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aion-rsa · 3 years

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Godzilla Singular Point: The Weird History of Jet Jaguar

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The latest take on Toho’s iconic, building-crushing lizard comes in the form of Godzilla Singular Point, an anime series now available in dubbed form on Netflix. Taking place in the not-too-distant future, this reimagining of the King of Monsters involves a group of human characters becoming aware – through rather bizarre ways – of a coming apocalyptic event. Now the only thing that can save them is a behemoth out to punch monsters and look out for the little guy.

No, not Godzilla. He’s actually the apocalyptic event. No, our hero is none other than Jet Jaguar.

Yes, it’s finally time for Jet Jaguar to get his due.

A concept nearly 50 years old at this point, Jet Jaguar is one of those characters who was initially doomed to fail, but lives on due to nostalgia and the golden notion of, “I realize most people hated that thing from my childhood, but I bet I could make it good!” At best, he was a rad addition to the Godzilla mythos. At worst, he was a dumb idea from a dumb movie. For the most part, he’s remembered as something goofy that gets laughed at, despite having some genuine earnestness.

Jet Jaguar was created from both a fan contest and a corporate game of telephone. Back in 1972, to jump on the bandwagon of tokusatsu giant superhero/robot shows, Toho asked fans to design their own superhero design. The winner was a half-man/half-bird robot with a lengthy neck resembling a stack of rings named Red Alone. The concept was turned into a full-on rubber costume, but they changed the color scheme, which upset the young winner. They later decided to just scrap the whole thing, keep the color scheme, and make their own new design. And so, Jet Jaguar was born.

The superhero made an entire one movie appearance in 1973’s Godzilla vs. Megalon. As the urban legend goes, this was initially intended to be a standalone Jet Jaguar movie that the studio just didn’t have faith in towards the end and they hastily threw in Godzilla and recurring Godzilla villain Gigan. While the claim is dubious and unproven, it certainly is easy to understand where the allegations come from.

Everything about the movie feels rushed. As the last-minute replacement for another Godzilla film that didn’t pan out, filming took several weeks and production was a mere six months. Even the Godzilla costume was whipped up in record time. As for the story, outside of the intro, the preexisting elements (Godzilla and Gigan) aren’t thrown in until about 2/3 into the movie. Up until that point, it feels like a Jet Jaguar vs. Megalon movie with the production team hitting the panic button.

The plot of Godzilla vs. Megalon is that a scientist Goro Ibuki is working on a robot called Jet Jaguar, along with his little brother Rokuro and his best friend Hiroshi. They get wrapped up in a plot involving a group of beings from Atlantis-But-Not-Really, who are annoyed at all the nuclear bomb tests going on in their neck of the woods. They steal Jet Jaguar and use him to guide their insect god Megalon to different cities for the sake of smashing them up and punishing humanity.

Goro and friends get their hands on Jet Jaguar’s controls and use him to lead Godzilla to where Megalon is. Then the Seatopians call some alien friends for a solid and have them send in Gigan. Jet Jaguar is able to break away from all control and becomes fully sentient, as well as revealing the ability to turn into a giant. It becomes a big tag team battle, mostly remembered for Godzilla doing the silliest dropkick you’ve ever seen, followed by a second one for good measure.

The villains escape, Jet Jaguar and Godzilla shake hands, they go their separate ways, and Jet Jaguar reunites with the humans heroes after shrinking back down. He gets his own snazzy theme song to close things out.

In Japan, the movie wasn’t all that successful. As the thirteenth title in the Godzilla series, it brought in the worst returns yet. Between public burnout and the movie’s lack of quality, it just wasn’t grabbing people. That said, it came out at just the right time in the United States. Released in 1976, it came out months before the anticipated King Kong remake. The American movie poster for the movie even bit on the King Kong poster by featuring Godzilla and Megalon duking it out while each standing on a different Twin Tower, even though the movie at no point took place in the States.

A year later, the movie would be cut down into 48 minutes so they could broadcast it on NBC in prime time, across an hour with commercials. The only reason I mention this at all is because it was hosted by John Belushi wearing a Godzilla costume, which is sadly somewhere in the abyss of golden lost media.

Getting back to Jet Jaguar – the topic of this article – I feel the need to bring up Germany’s handling of the movie’s translation. Rather than call him “Jet Jaguar,” they referred to him as “King Kong.” I mean…sure, why not. Even weirder, when the next two movies introduced fellow giant robot MechaGodzilla, Germany once again referred to the robot as “King Kong.” Guys, I know what you’re going for here, but it doesn’t work that way.

Anyway, Godzilla vs. MechaGodzilla and Terror of MechaGodzilla followed Godzilla vs. Megalon and closed off the classic Showa Era of Godzilla movies. Not only did Japan need to rest Godzilla as a concept for nearly a decade, but this also meant that whenever Godzilla would come back, it was going to be some kind of reboot or new “only the first movie counts” installment. Jet Jaguar was never high on the list to be brought back, especially since MechaGodzilla completely overshadowed him.

He would at least get a little more exposure in 1991 when Godzilla vs. Megalon was featured in the second season of Mystery Science Theater 3000. While much of the episode is spent making fun of one of the Seatopians for looking like Oscar Wilde, they toss plenty of jokes at Jet Jaguar. Most memorably, they “translate” Jet Jaguar’s ending theme, which notes that his mother never loved him and he looks a lot like Jack Nicholson.

Due to rights issues, Godzilla vs. Megalon is one of the few MST3K episodes that is no longer legally available for viewing. This does make the original MST3K Collection Volume 10 box set (which included Godzilla vs. Megalon as one of the four movies) a collector’s item, as it was later discontinued and rereleased with The Giant Gila Monster taking its spot.

A stranger use of Jet Jaguar comes in the form of Certain Distant Suns’ music video for “Bitter” in 1995. While there’s not much of a narrative outside of the band playing, footage of Godzilla vs. Megalon being shown, and a few shots of guys walking around in Megalon and Jet Jaguar costumes, I really insist you give the video a look due to the ending. It certainly goes in a direction I wasn’t expecting.

In 1997, Jet Jaguar made his next official appearance in another frankly bizarre spectacle. In Japan, a series called Godzilla Island appeared on TV in three-minute increments. While it only lasted a year, there were a whopping 256 episodes, meaning almost 13 hours of footage. If you’ve never heard of Godzilla Island, you might be thinking, “Wow, almost 13 hours of Godzilla stuff? Why isn’t this more well known?”

Well, it probably has a lot to do with the fact that instead of using guys in rubber suits, the kaiju action was done with action figures. Yikes.

Not only did Jet Jaguar show up during these adventures, but they gave him the 90s superhero action figure treatment. Much like how they released as many figures of Batman as possible for different crime-fighting scenarios, Godzilla Island gave us Silver Jet Jaguar, Medical Jet Jaguar, and even Fireman Jet Jaguar. Collect them all!

Movies

Godzilla vs. Kong Writer Talks About Spending 8 Years in the MonsterVerse

By Don Kaye

Movies

Godzilla vs. Kong Director and Writer Talk Future of The MonsterVerse

By Don Kaye

In the early 2000s, Godzilla: Destroy All Monsters Melee was released for the GameCube and Xbox under the Atari brand. It was a fighting game featuring various characters from Godzilla lore and though Atari wanted to include Jet Jaguar, Toho refused. Still, at least Megalon was included in the game. There would be two sequels in the form of Godzilla: Save the Earth and Godzilla: Unleashed. FINALLY, Jet Jaguar was playable, because if there’s anything you can count on, it’s scraping the bottom of the barrel when you’re working on multiple installments of a nostalgic who’s who project.

He’d also return in 2014’s Godzilla game for PlayStation 3 and 4. The producer of the game didn’t even plan on putting him in there, but he saw that the programmers already were working on him and just shrugged it off. There was a special trick to summoning Jet Jaguar as a boss character. By ending up in three different Godzilla vs. Jet Jaguar scenarios and winning all three times, you would then unlock a special cutscene of the two shaking hands while a confused military woman would wonder about their history.

Around the mid-2010s, IDW Publishing was all about releasing a bunch of comics with the Godzilla license. Their mainline series was Godzilla: Rulers of the Earth, which went on for 25 issues. Early on, Jet Jaguar appeared out of nowhere during a fight between Godzilla and the team of Gigan and Orga. In human size, Jet Jaguar flew into Orga’s mouth, then expanded into giant size, causing the beast to explode. Especially awesome was that it came with the cliffhanger text, “Next: PUNCH! PUNCH! PUNCH!” a reference to Jet Jaguar’s theme song from the movie.

Jet Jaguar showed up regularly in the series, coming off as Godzilla’s designated driver friend and handler. What I mean is that he seemed to be out to protect Godzilla, but that meant having to keep his violent ally on task (ie. pointing out that Gigan was nearby to stop Godzilla from attacking Jet Jaguar) and throwing punches when the situation absolutely called for it.

This continuity played up Jet Jaguar as more enigmatic than anything, as although he was mechanical, the only human character who knew his origins was killed off before it could be explained. Even one of the invading alien villains saw him on a screen and basically went, “Oh crap. It’s THIS guy!” Regardless, he still came off as a total badass, winning fights against Godzilla, Gigan (the chainsaw-hand version), and Destroyah.

Then again, at one point he needed to be saved by the 1998 American Godzilla, which at least proved as a reminder to the robot hero that there are Toho characters far more hated than him.

Toho started using Jet Jaguar again, albeit in sillier ways. In 2019, as an April Fool’s Day prank, they put up a teaser on YouTube for a Jet Jaguar movie. They also had him appear a few times on Godziban, a Godzilla web series for kids that, once again, used dolls and action figures to tell its stories.

