Линкспам

[comicsandus]

Помните, как неделю назад я сказала, что ссылок вышло многовато?
Давайте посмеёмся надо мной!

 QVall сказала, что я нахожу для себя разные способы убиться об комиксы. В этом есть определённая доля истины. Вертиго 90-х не помогло, Честер Браун не помог, КомМиссия помогла ненадолго, попробуем ещё раз и по-другому. Когда-нибудь я всё-таки смогу возненавидеть этот медиум!

Ну а пока ссылки.
Много, много ссылок.

Интервью

Интервью:

The Big Joe Casey Interview, Part One, The Big Joe Casey Interview, Part Two - большое интервью с Джо Кейси.

Выдержки

Выдержки:

My time on the X-Men is kind of a mixture of going with the flow and bucking certain trends, but I think in hindsight that everyone would probably agree that I didn't get the balance right. I was pushing the envelope in the wrong way, and I was conforming in the wrong way. In retrospect, I maybe should've flipped that, and it might have worked out better. At least, it might have been work that I have more of a fond feeling for.
...
Just an example: Fear Itself, the big Marvel crossover, was really representative of mainstream comics. It was a big seller, it takes most of the air out of the room, but it was born out of the fact that there was going to be a Thor movie and a Cap movie. So editorial said, we need something that involves Cap and Thor, and they put that to the writers. And I'm sure all along the way, the editors were there to steer that story into the areas that serviced what they needed from it. At the end of the day, you could have a perfectly polished piece of superhero entertainment, but it doesn't really float my boat.
...
Maybe because I've been doing this for so long, it takes a lot to impress me. Something really has to knock it out of the park for me to sit there and not feel like I've seen it before. It's rare that any creator can do something where I can't recognize the ancestry. "Oh, they're doing Alan Moore circa 1988," or, "They're doing Frank Miller's Sin City." I've seen everything under the sun -- and I do it myself! Something that's really wholly original in both of those areas [writing and art] -- that's just hard to come by.


Hacking, Slashing And Witchblading With Tim Seeley – A Look! It Moves! Interview by Adi Tantimedh: - интервью с Тимом Сили, нынешним сценаристом Witchblade и создателем Hack/Slash. Давно у меня не было такого количества фейспалмов на кусок текста: "простота хуже воровства" в чистом виде. При том что Хэк\Слэш мне в своё время искренне понравился. Впрочем, в то время мне много что нравилось.

Выдержки

Выдержки:

I guess to me, I’ve always lived in a post-feminist world.
...
I don’t know that I find the majority of slasher and horror films sexist. Certainly there are some, but slasher and horror films were made to scare teenagers and separate them from their cash. Teens, pretty notoriously, are full of hormones, so sex is pretty close to the forefront of their brains at all times. Slasher films frighten teens by punishing them for what they’re interested in, at the same time sneaking in some sex and nudity to titillate.


“I Felt Like I Didn’t Have a Baby But At Least I’d Have a Book”: A Diane Noomin Interview - смотрите-ка, человек, о котором мы не знаем! Диана Нумин рассказывает об американском комикс-андерграунде 70-х годов прошлого века, и том, каково там было быть жещиной.

Выдержки

Выдержки:

When I did Twisted Sisters: A Collection of Bad Girl Art for Penguin, I got all these people saying, “Where did all these great cartoonists come from? Where were all these strong women cartoonists?”
...
But there was a very strong need for feminism across the board in this country. When I was looking for work after high school, there were jobs called girl Fridays, and there were separate want ads for men and women. Hillary Clinton could not have run for president. Even though Geraldine Ferraro did later run for vice president, it was still a shock. I think a lot of younger women don’t have to think about it today, so that earlier stuff can come across as strident, but that wasn’t my interest in doing comics. My interest was in personal stories.
...
My criteria for comics is not whether something is feminist or not, I never think in those terms. It’s whether I like the art, whether I think it’s funny, whether it moves me. It’s very personal. I have to like the art and the writing, and that’s sometimes hard to find. I did submit something to Ms. once, and I thought that they would reject it because it wasn’t feminist enough for them, but they rejected it because they didn’t like the art.
...
...I think that unless you’re a white, Anglo-Saxon male, you’re going to have an adjective. You’re going to be a black artist or an Asian artist or a woman artist. I don’t know if that’ll ever change. There’s a saying that you don’t care what they call you as long as they spell your name right.

Круглые столы и дискуссии

Круглые столы и дискуссии:

Продолжения и окончания круглых столов про Джека Кирби и Чудо-Женщину.


