Ух ты, я успела в четверг!
Лучшее по мнению составителя: интервью с Тони Сальмонсом и статья-обсуждение творчества и наследия Роба Лайфелда.
ИнтервьюИнтервью:
Adam Warren on 'Empowered' and his Comics Career - аудио.
Ребята, которые мне не то чтобы интересны, но потенциально любопытны вам: Эндрю Чемблисс, сценарист Once Upon a Time и нынешних приключений Баффи, о всяком; Джонатан Хикман про AvX; Джадд Винник о Бэтвинге и Женщине-Кошке, Бекки Клунан, новый художник "Бэтмена", о своих проектах.
"David Bowie as the Black Widow," Jim Steranko Speaks, 1975 - старый разговор с без шуток легендарным Джимом Стеранко.
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Drawing well is requirement in being a comic artist. But, it's not the drawing, look; you want to be in this business you draw well! If you don't, you don't go out and dig a ditch, shine shoes, or something else. Even in my case, I don't consider myself an artist because there are so many guys that draw better than I do. I tell a story. Drawing is understood, it has to be there, it's not the most important thing, but frequently it turns up to be that way. This pretty picture syndrome is not a good thing. I mean there are guys who will bring their portfolios to art directors, like Romita, and all they show are single illustrations. And as nice as they could be, it doesn't mean anything because they want to see what you can do in sequence.
Interview with Stratum Comics Mark Schmidt
- Марк Шмидт из Stratum Comics делиться своими мыслями об индустрии.
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Then we have the issue of the medium we choose to tell our tales in. Take new super hero movies as an example. Had The Avengers been put out as an animated movie instead of live action, it would not have done anywhere near as well as it has. It would not have mattered if every other detail of the movies had been the same. It just would not. Comics have always had a stigma around them that they are for kids, just like cartoons in America. I see people talking about ways to increase comic sales by moving away from the super hero genre, I don’ think this is the solution. It is evident from the movies that people out there love super heroes.
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Most people that I have heard/read are trying to say that it is Marvel/DC’s Super Hero titles that are bringing down the industry. That readers are tired of super heroes and want other genres to read. While I think this is partially true, I do not think it is entirely on point. Like I said before, look at the movies. The success of something around10 or 15 huge box office movies are based on Marvel or DC properties. There are horror movies and sci-fi movie and a list of other genres out there that people are trying to bring into the comics, yet 2 of the top five grossing movies of all times are now based on comics, 2 of the others are sci-fi, and one is a romance/drama. So, in my opinion it is not the subject matter that is hindering getting new readers, it is the medium. I am not sure how to get around that issue right now, though.
Tony Salmons Interview Pt. 1, Pt. 2, Pt. 3, дополнительные материалы - огромное интереснейшее интервью с Тони Сальмонсом, ветераном индустрии. Он много работал, в том числе на Marvel c DC и ему есть что рассказать о том, за что же он не любит эту индустрию.
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Story fantails artistic effort into a beautiful horizon, better than any single image.
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My problem with writers is that I'm a writer. I've co-written everything I've ever done. For no money and no credit. I didn't get into this to draw cool punches and baggy pants, flexing extremities and cleavage. At a certain point of proficiency these are routine and insipid. The purpose, idea and the motivation of the characters that make the scene are my purpose for drawing it.
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The main failure with comic artists, as I observe it, is that they become located around one school or worse, one artist. Neal Adams and Michael Golden have so many unwashed bastards out there I wonder how it affects the way they see their own stuff, whose face they're shaving in the morning. Most of the guys in comics, animation and such are like the guy who paints portraits of his dog over and over again and tries to sell them at tag sales and flea markets every month. I mean, he bought the materials and put in the work and you can't stop him, you have to respect that, but jeez …
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Shinier and shinier titties on the women and the men, shinier and shinier grew they! And so it continues today! Shinier titties, cool punches and a pose-in-costume on every page. Don't get me wrong, a few of those artists have enviable chops and nearly dignify the phenomenon, but the writing is even worse! Primetime cop-soap rehashes and sweepings from Hollywood star vehicle turd advisories. Flash and dash but no substance beyond vacuous borrowed dramaturgy.
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I personally believe that comics are in a renaissance at every level.
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Now there's this artificial movie connection. Feh. It'll blow up soon, too and most of you guys crowding in now are too late. I've already stated how long it takes to get a comic on paper. Wait'll you get to “turn-around hell” in movie land. Hey, I'd love movie money. It's just never come along.