Now Jet Jaguar is a major part of Godzilla Singular Point. To get into specifics on the plot would be like explaining advanced calculus, but to keep on-topic, Jet Jaguar is the creation of Goro Otaki as both a way to ward off monstrous threats and as a company mascot. Considering King Kong’s role in King Kong vs. Godzilla was “kidnapped to be a company mascot,” maybe the Germans were onto something with the rename.

Anyway, this version of Jet Jaguar is more mechanical in appearance instead of having to rely on making him look like a human in a costume. Jet Jaguar is there to protect the heroes from the endless supply of monsters, usually taking some extensive damage. Still, the robot gets rebuilt stronger and stronger and becomes advanced enough to become self-aware and speak in…well, the voice of a teenage girl.

I don’t know, I guess I just figured he’d sound like Astro Guy from King of the Monsters.

There’s a big hard-to-explain twist, but the main thing to know is that Jet Jaguar becomes a full-on badass by the end of the series, turns out to be a huge key to the plot, and has a completely kickass showdown with Godzilla. In a way, Jet Jaguar’s journey in Singular Point is a lot like in real life, going from a lame idea that appealed to kids and gradually being understood as a respected part of the Godzilla mythos. Something initially representative of the worst of the franchise, proven to be something genuinely cool in the right hands.

Now it’s time for America to return the favor. Once again, timing is on Jet Jaguar’s side. The Monsterverse was on its way to the graveyard after the box office intake of Godzilla: King of the Monsters, but Godzilla vs. Kong came out at just the right time in the tail end of the pandemic to be a big success and keep the series going a little bit longer. There aren’t too many names in the toybox left to pull out, but at this point, Gigan and Jet Jaguar have to be high on the list.

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

Make it happen, Hollywood!

Godzilla Singular Point is available to stream on Netflix now.

The post Godzilla Singular Point: The Weird History of Jet Jaguar appeared first on Den of Geek.

from Den of Geek https://ift.tt/3h787JV

#aion-rsa #Den of Geek

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smashpages · 4 years

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The Justice League at 60, Part Five: The Experiment

Check out part one, part two, part three and part four of this series!

There’s a lot crammed into the 40-page story writer Gerry Conway, penciller Chuck Patton and inker Dave Hunt tell in 1984’s Justice League of America Annual #2. The issue charts the official end of the JLA (as Aquaman exercises his founding-member privilege to disband it) and the subsequent creation of a new, ostensibly more focused team. Along the way the Leaguers say goodbye to their ruined satellite headquarters and hello to “the Bunker,” a mall-sized fallout shelter in the middle of Detroit, built by an ex-superhero who apparently saw too many movies about NORAD. Everything that happens in the annual happens quickly: four experienced Leaguers decide to re-form the team moments after dissolving the original; the new League gains two new members who each saw the re-forming happen on live television; and the third and fourth new members basically break into the supposedly impregnable new headquarters. The issue ends with a block party, welcoming the Justice League to this particular run-down part of town.

Detail from Justice League of America #236, by Gerry Conway, Chuck Patton and Rick Magyar

The entire Detroit Era is kind of overstuffed like that. It ran for 29 issues and two Annuals, from the October 1984 JLA Annual #2 and December 1984’s issue #233 to the end of the series in April 1987’s #261. (By comparison, the Gardner Fox/Mike Sekowsky Silver Age was about twice as long.) We’ll call it the Detroit Era even though the team gets kicked out of Detroit just about halfway through. Conway continued as regular writer until J.M. DeMatteis took over with #256; and Patton pencilled the first seven issues and that 1984 Annual. Following three issues from George Tuska, Luke McDonnell then became the regular penciller with #245. The book changed editors in mid-run, with incumbent Alan Gold in charge through #244 and Andrew Helfer finishing out the series. Finally, a little over a year into the Detroit Era, the anniversary issue #250 teased the return of an original Leaguer (spoiler: Batman) who would help train the new folks and boost the book’s profile.

#comic books #Smash Pages #justice league of america #justice league

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zegas · 5 years

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Accessibility in long form super hero serials! As someone who just had a First Issue hit the stands, I’m curious how my reader-friendly ambitions were met. COPRA has a large cast with a lot of back story, but I treated it like the debut it was.

“Every issue is someone’s first.” None of the comics I read as a kid were 1st issues, yet I still fell in love. Suicide Squad 13, Batman 420, Daredevil 256... all were involved mid-arc stories. I wasn’t deterred. I was hooked. They gave me enough to keep me coming back. Different world, tho; starting at the beginning of a series is now a given, it’s not the luxury it once was. Titles used to operate like sitcom episodes (drop by whenever) but they’ve been operating like HBO shows (commit and consume) for a long while now.

When Jim Shooter became Editor-In-Chief at Marvel, he noted that the 70s cult faves (Howard the Duck, Warlock, MoKF) were dense, impenetrable, and confusing, so he pushed a line-wide effort to clarify the storytelling. Sales DID rise; was accessibility a key factor? Shooter blogged about his difficulty in making sense of modern comics. He’s notoriously picky, but personal taste aside, if he who was in the business *for decades* couldn’t figure it out, what hope would a casual reader have?

80s Example: Giffen/Bierbaums’ “5 Years Later” Legion is polarizing. Not considered a great jumping on point, but the heads praise it. I thought it aggressively Members Only but have since come around it in a big way, absolutely loving it. What’s the metric of its success there?

90s Example: The Jim Lee X-Men 1 was a big poppy comic full of glitz & history. How accessible was it to new readers? Claremont was working with 15+ years of quasi-improv world building at that point. X-books in general were a lot to reckon with, but that never stopped sales.

So yeah, this has been on my mind for a bit. I was in the unique position to address both extremes with COPRA #1, and I hope I struck a balance that makes you come back for that second issue. (NOV 6 -- plug!) It’s where thought balloons make their triumphant return, btw. XOXO

#COPRA #comics #superheroes #Marvel #Keith Giffen #Jim Shooter #Jim Lee #Chris Claremont #Tom Bierbaum #Mary Bierbaum #Fiffe Files

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gorogues · 5 years

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Spoilers for comics in October! (and November)

These are some of the official solicits for that month, which you can see at Newsarama and CBR. Interestingly, CBR also includes a November Flash issue (Flash #82) solicitation, which has Len on one of the covers.

THE FLASH #80 written by JOSHUA WILLIAMSON art by SCOTT KOLINS cover by RAFA SANDOVAL card stock variant cover by HOWARD PORTER “The Hunter and the Hunted” part one! Barry Allen is hurt, and his connection to the Speed Force is fading fast. With the Speed Force dying, the only person who can save it is…Hunter Zolomon? Hunter has returned to prove he’s the one, true Flash, and he doesn’t care who gets in his way. But who is left to deal with the Rogues? Captain Cold has assembled the newly amped-up Rogues to tell them about Lex Luthor’s offer...but are they all willing to take it? ON SALE 10.09.19 $3.99 US | 32 PAGES CARD STOCK VARIANT COVER $4.99 US FC | RATED T This issue will ship with two covers. Please see the order form for details.

THE FLASH #81 written by JOSHUA WILLIAMSON art by SCOTT KOLINS cover by RAFA SANDOVAL variant cover by GUILLEM MARCH “The Hunter and the Hunted” part two! This is one issue you cannot miss! The last gasp of the Speed Force! Can Barry Allen and Hunter Zolomon work together long enough to beat death and save the Speed Force? Can Kid Flash and Avery, the Flash of China, discover what the Rogues want within the wreckage of Iron Heights? Even if the Flash survives, nothing will ever be the same again for the Flash family! ON SALE 10.23.19 $3.99 US | 32 PAGES FC | RATED T This issue will ship with two covers. Please see the order form for details.

ACETATE COVER — ADVANCE SOLICITATION ON SALE IN NOVEMBER THE FLASH #82 writtenby JOSHUA WILLIAMSON art by RAFA SANDOVAL acetate cover by GUILLEM MARCH variant cover by KAMOME SHIRAHAMA “Rogues Reign” part one! The speed force is dead, doom has gripped the earth, and the FLASH lives in a nightmare! Powered-up by Lex Luthor’s offer, Captain Cold led his team of Rogues to ultimate victory over Central City. Through the might of Mirror Master’s amplified abilities, the rogues have re-shaped reality itself into their own kingdoms of cruelty – Heat Wave’s volcanic territory, Weather Wizard’s floating armory of the elements, and at the center of it all, the icy castle of Captain Cold. But with the villains stealing the show, why is the greatest threat to their reign one of their own? ON SALE 11.13.18 $3.99 US | 32 PAGES FC | RATED T This issue will ship with two covers. Please see the order form for details. Please note the acetate covers will be available on first printings only.

It does seem from these cover images that Len is indeed using tech in his suit, but I’m not sure about the others. I’m curious about Marco’s upgrade, and he’s presumably the one with the green arm on the second cover.

And some Rogue-related reprints:

DC’S YEAR OF THE VILLAIN OMNIBUS HC story and art by various cover by GREG CAPULLO The complete collection of DC’s “Year of the Villain” event is here! Following the events of JUSTICE LEAGUE, Lex Luthor takes a major step forward, assembling his Legion of Doom for the final push to replace Superman, Batman, Wonder Woman and the rest of the League as the rightful leaders of not only mankind, but the universe itself! From New York Times best-selling author Scott Snyder (DARK NIGHTS: METAL) and some of the best artists anywhere, including Alex Maleev, Francis Manapul, Jim Cheung, Greg Capullo and more! This title collects ACTION COMICS #1017, AQUAMAN #54, BATGIRL #41, BATMAN AND THE OUTSIDERS #7, BATMAN #82, BATMAN/SUPERMAN #4, BLACK ADAM: YEAR OF THE VILLAIN #1, CATWOMAN #17, DC’S YEAR OF THE VILLAIN #1, DEATHSTROKE #49, DETECTIVE COMICS #1015, THE FLASH #82, HARLEY QUINN #67, HAWKMAN #18, THE JOKER: YEAR OF THE VILLAIN #1, JUSTICE LEAGUE #35, JUSTICE LEAGUE DARK #17, JUSTICE LEAGUE ODYSSEY #15, LEX LUTHOR: YEAR OF THE VILLAIN #1, NIGHTWING #66, RED HOOD: OUTLAW #40, RIDDLER: YEAR OF THE VILLAIN #1, SUPERGIRL #36, SUPERMAN #17, TEEN TITANS #36, THE TERRIFICS #22, WONDER WOMAN #82 and more! ON SALE 03.25.20 $99.99 US | 864 PAGES FC | 7.0625” x 10.875” ISBN: 978-1-779500-885

Cool Golden and Silver Age reprints!

