this over-writing works—the characters and their lives become fascinating and engaging, something worth the readers’ time to pursue.

Let’s Talk About Deadpool History - экскурс в историю Дэдпула. Лично я с автором согласна не во всём (мне ран Приста симпатичен больше рана Келли, хотя по Уизлу и Слепой Эл я и скучала), но это не так уж и важно: There really haven’t been too many stellar incidents with him since mid-09. He’s had his moments for sure, but they’re more few and far between than there should be, what with him being all over the place.

The 5 Best (and 5 Worst) Marvel Star Wars Comic Stories - светлые и тёмные моменты в Звёздных войнах от Марвел. Кому-нибудь ведь это интересно, так? Как будто меня когда-нибудь останавливал ответ "нет".

On Doin’ The Right Thing - забавный фрагмент из старой пародийной серии What The–?!

To Kill A Mockingbird – The Changing New Avengers #28 - о том, как Пересмешница исчезла с обложки. Хммм, интересно, причём тут фильм и Чёрная Вдова?

Marvel Comics to release college apparel - а ещё Марвел теперь будет делать футболки для университетских спортивных команд.



В следующем выпуске: DC!

@темы: Marvel, Ссылки

---

[Jaya]

В честь того, что линкспам снова задержится, вот вам всем картинки про героев и налоги с H&R Block via Comics Beat:

Под картинкой-катом большая картинка целиком.

@темы: DC, Marvel

---

Light Comitragies или спасибо Мэтту Сенеке за наше счастливое всё

[Jaya]

В последнем линкспаме (давайте не будем притворяться, что это кто-нибудь читает), я помимо прочего ссылалась на статью Мэтта Сенеки о Light Comitragies, инди-комиксе начала 70-х годов прошлого века.

Сенека написал вот что:

When Irons did make comics, though, the results were just about always outstanding — and Light is the crown jewel of his enviable oeuvre.
It’s also the most compelling artifact to have emerged from a very strange time for non-mainstream American comics.
...
Light is one of the first color underground comics, and even today it remains a downright eye-searing piece of work, its benday tones screaming off the page with the power of a heavily distorted guitar riff. Irons’s work in the labor-intensive field of poster art had long since familiarized him with the nuts and bolts of how mid-20th century color printing worked (knowledge even the vast majority of superhero artists remained ignorant of), and by 1971, Irons was a master of his craft, cutting intricate webs and sizzling tone flares out of the Rubylith overlays that color comics were assembled from.
...
The comic’s remaining space is taken up entirely by silent, nightmarish images of war and death, both ominously futuristic and unsettlingly primitive, all of them described in grotesque detail by Irons’ meticulous, knotty pen lines and brought to life by the sickly neon glow of his masterful coloring, finally settling on a black and white image of scattered bones and weaponry with a single red rose growing from within the skull in the foreground. It’s the best post-apocalyptic comic ever by a longshot, its very lack of a continuous narrative what pulls it together into a cohesive story of a world too far gone to make any kind of sense anymore. It’s also a head-on collision of experimental comics with genre, one that basically lays out the blueprint for everything interesting that Heavy Metal ever put out, as well as more than a few of today’s most notable alt-comics. Irons goes Kirby one better as a pure image-maker with his depictions of hulking monsters, brutal clashes between musclebound warriors, and complex war machinery; and the twin tangibility and otherworldliness of the glimpses he gives us into his imagination stands shoulder to shoulder with anything Moebius ever drew.


Ну и так далее.

Да, мне стало интересно.
Да, я это скачала.

Под картинкой-катом он целиком. Наслаждайтесь.

Ну и отдельно можно скачать в несжатом виде.

---

Линкспам

[Jaya]

Если в прошлый раз интересного было мало, то сейчас его необыкновенно МНОГО.

Интервью Брубейкера? Вау. Признания Переза? Вау. Абей Хосла про "Сагу"? Вау! Статья про "Капитана Америку" Саймона и Кирби? Вау! Разбор первой страницы "Бэтмена"? Вау! Серия постов Мэттью Доу Смита? Вау! И так далее.

И да, я снова Очень Сильно Задержалась. Но об этом не будем.

Итак, приступим.

Интервью

Начнём, как всегда, с интервью:

И, что уж там, первым пусть будет главное интервью прошедшей недели:

CR Sunday Interview: Ed Brubaker - Эд Брубейкер и Том Спёрджён говорят обо всём подряд. Главные новости: после восьми лет работы над приключениями Капитана Америки, Брубейкер решил, что с него хватит, и собрался сосредоточится на авторских проектах. На это отреагировали все подряд, но и без этого там много интересного: похвалы в адрес Шона Филлипса (по словам самого Брубейкера, вот уже лет десять, как они с Филлипсом делают по 10-12 совместных комиксов в год), размышления о состоянии индустрии, мнение о "before Watchmen" и прочее.