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The pamphlet period of comics is over. Paper will remain a niche, like radio, vinyl, movie theaters, television. But it will never command the medium again. So page count, gutters, allowances for stapled spines, et al will never govern again.
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There are offices at Marvel and DC where I can't get work for years after a lifetime of discipline and study for comic work but if you wrote a shit action movie in the '80s, you're golden!
О судьбах индустрииО судьбах индустрии:
Green Lantern Going Gay to Help Boost Stagnant Comic Book Business - я почти отправила эту статью в пост про Алана Скотта, но передумала. Всё-таки она скорее про то, как плохи дела вообще, чем про конкретного героя.
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It’s a decision that may have less to do with diversity than it does with new dynamics in the comic-book business, which has seen about as many booms, busts, “zooms,” and “thwacks” as its characters. Switching up sexual orientation is a cunning way of compensating for flagging sales and aging characters. In the meantime, the industry is rebalancing: toward independent publishers, author ownership, and cross-platform digital tie-ins. As small studios sap talent from the giant conglomerates, comics are changing—and there’s a lot of money to be made in the process—just not in the comics themselves.
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And so today, within the comic-book industry itself, many of the biggest, best-reviewed hits are indie: written by artists who self-publish and own their characters—guys like Robert Kirkman, cult hero and creator of the smash hit The Walking Dead. Paradoxically, nowadays you can make a lot more money outside the corporate mainstream.
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More competition in the comic industry is a good thing for all parties, and Marvel and DC aren’t short on talent. But to bring back the sales of yesteryear, the publishers will have to do more than court PR with gay bombshells or current-events blitzes.
Beauology 101: Comic Books: The Last Stand - пришло время индустрии понять, что если она не приспособится к новым обстоятельствам, то ей конец.
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The comic book industry has come to that last stand. This is the part where we find out who is gonna stand and deliver and who’s gonna run and hide. Please don’t let anyone tell you that comic book sales are good.
They’re not.
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We’ve gone past the blame game. Everybody’s fingerprints are on the ailing Body, some just stick around a little longer to try and wipe ‘em off. The fault is with everyone attached to comics. The Publishers, the creators, the distributors, and the retailers. The only one without blame is the reader. It’s up to us as a whole to please that reader.
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You’re going to see some turn tail and run claiming that there are bigger and better things in “The Outside World,” that comic books are a thing of the past. Well, paint a yellow stripe down their back and kick ‘em in the butt on their way out. That kinda attitude we don’t need. Those guys aren’t up for a challenge. Nobody ever said life was easy. The real challenge is while going to “The Outside World” take comic books with you. Show the world what cool can be.
Maybe They Should Just Give Up - продолжение Fandom Is Jointly Owned: о том, почему новому фандому и новым читателям вообще не очень интересны комиксы.
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The question seems to imply that there’s some sort of inherent superiority in being a fan of the Avengers comic as opposed to “just” enjoying the movies, like there’s a whole world they’re missing out on if only they could be convinced to get into it.
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At that point, yes, the question “Why aren’t more women reading Avengers?” does need to be asked, along with the questions, “Why aren’t more kids reading Avengers?”, “Why aren’t more men reading Avengers?”, and “Why aren’t more (insert demographic here) reading Avengers?” But it needs to be asked from the perspective, “How can the miserably unsuccessful comics become more like the wildly successful move?” It’s time, in short, to stop assuming that the comics have narrative primacy, simply because they’ve been around longer.
Новые технологии и будущее медиумаНовые технологии и будущее медиума:
In New Digital Comics, Each Tap Holds a Surprise - о том, чем комиксы, изначально предназначенные для просмотра на цифровых устройствах, отличаются от традиционных. Комментирует Марк Уэйд.
The Shape Of The New Webcomics - Уоррен Эллис о том, как с изменением формата меняется структура повествования.
Project Diary 6/3/12 - Абей Хосла о том, насколько приходится переосмысливать подход к работе, создавая вебкомикс плюс несогласие с аргументами Эллиса.
Kleefeld on Webcomics #63: Besting Demons - о соотношении "традиционных" комиксов, газетных стрипов и вебкомиксов, а также о том, насколько комикс, созданный в одном формате, может "работать" в другом.
