Jan. 15th, 2017

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[personal profile] laughing_tree


"The original Flintstones cartoons were in many ways just The Honeymooners without the implication of domestic violence. So obviously that needed some updating." -- Mark Russell

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[personal profile] informationgeek
avengersdisassembled04cover

"I also hope that when people read ‘Avengers Finale,’ they’ll see the love and care, which’ll help them appreciate the story and they’ll see it was done with the utmost love and respect." - Brian Michael Bendis

All the destruction in “Disassembled” was a product of the Scarlet Witch’s resentment over the fact that she had lost her children (who never actually, really existed in the first place), and she blames the Avengers for this tragedy. Why? We’re never clearly told, though it’s indicated that she resents the Avengers for keeping the tragedy secret from her. But why, exactly, she now deems all these heroes—who she’s previously saved the world with, lived with, laughed with—worthy of death is really still a mystery. What we can see is an antiquated stereotype that a woman’s logic will always be undermined by her child-bearing nature. Here is the Scarlet Witch, a weathered warrior, a proven hero, yet she spins out of control because her innate animal instincts as a mother smother all reason. She’d rather destroy long-time friends than ask that they explain themselves. Evidently, her maternal needs outweigh all to which her life has been previously devoted—goodness, friendship, redemption, love. How does this make sense? Well, we are told by Doctor Strange that the Scarlet Witch never really had proper control over her magic and, as a result, her sanity has been slowly compromised by her unruly power. And, here, again, is two tired, misogynistic messages: that a woman can’t control herself and that a woman in a position of power always leads to disaster. You can find these themes in many pre-feminist writings, yet it was commonly thought that perhaps we had put these themes to rest, now that women hold top corporate, political, and other such powerful positions across the world. Yet, Marvel must be a few decades behind in feminist theory. More embarrassing, Marvel must also be a few decades behind in their own continuity, seeing as the Scarlet Witch has been learning and mastering her powers over the past 40 years. After all, readers actually watched her training, something rarely seen with other heroes. Yet, this woman is still out of control? What’s worse—she now needs to be de-powered, forced into her rightful place by a man, a sorcerer supreme. - The Problem of the Scarlet Witch: When Bad Girls Go Good, but Not for Good

Story By: Brian Michael Bendis
Art By: David Finch


WARNING for sexism and aggressive exposition dumping.

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[personal profile] superboyprime


"When I pitched the book, one of the things I was most adamant about was that someone had to get it in the most simple way possible. Because it’s called “Suicide Squad.” There’s this thing called the promise of the premise. You have to pay that off. Initially, I just figured I’d kill off Captain Boomerang. I didn’t exactly have the highest regard for him as a character. But the longer I wrote him, I grew to genuinely love the guy..." - Rob Williams

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[personal profile] cyberghostface


"This is the DC
Crisis of horror. This is the movie they could never afford to make." - Jason Craig

"With remakes of Friday and now Nightmare, we are in many ways the stewards of the classic continuity and it's a responsibility we don't take lightly." - Jeff Katz

This is the follow-up to 'Freddy vs. Jason vs. Ash'. On one hand, I appreciate that this comes from a place of genuine love for the original films. On the other, it's a bit of a mess. The level of fanservice here is off the charts that even J.J. Abrams would probably go "Whoa, settle down." Unless you've seen every single film from both Freddy and Jason you're probably going to be lost at one point or another.

Warning for the usual stuff; gore, violence, etc.

Scans under the cut... )
[personal profile] history79



NEWSARAMA: At the initial wave of promotion for this, you referred to it as a "Narnia" for Marvel…

MARK MILLAR: Yeah, totally. And it was funny because a lot of people were bent because they were thinking it was going to be elves and goblins and all that kind of stuff, but really what I meant was that it was about someone in the real world meeting an imaginary universe. It’s a Marvel fairy tale - and not in some lame way with goblins and pointed ears, but in a way that my daughter, who’s 10, could read and understand. It’s very dark in places, and very real, and probably the safest thing I’ve written in that you could show it to children without social services coming to ask you some questions.


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