Выдержки

Выдержки:

I think he's an incredibly strong storyteller. I think sometimes people lump him into a certain category that I don't think he's actually in. Artists that do this stiff, photo-y kind of stuff. Sean's stuff... what distinguishes him from a lot of those photo reference-y guys is that there's a looser artistic sensibility to what he does.
...
I hit a point with the work-for-hire stuff where I was starting to feel burned out on it. Like my tank is nearing empty on superhero comics, basically. It's been a great job, and I think I found ways to bring my voice to it, but I have a lot of other things I want to do as a writer, too, so I'm going to try that for a while instead.
...
I never had anybody ever order me to do anything on Captain America. I never had to do anything I didn't want to do with that book. When you're on a character for that long, you sort of have proprietorship of it. You know that Marvel owns the character, but you lie to yourself to a certain amount that you're the one in charge. And if you lie effectively enough and do good enough stuff, you are the one in charge.
...
My favorite era of mainstream comics was when every character had just one comic, or the odd character that was really popular had two. They had the same writers for years and years and years. They had the same artists for years and years and years. The occasional fill-in. These people got to tell a story. There were no events and crossovers.
...
You know when you work on these company-owned characters that there's a history there, a lot of it ugly and unfair to the creators. So you go in eyes wide open to that past. And that's the problem, poor treatment of creators, that's supposed to be the past, not the present.

And now with Before Watchmen you're seeing people weighing in on Alan Moore, saying he's a hypocrite. "He's mad about this, but he used to work on Swamp Thing or Superman." But if you actually read interviews with Alan Moore, he'll talk about the fact that the more work he did on that stuff, the harder a time he had with doing it. So obviously, his views evolved through his personal experience, as views tend to do.
But apparently there's some kind of moral absolutism where he's now not allowed to have an opinion.
...
I was surprised by the bloodthirstiness, and I was surprised how much I cared about the issue, too. But the PR that came out... Some of the stuff JMS was saying in preemptive defense of the project... A lot of it made me kind of vomit in my mouth. The way that fans attacked Alan Moore -- "screw him, he signed a shitty contract!" -- and the debates back and forth about how he's done the same things with League Of Extraordinary Gentlemen so he can't complain... which just... that makes no sense. An author always has the right to complain about the treatment of their work. You don't forfeit that when you write an issue of Superman. To see that reaction from the fan base was disheartening. You expect them to be on the side of the creator.
...
But what I can't get beyond is the way DC is sort of rewriting history here, and pretending like they didn't say Watchmen was this great new deal. It was supposed to be the thing that was different than Superman, different than Howard the Duck, and in the end, it wasn't at all.


Story City - Bill Willingham - автор Fables Билл Уиллингэм о своём готовящемся отметить десятилетие комиксе и внезапной популярности "современных переосмыслений" сказок.

Выдержки

Выдержки:

And it seems for better or worse, in entertainment and fiction, or at least American entertainment and fiction right now, we are definitely in the age of revisiting fairy tales or folklore or things like that.
Fables was not the first. When we look back at this, we may discover that Fables was early on in recognizing that, but not the first. There were things like this wonderfully — ill-conceived, I almost want to say, but it wasn't — a quirky failure of a show called The Tenth Kingdom, which posited that these [fairy tale and folklore] characters were still around. It had some delightful aspects to it, but overall, I think it wasn't the most powerful story.
But Into the Woods and Linda Medley's Castle Waiting and so many other great things have presaged Fables. And then the things now, like Once Upon a Time and Mirror, Mirror — which I've not seen yet — I intended to go see it the day it premiered, but I was at the Emerald City con, and couldn't at the time. And boy, if you're not there that that first moment, how quickly other things can impose themselves. I still intend to see it.
I just love the fact that all this is happening. I do not think that it's a case of one thing riffing off another. I think it's more of a everything in some way does feed on another and help it along.


A New Creator - John Lupo Avanti - Джон Лупо Аванти, начинающий художник, говорит очень интересную вещь: If it were possible to get people to pay long enough attention to understand a painting I would be a full time painter. Unfortunately, fine art painting is totally obsolete as a form of expression. I like animation as the highest level of illustration and public art for its massive impact on the community, but I probably prefer comics overall. I have been drawing comics for myself since I was in third grade. I like it because it is wide open for anything. A good "artist" or painter usually wants to be overly protective of what they are trying to say. I want funny. I want blood and guts and things that are cool to draw.

5 Questions About Right State with Mat Johnson - автор Right State о политическом ядре своего комикса: You have two major political tribes in America: the right and the left. Each group has its own mythologies, its own distortions of the other group, its own strong points, and its own weak points that it clings to out of tribal loyalty. I don't think the situation we have now would have been completely different if Hillary Clinton had become the president. Certainly it would have been different in some ways, but it's not like that opposition wouldn't be there. Likewise, if somehow miraculously Herman Cain became the Republican president, it's not like liberals would have lined up to support him just because he's black. Even black liberals. Long after the issue of race has become redundant and irrelevant, tribalism will still be a part of human existence. It's just the way our brains work. We group the world into the simplistic categories of Us versus Them. Our challenge as a nation is to get past that.

Interview with Faith Erin Hicks - Фэйт Эрин Хикс о вебкомиксах и своей личной эволюции как автора: There is a real freedom in that. I understand that because that's why I started drawing comics and why I wasn’t afraid to draw them even though my skills were so rudimentary. Especially with the internet, I was like, okay, I’m not asking anyone to pay for this. I’m just doing this as a way to tell this story in my head. For those first years where my readership was fairly low I didn’t get people really giving me crap for my crappy artwork. I just had people who enjoyed it.

Про индустрию

Про индустрию:

The Relatively Big Two; or, This Kool-Aid is Delicious - про права авторов, корпорации и личный выбор: By taking this passive stance against Kirby’s heirs, you understand, I am putting myself in the corner of a multinational corporation that has undoubtedly done unspeakable things in the name of grabbing my dollar. If only someone had warned me. And yet, nothing Disney or Time-Warner does has dissuaded me from purchasing their products. They’re so diversified, I’m not sure I could cut them off if I tried. At the same time, the guys who went indie have done so in a fashion I find so obnoxious that it makes me never want to touch another book again as long as I live.