DC’S WANTED: THE WORLD’S MOST DANGEROUS SUPER VILLAINS HC stories and art by various cover by NICK CARDY Take a journey into the dark minds of DC’s most dangerous super-villains in these tales starring The Joker, the Mist, Captain Cold, Signalman, the Puppeteer, Clock King, Mr. Who and many more. Collects WANTED: THE WORLD’S MOST DANGEROUS VILLAINS #1-9 from 1972, which reprinted stories from Action Comics #57 and 69; Batman #25, 84 and 112; World’s Finest Comics #6 and 111; The Flash #114 and 121; Adventure Comics #72 and 77; Green Lantern #1 and 33; Wonder Woman #36; Sensation Comics #66 and 71; More Fun Comics #65, 73 and 76; Flash Comics #86, 90 and 100; All-American Comics #61; Kid Eternity #15; and Doll Man Quarterly #15. ON SALE 03.11.20 $39.99 US | 256 PAGES FC | ISBN: 978-1-779501-134

I’m thinking the following solicit might be reprinting some of the Walmart comics, which would be great because they haven’t been available in Canada (or probably outside the US at all, but I know for sure not in Canada). There’s been a Mirror Master and a Snarts story in the Walmart comics, which I’d sure like to see.

THE FLASH GIANT #1 Includes 24 pages of new stories plus classic reprints! ON SALE 10.02.19 $4.99 US | FC | 96 PAGES

#Captain Cold #Golden Glider #Mirror Master #Heat Wave #Weather Wizard #Zoom #the Flash #spoilers: comics #solicits #tw blood

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collectorscorner · 4 years

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Infante), AR Moon Girl And Devil Dinosaur Volume 8 Yancy Street Legends TP, $17.99 New Mutants #4, $3.99 Revenge Of The Cosmic Ghost Rider #1 (Of 5)(Cover A Scott Hepburn), $4.99 Revenge Of The Cosmic Ghost Rider #1 (Of 5)(Cover B Adam Gorham), AR Revenge Of The Cosmic Ghost Rider #1 (Of 5)(Cover C Ron Lim), AR Revenge Of The Cosmic Ghost Rider #1 (Of 5)(Cover D Logan Lubera), AR Revenge Of The Cosmic Ghost Rider #1 (Of 5)(Cover E Gerardo Zaffino), AR Runaways #28, $3.99 Scream Curse Of Carnage #2 (Cover A Mark Bagley), $3.99 Scream Curse Of Carnage #2 (Cover B Greg Land), AR Scream Curse Of Carnage #2 (Cover C Kael Ngu), AR Spider-Man #3 (Of 5)(Cover A Olivier Coipel), $3.99 Spider-Man #3 (Of 5)(Cover B Sara Pichelli), AR Spider-Man #3 (Of 5)(Cover C Giuseppe Camuncoli 2099 Variant), AR Star Wars Empire Ascendant #1 (Cover A Riccardo Federici), $5.99 Star Wars Empire Ascendant #1 (Cover B Michael Golden Star Wars Greatest Moments Variant), AR Star Wars Empire Ascendant #1 (Cover C 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octaviainthewasteland · 5 years

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Wonder Woman: on female characters in comics PART 3

p. 1, 2, 3

Finally my lazy ass finished it. Warning: Image heavy. Please bear in mind that English is not my first language and we do not beta, we die liek mne!

Part 3: Woman: Warrior, Wife, Wonder

Summary: Critical analysis of the character of Wonder Woman

Under the cut

Previously, I have talked about gender inequality in the comics industry and poor portrayal of female characters in the comics. In this part, I am going to talk about comics as an active political tool, and Wonder Woman as a medium of gender politics.

Lepore and Fawaz both define Wonder Woman as the banner-bearer of the feminist separatist utopia (Lepore, 2016: 199) (Fawaz, Hall, Kinsella, 2017: 9), though they refer to different feminist movements. While Lepore stresses the importance of the movement of 1910s for the invention of Wonder Woman, Fawaz matches Themyscrira, the home island of Wonder Woman, to the idea of separatism of 1970s. As noted by De Beauvoir and Fawaz, it was impossible to imagine the life without men. Women have no separate history, no separate culture. They were attracted to the idea of an island, isolated from the rest of the world. This fantasy on the pages of the comic book has become a safe space for exploring the social, cultural and political possibilities and conflicting notions of a better, desirable world (Fawaz, Hall, Kinsella, 2017: 4).

The very birth of Wonder Woman is a political statement. In the early 1930s Margaret Sanger has led the birth control movement. (Lepore, 2016: 147) The question of to whom belonged the power over the woman’s body has been on everyone’s lips. On the pages of The Origin of Wonder Woman Marston tells a story of a matriarchal birth, a celebration of woman’s agency. (Wonder Woman #1, 1942) Parallels can be found between the legend of Wonder Woman and Christian narratives, even more so than, for example, Superman, who is typically analysed as a Jesus figure. She is born, fathered by no mortal man, and sets on saving the humanity from the forces of hate and oppression, fighting injustice, suffering, intolerance and destruction. She is omnibenevolent and wise, even being chosen by the ring of the Star Sapphires, because her heart is abundant with love (Blackest Night: Wonder Woman #2, 2010) However, Diana has neither father, nor any similar patriarchal figure in her life. She is born in a feminist utopia with no contribution from a man. The significance of this phenomenon cannot be overstated. Wonder Woman is devoid of the weight of patriarchy; hence she is the manifestation of the feminist fantasy (Curtis, 2017: 307). For 70 years she has been an exceptional figure within the pop-culture, centered around the question of Fathers and Children and ignoring the trope of the Absent Mother. The feminist utopian fantasy, though, has been killed in 2012. Of all people, by her own new authors, Azzarello and Chiang. Not only does Wonder Woman have a father now, trivializing her story, taking away her legendary status, but also this new version destroys the sisterhood. In the new version, Hippolyta lies, because she is scared of Hera’s jealousy and revenge. The same Hera, who has protected Diana and Hippolyta from Zeus’ forced advances. The same Hera, who has blessed Diana at birth. Goddesses and Amazons are no longer a monolithic front, now they are pitted against each other, fighting over the affections of a man. Wonder Woman used to be a character born from defiance. Now she is a character born from fraud, and the supremacy of the male principle has been reinstated. (314)

What early villains of the Wonder Woman comics share is their opposition to gender equality. Some villains were fictional, some of flesh and blood. Jill Lepore uncovers a schism, verging on an open war, between the writers of Wonder Woman in 1942 (Lepore, 2016: 210-213). Gardner Fox rejects the idea of the female superhero and downgrades Wonder Woman to typing out minutes and getting trapped to be saved by the male members of the Justice’s Society.

(All-Star Comics #14)

He refuses to include her in the action and show her fighting side by side with the rest of her colleagues. (All-Star Comics #12-17, 1942-43) On contrary, the political influence of Marston’s Wonder Woman grows by leaps and bounds, both in fiction and in real life.

It is worth to also compare the politics of visual presented by the case of Fox and Marston. Under Fox’s pen Wonder Woman becomes a meek female heroine, an incompetent lady, and the textbook token female character, which makes a team diverse without delivering any real contribution. After the death of Marston, she is stripped even of such nominal power. Just as Athena warns Amazons, if they submit to a man, they will lose their powers. The metaphor of the gauntlets is very curious, in fact. Amazons are bound, so that they do not forget what happens if they let man conquer them (Madrid 2009: 36). Surprisingly, Wonder Woman uses the gauntlets to protect herself, deflecting bullets and other weapons. We can see a careful threading of Marston’s motif on the struggle of women. A paradoxical situation of a shackle turned into a shield can be connoted as the remainder for women that they have broken free and they are powerful, but if they submit to a man, they will lose all their power. (Lepore, 2016: 220) Wonder Woman’s lasso is also a reference to a real-life phenomenon, specifically the lie detector. Its invention has fascinated Marston and on more than one occasion he has offered his services as the operator to the US Army (Lepore, 2016: 61). For him it has been a turning point in history of science and politics, and of course, Wonder Woman needs such a device in her adventures.

Opposed to Fox’s portrayal, Marston’s Wonder Woman stands against the International Milk Company that has been overcharging for milk, “an essential element of American children’s lives”. It has been a direct criticism of politicians such as Al Smith. On the pages of the comic books, Al Smith turns into a Nazi secret agent Alphonso De Gyppo, the evil president of the International Milk Company. Twice he tries to kill Wonder Woman, but she manages to escape him and lead a political rally. She captures his evil boss, Baroness Paula von Gunther, and the prices for milk drop, to the gratitude of American children and everyone concerned. Another example involves a fictionalized social critique of the working conditions in America. A textile workers’ strike in Massachusetts, in 1912, is retold as a strike against Bullfinch’s Department Stores, as the workers are underpaid and exploited. The real villain is the fiancé of the lady, who is owning the Department Stores, and when she realizes his true evil nature, she punches him and takes over, doubling everyone’s salaries as the first order. (Sensation Comics #8, 1942)

Everything feminine and girlish had been considered (still is) weak and boring (Lepore, 2016: 187). Marston, on the other hand, believed that men confuse desire with pleasure. They desire domination, while women can receive pleasure from both domination and submission. He felt that if there had been a strong beautiful woman (Marston wanted Wonder Woman to look like a Varga Girl), men would submit to her willingly and she would teach them love and peace. Never before such a character has existed (191). Submissiveness became power.

