Monday, July 16, 2018 

Did Marvel really have a lack of diversity when Dwayne McDuffie worked for them?

The LA Sentinel wrote about the history of the late McDuffie, considered a pioneer thanks to his creation of Milestone in the 1990s. But what they say about how he was led to develop his creations is a puzzler:
Some of his early contributions to Marvel Comics included, working on trading cards and writing scripts for stories. His next big break was writing for the miniseries, “Damage Control” which led him to becoming an editor at Marvel. While working at Marvel, McDuffie took notice of the lack of diversity and racism that was present at that time at the publication. His next move made him a pioneer and trailblazer as he addressed how Black comic characters were being treated within the comic book industry.
Is this serious?!? There was no diversity as they put it, but there was racism? They had black heroes like Luke Cage, Misty Knight, Cloak [and Dagger], the 2nd Captain Marvel, Monica Rambeau, Robbie Robertson, senior editor of the Daily Bugle, Glory Grant, a Bugle secretary during the Bronze/Iron Ages, and also Asian heroes like Sunfire and Colleen Wing, and they're insinuating - very ambiguously, I might add - that there was no diversity? Sounds like manufactured accusations from the Perpetually Unsatisfied who're throwing Marvel under the bus, and DC too, their introductions of Mal Duncan, Bumblebee, John Stewart, Black Lightning, Vixen, Lucius Fox and Cyborg notwithstanding. And what do they mean by racism anyway? I don't get it. Entirely unclear to me.
One of arguably his best works writing for television was DC Comics’ animated series, “Justice League” and “Justice League Unlimited.” He acted as staff writer for “Justice League” and was later promoted to story editor, writer and producer when the show transitioned into “Justice League Unlimited.” He was responsible for writing and producing many of the episodes during its run on Cartoon Network. McDuffie would also write for the “Justice League Heroes” video game. He later went on to work on another popular Cartoon Network series, the “Ben-10” franchise.

McDuffie later returned to writing in the comic book industry, working again with Marvel and DC Comics. He wrote for various books such as DC Comics “Firestorm” and Marvel’s “Fantastic Four“. He even witnessed the fusing of some of his Milestone characters in the DC Comics universe.
It's not mentioned per se, but for a short time in the late 2000s, he briefly scripted a volume of Justice League, and after mentioning on a forum he wasn't happy with editorial mandates he had to cope with, Dan DiDio fired him over a thoughtcrime. And the merging of the Milestone cast with the DCU proper didn't last long, save for possibly Static. In hindsight, it was honestly a big mistake to merge them, because the DCU's already been clogged with far too many properties from different companies, and it reduces their significance. Besides, it's clear they didn't know what to do with them, nor knew why they had to be there.

McDuffie was significant as a contributor to comicdom, but this article doesn't do him justice, and it lets DiDio off the hook.

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Tamra Bonvillain loathes the Comicsgate campaign

Our latest example of a would-be artist giving a poor image of him/herself is the artist/colorist for Moon Girl and Devil Dinosaur, and Marvel's America Chavez, who said:

Bonvillain's also done some work for DC, according to Bounding Into Comics, on books like the latest Doom Patrol volume, and if so, then she (he?) is the latest DC contributor to violate their unenforced guidelines and prove they were only virtue-signaling. After they spoke about this, Bonvillain said:



So Bonvillain also wants them blacklisted by the industry? What a disgrace. All concerned can respond to that by voting with their wallets, of course.

And that's not the only creator out there engaging in shoddy behavior this past week. Another is Shadowline publisher Marc Lombardi, who's produced his line through Image, who had the following to say:

What's really stunning, depending on who the big-mouths in focus are, is how many are willing to risk alienating people who may be buying their products already, and thus reduce sales for their stuff. So, why can't they just retire already and/or move some other industry like agriculture, car manufacturing or computer programming for a change? The entertainment medium is clearly not for them.

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Sunday, July 15, 2018 

Lonestar: a new indie comic opposed to socialism and in favor of America

One Angry Gamer brings word of Lonestar, a creator-owned project of artist Mark Miller (update: I think that's actually MIKE Miller; maybe it figures a game site would make such a weird typo), who's joined the contributions to more positive pitches for comicdom and earned plenty of money to back it on Indiegogo:
The idea was borne as a counter-culture comic (though, ironically, it’s more like a nod to standard culture from the time before the SJWs took over) that does away with all of the Communist and Socialist propaganda being filtrated through the comic book industry. It hearkens to the time when comic book readers had a real hero to look up to who actually fought crime and defeated villains. Miller explains that all the Social Justice Warrior nonsense compelled him to crowdfund the comic and offer comic book readers something that wasn’t filled with poorly written and poorly drawn propaganda from Cultural Marxists.