The Big Two: Not the biggest opportunities in town any more as creators move on - про то, что всё больше авторов не хочет связываться с "Большой двойкой". Примерно на эту же тему размышляет Том Спёрджён: Go, Read: Two Clues As To Marvel's Way Out.

Do what you want to - снова в связи с интервью с Брубейкером: о том, что Миллар и Лайфелд в каком-то смысле очень большие молодцы: There’s been a snobbery, unconsciously, toward both creators, a weird (and accidental) discounting on my part about the importance of both men — at the time, at the top of their commercial games — giving up what could’ve easily been lucrative careers at Marvel or DC for the sake of doing what they wanted, and being able to control their own creations and work. Because I didn’t like it, and thought that it wasn’t significantly different from what they’d already been up to, I didn’t give them the credit they deserved for going it alone and inspiring other people to do the same, forgetting that “doing what you want” doesn’t have to mean “doing what I want” in order to be worthwhile.

Thought Bubble #1: Why Aren't Comics Funnier? - мнения про то, почему же современные комиксы большей частью такие... невесёлые: I think a large part of the absence of funny comics from the Big Two [DC and Marvel] comes down to the fact that your average superhero reader is living in a kind of denial about the inherent ridiculousness of a character who wears his underpants outside his trousers and punches people called "The Riddler" for a living.

Новые технические методы и способы: Madefire (Read: Mamtor) Launches New Digital Graphic Novel Format With Dave Gibbons, Bill Sienkiewicz and Friends и Yahoo To Create Grant Morrison And Andy Diggle Motion Comics

Growing Up a Gay Comics Reader Part 4: Archie, the Unexpected Trailblazer - про то, как "Арчи" неожиданно изменил всё.


И дискуссия, с середины месяца ведущаяся на IcV2:

Confessions of a Comic Book Guy--Better... But Still Not Good - про злосчастную статью Мачмана и проблемы индустрии.

Ed West on Big Two's Current Direction - советы издательствам: хватит играть с нумерацией, к чёрту авторские проекты (всем плевать на авторов), меньше спорных тем (вроде этих неудобных геев), больше ориентации на детей и "ценности".

Confessions of a Comic Book Guy--Seven Ways to Save Comic Books! - "письмо в редакцию". Повторяет кусок про спорные темы, добавляет цену, стиль рисунка, подход к повествованию.

Jim Crocker of Modern Myths on Why 'People' Don't Read Comics - не нравятся "спорные темы? Прекрасно, мы не очень-то и хотим вас в нашем фанатском кругу: All of that said, if she's really the kind of person who actually gets offended that gay characters exist, and that they occasionally get a token mention, then I'd rather she not read comics.

Confessions of a Comic Book Guy--Welcome to the Conversation - завершение с пояснениями.

Про медиум

Про медиум:

Отсюда видео про историю манги:

Like Language to the Slaughter - про комиксы как язык и комиксы как медиум.

Выдержки

Выдержки:

It is said that images are worth a thousand words, but nobody said which words those are. Hardly clear-cut textbook definitions, more likely a chattering, discursive debate with itself, weighing multiple views against each other without really deciding on either, but your sister might like this, and should we maybe go for coffee somewhere? Now, that may resemble how many people actually talk, but also the way many read images, or perceive reality for that matter.
So, images are intuitive, rather than specific; ambiguous rather than concrete; meandering rather than direct. They are a roundabout way of communicating, not like the above, bare-boned definition of language.
...
What kind of broad statement can you even make about “comics”? That they’re sequential in nature – except when they’re not? That they are all printed? Please, that had whiskers on it in the last millennium! Certainly not that they’re comical, that is to a large extent reserved for short-form “strips”, like some webcomics and the newspaper strips of old. The body of “comics” has become so complex and huge that we need to find proper names for its organs and limbs. Take the “graphic novel”. No, please, take it. That poor, abused, disowned appendix of a term.
...
The (US) mainstream, or what is considered as such, is centered around fan worship to the extent that “comics” seem to have become synonymous with “superheroes” and, by implication, anything not superheroes is deemed off-mainstream. But superheroes. Aren’t. Comics. They’re not even a genre, but tucked somewhere within the pulp genre, which, in its heyday, spread from dime novels to radio and cinema periodicals.


And now, to demonstrate the impact of Jack Kirby and Marvel, here are two apes - про влияние Кирби на примере двух обложек.

Про авторов и их работу

Про авторов и их работу:

Comic Book Artist: Jason Pearson - про художника, знаменитого прежде всего своей работой над Body Bags.

What I Do For A Living - редактор отвечает на несколько вопросов: That’s how I got started, but I kept going with comics because they seemed to be able to tell stories that movies and TV couldn’t and tell them in ways those mediums couldn’t either. There was a nostalgia and an affinity and a love for them, but they also seemed to be this unique, pure medium of fiction and pop culture where possibilities appeared limitless. They’re a venue for modern mythology, who wouldn’t want to enjoy that and try to be part of it?


Отсюда ссылки на крайне интересный рассказ художника и сценариста Мэттью Доу Смита, работающего над комиксом по Доктору Кто, о своей карьере в индустрии:

Part One - про то, что в этой индустрии гораздо легче быть художником, чем сценаристом.

Part Two - про перемены и неизбежность исчезновения бумажных комиксов.

