There’s a new Spider-Woman variant cover that is, er…. less than good. But(t) we had fun with it, anyway.
Hit the link for the rest (as well as for actual, serious commentary on the cover).
So. Wrote this up today. Later on, professional comic artist Vasilis Lolos decided to comment on the post, then called himself a troll and was obviously just there to start some trouble (a no-no on The Mary Sue comment policy), so I banned him.
Then he signed up for another Disqus account to say some more.
All of his comments are still on the post except for one where he linked off to some adult comic art and this second-account one.
Then he decided to chat me up on Twitter.
In the post-World War II era, the Klan experienced a huge resurgence. Its membership was skyrocketing, and its political influence was increasing, so Kennedy went undercover to infiltrate the group. By regularly attending meetings, he became privy to the organization’s secrets. But when he took the information to local authorities, they had little interest in using it. The Klan had become so powerful and intimidating that police were hesitant to build a case against them.
Struggling to make use of his findings, Kennedy approached the writers of the Superman radio serial. It was perfect timing. With the war over and the Nazis no longer a threat, the producers were looking for a new villain for Superman to fight. The KKK was a great fit for the role.
In a 16-episode series titled “Clan of the Fiery Cross,” the writers pitted the Man of Steel against the men in white hoods. As the storyline progressed, the shows exposed many of the KKK’s most guarded secrets. By revealing everything from code words to rituals, the program completely stripped the Klan of its mystique. Within two weeks of the broadcast, KKK recruitment was down to zero. And by 1948, people were showing up to Klan rallies just to mock them.
I ain’t the world’s best writer nor the world’s best speller
But when I believe in something I’m the loudest yeller
“Stetson Kennedy,” Woody Guthrie
If Woody Guthrie wrote a song about your merits, you freaking HAD them.
Stetson Kennedy: American Badass.
And focusing on Marvel and DC at the expense of the dozens of other publishers in comics, and then declaring comics a failure at San Diego Comic-Con, is incredibly myopic. It’s a mistake to think that Marvel and DC are all that mattered, that their new events or announcements dictate the future of capital-c Comics. Marvel and DC are comics, just like the other publishers, and they make some great ones when they let the creators do their own thing. But at this point? You can’t treat them like the entirety of the comics industry, or even two companies that can dictate the future of comics. They run the movies, and that’s cool, but running comics? It’s just not true any more. Image in particular outsells Marvel in the book market as far as trade paperbacks go, and that holds true in the comics market lately, too. That’s no coincidence. People enjoy Marvel and DC, but they want more than Marvel and DC.
If the announcements from the Big Two felt lackluster, but the fans still had a great time, how did comics fail? That sounds like a Marvel & DC problem. Vertical debuted Moyoco Anno’s brand new book In Clothes Called Fat at the show, a comic geared toward adult women. They sold out of Fumi Yoshinaga’s What Did You Eat Yesterday?, a romance/cooking comic. At Image, we sold out of Greg Tocchini & Rick Remender’s Low, an aquatic sci-fi tale, and Nick Dragotta & team’s Howtoons, a comic geared toward getting kids interested in the science through practical play. Boom! burned through Lumberjanes, a comic about girls at camp. These aren’t your normal comics, and people were eating them up.
After two bad “Comic-Con was bad for comics!”/”Comic-Con was good for comics!” pieces, io9 lets iamdavidbrothers do his thing, and the result is—surprise surprise—a great piece that’s head and shoulders above the traditional (print) comic coverage on the site*.
(* I specify print because Lauren does really good webcomics stuff over there, because Lauren is great.)
On Wonder Woman and Heeled Boots
Yesterday Warner Bros. revealed the costume Gal Gadot will wear for her role in Batman v. Superman: Dawn of Justice.
The costume has her wearing boots. I don’t care for the inclusion of boots. Yes, she’s been drawn wearing heeled boots (including her first appearance)
but she’s also been drawn wearing greek sandals
and boots with no heel.
So there is no continuity over the last 70 plus years although there certainly has been some rethinking of how female characters are presented in media during that time.
A few years ago when they were making the disastrous NBC pilot they also had Wonder Woman wearing a heel. Here’s what I said then:
Wonder Woman is free of vanity. For her a costume should be utilitarian — to cover what needs be covered and to make her recognizable to scare off weak-willed adversaries and alert others to her involvement.
Having heels on her boots adds nothing. A boot heel will not make her run faster or kick harder or assist her in doing her job or make her recognizable. The only thing a heel does is please the eye. And that is something Wonder Woman should not care about.
A few folks have stated the heel is required to give her the height to stand with her co-stars Affleck and Cavill. That also does not require a costume with a heel as we’ve seen from dozens of films starring actors who are shorter than their female co-stars.
This is not about hating high heeled boots; I love high heeled boots. It’s fine if Wonder Woman wore them in her “civilian” identity. Rather, this is about questioning a costuming choice which puts the emphasis on Hollywood’s requirements for a Woman rather than the Wonder of the character.
when people headcanons that black widow can pick up mjolnit I’m just like ???????? like lets take a look at who canonically can pick up mjolnir:
- steve rogers
- wonder woman
there’s a pattern going on between these people, natasha doean’t fit in it.
do you hear that boom
that is the sound of how wrong you are