After the halfway point of the video, we get the actual story behind the Lonestar comic. We learn that after a tragedy he’s drafted into a super-soldier program of sorts, not unlike Captain America.

He fights against Socialists, beats up Nazis, takes down MS-13 gang members, and essentially attempts to hold up the founding values of America. In other words, he’s the kind of hero that doesn’t exist in today’s comic book spectrum from the big two.
Interesting and impressive. As Fox News explains, the MS-13 gang was founded by Central Americans from Honduras, El Salvador and Guatemala, and has a most notorious record of savage murders, rapes, kidnappings and car robberies, making them one of the most dangerous organized crime movements around, and a perfect wellspring for comics stories about crimefighting in the streets, but do the Big Two's modern managers care? Not a lick. For them, patriotism is a sin that should be shunned without question, and Captain America's become of the biggest, saddest victims of this plummet in morale.

So congratulations to Miller for having the guts to develop a project like this (I just hope he'll also be willing to tackle the subject of Islamic extremism in future entries too), which is just what we need for comicdom now, to show somebody's willing to take up the real challenging issues out there in the modern world. His success in raising $18,000 so far in crowdfunding also makes clear there's people out there who support his vision for Lonestar.

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Saturday, July 14, 2018 

Ron Marz on immigration and Trump's visit to Britain

Here's two more of Marz's never-ending political tweets, with one attacking the US government over children being brought illegally into the USA:

And he buys into a Daily Beast article, no less, despite how revolting and awful their "coverage" is. But as this Breitbart article reveals, many of the illegal interlopers are actually leaving their own children with the authorities:
Many Central American migrants slated for deportation are choosing to leave their own children behind in U.S. government shelters, says an official at the Department of Homeland Security.

“We’re seeing many of these [migrant] parents who have been removed decline to take their child,” said Matthew Albence, the Executive Associate Director of Enforcement and Removal Operations division at U.S. Immigration and Customs Enforcement.
This article also notes that a lot of the illegals may not even be the parents of the children involved, and here's one report from Texas of a woman who wasn't the mother of 3 children she had in tow. More confirmation comes from Daily Wire and Daily Caller. So sad Marz wants to believe it's all just an evil conservative/Republican conspiracy to do more harm than good. What's stunning is how, whether or not these are the biological parents, they don't give a damn about the children and are willing to abandon them far from home.

And then, when the Hill reports Trump feels "unwelcome" in Britain because of the hostile leftist crowd, Marz says:

And I guess it's also the point London has such a huge crime rate that skyrocketed ever since Sadiq Khan assumed role of city mayor? Or that Theresa May's proven she's no Margaret Thatcher after she took steps to sabotage Brexit? None of which matter to Marz, alas, not even the fact there are British supporting Trump. Social cohesion doesn't register on the radars of these leftist phonies, unfortunately, nor does a wish for independence without having to put up with the awful EU. Sigh.

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Friday, July 13, 2018 

Mary Jane Watson may be back in Spider-Man, but does that alone guarantee story quality will be better?

I suppose this is good news in one sense, and it is something many purists, myself included, really wanted to happen:
Dejected, Peter goes to the one person he knows he can trust with the truth about Octavius and his paper – his ex-wife, Mary Jane Watson. Peter tells her “We’ve been through so much together. Survived so much together. And I know that on my end at least, if you hadn’t been there - I wouldn’t have survived it... I need you.”

Mary Jane replies, “We’re in this together Peter. We always have been,” and the pair embrace and kiss.
I looked at this thread on Spider-Man Crawl Space, and there's positive reactions. The artwork looks impressive too.

But are they actually married again? I suppose it's asking a bit much, but I do believe it's entirely possible to retcon away bad ideas and restore good ones to the fullest without acting like it's impossible.