Part Three - про работу на DC и попытку работать в "корпоративном стиле".

Part Four - про CrossGen и сочетание творческих стремлений с работой по найму.

Part Five - про начало работы над Доктором Кто.

Part Six - про первую написанную (а не просто нарисованную) историю про Доктора, и её значение.

Part Seven - про творчество, деньги, киностудии и понимание необходимости переходить к авторским проектам.

Статьи про конкретные комиксы

Статьи про конкретные комиксы:

Ten Things: SAGA - про "Сагу" Брайана К. Вона и Фионы Стейпл.

Выдержки

Выдержки:

In a context where the Corporate Character is Everything, what a meager alternative they’re selling: “If the Character isn’t everything, why then I must be Everything.”
...
My favorite of the ads shows a photograph of Todd McFarlane, with the following quote: “Once you turn that creative switch on, it doesn’t go off ’til you die.” McFarlane is shown drawing Spawn, who first appeared in 1992. Tragically, the evidence thus suggests that Todd McFarlane died halfway through 1991. Our condolences. This ad is especially enjoyable if you happen to purchase CREATOR OWNED COMICS #1 which comes with a Neil Gaiman interview where Mr. Gaiman references Mr. Mcfarlane, within the pages of an Image Comic, as follows: “Comics has a solid 80 year history of exploitation of the creators, and one huge legal case to force a publisher to keep promises was enough for me“–!
...
The Sextillion is a scene at the opening of the #4 where these malformed caricatures of women come to the book’s Heroic Man of Action and promise him outrageous sex. Any darkness to the “character visits whorehouse” character beat is defused by Staples– she hyper-exaggerates the female form, such that the whores are all legs, giant heads. Because that’s what comic artists do, after all– they take the sex characteristics that they obsess over and then inflate those, beyond any point of recognition. The Man of Action hasn’t just gone to a whorehouse– he’s gone to a whorehouse that might as well have been run by Judd Winick. Staples does that but without choosing the same sexual characteristics– invokes the grotesque, without accidentally titillating us with breasts, ass, camel toe, hormones, shame.
Staples’s approach resembles that Frank Miller took in Dark Knight Strikes Back, his own assault on mainstream comics. Unlike Miller, though: Vaughan/Staples’s deformed women seem to build to something resembling a fucking point.
...
I think Vaughan has been wildly influential, but for comics maybe he’d want to disown if he were aware of them, for that horrid formula of “here’s the first issue that lays out some ordinary schmoes, then end with the big cliffhanger that sets out the high concept.” Go look at any movie-pitch independent comic.And if you’ve read about SAGA, you’ve invariably heard about the lettering, but yes, yes, the lettering. Vaughan went to Hollywood, but came back from it with a comic book with comic book pleasures to it. Instead of a broken thing.
How often does that happen? Kyle Baker came back different, but Kyle Baker 2.0 (and 3.0 and 4.0) were all pretty great. Besides that… anyone want to rep Frank Miller 2.0 being > Frank Miller 1.0? Some people make a case for Chaykin, and… good luck to them on that. Anyone want to read Neil Gaiman’s Marvel comics? It’s not a long list.


Greatest Comic of All Time | Light Comitragies - Мэтт Сенека продолжает писать о Самых Лучших Комиксах, и в этот раз предмет впечатляет настолько, что лично я его даже скачала... скачиваю, вот прямо сейчас: Light is one of the first color underground comics, and even today it remains a downright eye-searing piece of work, its benday tones screaming off the page with the power of a heavily distorted guitar riff... It’s one of comics’ all-time great sequences, a dreamlike, apocalyptic piece of pure vision and expert, fluid animation unlike anything else... More than all this, though, it’s a comic that manages to be both so beautiful and terrifying in such equal measure that it’s impossible to think about its historical significance or even its political message while you’re looking at the pictures. Every image in Light takes you away the moment it hits your eyes, reduces the world down to a sheet of paper printed with black lines and colored dots, and until you turn to the next one, nothing else matters.

Joe Simon & Jack Kirby’s Captain America (1941) - про хорошие старые комксы.

Выдержки

Выдержки:

Joe Simon and Jack Kirby’s “The Case of the Hollow Men” is punk super-heroics. Exuberant, gleeful, transgressive, rough-edged, snag-toothed, life-affirming, street, political, violent, fun. To read it again is to wonder what the super-hero book’s been doing for most of the past 70 years. It’s the motherlode and the ur-text, the Sun Sessions and The Stooges of the costumed crimefighter book. What’s more, it may just be the most vital, the most galvinisingly raw super-hero story that’s ever been published, and it’s almost certainly one of the most exhilarating.
...
Simon and Kirby’s page designs remain, even today, both brutally focused and startlingly innovative. Their work is incredibly ingenious, and yet all their energies are constantly directed towards charging up the comic book equivalent of a mosh pit. It’s that mixture of an entirely unpretentious purpose fused with a desire never to bore the book’s intended young audience which would mean that Simon and Kirby’s punkishness would soon evolve into ever more complex and controlled forms. But their Captain America stories from 1941 capture the creators at a moment at which they were mastering the fundamentals of their craft at the same moment as they were relentlessly experimenting with it too. Naive and sophisticated, radical and yet not too intimidatingly out-there, their achievements were designed to never allow the reader to look away from the page..

