It's funny because it's sad.
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.
ИнтервьюИнтервью:
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.
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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.
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"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?
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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.
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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 ИксЛюди Икс:
AvXAvX:
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.
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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
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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.
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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-ПаукЧеловек-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-фильмоориентированноеДля 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.
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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.
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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!
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 МарвелПрочий 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!
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.
ИнтервьюИнтервью:
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.
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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.
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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.
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"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?
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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.
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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.
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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 ИксЛюди Икс:
AvXAvX:
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.
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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.
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The major problem at the heart of AvX, if we're being honest with ourselves, is that the central conflict is completely stupid.
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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.
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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
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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.
ВыдержкиВыдержки:
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-ПаукЧеловек-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-фильмоориентированноеДля 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.
ВыдержкиВыдержки:
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.
ВыдержкиВыдержки:
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 первыйЭпизод 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 МарвелПрочий 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!
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17.07.2012 в 02:07-
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17.07.2012 в 03:49-
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17.07.2012 в 14:38Ну или самопожирание индустрии, как посмотреть).