Женщины в ваших комиксахЖенщины в ваших комиксах:
Women in Comics: DC vs Marvel, The Bechdel Test - сколько из выходящих сейчас комиксов Большой Двойки проходят Тест Бехдель? Ну тот, где две женщины должны хотя бы раз поговорить друг с другом не о мужчине?
The other side of the argument and then some… - автор блога о том, насколько именно художники комиксов склонны уродовать изображаемых женщин ради "красоты" и "сексуальности" поясняет свою позицию.
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The problem isn’t that there are no comics for women. It’s that the industry is drowning in the crappy, male-gaze fuelled art and dudes are patting each other on the back going, “DUDE. YOU’RE AWESOME! LET’S DRAW TITTIES AND ASSES TOGETHER!” While women, both artists, writers and fans, are feeling isolated, unwanted and actively dehumanised. This isn’t going to be fixed by turning that feeling on men in special cock-filled, bun-brimming comic books penned by women with one hand down their pants.
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Men’s stories are never questioned. You don’t say, “Will men’s stories, written by men, including men, even be successful?” Like it’s some weird fringe story or something? Or special interest? Women’s stories are not special interest. They are human stories - FULL STOP.
Ну и немного позитивного:
Angel Salvadore Bohusk (Angel/Tempest) - Dimestore Dames об Энджел Сальваторе. Знающих героиню исключительно как персонажа, сыгранного в "Первом классе" Зоуи Кравиц, ждёт много сюрпризов.
Odd Superheroine Out - Катана, DC-шная супергероиня удивительным образом не светившаяся готовой к потреблению сексуальностью.
Favorite Female Characters in Literature # 6: Supergirl - Пол Тобин рассказывает о том, за что он любит Супердевочку, попутно ругаясь на излишнюю сексуализацию. Вообще, вся серия заслуживает внимания.
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It took hours to find the proper images for this blog post, because I had to wade through seventeen mountains worth of masturbation material. It was made far worse in this case because for a long time, DC Comics clearly decided that Supergirl was supposed to be The Girl You Super-Touch Yourself Thinking About, with a midriff that was bare between her nipples and the tip top of Secret Valley. Added to that was a skirt that flipped up to show panties n’ crotch shots in breezes over 1 mph. And that was the standard version; sometimes she got naughty.
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It was a time period that must have been confusing for all the internet artists who wanted to do naughty pictures of Supergirl. I can just picture the poor artists looking at the actual published reference, thinking, “Hmmm. There’s no way that I can make Supergirl’s skirt any shorter, or her top any more tawdry. What the hell am I supposed to do? Guess I’ll just go back to drawing this Simpsons porn.”
ЛГБТ и комиксыЛГБТ и комиксы:
Thoughts on Gay Marriage, Comics and Representation - о том, что показываемые нам в комиксах гомосексуальные персонажи уж слишком нормативно-"приличны".
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I can’t help but think that the newfound prominence of gay characters in Marvel is a bit like that painfully-awkward blaxpoloitation phase that we had in the eighties. Hm, no, if that were the case, then the gay characters would be uncomfortable stereotypes. You know, like a boy-wizard who misses his mummy or a rainbow princess. Oh. Hang on.
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Don’t get me wrong, I think it’s great to have gay characters in comics continuity, but there’s a bit of whitewashing going on when I don’t think I’ve seen any of the gay characters being promiscuous or rejecting heteronormative sexuality wholesale. The overwhelming singledom or monogamy of the gay characters we see in mainstream comics is well-intentioned, because I assume it’s there to shout out “Same-sex love is normal!” But it misses the kind of key point that maybe by apeing normality, we’re losing some of the wonderful intellectual freedoms that the characters could share with the majority, not having had the expectation of a normal love life.
Growing Up a Gay Comics Fan Part 1 - о том, как автором, тогда подростком-геем, воспринимались любимые им комиксы. Обещано несколько частей.
Comics Made Me Gay - pdf-эссе о скрытом в комиксах гомоэротизме. NSFW.
Алан Мур и околоАлан Мур и около:
Who Watches the Watchmen’s Watchers?l - Ной Берлатски для "невтемного" народа о том, почему Мур прав в своём гневе.
Before Watchmen Is Comic Book Poison - Дэвид Бразерс о... ну вы поняли.
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Buying Before Watchmen is a vote for:
-A comics industry that prizes properties over creators
-A comics industry that will effortlessly use its legal muscle to screw over creators
-A comics industry that strip-mines the past at the expense of the future
Reclaiming History: Dave Gibbons and WATCHMEN - о том из авторов "Хранителей", про которого несправедливо вспоминают намного реже (да да, виновна).