The Nightly News | Jonathan Hickman - про дебютный комикс Джонатана Хикмана: In this world of multimedia and visual mandates, it makes sense for Hickman to display this comicbook the way he does. If anything, he’s riffing on the state of things and bleeding into the info-graphic culture we inhabit. You could even say he’s using the weapon usually aimed for us and turning it back on its handler, subverting the norm as well as casting his own brand of spicy propaganda. This mindset works to the book’s cynical attitude as it furthers its point about the hypocritical cult, that no matter what side you choose, conformity’s on your mind and the same tactics are in use, all leading you no further from your enemy.

Direct Message 03: Moon Knight by Brian Michael Bendis and Alex Maleev - беседа Чеда Неветта и Алека Берри о Monn Knight.

Выдержки

Выдержки:

The coloring of this comic does become an interesting aspect when you consider how involved it is in the impact. I do prefer Maleev’s traditional look, but for something like this – a super hero comic, Wilson, and later Hollingsworth’s, colors make sense because they lend a sense of dynamism to Maleev’s line while still presenting the presence and posture his drawings have. Wilson adjusts his work to Maleev’s perceived style by washing out and toning what is usually a more rich look in Wilson’s books – compare Wonder Woman to Moon Knight.
...
You’re right. Bendis does boil Spider-man, Cap and Wolverine down to their most predictable, basic points, but I still feel in some sense, just by their presence and the context of previous knowledge, something is revealed of Marc Spector. Those characters clearly stand for three different types of heroes. Cap’s obviously the patriotic, by the book one. Wolverine’s the savage. Spider-man encompasses that guilt as well as the energy and excitement of being a super hero. All of that comes together to say something about Spector, whether he’s all of that at once or up in the air about what type of hero he wants to be.
...
Maleev’s sort of this dude with a lot behind him in terms of reputation and role in comics. I know that sounds weird because in actuality I don’t really see the guy as anything more than a better than average contemporary, but there is this certain sect of people who see Maleev as this game changer. And, due to runs like Daredevil and his connection to Bendis, he’s been provided the label of “super star.”


Some disjointed thoughts on Wolverine By Greg Rucka Ultimate Collection - ну и про Росомаху: In the rear-view mirror, the run was quite an aberration, a rather realistic take that eschewed pandering to the regular Marvel Universe audience in order to seek out potential readers who liked what they saw in the X-Men movies, or were intrigued with the idea of a stoic bad-ass type who could summon knives from his knuckles to kill bad guys in need of killing.

League of Extraordinary Gentlemen Century: 2009 thoughts - про последний выпусл "Лиги..." Алана Мура. Ну тот, что с Гарри Поттером.

Выдержки

Выдержки:

And it’s a shame, because the story Moore wants to tell — of the deterioration of culture since the 1960s — is one that could be plausibly made. But to make it work, one has to criticise the 60s counterculture. Most of the problems in the world today stem, ultimately, from the utter self-obsessed infantilism of the generation that were young adults in 1969 — Moore’s generation, the generation that voted in Thatcher, the generation that made up Blair’s cabinet — but rather than admit the link, Moore has instead basically taken a line of “Weren’t the 60s great until Charles Manson and Altamont, but now the world’s full of young people with their hippity-hoppity music and their pinpods, and I wish it would all be like it used to be.”
...
Violence in Moore’s books tends to be treated an awkward and reprehensible occurrence, and troubling as it can be his treatment of rape is in line with this. A “rape-happy” comic would play out more like Rape an Ape, and would do much to make Moore’s point about modern culture for him.
...
I think when his critics tackle Moore in blog post after blog post about not properly engaging with the culture he’s attacking, what many of them (and that includes us) fail to notice is the man’s fine attunement to social injustice, a modern problem he’s absolutely allowed to go at with all guns blazing. We’ve talked a lot in the past about the way that, in Moore’s writing, the human body is so close to the surface, and that includes the body politic. As we’ve observed in our prior League thoughts, the poor literally crowd out the margins of Century.


On The Batman in Detective Comics #475, by Englehart, Rogers, Austin and Oda - прекрасный анализ одной первой страницы: At each step of the eye's journey down to the title line of The Laughing Fish, specific aspects of the design carry our attention briefly in the direction of the costumed crimefighter before others immediately drag it away again. The hotel flag bearing the label of Gotham City points vaguely towards Bruce Wayne, but its billowing fabric simultaneously works in combination with the direction of the lightning bolt to push us towards the second and third captions instead.

On "Kiss" #1 by Chris Ryall and Jamal Igle: Reader's Roulette Round 3:2 - и от того же автора: анализ ещё одной первой страницы... не столь хорошей.

Comics Time: Annie Sullivan and the Trials of Helen Keller - о комиксе про Хелен Келлер.

Выдержки

Выдержки:

Though Lambert’s access via cartooning to Helen’s inner world is unique among depictions of this well-worn story, it’s only through juxtaposition with the more traditionally told tale — the literal wrestling matches bas Annie tries to physically force Helen to learn — that the magnitude of Helen’s struggle becomes clear. Without seeing Helen in all her painfully adorable and vulnerable and angry tousle-haired glory, throwing plates and running into walls and knocking Annie’s teeth out and leaving both teacher and student in (magnificently well-drawn) prostrate exhaustion amid debris-strewn rooms, her famous eureka moment at the well, which we see alternating back and forth between Annie and Helen’s perspectives, would not have the power it does.
...
The real trap of it is that it’s precisely that act of illumination that damns Helen in her interrogator’s eyes, and partially in her own. When her life is one great string of discoveries, her joy is unstoppable; when she’s forced to confront how those discoveries were all filtered through one other person, she can no longer trust her own ability to determine where she ends and Teacher begins. Is she the water, or just the pitcher into which someone else’s water was poured? Moreover, the trap is twofold: . Lambert’s third-hand revelation of Annie’s potential deceit is deftly done, and breathtaking in the way it takes what we’d come to see as virtues in “Miss Spitfire” and unveils them as potential faults. Based on everything we’ve seen of her — her desire to get the full credit she deserves, no less but also no more — it’s highly unlikely that she consciously committed the crime of which she stands accused.


