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For some reason, seeing pages of CIVIL WAR II: THE OATH and hearing about the upcoming SECRET EMPIRE story got me thinking about the first Nomad Story. Specifically a part of the end.



CAPTAIN AMERICA #183 took place while Steve Rogers was the Nomad. (He was depressed that Number One of the Secret Empire turned out to be a high-ranking White House official who might have been Richard Nixon, who knows?)

Hero, fool, failure )
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"Today is difficult, but cheering violence against speech, even of the most detestable, disgusting variety, is not a look that will age well." - Nick Spencer

"Look, if we're saying it's okay to commit acts of violence against people whose views we hate, we should put that paper." - Nick Spencer


Writer: J.M. DeMattis
Artist: Mike Zeck

So with Neo Nazi/White Nationalist/Alt-Right Darling/genocide advocating Richard Spencer getting punched, Nick Spencer came to his defense to say violence against him and his speech is a bad thing. It got a steamy between Nick and his Twitter followers, eventually getting to him about his views and writing on Captain America. During of which, he cites this issue as Captain America's views on his stance to fighting hate speech with violence.

A lot of websites done posts about this, but let's take a more in-depth look at the issue with its relation to Neo-Nazis, hate speech, and violence...

Read More... )
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"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.

Read More... )
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The next issue of the series, issue #502 coming later this month, promises the death of one core Avenger- Scarlet Witch, Hawkeye, Yellowjacket or Wasp, a promise that has upset many fans. But is Bendis, with his new “language” for the Avengers, simply trying to redefine the core- and core members- of the Avengers? “No, they’re two different things,” he answers. “The story that’s being told now is about the Avengers as they exist now- the mistakes they’ve made and problems that they’ve had when they’re playing a game so dramatic, that’s so high stakes and those stakes will cost them everything. This is a very dangerous game, which is a given for all superhero comics, and we’re showing how that backfires. I think a lot of people realize that what’s happening is happening, no dream or fake out story, and it’s a little upsetting. This isn’t some hollow event. Things are happening. But we’re not doing it to shock, though there are certainly shocking parts to it. Something like this doesn’t often happen on this level.” - Article interview with Brian Michael Bendis

Story By: Brian Michael Bendis
Art By: David Finch

Read More... )
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When it comes to the actual battles that the characters in “Civil War” will be fighting, readers shouldn’t expect the anti-registration side to just be reactive in fighting for their cause. “They will be a combination of both reactive and proactive,” Millar explained. “I didn’t want to just have these guys in, say, like a terrorist cell or anything because fundamentally Cap’s guys are superheroes. So, the rationale for the Marvel Universe shouldn’t be that they’re just underground guys who are constantly fighting the forces of the status quo. They’ve got to be superheroes. They’ve got to go out and actually fight super villains and, unfortunately, SHIELD and the other superheroes are after them when they’re doing so. It’s an added tension to the whole thing.”

“Civil War” is a conflict between the heroes of the Marvel Universe, but the villains do a play a role in the series. Millar is keeping their part in the story a secret, but he did reveal that he would be touching on an idea from his “Marvel Knights Spider-Man” run in which a secret cabal of industrialists conspired to create many of the costumed villains in the Marvel Universe. “There’s some stuff going on with the villains about half way through the book, but really the main focus of the series is the split between the heroes and the other stuff is just really seasoning.”

The split between the heroes is over the superhuman registration act, which mandates that anyone who puts on a costume and goes out to try and enforce the law must register with and become an agent of the federal government. Heroes who violate the law will find themselves imprisoned in newly redesigned secretive superhuman penitentiaries. “That’s actually quite a big plot point,” Millar stated. “There’s a whole new way of storing super villains and heroes who refuse to sign. It’s quite a big deal. We’re really updating the Marvel Universe in a lot of ways.”

“Civil War” will also address how countries around the world view the US government’s new policy on super humans. Some of the fictional Marvel countries that don’t exactly see eye to eye with the US, like Wakanda, Latveria, Atlantis, and Providence, might even become embroiled in the events of the story. “Some will be involved quite a bit and others will remain neutral and others might come in at a later stage,” Millar explained. “That’s part of the meat of the story really.”

The various countries of the Marvel Universe will have different degrees of participation in “Civil War,” but the globe spanning organization SHIELD will play a definite part in the mega-story. “SHIELD’s new boss Maria Hill isn’t quite as cozy with the superheroes as Nick Fury was,” Millar stated. “So, that works very well within the scenario. It would have been a lot harder to do this if Nick, who is very pro-superhero, was in charge because he would have been probably against the registration act, whereas, Maria Hill made the story a whole lot easier for that.”
- from a Comic Book Resources Article

Story By: Mark Millar
Art By: Steve McNiven

Read More... )

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