The Great Alan Moore Reread: Spawn - хорошая статья о "Споне" Алана Мура.
Meet the Magus - хорошая и очень подробная статья о магических практиках и Алане Муре вообще и магии в собранных под обложкой сборника A Disease of Language совместных работах Мура и Эдди Кэмпбелла.
О супергероях и моралиО супергероях и морали:
No One Watches the Watchmen: The Authoritarianism of The Avengers - о сомнительной морали "Мстителей". Не высказывая пока своего мнения, просто в очередной раз замечу, что разговор в этом смысле можно вести (и ведут уже очень давно) скорее про супергероику вообще. Ну и далее про "Хранителей" как комментарий и деконструкцию и иже с ним.
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If we the audience had any sympathy at all for the Chitauri, as we did for the Frost Giants in Thor, then watching the Hulk grind them into paste would be sickening. Watching the Hulk throw Loki around is the best gag in the movie, but only because we know Loki can sit up afterwards and order a drink. If the villain had been the Red Skull or the Iron Monger—that is, if the villain had been human—then we’d have to question the morality of unleashing unrelenting brutality on our enemies. But we don’t have to ask that question, so Banner learns that it’s okay to be gleefully destructive as long as he’s fighting bad guys.
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What’s the role for non-superheroes in the Avengers? Well, if you’re the police, it’s to do exactly what Captain America says, because... well because he’s really good at beating up aliens. If you’re not, if you’re say a waitress caught in the crossfire, then your job is to thank Captain America for saving you once it’s all over.
The last thing a normal person should do is try to save the world themselves. Don’t try to make your own weapons based on Hydra designs or Iron Man armor, or Captain America and Iron Man will get angry at you. Don’t try to use those weapons to actually fight a god, that will get you killed.
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In The Avengers, superheroes are rewarded for using unrestrained force against an alien Other with the praise of the world, the freedom to go wherever they want, and control of an unlimited power source. The film says we should be thanking these gods and monsters, thanking them and just hoping that they’ll be there if we need them again. Also hoping that they don’t, you know, abuse the incredible power that they have. They answer to no one, jealously shut down all attempts to share their power, and can be stopped by no one. And this is supposed to be awesome!
The Avengers answers the question “who watches the watchmen” with a gleeful, ecstatic “NO ONE!”
Why I Loathe And Despise Spider-Man, That Torturing Piece Of Slime и Marvel's Steve Wacker, It Seems, On Spider-Man And Torture - о героях, морали и вседозволенности.
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Perhaps most sickening of all the many dubious aspects of Global Menace is the way in which Slott presents the bloody-handed Spider-Man as an entirely admirable human being fit to lead a superhero army in a "war" upon his enemies. "I have changed, but not that much." muses the young-ish Mr Parker, congratulating himself on the thought that he wouldn't have allowed the Sandman to be murdered. Well, torture's only torture, isn't it, and it was all in a good cause, whereas murder, it seems, would be the mark of a truly bad human being.
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Because, let us be honest, practically the entire super-population of the Marvel Universe is a collaborator not just in the threatening and scarifying of potential ill-doers, but their purposeful torture too. An entire line of characters rendered perpetually ethically toxic, and yet still their likenesses get stamped onto kiddies' underwear and lunch-boxes. Why anyone cares to think of the modern mainstream book as an unarguably liberal proposition in the face of this consistent denigration of the most basic principles of both human rights the law is quite beyond me.
Комиксные злодеиКомиксные злодеи:
Hero Worship: Whatever Happened to Super Villains? - посмотрев трейлер игры Injustice: Gods Among Us, автор задаётся вопросом о том, почему в последнее время герои всё реже борются со злодеями и всё чаще - друг с другом.
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No one wants to read stories where everyone is chummy 100% of the time, gleefully dispatching bad guys and shaking hands afterwards. Internal conflict can be powerful and interesting. But when both major superhero companies are structuring their entire universes around hero infighting, it becomes a struggle to remain invested in the characters as superheroes instead of just being amused watching them slap fight with their egos.
A Few Thoughts On Villains and Villiany - своеобразный ответ предыдущему автору: о том, почему "злодеи" со временем перестают быть интересны.