Group Think: What Do You Want From Digital? - читатели The Comics reporter о том, чего они бы хотели от комиксов и особенно их распространителей в цифровую эпоху.


Girls Just Want to Have Comics - женщины и комиксы.

Выдержки

Выдержки:

It's funny, but I don't see indie comix as being male-dominated. If there is a spectrum of traditionally feminine to masculine attributes, and individual men and women fit at different points all along this spectrum, then I would say that indie comix are on the more "feminine" side of comix—which is why I consider Jeffrey Brown an honorary woman.
...
The larger companies can afford to have more female writers and artists on staff, and I love the direction these women are taking the characters they are working on (Gail Simone’s Batgirl is a great read so far), but at NYCC last year I felt that the conversation was “Wait, women like comics?” It was as if all of a sudden the industry realized that women make up a large percent of their readership. While it was wonderful to finally see women truly represented at the event, we still felt like the new kids there. As I waited in lines full of women for female-centered panels, the conversation always seemed to come back to this issue, and the fact that this question still needs to be asked says a lot about how far we need to go.
...
As a feminist, I recognize the portrayal of women in most comics as visual eye candy, and that is something that does bother me. I have a hard time taking some books seriously because of how the female characters are portrayed, and walking down Artist Alley at Comic Con can be more of an exercise in averting ones eyes than actually enjoying independent art. Also, while I don’t have any children yet, should I ever have a daughter, I would have a hard time justifying a lot of these images to her. The idea that you have to be impossibly proportioned and scantily clad in order to be considered powerful is one of the most damaging lessons girls can learn from comics.
...
I think parts of the industry are working to retain female fans, but more than that, I think the female fans are doing more to retain female fans.

Мстители

Мстители:

The Physics of The Hulk’s Jump - про прыжки Халка.


Film Crit Hulk Reviews Mark Ruffalo's Performance as Hulk - КИНОКРИТИК ХАЛК (да, кэпс обязателен) о Халке в "Мстителях" для Нью-Йоркера. Для тех, кого не смущает, что на них ПОСТОЯННО КРИЧАТ.

Выдержки

Выдержки:

HULK WRITES ABOUT IT ALL THE TIME, BUT ONE OF THE ONGOING PROBLEMS OF BLOCKBUSTER CINEMA THESE DAYS IS ASSUMED EMPATHY. IT’S AS IF OUR STORYTELLERS JUST PLOP A FILM IN OUR LAPS AND SAY, “HERE’S OUR MAIN CHARACTER AND WE’RE GOING TO ASSUME THAT YOU’RE INTERESTED IN THEM FOR THAT REASON ALONE. THEY’RE THE MAIN CHARACTER!”
...
AND THAT IS PRECISELY WHERE THE TWO RECENT HULK FILMS FAILED. THEY WERE INTERESTED IN THE CHARACTER BUT HAD NO IDEA HOW TO PLAY IT FOR DRAMATIC PURPOSES. SURE, BOTH FILMS HAD SOME ADMIRABLE QUALITIES. ANG LEE’S FILM IS AT TIMES BEAUTIFUL AND DELIRIOUS, BUT SO DISAPPEARS INTO BANNER’S OWN DEMONS THAT THE AUDIENCE LOSES ALL SENSE OF BANNER-EMPATHY AND MOTIVE. AND LETERRIER’S MORE RECENT FILM TRIES TO RELY SOLELY ON THE TV’S SHOW’S ICONOGRAPHY AND ENDS UP DOING THAT DREADED ASSUMPTION THING HULK MENTIONED EARLIER.
...
WHICH IS EXACTLY WHAT MAKES BANNER’S RUEFUL ADMISSION OF A SUICIDE ATTEMPT LATER ON ALL THE MORE GUTTING. NOTE THAT RUFFALO DOES NOT PLAY THE SCENE FOR SADNESS OR MAUDLIN SYMPATHY. INSTEAD, THERE IS AN ALARMING NORMALCY TO HIS ADMISSION. HE’S SIMPLY CURSED WITH ONGOING LIFE. AND IT IS HIS PERFORMANCE IN THIS SCENE THAT HIGHLIGHTS JUST HOW MUCH THIS BANNER IS UNLIKE ANY VERSION WE’VE HAD BEFORE. PERHAPS IT’S RUFFALO’S SLIGHT MUMBLE OR THE WAY HE SPEAKS AS IF HE’S ALWAYS ON THE VERGE OF A WRY SMILE, BUT ONE CAN’T HELP BUT SENSE THAT HIS BANNER FINDS SOMETHING FUNNY ABOUT ALL OF THIS. IT’S AS IF HE IS THE ONLY ONE WHO IS KEENLY AWARE OF A CRUEL JOKE BEING PLAYED ON THE WORLD.