Let's also remember writer Nick Spencer is one of the architects of Secret Empire, one of the most offensive modern stories doing a terrible disfavor to Captain America by far, and even if we have to be grateful a notorious mistake's been undone, he still owes an apology for his disturbingly crass attitude towards superhero fans the other year, if he wants us to think he's repentant. Otherwise, we'll certainly have to separate art from artist. Also, let's not forget Joe Quesada is still a leading member of their main staff, and he doesn't belong in the company, nor does he deserve the job he's had. I get the feeling he's even less repentant than Spencer is for all the trouble he caused, what with the constant flood of crossovers that continued after he passed on his EIC role to Axel Alonso, and Dan Slott doesn't belong in Marvel either if he's similarly unapologetic for his own embarrassments.

And while Mary Jane's return to form is positive, that doesn't mean there won't be badly written stories turning up somewhere down the line. For now, it's clear Marvel's staff realized they were in dire straits and needed something to give them a boost, and I guess we'll have to consider this C.B. Cebulski's most notable positive step in redeeming Marvel after all the horrors they shoved down everyone's throats. But that still doesn't mean it'll be %100 good news going along, and they have yet to prove they can bring in talented writers/artists/editors who believe in respectable relations with fans.

Another vital step they're going to have to take now is reversing the damage and denigration foisted on Carol Danvers, and restore her to her role as Ms. Marvel, a role which suited her far better. They could even restore Genis-Vell to the role of Capt. Marvel, if it matters. And they'll have to get rid of rabid leftists like Ta-Nehisi Coates, who doesn't deserve to write Black Panther and Capt. America. There's still much to do if they're to prove they can redeem themselves...and assuming they last long enough.

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Thursday, July 12, 2018 

Fishy pictures from Doomsday Clock

I found at least 3 panel scans from Geoff Johns and Gary Frank's Doomsday Clock miniseries event that are quite political in nature, and even potentially SJW diversity-catering:
My my, why am I so not liking this? Maybe because of this review of the 1st part on CBR, which says something:
Johns, Frank and colorist Brad Anderson ensure that the first issue evokes the flavor of the original series, but it’s seasoned differently by way of its troubling sociopolitical setting. Having been released in the waning years of the Cold War, Watchmen capitalized largely on the fears of yesterday, extrapolating a diminishing tension rather than an escalating one. Doomsday Clock #1, though, successfully seizes on the current fears held by many — worldwide distrust of the United States, worries over a U.S. President’s itchy trigger finger, and suppression of a free press. The tension felt throughout the issue is disquieting not only because of the rich atmosphere established by the creative team, but because it hits uncomfortably close to a feared real-world scenario.
Coming as it does about a year after Donald Trump assumed office, it would be no shock if this was intended as a metaphorical excuse to launch an attack on him, declaring him a warmonger, and from my perspective, it's disturbing if they're launching a vile metaphorical attack on Mike Pence and insulting Israel at the same time. Leftists can certainly be cunning at injecting all the propaganda they believe in, subtle or otherwise. And then, there's this picture to ponder:
In the third picture, it's implied Rorschach, according to this miniseries, is black, which brings it further to diversity-pandering absurdity. On top of all that, what's really dismaying is how they just have to take a 1987 miniseries whose premise was built on darkness and depression, and make it the basis of a whole event that's reportedly supposed to impact the DCU in its entirety. If that's what they intend, we don't need more of that, and it's regrettable they can't just let go of something that's long gotten old and moldy.

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Wednesday, July 11, 2018 

DC just hired the wrong woman to write WW

It may be a great idea to have a woman assigned to script Wonder Woman. Mindy Newell once did some work on WW in the last issues of the pre-Crisis volume. But Dan DiDio, again overshadowing EIC Bob Harras, has just made one of the most lugubrious choices for a scribe, G. Willow Wilson, who's as bad a choice for a writer as they come:
Writer G. Willow Wilson and artist Cary Nord are taking over DC Comics' Wonder Woman ongoing with November 14's Wonder Woman #58. Their first storyline, "The Just War," begins with Wonder Woman going to save Steve Trvor after his military unit come up missing in action while inside a war-torn Eastern European country; while investigating, Diana finds Ares.