Is superhero decadence a chronic condition? - случайная ирония сопоставления комикса современного с комиксом пятнадцатилетней давности: о том, как за прошедшее время изменилась мотивация и методы суперзлодеев.
iFanboy vs. iFanboy: The Origins of Mr. Freeze in BATMAN ANNUAL #1 - дискуссия об изменённой истории Мистера Фриза в пост-Ребутной вселенной DC.
Your Guide to Thunderbolts and/or Dark Avengers - О Тандердолтах (мы это как-нибудь переводим?)/Тёмных Мстителях, и почему эта команда "плохих парней" может быть вам интересна. Туда же: не прошедший в прошлый линкспам отзыв об одной из историй про них.
COLD-BLOODED - обзор первой истории про Ящера, который, похоже, будет главным антагонистом "Нового Человека-Паука".
Комиксы, которые вам рекомендуютКомиксы, которые вам рекомендуют:
Pieces Project - крайне интересный эксперимент нескольких авторов с формой и содержанием.
Total Immersion: Daybreak - необычная история про зомби.
5 Essential Batman Graphic Novels пять ключевых историй о Бэтмене.
Супергерои и анализ данныхСупергерои и анализ данных:
The ‘New 52’ and DC Comics Month-to-Month Sales: The Long View - анализ продаж комиксов DC после Ребута. Вывод: подъём был недолог. Своим мнением по этому поводу также делится Шон Клифилд.
Avengers, Assembled (and Visualized) – Part 1, Part 2 - "Мстители" в визуализированной статистике. Много красивых схем - кто сколько раз появлялся в комиксах, первые появления, состав команды, создатели и не только
Прочие интересные статьиПрочие интересные статьи:
5-10-15-20: Comic Book History for May 2012 - май и история комиксов: что было пять, десять, пятнадцать лет назад и ещё раньше.
AN EXTREME DIALOGUE - о Робе Лайфелде, его влиянии на медиум, о соотношении в комиксе рисунка и сценария и, ближе к концу, о нынешнем состоянии комикс-аналитики. Крайне интересно, хотя местами и спорно.
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Liefeld may not produce deep or even always technically efficient comics, but the one thing he has up on a lot of creators is his uncontainable energy, passion and overall voice. That stuff overpowers the mechanical flaws, for me, and while all the energy and love only produces over the top action, I feel that’s wildly appropriate, especially for superhero comics.
A guy like Liefeld humbles the medium, drawing us back from the ever present desire to legitimize what’s created and what’s read; the experience reminds a reader of the childlike wonderment which can be associated with the artform as well as the slightly exploitative element associated with the superhero genre.
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When you look at one of his pages or creations it just screams Liefeld, he imbues everything he touches with his essence. If Cable wasn’t weighed down by 500 pounds of guns and ammo, then he wouldn’t be Cable. And that’s Liefeld.
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Liefeld is one of two direct heirs to Kirby, the other being art-comix god Gary Panter.
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If Jaime Hernandez has distilled his art to a single line, Rob Liefeld has distilled his to a thousand.
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Being critiqued for his lack of realism, a feature which his art has never attempted to capture, is missing the point of Liefeld. His art is decadent and expansive. It’s telling that this is what the masses of pseudo-critics jump onto. Realism is largely a constraint on art that individuals try to pass off as valid criticism against something they don’t understand.
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Maybe you could describe him as the often trotted out “voice of a generation”, if that doesn’t sound like too shallow a description. I mean, there’s at least 20 “voices” to each generation nowadays so it seems like a meaningless term.
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It’s also interesting to point out the differences in Liefeld’s influence. The current “mainstream” comic culture seems to have latched onto his creations (Deadpool, Cable, X-Force) while the alt-comics scene has taken his visual aesthetic and attitude.
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Liefeld has this ability to overpower the writer on every page. Liefeld renders each figure in such a way as to make their every action a dramatic moment. Dialogue that’s meant to be subtle becomes laden with invisible exclamation points in the hands of Liefeld; his cross hatching seems to spill over onto the dialogue balloons.
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In some way, I think the Image guys were some odd first step in making the mainstream audience wake up and realize the importance of the artwork in comic books. Until then, plot was really everything for the super hero book. The Image guys didn’t exactly produce the best quality stuff, but by being so flamboyant, they made it impossible not to appreciate the illustration and just forget the plot.
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Writing’s a conservative field really, inbred, while art is all about taking a blank canvas and turning it into something more.