No Man’s Land….. conceptual brilliance, but…… - про комикс, красивый и беспощадный: I can certainly agree it’s visually quite staggering, beauty perhaps not the quite word, but certainly incredible, colours and shapes forming an intoxicating series of tableaus on each full page of artwork. But everything else about it just seems overcooked, overly long, a comic in love with the sound of its own voice-over below each image. I’m calling Emperor’s new clothes on this one... In fact, that quote I used above “French illustration genius Blexbolex” seems very relevant to my thoughts on this. Because that’s what this feels like – pure illustration, beautifully done. Yet the words get in the way, an annoyance, a narrative that falters and spoils the pictures.

Comics as Literature, Part 5: Impolite Dinner Conversation - продолжение коллекции рекомендаций, на этот раз в фокусе религия.

Dig Comics: No Tale to Tell - о нескольких инди-комиксах. Сссылка тут в основном из-за вот этого: Your worst nightmares never make sense, you just know they are terrible. The visual information can’t add up, adding to the unknowable fear. Columbia uses exacting skill to take your eyes there. In one panel, children look out a window, where the background is in bold ink, but their legs and feet and the floorboards are thinly sketched in pencil. Which might not matter, except that something terrible is approaching the house and their only possible sanctuary is disappearing.

Gold Out of Straw - об Ed the Happy Clown Честера Брауна, обложках The Shadow, Брэдбери и прочем: Shock elements tend to lose their charge over time because the shocks depend on contemporary attitudes that are subject to change. Brown’s outrages remain outrageous because he approaches them not with a youthful sense of moral certainty but with the deadpan matter-of-fact detachment of someone who finds the world essentially mysterious. His approach is of one who has not yet passed judgment.

Exit Sandman - Ной Берлатски о The Best American Comics 2010 Геймане вообще и Сэндмене в частности: Sandman had some serious problems, one of the most prominent being the inconsistent, generic, and even shoddy work of some of its pencilers.

Супермен

Супермен:

George Perez Talking About Being Rewritten On Superman - легендарный Джордж Перез о том, каково ему было работать над пост-Ребутным Суперменом. Если вкратце: не то чтобы весело.

Выдержки

Выдержки:

Unfortunately when you are writing major characters, you sometimes have to make a lot of compromises and I was made certain promises, and unfortunately not through any fault of Dan DiDio, he was no longer the last word, lot of people making decisions, going against each other, contradicting, again in mid story. The people who love my Superman arc, I thank you. What you read, I don’t know. After I wrote it… I told them here’s my sсript, if you change it, that’s your prerogative, don’t tell me. Don’t ask me to edit it, don’t ask me to correct it, I don’t want to change something that you’re going to change again if you disagree.
...
I had no idea Grant Morrison was going to be working on another Superman title, I had no idea I was doing it five years ahead, which means, my story I couldn’t do certain things without knowing what he did, and Grant wasn’t telling everybody, so I was kind of stuck,who exists, DC couldn’t give me answers.


Дополнительные обсуждения: George Perez couldn’t ‘wait to get off Superman’, George Perez Explains His 'Frustrating' Superman Experience In The New 52 и
Breaking: DC's New 52 Might Not Have Been Completely Thought Out.

Lobdell on Superman: be afraid - скептические комментарии к планам Скотта Лобделла на Супермена: I remember the powers that be (doing stupid things) wanted to make a more alien, outcast-feeling Superman. You know, except that he has NEVER BEEN THAT! EVER! Even on Smallville Clark was withdrawn but still outgoing. He had friends even while hiding his powers. And Smallville was the show that got so much wrong I started looking at Lois & Clark in a more favorable light. There’s even a line by Clark in that series that sums him up nicely: “Superman is what I can do, Clark Kent is who I am”.

Несколько рецензий на книгу "Superman: The High-Flying History of America's Most Enduring Hero" и размышлений по её поводу: Superman by Larry Tye, TRUTH OR JUSTICE и We Need You, Superman.

Про юридические битвы вокруг главного супергероя:

creators' rights - общие мысли о правах Сигела и Шустера.

Superman lawyer scores a minor win in brutal battle with Warner Bros - о споре представителя семей Шустера и Сигела с материнской компанией DC.

Whatever the lawyers say, Ohio IS the birthplace of Superman - о попытке Warner Brothers и DC Comics воспрепятствовать появлению автомобильных номеров, провозглашающих штат Огайо "Родиной Супермена".


1933's 'The Reign Of The Superman' - The First Superman Story, EVER - первая созданная Сигелом и Шустером история про Супермена... не такая, как вы могли бы подумать.

Top 5: Best Superman Homages & Rip-Offs - лучшие из в той или иной степени вдохновлённых Суперменом персонажей.

Человек-Паук

Человек-Паук:

The Many Origins of Spider-Man: A History - краткий курс по тому, как Питер Паркер начинал свои супергероические похождения в самых разных медиумах.