"When Steve Trevor’s unit goes missing in an Eastern European country torn by revolution, Wonder Woman immediately flies across the globe to help him - only to slam into the brick wall that is Ares, the God of War, who’s taken a strange interest in this conflict," reads DC's description of the arc. "But why is Ares acting so strange? Has he turned over a new leaf? Does Wonder Woman have a chance to redeem him? And just as important...if Ares has returned to Earth, then what happened to the supposedly unbreachable prison built to contain him—Wonder Woman’s homeland, Themyscira?"

DC Co-Publisher Dan DiDio descibes Wilson's hiring as "an incredible opportunity" for the publisher, saying DC "couldn't be more excited.

“Keeping our core audience engaged requires having the best storytellers around, and she’s definitely a great addition to our current list of writing talent," DiDio said.
Well I think this says all we need to know about where he stands on her own leftist politics...and religion. She already pushed enough Islamic propaganda into the Muslim Ms. Marvel series, so we can only wonder what she has in store for this tale? I get the feeling it's supposed to be a metaphor for the Bosnia vs. Serbia war, which happens to have been started by Bosnian Muslims themselves. And are we supposed to believe Ares started such a war, not the Religion of Peace itself? Either way, it doesn't take much to figure Wilson's planned story, metaphorical or not, won't be very appealing.

Of all the defeatist steps DC could've taken, this has to be one of the worst. To give Bill Marston's famous Amazon fighter to somebody as awful as Wilson is one of the biggest slaps in the face possible, and just another reason why DiDio's bad news for the company.

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One of Marvel's worst writers is now working for Archie

The good news? Mark Waid's leaving Archie's products. The bad news? Nick Spencer's taking over the reins:
Mark Waid is stepping away from Archie for the first time since it was relaunched, and writer Nick Spencer and artist Marguerite Sauvage will take over the iconic title just in time for its 700th issue.

And, yes, the series will get its original numbering back [...]
So much like Marvel and DC, Archie's just proven their relaunch from a few years prior was only for the sake of publicity and sales stunts, and would restore the original numbering when it reached a milestone in its 700th so they could try another artificial sales boost. Not impressive, and another good reason to avoid their modern products.
“Getting to write Archie is more than a dream come true for me," Spencer said in a statement. "I’ve loved reading the exploits of the whole Riverdale gang my entire life, and getting to now tell their stories myself is a real honor. And launching with a milestone 700th issue! It doesn’t get better than that....Well, it does actually— I’m working with Marguerite Sauvage, one of the best artists in comics! Everyone involved in this project has such a passion for these characters, and it’s our sincere hope to honor the legacy of what’s come before while moving boldly into the future with twists and surprises like you’ve never seen before!”
I don't know enough about artist Sauvage, but Spencer, as the leading scribe for the Captain America-as-nazi/Hydra agent debacle at Marvel, isn't somebody I'd trust to "honor" legacies, as he didn't honor that of Kirby/Simon. Much like the now embarrassing Waid, Spencer's another reason to avoid Archie books he writes as much as the Marvel books he wrote, and if he could be that bad on previous projects, then to say he "loves" them rings hollow.

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Monday, July 09, 2018 

Two interviews with Bob Layton

Two different interviews with artist/writer Layton, famous for his role on Iron Man in the Bronze Age, were published this week. One is from the Tampa Bay Times, and I noticed they brought up a change made to the supervillain Ghost:
Your Ghost was a man. In this movie, Ghost is a woman. Do you have an issue with that change?

In the case of the Ghost, I am perfectly fine with that. The Ghost was a gender non-specific character. When we created him, Ghost was a nickname for a spy and the fact that he had powers of a literal ghost. We never knew anything about him. We wanted to deliberately keep him mysterious. He could have been anybody. I don’t think changing the gender alters that in any way.
I wouldn't be too sure of that. The fact is that by now, even in the films, all this gender-bending is getting out of hand. What if we're getting to the point where, for example, a white guy cannot play Nick Fury ever again on screen? That wouldn't be good, IMO. Sure, if this were to at least remain in the cinematic world, it might not be an issue, but we've already long seen how it's leaked over to the comics as well, under the flawed notion the audience would not only flock to the comics en masse, but that they wouldn't care something was changed for the sake of it.

Layton also thinks Tony Stark may meet his swan song in the next Avengers film:
Back to Tony Stark. Is the next Avengers his Marvel movie farewell?

I am only speculating, but I will guess that (Robert Downey Jr.) is done. He has been doing the same role for over 10 years now, and I think as with any actor sometimes, it is time to move on.