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Sure, comic book writers need artists to carry their ideas across the finish line as well as to provide the true impact of these ideas – the visual – but to suggest it’s a one-sided issue seems a bit erroneous. Liefeld’s a great example. His artwork certainly provides the right stylistic punch, but beneath that style, what is there? A poor story lacking a lot of necessary structure and layer. The work needs a writer to give it a sound foundation.
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There are maybe four or five writers who can craft a competent book, and they all reside in the “mainstream”. Artist run every other genre.
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Morrison has a distinct voice (and just to point this out, he did start out as an artist) and Quitely certainly does bring out the best in him, but here’s the thing, Morrison has been hammering home his ideas of hyper-sigils and Superman as god for nearly twenty years in hundreds of comics, and the only time they really resonate is when Frank Quitely comes into the fold.
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Sites do rely on hot topics to entertain their audiences, but they also rely heavily on short pieces. The long, in depth piece rarely exists on a comic book site. Why? I don’t really know, other than most people probably don’t have the attention span for them, so sites cater to that, keeping us in a constant ADHD state of channel surfing.
Marvel in the Civil Rights era: A noble Panther, a gritty Cage - воспоминания чернокожего фаната о чернокожих героях комиксов его детства и том, что они для него значили.
Accept no Super-substitutes - о том, кто есть Супермен, и каким он должен быть.
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Rather than being the emissary of a more ethically-advanced culture, Superman is a reflection of the best in human morality. If I were more of a moralist, I might even speculate that those who find him unrelatable blame him for not mirroring their own ethical drifts.
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To be clear, I don’t want Supes monologuing constantly about My Foster Parents’ Morals. Actually, I imagine that would undermine the effectiveness of his adherence to them. We shouldn’t have to be told he’s trying to do the right thing, because it should be self-evident. “Superman” is what happens when our ability to do good approaches our capacity for doing good, such that we see something when he doesn’t live up to that potential.
Вещи, которые вы (почему-то) можете купитьВещи, которые вы (почему-то) можете купить:
Специально для ваших домашних алтарей: фигурки Стэна Ли и Джосса Уидона.
И для тех, кто хочет совместить два хобби - комиксы и алкоголизм - в одном: тематические пивные бокалы.
Ну и, наконец, развлеченияНу и, наконец, развлечения:
Косплей, который не смывается - почувствуй себя настоящим Халком!
Кстати о Халке: строение его головы.
Всяческий фанарт по "Мстителям" (вы наверняка это всё уже видели).
The Machine-Gun Bra Is The Third Craziest Thing About The New Issue of 'Tarot' - Самый. Лучший. Комикс. Ever.
Ну и списки: десять самых дурных комикс-приквелов и десять героев DC, которым Ребут пошёл на пользу.
И напоследок два важных напоминания в картинках.
Номер раз: Грэг Лэнд - ужасный художник
Номер два: Бэтмен - всё-таки не самый великий детектив в истории
Линкспам
Ух ты, я успела в четверг!
Лучшее по мнению составителя: интервью с Тони Сальмонсом и статья-обсуждение творчества и наследия Роба Лайфелда.
Интервью
О судьбах индустрии
Новые технологии и будущее медиума
Женщины в ваших комиксах
ЛГБТ и комиксы
Алан Мур и около
О супергероях и морали
Комиксные злодеи
Комиксы, которые вам рекомендуют
Супергерои и анализ данных
Прочие интересные статьи
Вещи, которые вы (почему-то) можете купить
Ну и, наконец, развлечения
И напоследок два важных напоминания в картинках.
Номер раз: Грэг Лэнд - ужасный художник
Номер два: Бэтмен - всё-таки не самый великий детектив в истории
Лучшее по мнению составителя: интервью с Тони Сальмонсом и статья-обсуждение творчества и наследия Роба Лайфелда.
Интервью
О судьбах индустрии
Новые технологии и будущее медиума
Женщины в ваших комиксах
ЛГБТ и комиксы
Алан Мур и около
О супергероях и морали
Комиксные злодеи
Комиксы, которые вам рекомендуют
Супергерои и анализ данных
Прочие интересные статьи
Вещи, которые вы (почему-то) можете купить
Ну и, наконец, развлечения
И напоследок два важных напоминания в картинках.
Номер раз: Грэг Лэнд - ужасный художник
Номер два: Бэтмен - всё-таки не самый великий детектив в истории