(georgia peach, alberto vargas, esquire, 1940s)

The Women’s Army Auxiliary Corps are formed in 1942 by Roosevelt. Each issue of the solo Wonder Woman comic book has praised women, who have also been scientists, writers, politicians, social workers, doctors, nurses, athletes, and adventurers – or, in other words, Wonder Women of History. (Lepore, 2016: 220-222) Chained, tied up and gagged women are an allusion on the suffragist movement. Women seemingly reclaim the imagery of bondage and bound, giving it the implication of the struggle, the defiance, and resistance. Moreover, the idea of submission has been the new display of feminine supremacy. (236)

Fretheim suggests noting that Wonder Woman’s weapons form circles and defines them as ‘vaginal weapons’ (Fretheim, 2017: 24) as opposed to phallic weapons such as guns and swords. That it, I must correct myself, until recently. As can be seen in Chiang reimagination of Wonder Woman, she is often depicted on the comic book covers with swords, axes and other weapons.

As if drawn phallic weapons also raise the levels of testosterone, to match her updated apparel, new Wonder Woman is also more short-tempered, aggressive and has actually become the new Goddess of War after defeating Ares. (Cocca, 2014) However, some, like Walter J. Ong, have argued that even the earliest version of Wonder Woman has been ‘too much like a man’. (Lepore, 2016: 255) He criticizes her resistance towards marriage and family life, accuses her of sustaining only on the anti-social pure sexual allure, by standards of the men. He goes on to develop an argument that comics have been fascist propaganda, with the concept of ‘supermen’ directly borrowed from Nietzsche, ‘the herald of Nazism’. (256) If you are not sure who Walter J. Ong is, it is that same man who concluded that Batman and Robin promote homosexuality and we can say thanks to him for the Comics Code nonsense. So, we can see that Wonder Woman has constantly faced accusations of being ‘too masculine’. It is a hard job of being a girl in the boys club: you’re either the lady-friend who inevitably becomes the love interest or you’re a tomboy. Wonder Woman tries to be both, to be neither, to be something else entirely.

Nonetheless, in 1944, out of all comic book superheroes, it is Wonder Woman, who becomes a newspaper strip. There is a considerable difference in exposure between comic books and daily newspapers, opening a whole new audience to Wonder Woman. She joins Superman and Batman as the first trans-media superheroes and thus the Trinity is formed. Marston has always been quite open about Wonder Woman being feminist psychological propaganda for the new type of strong and courageous womanhood. (220) The message of Wonder Woman transcends the comic books and becomes a social commentary on the gender politics and economic environment of the twentieth century.

Unfortunately, this is the temporary liberation. The most sinister villain of them all turns out to be the peacetime. Once again, the comic book works as a mirror, reflecting the changes on the political and socio-cultural stage. With the end of the Second World War, there blooms a daunting realization that the service of women is no longer required. The period of high threat is relieved by the period of low threat and the decisive, tough heroes can loosen up. Not to undermine them and the returning soldiers, women all over the country are fired and urged, those unmarried, to tie the knot, and those married, to hurry up and procreate. Wonder Woman is stripped of her kinky red boots, of her position at the Justice’s Society and ultimately, her powers. She becomes a friendly guide for young ladies, who dream of fairy tale romance, a handsome husband and a multitude of little pink-cheeked copies of him, running around their little cozy house. (271)

Feminist movement gave birth to Wonder Woman. Wonder Woman has become the symbol of the feminist movement. When Wonder Woman has appeared to be chained and depowered and forced to fit into categories she has been fighting against since her creation, “fellow sisters” has come to her aid. She is put on the cover of the Ms. magazine and once again blazes the fantasy of the female superhero, equal to Superman and Batman, and of the all-women culture, glorious in its isolation from the discrimination and oppression of the male imposition. (Lepore, 2016: 283; Fawaz, Hall, Kinsella, 2017: 8)

Wonder Woman returns to peaceful protests on the pages of It Aint Me Baby and feminist newsletters. There starts the try and miss of the comic industry with the female characters. Wanting to cash in on feminists, Marvel attempts to introduce new female characters, but they all fail spectacularly after just a handful of issues. (Lepore, 2016: 289) Forty-five years later, the situation is not much better. Marvel executives even try to put the blame on the readers, because apparently the stories about diverse characters are not selling. (Cain, 2017)

To be fair, in 70s it has been a real issue. Nothing has been selling. Even Wonder Woman. The feminist movement is divided. Radical, liberal and intersectional movements emerge, at odds with each other. The Second Wave supports a predominantly white, heterosexual view.

In 1987, Wonder Woman is rebooted. Pérez and Wein make her more ethnic, acknowledging her origins. They finally bring up the fact that on an island with 100 percent female population, homosexual relationships take place. (Wonder Woman Vol. 2 #38, 1990) In the #180 issue Diana is in a relationship with an African American man, Trevor Barnes. She gains her powers back. She addresses the issues of race, sexuality and gender. Wonder Woman rises again on the crest of the Third Wave of Feminism: a struggle for equality, diversity, complexity, inclusivity, individualism and cultural critique. (Cocca, 2014) However, due to historical processes, as history does not evolve in a linear, progressive fashion, the maturity and growth call for a major backlash (Cocca, 2016: 10). The comic books are then overflowing with hyper-masculine men and hyper-sexualized women. The new Wonder Woman, Artemis, has been criticized and remained unaccepted both by readers and by the characters of the comics themselves. For instance, Batman is openly dismissive of her and objects to her presence, going as far as forbidding Artemis to even sit in Diana’s chair in the Justice League Headquarters. (Wonder Woman Vol. 2 #90, 1994) The problem with Artemis is that she is too aggressive, too rash, and therefore, does not fit the norms of femininity, imposed by the predominantly male audience.

Wonder Woman is rebooted anew in 2011, as mentioned before. Contrary to the critiques that Artemis has received, this Diana is also aggressive and ‘male-like’. Here we can notice a similar pattern. Because female empowerment associates in men’s mind opposite proportionately with male disempowerment, a strong female superhero that challenges the social structures terrifies the reader. Hence, Amazons are both objectified and dehumanized. They are no longer peaceful immortal protectors – after the reboot, in order to maintain their population and quench their sexual thirst, they engage in sexual intercourses with sailors, who have expressed dubious consent and are often killed off afterwards. Newborn girls are to stay on the island, while boys are sold into slavery to Hephaestus in exchange for weapons. Amazons’ queerness is erased from the narrative. Wonder Woman discovers that she has a brother, who is somehow more powerful than she is. (Justice League Vol. 2 #50, 2016)

She also pursues romance with Steve Trevor. Their relationship is truly a double-edge sword. He has appeared in the first issue of Wonder Woman and has remained her supporting character since. The polarity of his character lies in the interpretation. From one side, he is a ‘token boyfriend’ (Robbins, 2006), from the other, he is a lonely boy in the refrigerator. Robbins argues that introduction of Steve Trevor should ensure the reader in Wonder Woman’s heterosexuality. Therefore, he is the political instrument that positions Wonder Woman in the framework of heteronormativity. On the other hand, it is an interesting subversion of the ‘damsel in distress’ trope. Steve Trevor gets in trouble and Wonder Woman rushes to his rescue. His suffering propels her plotline and he is secondary to her character, not having much of a distinct personality, changing with the trends over time, reflecting what kind of man is popular at that instance. The only constant is the mesmerized ‘Angel’ to Diana, which, in fact, either baffles or irritates her. (Sensation Comics #2, 1942) Either way, the existence of the character of Steve Trevor restricts Wonder Woman from exploring her diverse sexuality, but on the other hand constructs a new meaning for visual representation of Wonder Woman in the comics.

During the Second World War, people have been constantly bombarded – by standardized imagery. With the rise of Communism and the National Socialism, the rhetoric of good and bad has returned to the military conflict. One side is morally right; their opponents then must be immoral and wrong. One side is the hero and the other side is the villain, aiming to oppress, torture and destroy. As we know from the fairytales, from everything we have been taught, the good side always wins the evil. The hero always arrives just in time and saves everyone. This stream of non-stop visuals from the media has produced something Alvin Toffler calls a ‘mass-mind’. (Toffler, 1980: 176) The comic books promote All-American ideology and the image of the superhero that defends the world with the help of the good sports from the American Army. It is a ready-to-wear moral certainty. The movements are represented by a particular group: the feminist movement is predominantly white and heterosexual; the LGBT movement receives one-dimensional representation of the G.

In the late 70s the stream gradually becomes less uniform. Toffler introduces the concept of ‘a blip culture’ (177), a culture of confusion, feeling of abandonment and anger, because now the visuals are fragmented, contradictory, people are left to give these ‘blips’ their own meaning. The system pulsates with bigger and bigger amounts of data. Today we want out information fast. Faster. Memes, photos, tweets, and headlines of the articles we are never going to open to read in full at the top of the IPhone screen. We prefer to digest information through visuals. It does not matter where we live, in a developed or a developing country, in a metropolitan city or in the countryside, we stay up to date with the pop-culture. It necessarily consists of the modern and old media, which become another ode of propaganda and promotion of the ideas, people and trends that just ought to become popular. The power of textual is substituted by the power of the visual.