So, do you think Tony Stark dies?

That is one way of doing it, but I’d only be guessing. I know this — I wouldn’t want to recast Tony Stark. Who would want to try to top Downey? But, if Tony doesn’t come back, they can put somebody else in the armor and start a new generation of Iron Man.
Sigh. I decidedly must disagree here. If the British could do it with the James Bond films and the Doctor Who series on TV, and replace one actor with another, why can't US filmmakers do the same? What matters is talent, not an individual. Besides, the film franchise could eventually run out, and then it'll be several decades until it's tried again (if films are even still made by then), and they'll need a new actor in Downey's stead. But then, the main worry is, what if an exit by Tony Stark means an entry by a more PC/SJW creation like Riri Williams? After the recent SJW debacle, it wouldn't be the slightest bit helpful to do it that way.

The second one is from Adventures in Poor Taste, and this is the more interesting one, where Layton brings up a few points he'd made 5 years ago, about where the Big Two are headed. And that includes mention of a certain aforementioned SJW-catering creation while talking about Downey's future with the film franchise:
Layton: I think it would be smart for him to move on while he’s still young enough to do some other stuff, but the money Hollywood throws at you is hard to turn down too, because they throw some serious bucks. I mean, he’s the highest paid male actor in Hollywood and he’s raising a family, so who knows? I don’t really know. I would say retire the character and let somebody else be Iron Man for a while. Draft some Riri whatever her name is — I hate that.

AiPT!: You said in your panel you don’t follow the comics…

Layton: I don’t follow the comics but I know about her because when they do something egregious, all my fans start writing me immediately. So I know every horrible thing that’s ever happened to Iron Man even though I don’t follow the books, because the fans hate the Iron Man comic.
They sure do. Not just because of the forcible replacement that came along in the guise of Riri, but also because Tony's own background was drastically altered so he was no longer Howard and Maria Stark's son. I'm glad if Layton understands any of that. And, there's more:
AiPT!: During your panel you also said some interesting things about a career in comics, and I know you said Marvel is a very different company now than when you were working there. What’s your take on the current state of Marvel Comics?

Layton: Yeah, because Marvel now is about the brand, not about the characters anymore. Everything’s that Marvel brand, you know? I don’t think it’s the same thing, it’s like artists are taking front and center on a lot of books and it was never that way. I mean, most of the guys who grew up, they only found out I did the book in retrospect — they were just reading it every month because they couldn’t wait for the next issue, and that’s the way it should be — shouldn’t be about us, we shouldn’t overshadow the characters or the story. But they’re at such a point where sales are so low too that anything sells a book. That’s part of the problem to me, being on the inside and having been a businessman in the industry. I saw the writing on the walls — it’s an unsustainable business model. You can’t keep going on. Sooner or later Marvel or DC, Warner Bros. or Disney will look at the publishing arm as diminishing returns. Both of them have the largest reprint libraries in the world. I mean, think about — when’s the last time you saw a Mickey Mouse comic? Mickey Mouse is the most popular character globally — most known character. They don’t make comics of Mickey Mouse anymore. Once you climb the rungs of the ladder and become part of the lexicon, you push the ladder off — you’re on top. All this other stuff, Iron Man sells what, 20,000 copies a month or something? You think they’re even making a profit off that? And the price keeps going up. Now we’re competing with Netflix. When comics hit $7, they’re dead, because it’s just cheaper to get a Netflix subscription and watch all the Marvel stuff in the cinematic universe. So as I said, 10 years ago I saw the writing on the wall. And not that I don’t love comics — I do…

[Layton takes a moment to sign something for a fan]

So yeah, I saw as a businessman–having owned two companies — it’s an unsustainable business model. This industry hasn’t changed in 75 years. We’re still putting out this pamphlet that you have to encase in plastic so it doesn’t rot. And when I do the ‘how the comics industry works’ lecture I was talking about, I always end on an up note. I talk about the European and French model. Have you been to a comic shop in France?

AiPT!: I haven’t.

Layton: Oh my God, they’re unbelievable. Everything is hardback books–great, very large, original-art-sized — they’re made to last. Single, contained stories, higher price points so the retailer makes more money, advance against royalties just like James Patterson novels. I mean, it’s a totally different business model but the French have sustained that for 30 years. That’s what we need to be doing here–experimenting with getting it out to a wider audience.