Media Marketing and the Evolution of Narrative Structure - о нарративной структуре комиксных вселенных "Большой двойки", используемых для их создания и поддержания приёмов и новых возможностях. Довольно поверхностно, но как отправная точка неплохо.

Выдержки

Выдержки:

Techniques like the team-up and the crossover imply that the characters live in a universe larger than that told in each individual story. The characters inhabit a world in which the individual stories are only small slices. In some instances, the tales in comics explicitly reference their relationship with the real world.
...
Many of these individual techniques – such as the multi-episode story and the story as window into a larger world — are found in other media, of course. Movie serials and television series excel at multi-chapter storytelling. J.D. Salinger’s tales of the Glass family evoke a larger narrative universe of which his tales are but fragments. Many other examples in film, television, and the written word could be cited. Yet comic books have honed and extended many of these techniques to a greater extent than most other forms.
...
The story has now become too expansive for most individual readers to fully take in. It’s a world unto its own, that allows the reader to explore whichever dimensions are of the greatest interest. Follow the events from the perspective of Iron Man or Thor. Or just peruse the core series and ignore the supplementary story elements. The series presents a nearly unbounded narrative universe for the reader to explore.
...
It may well be that, as new forms of storytelling like transmedia and ARGs develop, we’ll look back at these comic book techniques as the vanguard in the evolution of these new narrative structures.


Same Story, Different Cover: "And there came a day, unlike any other..." - три разные обложки для первого приключения "Мстителей".

Комиксы, которые существуют

Комиксы, которые существуют:

McCool Stands with "Nevsky: Hero of the People" - IDW выпускает комикс про Александра Невского по фильму Сергея Эзенштейна. Нет, мне нечего больше сказать.


In the comic book Terminally Illin’, cancer is the supervillain - комикс про борьбу его автора с раком. С юмором и монстриками. Этот трогательный больной безумный мир.

Разное

Разное:

Life on Earth Q: Love, Childhood, and All Star Superman (part 1) , Life on Earth Q: Love, Childhood, and All Star Superman (part 2) - Мэтт Сенека пишет про All Star Superman. У меня к Сенеке отношение... сложное (и тексты по ссылкам местами демонстрируют, почему именно), но это правда очень красиво.

Выдержки

Выдержки:

The colors are also what give All Star Superman its heady aura of futurism. Though rarely drawn as subtly and with as much consideration as Quitely’s, mechanical men and Deco-tech cityscapes are hardly anything new to comics. It’s Grant who sells these things as actually existing in a world capable of producing them, a place called tomorrow. Much of this is due to the clearly digital origin of the coloring: no painter can mix colors so vibrant, no human hand can distribute the glow around a light source so evenly or orchestrate the fade from one hue into another with such smoothness. Yet the restraint Grant exhibits is easily as impressive as his pyrotechnics, probably more so when judged against the work of his contemporaries as seen in the rest of the superhero genre in the late twenty-oughts. Flat, uninterrupted areas of bright color cover the open spaces behind Quitely’s figures, little rendering is applied where the linework doesn’t already indicate it, and the tonal combinations are simple and bold, often consisting of a single jump across the color wheel. The effect is like hearing punk rock played by a virtuoso orchestra, varied and complex but to the point and never less than certain of itself.
...
For all the genre’s wonders, the notion that a superhero comic can change the medium for the better, or have any positive impact on it at all, is in the long run a false one. It is probably the great poetic irony of comics that the segment of the form that focuses most heavily on ideals of justice and freedom is the one that gives the smallest amount of these things to the people who make the art, that the comics in which good not only always triumphs but must continue to do so always are created in, by, and for a culture in which it almost never does.


Robby Reed meets Jack Kirby! - Кирби, Кирби, Кирби, Кирби. Немного истории. Немного мнения. Много картинок.


Hey, Kids: No Nudity!! - про то, как Джессику Дрю "одели" для бесплатного комикса.


iFanboy Upstarts: Juan Ferreyra - смотрите: художник!


Sandra “Moonday” Hawke - биографии вымышленных персонажей: сегодня с нами женщина, родившая сына Оливеру Квину. Она была молода и глупа.


Little League - герои DC в детском саду. Awwww?