Comics are the low genre of entertainment. It is primarily identified as being strictly for children and youth (Ndalianis, 2011: 113). And yet it has victoriously invaded the mainstream media. No matter how much so-called nerds desire to maintain the illusion of an exclusive boy-club, who are socially awkward and misunderstood by everyone, it is no longer a niche. The comic book characters’ faces decorate lunch boxes and backpacks; they become a new type of celebrity, symbols of the generations. It is no longer the comics in itself that is important – but the superheroes. The phenomenon of the superhero has transcended the medium of the comic book. Pop-culture turns politics into another component of the field of entertainment, and brings it on the transnational level. It becomes a performance, where the spectators are the citizens, divided into the politically charged individuals and apolitical witnesses. The superheroes are a fiction, but the borders of the fiction and the reality blur. With appearance of the superheroes on the screen, the audience starts associating the character with the face of the actor. Because the superheroes are already surrounded by myths, different interpretations and fandom, the figure of the superhero can become more real than the person, playing him or her. The imagery and simulacra, which are the foundation of the society, create a model of the prevailing life style of the said society. It is not the aggregate of the characters, but the social relationships between people, intermediated by these characters. (Baudrillard, 1994)

To support my argument about how the superheroes received the status of celebrities and how Wonder Woman has become a simulacrum of the political figure, we need to break down the process into five stages. I shall bring some examples to build a case to explain how the superheroes have evolved in our consciousness and from mirrors have transformed into active agents that represent and influence masses.

In 1996, a special edition comic book has been released, featuring Superman, to promote the landmine awareness among children. The comic has been distributed to Bosnia and the territories of the former Yugoslavia. DC has published the comic book in cooperation with the Department of Defense and UNICEF. So, exhibit one: the superheroes, as the role models, are suitable to educate children.

In 2016, a certain video has gone viral under the name Avengers Against Trump. In reality, it has little to do with Marvel and its team of superheroes, but it has starred some of the actors from the cast of the Avengers, such as Scarlett Johansson, who have been emphasizing the importance of each and every vote. Their disdain for Trump becomes the disdain of the superhero they play. Exhibit two: the process is started, the reality and the fiction begin to merge, the figure of the actor is perceived not as a celebrity of interest, but as the avatar of the superhero.

On February 7, 2016, Turkish Airlines has released a commercial, where they have been ‘pleased to announce the new destination: Gotham City’. Ben Affleck appears during the commercial, credited as Bruce Wayne. Exhibit three: real life companies utilize the superheroes as the ambassadors of the brand. The line between performers and the superheroes they play becomes even thinner. The superhero becomes more real.

In this fashion, Wonder Woman is no different. Maybe even more exemplary, as she has been created specifically as feminist propaganda. The artwork in Mural, Philadelphia, depicting Wonder Woman landing a punch on Donald Trump, illustrates quite well the extent to which the reality of our social and political consciousness and superhero narratives influence each other.

Wonder Woman is a superhero, which defends all defenseless and openly stands against discrimination and oppression – and there she stands against Donald Trump, a person in a position of power, who is infamous for his racism and sexism. Exhibit number four: gathering information and background from the comics, TV-shows and movies, we analyse it and draw our own conclusions and assume that the superheroes have certain opinions about the realm of noumena, to which they do not belong, and what these opinions would be. Most people would agree that Batman is – notice how the conditional would be is dropped – for gun control. Harley Quinn is crazy about Comic-Cons. Wonder Woman is anti-Trump.

Wonder Woman has become a symbol and a spokesperson of modern feminism through this fusion of fiction, politics and personalities of the actresses. Wonder Woman has become a simulacrum of a celebrity and by extension a political figure. She makes choices, supports some politicians and publicly disapproves others. The critical point of this development takes place on October 21, 2016, when the UN has decided to use Wonder Woman in an honorary role in the empowerment campaign to fight for gender equality, and thus, Wonder Woman is appointed as the UN ambassador. The final exhibit: it shows that the superhero is treated like a real person and has been given exercisable political power. One might point out that she has been demoted from the position two months after, but the case rests. We live in a world, where Wonder Woman has become an ambassador of the United Nations, even if only for two months.

(Wonder Woman design art, Harry G Peter, 1942)

Bibliography

Fawaz, R., Hall, J., & Kinsella, H. (2017). Discovering paradise islands: The politics and pleasures of feminist utopias, a conversation. Feminist Review, 116(1), 1-21.

Lepore, J. (2015). The Secret History of Wonder Woman. New York: Knopf.

Curtis, N. (2017). Wonder Woman’s symbolic death: On kinship and the politics of origins. Journal of Graphic Novels and Comics, 8(4), 307-320.

Madrid, M. (2009). ‘Sirens and Suffragettes.’ The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines. Ashland, OR: Exterminating Angel, 2009. 145–81. Print.

Fretheim, I. M. (2017) Fantastic Feminism: Female Characters in Superhero Comic Books. Trykk: Reprosentralen, Universitetet i Oslo

Cocca, C. (2014). Negotiating the Third Wave of Feminism in "Wonder Woman". PS: Political Science and Politics, 47(1), 98-103.

Cocca, C. (2016). Superwomen: gender, power, and representation.

Cain, S. (2017). Marvel executive says emphasis on diversity may have alienated readers. The Guardian. Available at: https://www.theguardian.com/books/2017/apr/03/marvel-executive-says-emphasis-on-diversity-may-have-alienated-readers [last accessed on 1 May, 2018]

Robbins, T. (2006). Wonder Woman, Lesbian Or Dyke?: Paradise Island as a Woman's Community. Available at: http://girl-wonder.org/papers/robbins.html [last accessed on 15 April, 2018]

Toffler, A. (1981). The third wave. London: Pan in association with Collins.

Ndalianis, A. (2011). Why Comics Studies? Cinema Journal, 50(3), 113-117.

Baudrillard, J. (1994). Simulacra and Simulation. Ann Arbor, University of Michigan Press.

Fly to Gotham City with Turkish Airlines! Super Bowl TV SPOT (2016) Available at:

https://www.youtube.com/watch?v=pS7JBHxdxko [last accessed on 8 May, 2018]

Avengers Against Trump. Available at: https://www.youtube.com/watch?v=NnK9tEdNjX8 [last accessed on 8 May, 2018]

#Wonder Woman #Diana Prince #DC comics #dc girls

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eddycurrents · 6 years

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For the week of 10 September 2018

Quick Bits:

Archie: 1941 #1 is fairly morose and downbeat in tone and execution as a recently graduated Archie Andrews seemingly sleepwalks through this opening chapter, depressed and anxious about the future, both in terms of what he wants to do with his life and with the growing fear of the war in Europe. It’s not bad, elevated by wonderful art from Peter Krause and Kelly Fitzpatrick.

| Published by Archie Comics

Birthright #31 returns after an extended break, opening a new arc following Kallista and Brennan, while diving into the backstory of Mastema. I like Joshua Williamson taking us off down this thread and the art from Andrei Bressan and Adriano Lucas is as beautiful as always.

| Published by Image / Skybound

Cemetery Beach #1 is a very entertaining start to this new action/sci-fi mini-series from Warren Ellis, Jason Howard, and Fonografiks. It’s been a while since I’ve seen some of Ellis’ dialogue be this funny, but it’s very welcome.

| Published by Image

Champions #24 tackles the increasing problem of school shootings with the added intersection of a world with superheroes. Now, that may sound like a recipe for disaster, condescending patronizing or an after school special with saccharine solutions, but that’s not what’s presented here. Jim Zub, Sean Izaakse, Marcio Menyz, Erick Arciniega, and Clayton Cowles instead present a thoughtful story of the helplessness of the situation, that you really should pick up and read for yourself.

| Published by Marvel

Crowded #2 is as good, possibly even better, than the first issue as we get further development of Vita and Charlie’s characters, and a broader understanding of many of the facets of the series’ world. This really is a great comic, wonderful humour, amazing premise, interesting characters, and beautiful art. Christopher Sebela, Ro Stein, Ted Brandt, Tríona Farrell, and Cardinal Rae have something special here. Don’t sleep on it.

| Published by Image

Exiles #8 is a good jumping-on point, as the team’s history is explored and the issue sets up a new group of antagonists in the Watchers. Saladin Ahmed is doing a great job of building these characters and making their unique alternate realities interesting. Nice guest art this issue from Joe Quinones, Joe Rivera, Jordan Gibson, Chris Sotomayor, and Muntsa Vicente.

| Published by Marvel

Fantastic Four #2 has a couple things in its opening page that could be considered problematic, the first in its depiction of an alien race that could be an analogue to the racial stereotype of Native Americans as the “noble savage”, the second is of the sexualization of a child. Neither are particularly endearing in how they’re presented and I’m kind of surprised they made it to print.

That being said, the rest of the issue is pretty good. It’s the kind of sci-fi adventure you’d expect from the FF, though it does feel like we’ve been dropped in at the end of an adventure we’ve never seen, and it has beautiful artwork from Sara Pichelli, Elisabetta D’Amico, and Marte Gracia.

| Published by Marvel

Hot Lunch Special #2 is just plain great storytelling. Eliot Rahal, Jorge Fornés, and Taylor Esposito are crafting a crime story here that is the perfect storm of characters, plot, and execution. It’s dense and heavy, navigating through the Khoury family and their shock at the death of their youngest, masterfully told through both dialogue and art.

| Published by AfterShock

Iceman #1 isn’t a bad start to a new series from Sina Grace, this time with Nathan Stockman and Federico Blee joining him for the art duties. While still cracking wise a bit, this seems like it’s going in a much more serious direction than some of Grace’s previous series. Great art, and an interesting hook for a new group trying to “cleanse” mutantkind.

| Published by Marvel

Infinity Wars #3 gives us the twist in the tale that’s going to deliver most of the tie-ins and spin-offs for the series, as Gamora remakes the world and causes the fusion of various heroes. It’s an idea we’ve seen before in things like the merged DC/Marvel Amalgam universe, which could be fun depending on where the creative teams take it.

| Published by Marvel

MCMLXXV #1 is kind of a mash-up of different 70s exploitation film genres, creating an interesting action horror story from Joe Casey, Ian MacEwan, Brad Simpson, and Rus Wooton. MacEwan’s art is very nice, reminding me a bit of Troy Nixey, with some interesting character designs and wonderful depictions of the action.

