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Disclaimer: As with the previous part, the main villain is a rapist/serial killer. There's also graphic violence/gore and some nudity.

Scans under the cut... )
cyberghostface: (Two-Face)
[personal profile] cyberghostface

In addition to the usual content warning for 'Sin City' -- violence, nudity, etc -- I'm going to preface with this a warning: one of the villains is a child molester/killer. We don't actually see anything related to that but it's mentioned so I figured it's worth a heads up.

I think this is one of the stronger Sin City stories but if you're not a fan of the previous ones or Frank Miller's style in general it's probably not for you.

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

Kuljit Mithra: The Elektra Assassin comics feature many differing styles and it gave you more room to experiment than the DD graphic novel could. Did the both of you use the same technique, script-wise, or did you try some other approach? What were the different types of art styles you used?

Bill Sienkiewicz: Elektra Assassin employed a somewhat wider array of techniques because it tended to be a wilder ride. The DD graphic novel was actually much more restrained because, once the look for each character was established, it was fairly straightforward in its execution. Elektra was all over the place: "realistically" drawn characters interacting with caricatures interacting with cartoons interacting with photocopies interacting with "children's drawings". There were quite a few styles employed, but the determining factor for the choice of style was what the scene demanded. In essence, the scene dictated the style of artwork used, not vice versa.

Kuljit Mithra: When the series came out, some comics stores wouldn't sell me an issue of Elektra because I was under 18. Was there any concern at Epic about the comics getting into the 'wrong hands'? Were you or Miller concerned?

Bill Sienkiewicz: Not one bit. We weren't doing it for young kids. Matter of fact, when it came out the Dallas/Fort Worth newspaper did an article on Elektra stating "We've got to protect our kids from this". We used that quote in the ads for the trade paperback.

Heavy Trigger Warning for Child Abuse and Rape

Trigger Warning for Suicide/Self Harm

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[personal profile] history79

Trigger Warning for Rape, Racism, Violence, Gore

"I really wanted to say something about the fact that the Marvel U.’s premiere super-team are card-carrying members of the Establishment. The same establishment who let people sleep on the streets and don’t provide decent medical cover for malnourished kids. The same establishment who let the Third World starve."

- Mark Millar

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[personal profile] history79

Trigger Warning for Rape

DARIUS: Okay, now for the rape. When Apollo crashes, we see the Commander, the Captain America analogue, with his hands on his belt. When we next see the Commander, it looks like he’s zipping up. The clear implication is that the Commander has raped Apollo. Moreover, when the Commander enters the nursery in #13, he leaps over the counter and the Wasp analogue asks Tank Man, the Iron Man analogue, if he’s going to “do” them. The implication is that the Commander has liked sexual conquest with martial conquest, that he actualizes this upon the beaten bodies of everyone from Apollo, a powerful super-hero, to virtually helpless counter ladies. The DC message boards have been on fire about this.

MILLAR: I’m delighted and fascinated by the response. And you know what? I’m not telling. I want you to draw your own conclusions on this one. I’m leaving this open. I wrote the scene (and subsequent follow-ups) to be ambiguous and, like all the best drama and horror, I want the reader to use his or her imagination and make up their own mind. What intrigues me about this is that we saw the Commander (again off-camera) rape two nurses last issue and Tank Man burn a maternity ward full of sleeping babies.

DARIUS: Right. I loved that. “Are you kidding?”

MILLAR: An awful lot of people were very disturbed by this (and this was my intention), but I certainly didn’t write these scenes just for shock value. The emphasis on solving real world problems highlighted at the beginning of #13 was given a superhero twist here. Weren’t rape-camps and burning babies some of the most shocking things we heard about from, for example, Kosovo. And isn’t Kosovo, you might have noticed, where Earth’s Premiere Super-team honed their skills (according to Tank Man in #14)?

DARIUS: The point about how these tactics, burning babies and whatnot, are real-world tactics is particularly salient, I think. Somehow, when it’s in art, people get offended. It’s like there were no concentration camps — or like art should just entertain, like some Disney cartoon, always alluding enough to vice to tantalize but never being so obvious as to cause a moral revulsion.


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