The trouble is, if your mom goes to see the X-Men, right? And she loves the X-Men the first time she sees it–she loves it and she goes, “I want more X-Men, where do I get more X-Men?” You have to try to go find a comic shop–good luck with that, first of all, and then when you get there, it’s like a sweaty little porn store done by some guy using a cigar box as a cash register- – most of them, I mean, not all of them are, but you know what I’m talking about. Most of them are fly-by-night kind of places. And you pick up any X-Men — it’s none of the characters from the movie. They don’t look like the characters, there’s no introduction to the characters because it’s not written for a mass audience like it was when I did comics. It’s done for the niche audience that just reads X-Men comics, so you’re a part six of a 12-part story and you have no idea what’s going on. So as a result, the movies — you don’t get a bounce in the comic industry because we’re not on the newsstand anymore. We’re not accessible in that way.
Let me note that some French/Belgian comics still come first as strips in anthology magazines like Spirou and the now defunct Pilote, but there are plenty more today coming in the album-shaped format only, and IMO, that's a far better way to go in this day and age when US comics publishers are still firmly glued to the outmoded pamphlets. I'm sure they even know it's unsustainable, but don't care due to their political/crossover obsessions, and they see the old model as perfect for shielding their beliefs. If they moved to paperback/hardcover only format, it would entail more responsibility, because selling in bookstores requires more of that as they're actually in the business of winning, and that doesn't jibe well with their twisted obsessions. Layton may not have mentioned, but company wide crossovers are another factor in the medium's downfall, and to shift to a model used in Europe could put an end to that obsession as well, explaining why the Big Two are still stuck on it, all for the sake of a dwindling audience not interested in serious quality.

Will the studios eventually close down the publishers? It might happen, and it was reported some time ago WB might sell off DC. I'm sure their failure to make a successful franchise out of the movies plays a part in that. If they are sold off, of course, it's vital to see to it a responsible owner will be found, with no overt political obsessions and such, and to make sure it's not some shady company from a place like Qatar, or George Soros. That would be utterly disastrous if that happened, and that's why maybe Layton, as a businessman, might want to take part in finding better ownership and management for the Big Two, if their publishing arms are ever sold off, which is possible. For now, it's clear Marvel's being kept open if only because Disney's making use of the PC characters and such they're concocting for the sake of movie material. But that doesn't mean they'll stick with that approach for long, and sooner or later, they certainly are bound to shut down the Big Two's publishing, because it's clear they're not moving units and dollars anymore. In fact, while they do have big libraries, the problem is much of what's come post-2000 is such garbage, and bound to clog up the shelves along with the shoddiest pamphlet stories, so as far as the modern stuff is concerned, there's no guarantee many people would care for the newer stuff when the older proves much better for reading.

There are ways to one day improve results as the Big Two. But under the current conditions, it won't happen.

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"Woke" propaganda in an article about Ant-Man and the Wasp

The Fort Smith Times-Record wrote a puff piece about the history of Ant-Man and the Wasp on the week the new movie's to debut. And some odd propaganda, not surprisingly, turned up:
In the movie “Ant-Man,” we learned that Janet Van Dyne (Michelle Pfeiffer) was the original Wasp, wife and partner to Henry “Ant-Man” Pym (Michael Douglas). She was lost to the “Quantum Realm” in 1987 and presumed dead — until Scott Lang, the current Ant-Man (Paul Rudd), traveled to the Quantum Realm and returned.

“Your mother convinced me to let her join me on my missions,” Pym told his daughter, Hope Van Dyne, in “Ant-Man.” “They called her The Wasp. She was born to it. And there’s not a day that goes by that I don’t regret having said ‘yes.’”

