Oct. 3rd, 2021

superboyprime: (Default)
[personal profile] superboyprime


"There are only 3 Mutant Laws, & none of them require someone to give up personal choice in that way. There as many way to be a mutant as there are mutants, so I would say that if some books - with different characters - approach it in different ways, that is a good thing." - Vita Ayala

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shakalooloo: (Default)
[personal profile] shakalooloo
We get one more page, right? Only three have been thrown up so far? Okay, so how about two halves of a page that show both that ORCHIS ain't so bad (!) and also ain't too smart ( ;P ):

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shakalooloo: (Default)
[personal profile] shakalooloo
Let me get this straight. In the same month that Doctor Doom uses magic to unite the power of five heroes to combat the elder god Dormammu, he is told that there is a way to fight the elder god Chthon by using magic to combine the power of five heroes but instead decides against it and goes off to the fight solo?

Okay Marvel, sure, whatever.

So, with Doom harnessing the full power of the idiot ball for his diabolic ends, it falls to the Scarlet Witch to unite the power of five heroes to fight the elder god Chthon. In the same month that she's suspected to be dead and the Avengers are fighting Magneto over it.

Eldergodsdamnit, Marvel.

ANYWAY, here's the excuse for Marvel setting up a number of sPoOkY linked one-shots for October:

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thanekos: Seiga Kaku from Touhou 13, shadowed. (Default)
[personal profile] thanekos
Issue #1'd featured the focal " Autobots're bad, Decepticons're good " continuity's Starscream.

He'd been progressing towards Megatron, and had briefly gotten tied up with the Autobot speedster Blurr. After defeating that bounty hunter in a climactic battle, he'd continued on through Cybertron's wastelands.

From the volcanic Chrome Ridge, he flew through the sky.

Blurr's body remained on the ground. )
laughing_tree: (LL)
[personal profile] laughing_tree


Because we need to maintain a certain velocity in the comic industry, we’ve become more homogenized in the product that we’re producing. So what you have is a book that’s 20 pages, and it’s produced in the same manner, so you get the same type of cadences throughout the book. You’re teaching people ‘this is how you read in time, this is how a comic book functions.’ Any time you can disrupt the mechanism by which people read the books by engaging a different part of their brains, they have to work harder and it makes the reading experience more effective just by being different. If you can also make it really good and engaging, you’re winning not just the battle but the war of, ‘Are our books cool?' -- Jonathan Hickman

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