Hero Worship: What I Learned About Spider-Man - Человек-Паук как трагический персонаж: Perhaps it’s something obvious to other readers, but for me, this is the first time I’ve ever really examined Peter Parker from a real “tragic hero” angle. While I hope that the article I did was helpful for readers looking for more good Spider-Man stories to read, I’m happy to say that the experience of writing it was beneficial to my own understanding of the character himself.

Retrospective: Stan Lee and Steve Ditko's Amazing Spider-Man - разбор Человека-Паука от Ли и Дитко: с чего всё начиналось.

Why Gwen Stacy Was Peter Parker's Greatest Love и Why Mary Jane is the Best Love Interest for Spider-Man - для шипперов и не только.

Conway & Kane’s Amazing Spider-Man 122 - и снова про Мэри Джейн и смерть Гвен Стейси: Part of the mythos of Spider-Man is that Peter Parker is an extraordinarily selfish person. Or maybe just regular selfish — it’s hard to tell when everything in cape comics is so heightened. But he takes everything personally, and he tries to walk around with the weight of the world on his shoulders. He snaps and buckles under pressure before regaining his strength, but that snapping is the important part. Peter Parker needs support. He needs someone to tell him things are okay or to have his back in a pinch.

Agent of S.T.Y.L.E. - SPIDER-MAN's Fashion Spider-Sense - про костюмы Человека-Паука: Unlike certain Bat-themed heroes, Spidey’s outfit was primarily meant to be flashy, cool and attention-grabbing rather than body armor. But there were also some practical factors involved. For one thing, Spidey found that his wall-crawling abilities didn’t work as well through thick layers (such as the soles of most sneakers or dress shoes). A skin-tight gymnast outfit or ski suit was necessary if he wanted minimal interference. This also made it easier for him to hide his uniform beneath civilian clothes when he became a full-on superhero later.

10 Memorable Occasions Spider-Man Acted Like A Nutjob - а ещё Питер Паркер умеет просто прелестно сходить с ума.

И как особая вишенка на торте: чем вдохновлялся Эндрю Гарфилд.

Про разных прочих супергероев и не только

Про разных прочих супергероев и не только:

The Mysterious Potential of Superheroes (in praise of the vague) - о том, что одна из главных ценностей супергероев как идей в их "размытости": The major characteristics of superheroes which can stand the test of time aren’t fashionable or contemporary, they’re vague and incongruous. They maintain their appeal for decades because of (not despite) all the holes in their creation. So many questions are created by their existence, and we as readers are forced to answer them ourselves.

Arcade and Why Success Doesn't Make a Villain Credible - про то, что делает из злодея серьёзную угрозу: Villains, after all, aren't really made to succeed; if they were, they'd be protagonists. The villain is just there to provide an obstacle for a hero to overcome, and the best villains aren't the ones who rack up a massive body count, they're the ones who make the most interesting obstacles.

Heroes Con Wonder Woman Panel, A Discussion of Amazonian Strength! - про Чудо-Женщину от авторов её нынешнего воплощения: Because Wonder Woman at its heart is about the adventures of a fabulous princess who is from a fantasty island. Who you’re trying to sell this to at the bottom line is not the same match as to who is buying Superman and Batman. Her origin also has twice as much weight and complication as other origin stories.

AvX Halftime: the future versus our place within it - Мстители и Люди Икс, философия конфликта: The X-Men have traditionally been about the future, based on the idea of evolution and mankind’s adaptations toward a new era. They have dealt with the hate and fear that come with the unknown and have fought against ignorance and tried to promote understanding between who we are today and what we might become. Mutants are more real to us when they are balanced in character and fleshed out in emotions, so that we can learn what it’s like to embody that future. If we were to give the Avengers a broader theme, you could say they have been and were founded on reactivity. Come on, it’s in the name.

Riding the Gravy Train 12 (Avengers vs. X-Men #6, New Avengers #27, Secret Avengers #28, Uncanny X-Men #14, and Avengers Academy #32) - снова про философию конфликта, но уже с печальными выводами: Except, there's the problem that always crops up in stories where heroes are given extraordinary powers and decide to use them to make the world better: everyone else has a shitfit and decides that they must be stopped. How dare those uppity mutants try to end war?!? How dare they talk to the bad guys instead of crushing their skulls!?! How dare they do anything except fight and fight and fight and fight and fight... So, of course, they fight. And they just showed up a little. And they'll overreact and prove that, yeah, maybe power corrupts and they need to be stopped. And the lesson at the end of the day is that a real hero shuts up, colours inside of the lines, and doesn't try to actually do anything except punch problems away.

Black Panther: Where Do I Start? - всё, что нужно прочитать, чтобы иметь представление о Чёрной Пантере. Туда же: его первая встреча с Шторм.

Вещи, которые вы (увы) вряд ли сможете купить

Вещи, которые вы (увы) вряд ли сможете купить:

Супергероические балетные пачки!

Локи-кольцо!

Тор-виски!

Ну и развлечения, точнее списки

Ну и развлечения, точнее списки:

10 Best Things About the Current MARVEL Universe и 10 Worst Things About the Current MARVEL Universe

10 Comics Characters Who Debuted Outside Comics

Five Potential Partnerships (So Crazy They Might Just Work) - Дакен и Дэдпул!

