Anonymous asked: New Ghost Rider looks awful. Another epic fail by Marvel. Will go down in flames like Avengers AI, Thunderbolts , and Ms. Muslim. Love to see these crash. It is the only way you will learn.
You are, it must be said, the worst kind of person. Putting aside the racism of the “Ms Muslim” crack, you’re somebody who sits around rooting for other people to fail. There’s nothing admirable about that, or the smug superiority of one who does nothing but who pretends to be way smarter than those that put their work out there.
Read the books, don’t read the books, that’s entirely up to you. But seriously, there is literally anything else that would be a better use of your time than this.
Anonymous asked: 6. The new restarts might generate sales now, but so did the special covers 20 years ago and we all know where that ended up. I don’t think it’s particularly a big deal when a new creative team takes over a series as this has happened throughout the history of comics, but I do think the process of restarting issue numbers and touting great jumping on points isn’t going to help comics in the long run. I’m sure Marvel is just looking for short term sales
This one is just sky-is-falling paranoia. You know what else you could say this about? The Comics Code. And yet, comics have done just fine without it for years and years now. The situation that created the massive contraction of the marketplace in the mid-90s was a lot more complex and complicated than simple “there were specialty covers”—way, way more. It’s a fallacy to boil it down to that, let alone to equate that to the numbering changes.
And touting great jumping on points certainly helps the cause of comics. If it didn’t, if the process didn’t work, then all of those new #1s wouldn’t work every single time they are tried, and we and everybody else would stop doing them. The biggest success DC has had in a decade came when they restarted their entire line from #1.
Bottom line here: every point you listed (except maybe the missing #5, which I didn’t get) is about nostalgia and a fear of change more than anything else. Look, you feel the way you feel, but it would be foolish and self-defeating of me to run my business in the manner it may have been run in 1992 or 1983 or 1967 just to make a few long-time readers feel comfortable. The needs of the many, and the needs of the now, are going to be more vital in terms of keeping the industry and Marvel vital and alive in the long-term.
santinibros asked: What disappointed me most about UA #14, apart from two great women biting it violently in one issue, is that when characters are killed off it's usually because they've been overused or worn out. I suppose that could apply to Scarlet Witch, but since she was out of the comics for so long and has so much unresolved business, I don't see how "will there be an other M-Day?" is the only interesting thing about her before she dies. And no, I'm not looking for spoilers, I just can't help griping.
That’s fine, you’re perfectly entitled to gripe.
I am fascinated by the fact that there’s all of these diverse opinions about Wanda and Rogue, but almost not a word about Simon (apart from that question I responded to a few minutes ago.) Was Simon’s death a “fridging”? If not, how is it any different than Wanda’s or Rogue’s in that issue? And if so, then what does that say about the whole concept of “fridging”?
Rock reflections of a superhero by Stan Lee and John Romita
Renisha Mcbride was a 19 year old Black Girl from Michigan. On November 2nd, she was involved in a terrible car crash but survived. After the accident, she ran to the nearest house looking for help because her phone had died. She knocked on the front door and was shot in the face with a shotgun by the White Homeowner. After the murder, No Charges have been pressed against the White shooter and it is being called a justified Killing. Several Police officers and the Shooter’s lawyer have said that “He acted Properly” in shooting her. Don’t ever be fooled into believing that Racism is over.
If you’re a Fan of signing Petitions, you can sign one at http://act.weareultraviolet.org/sign/Renisha/?akid=662.675511.T8Xw70&rd=1&t=4
Written By @KingKwajo
Being afraid of black people should not stand as a legal defense in this country. It’s fucking insane that it does now.
Spider-Men by Sara Pichelli
My favorite issue of Spider-Men… Plus it’s Peter Parker. I mean… REALLY Peter Parker…
my Marvel Now series - updated -
about a year of drawing
Cyclops - Scarlet Witch - Invisible Woman - Spider-man
She-Hulk - Iron Man - Deadpool - Red She-Hulk
Thor - Rogue - Cable - Captain America
Lady Sif - Hulk - Hawkeye - Broo
Noh Varr - Iron Man Stealth - Elektra - Nova
Gamora - Iron Man Godkiller - Starlord - Drax the Destroyer
Angela - Beta Ray Bill - Valkyrie - Magneto
Beast - Wasp - Dazzler - Magik
Banshee - Daken - Grim Reaper - Sentry
Monet - Medusa - Loki - America Chavez
looking back at all of these, I think my favourites are invisible woman, sif, beta, dazzler and medusa
Updated this piece with higher rez’ so you can actually see the characters
Just lovely work.
mattdic asked: There are writers who are good at telling stories but so terrible with continuity that their emotional thrusts feel false. Paul Jenkins is one. Then, it's not even "the last appearance of the Unicorn" but consistency of character issues, where I don't feel his takes on a character syncs up with who that character is from all other appearances, even if it serves the immediate story. I can take a little leeway, but not a lot. Does the character serve the story too? Should the character drive it?
Part of what you’re talking about here is personal taste. You don’t care for Paul’s stories, others love them. So who is right?
Grant Morrison once described Animal Man in a story as nothing more than a generic blond super hero with good teeth. That’s an exaggeration for the point of the particular encounter he was writing, but there’s also a lot that’s true about it. These characters become invested with the traits that their creators express through them. And some of them stick, and some of them don’t, depending on how well the story works for the audience at large as well as for future creators who may work on that character. There’s a lot about, say, the Spider-Man of today that’s the same as the Spider-Man of 1966, but there’s also a lot that’s very different.
So yes, the character should drive the story. But your particular impression or interpretation of said character isn’t going to be 100% the same as the next poster whose question I answer, and neither of them will line up with the poster that follows precisely. So the writers and editors make their storytelling choices based on what they believe to be the truth, the essence, of the characters in question, and then you as a reader either like the story or don’t like teh story, and the characters grow and change accordingly.