| Published by Image

Mech Cadet Yu #12 concludes the series with a final battle between the robos and the Sharg, again following the important themes of teamwork and sacrifice. This has been a very entertaining, action-packed story from Greg Pak, Takeshi Miyazawa, Raúl Angulo, and Simon Bowland.

| Published by BOOM! Studios

Oblivion Song #7 is the big answer to the Transference, maybe, as the series turns itself on its ear again with more sweeping changes. I really quite like how Robert Kirkman and Lorenzo de Felici are keeping us on our toes as the series keeps pressing forward.

| Published by Image / Skybound

Peter Parker: The Spectacular Spider-Man #309 concludes this two-parter focusing on Sandman, with gorgeous art from Chris Bachalo and his army of inkers. This one’s a lot more action-oriented than the quiet reflection upon death in the first chapter, but it’s still very satisfying.

| Published by Marvel

Runaways #13 begins a new arc with some incredible guest art from David Lafuente and Jim Campbell. Along with the return of Alex Wilder, this drops in another old threat for the team, leading to one of the more action-packed issues of the series so far. Still, amidst the chaos, Rainbow Rowell still has a laser-focused eye for character development, giving us some interesting reactions to Wilder’s return.

| Published by Marvel

Scales & Scoundrels #12 concludes this two-part arc with Dorma and with it the series for the foreseeable future. This has been a great all ages fantasy adventure series from Sebastian Girner, Galaad, and Jeff Powell, and I wish it had have caught on better since the quality has been extremely high. Great characters and beautiful art, I do hope they find a way to bring it back in some form, and I highly recommend people to check out the series in the collections.

| Published by Image

Volition #2 is another beautiful comic. The artwork from Omar Francia is gorgeous with a nice polished sheen to the colours that enriches this world of sentient machines.

| Published by AfterShock

Weapon H #7 continues to be more entertaining than anyone probably thought possible. Though I really quite like Cory Smith’s art, I’m thinking that Ario Anindito’s is even more suited to the weird, alien creatures of this turn in the story.

| Published by Marvel

The Wrong Earth #1 is a solid debut, kicking off new publisher, Ahoy’s, foray into comics. It’s a nice package with a lead story, a back-up comic, some interviews, a one pager, and a short story. It gives nice value for what you’re picking up, especially when you consider the talent involved.

The lead story from Tom Peyer, Jamal Igle, Juan Castro, Andy Troy, and Rob Steen is the main draw, though. It’s a rather brilliant premise of a superhero crossing alternate realities, switching from a kind of Adam West Batman-esque quaint, bright world to a much darker grim and gritty world, and vice versa. It’s executed very well, capturing the tone and atmosphere for both takes perfectly.

The backmatter also nicely enhances the experience, particularly the back-up comic featuring Stinger from Paul Constant and Frank Cammuso, presented in a kind of retro comics fashion. And a suitably bonkers adventure prose story from Grant Morrison, with illustrations by Rob Steen.

| Published by Ahoy Comics

X-23 #4 pushes further to paint the Cuckoos as out and out villains now. Which is a bit of a shame, much like with Emma Frost, but I can’t deny that Mariko Tamaki isn’t doing something interesting with them and the story overall. Also, Juann Cabal and Nolan Woodard continue to deliver stunning artwork.

| Published by Marvel

X-Men Blue #35 takes a moment for each of the time-tossed original five X-Men to chat with their present day counterparts about going back to their own time, while flashing forward to the seemingly nightmarish future that would exist if they stayed. Obviously with Extinction going on events are a bit out of order, but I still like the handle Cullen Bunn has had on these characters.

| Published by Marvel

Other Highlights: Accell #14, Amazing Spider-Man #5, Astonisher #10, The Beauty #23, Dejah Thoris #8, Charlie’s Angels #4, Daredevil #608, Domino #6, Farmhand #3, GI Joe: A Real American Hero #256, Head Lopper #9, Joe Golem: The Drowning City #1, Journey Into Mystery: Birth of Krakoa #1, League of Extraordinary Gentlemen: Tempest #2, Low Road West #1, Mage: The Hero Denied #12, Moth & Whisper #1, Ms. Marvel #34, Nancy Drew #4, The New World #3, Ninja-K #11, Old Man Logan #47, Proxima Centauri #4, RuinWorld #3, the seeds #2, She Could Fly #3, Sleepless #7, Star Trek: The Next Generation - Terra Incognita #3, Star Wars: Darth Vader #21, Star Wars: The Last Jedi #6, The Unbeatable Squirrel Girl #36, Venom: First Host #3, Wasted Space #5, The Weatherman #4, The Wicked + The Divine #39, World of Tanks: Citadel #5

Recommended Collections: Anthony Bourdain’s Hungry Ghosts, Dissonance - Volume 1, Dry County Complete, DuckTales - Volume 3: Quests & Quacks, Elsewhere - Volume 2, Infinity Countdown, Infinity Countdown Companion, Kick-Ass - Volume 1, Koshchei the Deathless, Mighty Morphin Power Rangers - Volume 6, Oblivion Song - Volume 1, Slam: Next Jam, Star Trek: The Next Generation - Through the Mirror, Star Wars: Darth Vader - Volume 3: Burning Seas, Star Wars: Thrawn, Strangers in Paradise XXV - Volume 1: The Chase

d. emerson eddy did not start a joke that started the whole world crying.

#This Week in Comics

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coolfilesnetworkm48-blog · 4 years

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qgnfullprogramsblog-blog · 4 years

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jeanklemwriter · 7 years

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Marvel recently made yours truly (and a good number of other people) pretty cross with their recent statements that their attempts at diversity aren’t working and that “people don’t want diversity”.

Let’s ignore how Marvel charts sales only via floppies, and not trade paperbacks and/or digital copies. Let’s ignore how Marvel fails to hire new writers to reflect their diverse characters or audiences. Let’s instead focus on a graphic novel industry that’s currently eating Marvel’s pie while it complains about SJWs and makes old characters Nazis (because women inheriting Thor’s title is cardinal sin, but making them Nazis is A-OK).

Let’s talk about manga.

The Big Two, these being DC and Marvel, have a lot they should be learning from manga. It’s a growing industry! It survived a cataclysmic bubble-burst in 2008, but currently is still in a growth period. Shonen Jump has survived its print parallell being shuttered, as a digital-only publication. What are the likes of One-Punch Man, Please Tell Me! Galko-Chan!, and Attack on Titan doing that DC and Marvel aren’t? Well, for starters (more after the break)...

Manga is cheaper. Used to be, people on Gaia Online would joke that manga was a drug because it was more expensive than crack, but that’s not quite true. When it started, a Shonen Jump trade paperback (commonly called a “tankoubon”, because that’s what they’re called in Japan) would retail at $7.95. Eventually, Viz bumped up the price--to $9.95 a pop. Today, you can expect to spend as much as $12.99 a pop per tankoubon, although Shonen Jump stuff still retails at just under $10, for something between 190 - 256 pages in length. Meanwhile, the MSRP for a 168-page-long Spider-Man trade paperback is $24.99. A lot of arguments can be made here: anime is only in black-and-white, the paper stock is different. But why is an imported comic that needs to be licensed, translated, edited, published, then distributed a cheaper alternative than a comic made in the US? Monthly issues (”floppies”) are a terrible investment, clocking in at $3 - $7 a pop, only 16 pages, and flimsy/fragile as all heck! Worse yet, in Marvel’s case, digital copies of the same issue cost the same as the print copy. (With Shonen Jump? They’re three bucks cheaper.) People only have so much cash, and they want their money to last: a story that’ll last you ten minutes isn’t going to be considered if that same money can go to a game that’s on sale on Steam. Considering how much work goes into a comic, I’d never even dream to consider that comics should be cheaper, but at least give people more bang for their buck.

Manga stories aren’t a messy web. When I started reading Dan Slott’s Amazing Spider-Man run in 2014, there was a whole extra series being sold alongside it that I also found myself needing to read: Learning to Crawl, which was sold as--get this--decimal-issues of Amazing Spider-Man. LtC counted as issues 1.1 to 1.6 of ASM. What. It can be argued that Learning to Crawl wasn’t necessary to understand Amazing Spider-Man, but then an important character introduced in LtC became an important recurring character in ASM. Now, let’s get even messier: ASM continued with the Spider-Verse event, with no less than four comics tying into the darn thing: Edge of Spider-Verse, Spider-Man 2099, Spider-Woman, and Amazing Spider-Man. All of those characters and comics were involved, and had a hand in that event. I didn’t read all of those comics, only EoSV and ASM--so I can’t begin to explain why Spider-Woman was hiding in the Inheritor World when she was, or how Kaine appeared. Compare this to 20th Century Boys, Naoki Urusawa’s tale of childhood, post-war Japan, friendship, and political intrigue. If you want to understand that story, pick up volume one (I insist, it’s so good) and start reading. Wanna catch up on Berserk while its on hiatus? Just buy a volume and start reading! Anyone jumping into a comic book has to be ready to read three different books just to get the low-down on one story, which doesn’t combine well with the aforementioned pricing problems. Floppies are already a tough investment, and they feel even cheaper when you’re supposed to supplement them with even more purchases. It gets worse when you remember...