5 Ridiculous Things That Show Up in the Art of Every Comic - See, it's doubly anguish-inducing because on the one hand, oh no, a friend is dead, and on the other hand, oh no, you have such an awful tumor in your brain, your head is literally emitting light. You should see a doctor as soon as your grief allows for it. In fact, maybe grieve in an ambulance... I like that Liefeld, in updating the Supergirl image, took the bold move of not giving Deadpool hands. Apparently he's supporting Cable's body on his penis. Cable, meanwhile, has tragically died of lockjaw and Only One Thigh Sclerosis. It's a terrible disease.



Вот. Читайте, просвещайтесь, наслаждайтесь. Ну или можете, если ещё не видели посмотреть фанатский фильм про Дэдпула:

запись создана: 28.06.2012 в 23:23

@темы: Ссылки

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[picspam] - 2012-06-27

[QVall]

Предупреждение: содержит спойлеры, сцены насилия и извращения, крипи пипл, магию вуду и прочую нечисть

Из AvX потихоньку сваливают Зверь и Черная Пантера: первому все надоело, второй понимает, что эвент на лето, а жена на всю жизнь



Небольшой трибьют Мебиусу



Крипи чайлд оф сатан 0_о



































Давайте угадаем, какой суперспособностью обладает девушка в зеленом: устойчивость к холодным температурам, иначе никак не объяснишь, почему на фоне утепленных спецназовцев в Швейцарских Альпах у нее такой легкий (и маскирующий в снегах) ниндзя-костюм

















-__- Вспоминаю трибутный Легион и печалюсь, глядя на такие сцены




0_о А оно еще и на молнии?!






Бразер Блааад!




Saga #4 - Месье знает толк в извращениях, я думала, что после содомских каннибалистких оргий с конями в Калигуле и всех хентайно-тентакливых раскорячек вместе взятых меня уже ничем не удивишь в графическом порно...




















Секси-мен





Мэджик пипл, вуду пипл

@темы: QVall-picspam

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Утопия Мистера Синистера - Uncanny X-Men #14

[QVall]

Женшины? Да были когда-то, но зачем они нам? Кроме клонов Джин Грей

@темы: Marvel

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Вебкомиксы

[Jaya]

Wayward Girls - альтернативно-авангардный комикс про... девочек, с неуютными темами и тревожной атмосферой. Рекомендация от Мэтта Сенеки: These are pictures that really move, and in that they echo whisperingly of Herge or even Osamu Tezuka. The wonderful drawing is complemented by a bright pastel palette of colored-pencil tones that recalls nothing more than the color space occupied by The Simpsons. Finally, most of the pages collected here feature pasted-over bits of drawing — it seems that rather than erase when he made a mistake, Budel simply patched another bit of paper onto his picture plane over the error and redid the covered detail. This in itself is a highly effective device, one that has the outcome of emphasizing certain aspects of each panel, allowing the reader to take in bits of pure drawing before being snatched back up into the whirl of Budel’s sixteen-panel grids.

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You Are All Just Jealous Of My Jetpack - стрипы,ор которых в основном держится на постмодернистских заигрываниях. рекомендация от Forbidden Planet.

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INCIDENTAL COMICS - ещё один "умный" стрип с архитектурными, литературными, математическими и прочими шутками. Рекомендация от Comics Reporter/

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Ultrasylvania - комикс с интересной историей создания про монстров классического хоррора как правителей Европы девятнадцатого века. Рекомендация от Major Spoilers: Produced in cooperation with the Academy of Art University’s first-of-its-kind Comic Collaborative class, wherein students met and worked in the Academy’s state-of-the-art Cintiq studio, ULTRASYLVANIA was brought to life over the course of fifteen weeks. The artists employed a variety of media – pencils, pen and ink, watercolor, all digital – to achieve the finished product, which will first see publication as a web comic, followed by a series of digital comics, and ultimately a print edition this fall.

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Dead Meat - жёсткая постапокалиптика. Рекомендация от Spandexless: The art is textured with an almost sandpaper roughness. There are panels that almost take up an abstract quality, as shadows cast by characters fade into the background, giving us the angular outlines of things we only briefly recognize as human. I don’t feel comfortable looking at the art, and I think it plays well. It works best during the action scenes, of which there are many. You really get a sense for the weight put into each action, and the kinetic energy flowing out of the panel.

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Uno Moralez - странно и любопытно. Рекомендация от Шона Т. Коллинза.

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Godsend - история о значении пророчества в таинственном мире. В рисунке есть что-то неуловимое от пола. Рекомендация от Comics Worth Reading.

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The Line - комикс о работе в ресторане. Рекомендация от Robot 6.

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Soppy - трогательные зарисовки про трогательную пару. Рекомендация от Forbidden Planet.

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Haunter - крайне интересная визуально альтернативная фэнтези. Рекомендация от Шона Т. Коллинза.

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Nimona - фэнтези с иронией. Рекомендация от Super Punch.

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Free Mars -комикс про девичью панк-группу в центре революционного движения. Интервью с создателями от Newsarama: I think science fiction writers love considering what Mars might be to future generations and how they might bring, unfortunately, Earth’s geo-political and social conflicts there with them. Will nations even be part of the eventual colonization or will the heavy-lifting be left to commercial interests? What I wanted to add to the conversation about Mars was what role popular culture could play in its distant future politics. But I wanted to do it in a way that included a lot of explosions.

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Hope Beyond Hype - образовательный комикс про малярию. Рекомендация от Forbidden Planet.

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И, наконец, короткая страшная зарисовка Open 24 Hours, порекомендованная Comics Reporter.

@темы: Webcomics, Ссылки