Manga stories don’t come with baggage. Amazing Spider-Man wasn’t as great an introduction to the character as it could have been. If Peter Parker wasn’t such a cultural marker, that story would have left me confused. Who is this guy in the red-and-blue? Why does he have spider-powers? On a deeper level, what happened with him and Doctor Octopus?! Yeah, see, ASM takes place after a period of time where Doctor Octopus switched minds with Peter Parker and took over his body, becoming the “Superior Spider-Man”, and ASM starts with Peter having regained his body and finding the messes that Doc Oc left for Peter--and trust me, not having read the SSM books, I was surprised to see stuff like Electro and Black Cat having a vendetta against Spidey, or Mary Jane having married someone else. In other words, to understand a current comic book character, you’ve had to have been reading about them for over two years--or dived into a wiki. Now, few manga in the US have lasted the forty-plus years that the likes of Captain America, Batman, or Animal Man have, but even after 84 volumes One Piece is somehow still easier to jump into than an alleged reboot (they’re pirates looking for treasure, also yo-ho-ho Luffy took a bite of gum-gum). If your point is to create an entry point for new readers, you’ve failed when people need to read at least one other book to understand the current one.

Manga covers a lot of ground. Used to be, comics in the US had all kinds of genres: besides superheroes, we had romance, horror, suspense, crime thrillers, and comedies. The rise of the Comic Book Code changed all of that; now all DC and Marvel publish are superheroes. Shonen Jump may be the house that’s ruled by Dragon Ball and One Piece, but Shonen Jump still has piles of variety. Besides action stories, they also cover comedy (Cowa!, Gintama), romance (I’’s, Strawberry 100%), horror (Muyo and Rohji’s Supernaural Detective Agency), sports (Prince of Tennis, Eyeshield 21) and thrillers (Death Note). I’m only covering series that are licensed in the US, mind--Japan has weirder stuff from Shonen Jump, like the positively-ancient KochiKame. Too much emphasis is put on capes in the Big Two. Even their attempts at moving away from that are overshadowed by capes: Grayson may have been a spy thriller, but it still starred Dick Grayson, alias Nightwing (and onetime Batman). Gotham Academy was a fun adventure series set in a large prep school--in the middle of Gotham City. The closest we could hope for Marvel to do as a romance would be Spider-Man Loves Mary-Jane. It seems Marvel and DC aren’t capable--or willing--to release anything that isn’t attached to their superheroes. (There’s a lot to unpack with that last statement, and there’s no space and time to cover that--let’s just say you can’t have an audience you don’t cultivate, and you can’t complain about people ignoring you if you ignore them.) Finally...

Manga actually hires women. Two of the most beloved manga of all time, each responsible for an entire generation of manga fans, are Ranma 1/2 and Inuyasha. They’re both romantic comedies with lots of action; the former is more comedy than action, the latter is more action and fantasy than romance. Both of these came to be genre-defining works. Their creator? Rumiko Takahashi--a woman. She’s not alone, either: Naoko Takeuchi’s Sailor Moon, Yana Toboso’s Black Butler, CLAMP’s Chobits, xxxHolic, and Tsubasa Resorvoir Chronicles, Hiromu Arakawa’s Full-Metal Alchemist... there is a not-insignificant list of very, very prolific manga that are written and drawn by women. Meanwhile, DCs policies during the New 52 meant that only two women worked with them: writer Gail Simone and artist Amy Reeder. A lot of people on the internet argue for a total meritocracy: that creators should be hired for their talent or skill, and not because they’re women/people of color. But you can’t have a healthy industry without a wide variety of creators. A wide, diverse team of writers means you have a wide, diverse set of viewpoints and experiences that translate to different stories. Ranma 1/2 isn’t a great story because Rumiko Takahashi is a woman, it’s a great story because Rumiko Takahashi is a great writer and artist. But she actually had to get hired in order to make Ranma 1/2. The only reason for Marvel and DC to not have more women in their teams is if they don’t give a crap... and, really, that’s quite telling: you can’t complain attempts at diversity aren’t working if you’re not willing to commit to it. Manga isn’t great at diversity either, owing to Japan’s far-more-ethnocentric population, but there’s still startlingly-more variety with manga than there’s ever been with comics in years. If publishers in the US want to make better business, start looking at how their international fellows handle business. Millions of One Piece fans worldwide exist for a reason.

#marvel #dc #shonen jump #diversity #comics

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cbilluminati · 7 years

Text

So many great titles from IDW this week, and we have your early look at them all. Here’s the IDW Publishing Previews for 1-18-2017.

Action Man, Vol. 1

Writer: John Barber Artist: Paolo Villanelli Cover Artist: Chris Evenhuis

He’s the world’s greatest special agent… until he dies saving the planet, with all the world’s eyes on him. Now his young protégé has to step into the role—whether he’s ready or not! Collects issues #1–4 and the Revolution: Action Man one-shot.

TPB • FC • $19.99 • 128 pages • ISBN: 978-1-63140-809-0

Bullet points:

“Strike(s) a balance between innocent, old-school spycraft and a more grounded, real-world-influenced take on the franchise.” –IGN

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Angry Birds Comics: Game Play #1

Writers: Paul Tobin & Various Artists: Paco Rodriques & Various Cover Artist: Ciro Cangiolosi

An all-new season of Angry Birds Comics is here! Featuring art and stories from some of today’s finest storytellers, this new series is guaranteed to please readers of all ages who love the Angry Birds app or great comics in general!

FC • 32 pages • $3.99

Bullet points:

Fresh off the successful launch of the new app, these stories focus on the fun and magic surrounding one of the world’s most popular and well recognized game properties!

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The Art of Zach Howard, Vol. 1: Wild Blue Yonder

Writer: Zach Howard Artist: Zach Howard Cover Artist: Zach Howard

Zach Howard has been producing art for some of entertainment’s biggest companies, working on projects like Shaun of the Dead, Spiderman, X-Men, G.I. JOE, and Batman along the way being nominated for an Eisner award and multiple indie awards. In this series, fans get a behind-the-scenes look at his process of creation. Volume 1 focuses on the critically acclaimed series Wild Blue Yonder providing pages of preliminary pencils and finished inks.

TPB • B&W • $9.99 • 48 pages • 8.5” x 11” • ISBN: 978-1-63140-811-3

Bullet points:

“Zach Howard…just crush(es) it. Wild Blue Yonder is stunning beyond belief. The dirt and grit of the world clings to the characters. This is a lived-in universe, a place where you can see the wear and tear on nearly everything.” –IGN

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The Complete Chester Gould’s Dick Tracy, Vol. 21

Writer: Chester Gould Artist: Chester Gould Cover Artist: Chester Gould

Dick Tracy leaps into the Space Age when Diet Smith’s experimental Space Coupe brings back a visitor from outer space! Meet… Moon Maid, the most outrageous character in the strip’s entire history. Prior to venturing where no detective has gone before, Tracy deals with some very earthbound—and gruesomely entertaining—adventures, including the use of napalm (!) to flush out a gang of crooks from their hideout. In these strips from August 27, 1962 through April 12, 1964 Tracy mixes it up with the criminal 52 Gang—each named for a card in the poker deck—who have found a novel way to dispose of the corpses of their enemies, Junior is smitten by a girl who literally wants him dead, Sparkle

Plenty falls into the hands of crazed modern artists and their ape accomplice, and (six months before it happened in the “real world”) a doctor has perfected heart transplant surgery—but in this case it’s on unwilling victims!

HC • B&W • $44.99 • 272 pages • 11” x 8.5” • ISBN: 978-1-63140-794-9

Bullet points:

“One of the best things to happen to the comic market in the last few years was IDW’s decision to publish The Complete Chester Gould’s Dick Tracy.” –Scoop

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Dirk Gently: The Salmon of Doubt #4

Writer: Arvind Ethan David Artist: Ilias Kyriazis Cover Artist: Ilias Kyriazis

Plagued by nightmares of a life he never had, Dirk Gently discovers that a holistic detective can have more than one past, and they’re about to catch up with him! Featuring favorite characters from the original books as well as the cast from the TV series, including Samuel Barnett and Elijah Wood!

FC • 32 pages • $3.99

Bullet points:

The star of two (almost three) beloved Douglas Adams novels!

Written by executive producer of the TV series Arvind Ethan David!

Executive produced by Max Landis (Chronicle and Superman: American Alien), the writer of the BBC America TV series!

Each issue will have a photo cover featuring the cast of the show!

Ask your retailer about variant cover by Robert Hack (Sabrina the Teenage Witch)!

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Donald Duck: Timeless Tales, Vol. 2

Writer: Romano Scarpa, Giorgio Cavazzano, Luciano Bottaro, Lars Jensen, Daniel Branca, Pat McGreal, Joe Torcivia, Thad Komorowski Artist: Romano Scarpa, Giorgio Cavazzano, Luciano Bottaro, Lars Jensen, Daniel Branca, Pat McGreal, Joe Torcivia, Thad Komorowski Cover Artist: Andrea Freccero

“Howlin’ crashwagons!” IDW’s Donald Duck comics come together in a collectors’ hardback with more of what you want: more amazing epics by Romano Scarpa, Giorgio Cavazzano, and other great comics maestros; more danger for desperate Donald, and more bills for Uncle Scrooge McDuck, forever hauling his nephew’s fat out of the fire! With extras for true Disney Comics aficionados, this collection provides hours of history and thrills. Collects issues #7–12.

HC • FC • $29.99 • 256 pages • 7.25” x 10” • ISBN: 978-1-63140-765-9

Bullet points:

Beautiful Hardcover Edition for Disney Collectors!

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Ghostbusters Annual 2017

Writer: Erik Burnham Artists: Dan Scoening, Rachel Stott, Corin Howell, Erik Evensen Cover Artist: San Schoening

Join us for this special double-sized annual, featuring Ghostbusters past, present… and future! Learn the origin of Slimer! Witness a crazy bust in the Midwest with the Chicago Ghostbusters! Find out what Winston Zeddemore was up to during the Scolari Brothers incident in Ghostbusters 2! And peek into the future at the next generation of Ghostbusters… and much more! Be there or be slimed!

FC • 48 pages • $7.99

Bullet points:

The secret origin of Slimer and much more!

Part of IDW’s 2017 Annual Offensive! Over-sized and action-packed key stories in a deluxe format!

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Jem and the Holograms Annual 2017

Writer: Kelly Thompson Artists: M. Victoria Robado, Maria Jose Barros, Svanna Ganucheau, Katarzyna Witerscheim, Gisele Lagace Cover Artist: W. Scott Forbes

The Starlight Girls have been writing and drawing an “exquisite corpse” style fan fiction comic that re-imagines their favorite pop stars — Jem & The Holograms — as pop-stars by day and renegade space heroes by night. Follow the adventures of Jem and The Holograms as you’ve never seen them before — superheroes fighting to save the universe from the evil Majestrix Pizzazz and her…army of Mecha-Spider-Pizzes!?!? OMG.

FC • 48 pages • $7.99

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My Little Pony: Princess Twilight Sparkle

Writers: Various Artists: Various Cover Artists: Various

The celebrated animated series comes to book shelves! Revisit the habitants of Equestria and learn about the magic that friendship brings in this adaptation of the television series. This volume adapts the two-part “Princess Twilight Sparkle!”

TPB • FC • $7.99 • 148 pages • 5” x 7” • ISBN: 978-1-63140-802-1

Bullet points:

Fan-favorite television episodes adapted for readers of all-ages!

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The October Faction: Deadly Season #4

Writer: Steve Niles Artist: Damien Worm Cover Artist: Damien Worm

With their first clue to Fred Allan’s disappearance, the rest of the Allan family turns to Geoff’s magic in an attempt to find their missing father. Meanwhile, a manhunt’s on for Fred as he tries to survive in a dead city. Will the family be able to locate him before the monstrous children of his old enemies hunt him down?

FC • 32 pages • $3.99

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Popeye Classics #54

Writer: Bud Sagendorf Artist: Bud Sagendorf Cover Artist: Bud Sagendorf

The genius of Bud Sagendorf! You’ll have plenty of ARF ARFs when you read about Popeye going up against Dynamite Dan in “Gentlemen Only!” Swee’pea, Pappy, Olive Oil and Wimpy join the one-eyed sailor in “Gone!” Plus “Mountain Monster” and “O.G. Wottasnozzle, The Only Man on Earth with the Atomic Brain.”

FC • 32 pages • $4.99

Bullet points:

Variant cover by Jorge Gutierrez!

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Powerpuff Girls #6

Writers: Haley Mancini and Jake Goldman Artist: Nicoletta Baldari Cover Artist: Nicoletta Baldari

While stopping The Fashionistas in their latest attempt to steal the coveted Diamond Pumps, The Powerpuff Girls get blasted by an experimental SASSY RAY! Have they gone from “sugar, spice and everything nice” to “sass, frass and zero class”… forever?!

FC • 32 pages • $3.99

Bullet points:

Comic series written by show writers Jake Goldman and Haley Mancini–Haley is also the voice of arch-villainess PRINCESS MOREBUCKS! Each issue ripped directly from the NEW world of The Powerpuff Girls.

Each retailer incentive cover will be by a Powerpuff Girls animator!

Variant cover by Julia Vickerman!

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Revolutionaries #1

Writer: John Barber Artist: Fico Ossio Cover Artist: Tradd Moore

THE REVOLUTION MAY BE OVER–but the future is just beginning! Ripped from the pages of the hottest crossover of the year, the REVOLUTION team of John Barber and Fico Ossio continue the action! KUP is a CYBERTRONIAN literally older than the universe; ACTION MAN is the ultimate special agent trying to live up to an impossible legacy; MAYDAY is a G.I. JOE leader trying to rescue her first command; and BLACKROCK is a CYBERTRONIAN that thinks he’s a human. It takes the mind-bending clash of ROM versus MAJOR BLUDD and the OKTOBER GUARD to bring this unlikely team together… and the secret they learn threatens to unravel the entire universe.

FC • 32 pages + mini-comic • $4.99

Bullet points:

Exclusive bound-in Savage mini-comic reprinting a lost tale written and drawn by the late, great Joe Kubert himself!

Written by one part of the powerhouse creative team that brought you the mega-event, Revolution!

New tales that continue the storyline of the hit Revolution comic-book event and featuring the same amazing creative team!

Illustrated by Revolution artist, burgeoning superstar Fico Ossio!

The secrets of the Hasbro universe will be revealed. If you follow one new book this month, make it Revolutionaries!

Variant covers by Sara Pitre-Durocher, Sonny Liew, and Paul Pope!

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Rom, Vol. 1

Writers: Christos Gage & Chris Ryall Artist: David Messina Cover Artist: Zach Howard

Far away, in another galaxy, the knights of the Solstar Order, defenders of justice and truth, were ambushed by the evil magicians, the Dire Wraiths. In the end, the Solstar Order prevailed and began seeking out its scattered enemies. One of these knights has followed the trail of the Dire Wraiths all the way to Earth. This knight, the one the Dire Wraiths fear more than all others has hounded them and kept them underground for centuries and could wipe them off the face of creation. He is ROM, Lord of the Solstar Order; Rom, the Wraithslayer. Collects issues #0–4 and Rom: Revolution.

TPB • FC • $19.99 • 132 pages • ISBN: 978-1-63140-817-5

Bullet points:

“This new series captures all the fun and charm of the classic ’80s franchise, with just enough touches of real-world drama to give weight to Rom’s never-ending battle with the Dire Wraiths.” –IGN

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Star Trek: Waypoint #3 (of 6)

Writers: Cecil Castellucci, Mairghread Scott Artists: Megan Levens, Corin Howell Cover Artist: Daniel Warren Johnson

Star Trek: Deep Space 9 and Star Trek: Voyager return to comics! In Castellucci’s, “Mother’s Walk,” major Kira confronts how she can perform a mandatory, ancient Bajoran pilgrimage when so many family members, needed for the rite, are dead. Who can she turn to? And in Scott’s “The Wildman Maneuver,” an unlikely member of the Voyager crew “saves” the ship!

FC • 32 pages • $3.99

Bullet points:

Check out the variant covers featuring STAR TREK artists from the last 50 years of Trek comics!

Photo cover variant!

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Teenage Mutant Ninja Turtles Universe #6

Writers: John Lees, Nick Pitarra, Brahm Revel Artists: Nick Pitarra, Brahm Revel Cover Artist: Freddie Williams

Behold the debut of the TMNT’s weirdest foe yet: Wyrm! When Michelangelo tries to help find a missing person in the sewers, he ends up discovering something he wished stayed in the dark!

FC • 32 pages • $4.99

Bullet points:

A new back-up story from Brahm Revel (Guerillas) takes us inside the Foot Clan!

Variant cover by Logan Faeber!

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Transformers: Titans Return

Writers: John Barber, James Roberts, Mairghread Scott Artists: Livio Ramondelli, Priscilla Tramontano Cover Artist: Priscilla Tramontano

Once he ruled CYBERTRON with a brutal (and literal) iron fist… left for dead four million years ago, SENTINEL PRIME is back. But in a world where STARSCREAM rules CYBERTRON, OPTIMUS PRIME has invaded Earth, and MEGATRON is an AUTOBOT—SENTINEL doesn’t like what he sees! Collects the Titans Return one-shot, Transformers #56–57, and Transformers: More Than Meets The Eye #56–57.

TPB • FC • $19.99 • 120 pages • ISBN: 978-1-63140-821-2

Bullet points:

“The Transformers: Titans Return is perfect to get readers of all kinds hooked.” –Major Spoilers

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Walt Disney’s Comics & Stories #736

Writers: William Van Horn, Evert Geradts, Thad Komorowski Artists: William Van Horn, Mau Heymans, Giovan Battista Carpi Cover Artists: Daan Jippes, Ulrich Schroeder

In “Quest for the Faceplant,” Donald’s out to catch a monstrous man-eating plant for Uncle Scrooge—but will pirates get there first? Then Donald turns soap opera actor in “As the Snail Trails”… and Goofy gets an online Valentine in “Crimes of Passion”!

FC • 40 pages • $3.99

Bullet points:

Fan favorites William Van Horn and Mau Heymans deliver wild new tales of Donald, Scrooge, and Daisy at their dizziest!

Rediscover classic Golden Age Disney art by Walt Kelly (Pogo) on our Subscription Cover this month!

Check out the Massimo Asaro winter fun variant cover!

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The X-Files #10

Writer: Joe Harris Artist: Greg Scott Cover Artist: menton3

“Contrarians,” Part 1 (of 2): Mulder chances upon evidence that suggests the now-defunct Syndicate’s involvement in the Iran-Contra affair. Guest-starring the Cigarette Smoking Man and President Reagan!

FC • 32 pages • $3.99

Bullet points:

Executive produced by The X-Files creator Chris Carter!

Part of IDW’s Artist’s Edition Cover Month!

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via IDW Publishing

IDW Publishing Previews for 1-18-2017

So many great titles from IDW this week, and we have your early look at them all.

IDW Publishing Previews for 1-18-2017 So many great titles from IDW this week, and we have your early look at them all.

#comic books #comics #IDW Publishing #Preview

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the-collecting-culture · 6 years

Text

The Pull List- Weekly Comic Book Release. 9/12/2018

The Pull List- Weekly Comic Book Release.

9-12-2018

The best day of the week besides Friday is once again upon us. Brought to you from ComicList.com is this week comic book releases, which are listed below!

PUBLISHER TITLE, ISSUE NUMBER, PRICE IN U.S. DOLLARS ("AR" means "ask your retailer for the price")

ABSTRACT STUDIOS Strangers In Paradise XXV Volume 1 The Chase TP, $15.99

ACTION LAB ENTERTAINMENT Helm Volume 1 Harbinger TP, $14.99 Vamplets The Undead Pet Society Beware The Bitemares #1 (One Shot)(Cover A Amanda Coronado), $3.99 Vamplets The Undead Pet Society Beware The Bitemares #1 (One Shot)(Cover B Gayle Middleton), $3.99

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