In the comics, it was the other way around. In 1963, Henry “Ant-Man” Pym had only 10 solo appearances under his tiny belt before he asked Janet Van Dyne to be his crimefighting partner, because her father had been killed and she had vowed vengeance. Impressed with her resolve, Pym implanted specialized cells in Van Dyne that would become wings and antennae when she shrank. (This was recently retconned to be Janet’s idea, which takes some of the sting out of Pym operating on his soon-to-be girlfriend without a license.)
Oh, so the phony who wrote this - columnist Andrew Smith, who previously wrote a transparent item about a terrible Superboy story from 1977 - is now insinuating that Hank "violated" Jan? Is that it? This was not a medical procedure in focus, but a scientific-chemical experiment involving radiation effects, and can every writer possibly be expected to go to the trouble to state clearly that a sci-fi scientist has a license, if they truly need one, or be blamed for the lack thereof? Of course not, so he should be ashamed of himself for implying Stan Lee committed a big wrong in developing Hank Pym back in the day. By the logic he's going by, even Mr. Fantastic operated without a license whenever he examined his Fantastic Four partners and other superheroes with his lab equipment. It's just so galling how these press phonies find ways to lecture the audience about "morality".

Anyway, there's more to examine here:
The two became partners in every sense, fighting the good fight in the pages of “Tales to Astonish” and “Avengers” amid romantic banter. They got married in 1969, but as you’d expect, the ceremony was far from normal. For one thing, the wedding was crashed by the Ringmaster’s Circus of Crime, because what reception is complete without someone punching a clown? For another, Hank had developed a second, more aggressive personality named “Yellowjacket,” who actually did the proposing. That’s certifiable by any definition — but Jan married him anyway.

Hank recovered, but remained Yellowjacket. That was Hank’s fourth superhero persona (after Ant-Man, Giant-Man and Goliath), which should have been a clue that he wasn’t exactly Mr. Stability. Pym eventually had another mental breakdown, defrauded the Avengers and punched Jan in the eye. One divorce and an Avengers expulsion later, and Hank’s career took quite a nosedive. He recovered somewhat — comic books love a redemption story — but currently he’s considered sort-of dead. (Long story, but it involves being absorbed by Ultron and thrown into space. Nobody seems to really understand it, even the writers.)
Nobody seems to care, least of all Mr. Smith. Concocting excuses to make Hank out to be a real life person, not a fictional character. The writers assigned conceived a 4th role, not Hank developed another personality. And if the recent story developments say something, it's that they sure know how to be super-cheap and unredeeming, that's for sure. Bygones can't be bygones to these jerks. Besides, Hank didn't punch Jan per se, but rather, smacked her with the back of his hand in 1981. But you can't possibly expect these hacks to be more specific, can you?

Now another thing of note in this article, regarding the recently conceived replacement for Janet, Nadia:
That daughter, Nadia, was raised in the Russian “Red Room” that trains Black Widows (See: Romanoff, Natasha). But having inherited her father’s smarts and her mother’s backbone, Nadia escaped to the USA, where she re-invented herself as the new Wasp. Now she is being mentored by the original Wasp, Janet Van Dyne, and has become a scientist and superhero in her own right.

What’s that got to do with the movie’s Hope Van Dyne? Well, Nadia is short for Nadyezhda. That’s Russian for “hope.”
Ah, so in other words, the Nadia character was conceived simply to give filmmakers something to build off of, as though it were truly necessary. It reminds me what I've long assumed was the reason for Gambit's creation in 1990 - to give merchandise manufacturers something to build off of, not so he could serve as a story component. After all, within less than 2 years of his introduction in X-Men, he was suddenly popping up in the 90s cartoon series and video games, instead of taking the more challenging idea of introducing better scripted characters like Cannonball and Wolfsbane to the extended merchandise lines. (And why does Rogue have to be stuck solid with him as a partner, rather than take bold steps to have her involved with civilian partners, let's say? Cheap, cheap, cheap.)

And this article even reveals something more that's quite unpleasant:
In 1966, the same year Marvel Comics introduced Black Panther, they broke ground with another black character. At the time, Hank Pym was stuck at 10 feet. Tony Stark sent an expert biochemist from Stark’s Baltimore research lab to fix the problem, in the form of Bill Foster, DSc, PhD. Foster, we learned, was born in Watts, but lifted himself out of the ghetto by smarts and hard work. This was at a time when black characters usually wore butler uniforms, not lab coats.

And lo, Pym was cured, so Foster faded into supporting-character limbo. But he came roaring back in 1975, using Pym’s technology to become the 15-foot superhero “Black Goliath,” and helping Luke Cage battle the Circus of Crime. (At this point, clown-punching is something of a tradition among Marvel superheroes.)

It should be noted that Foster is currently dead in the comics, killed in the superhero “Civil War.” His nephew, MIT grad Tom Foster, is carrying on the tradition as the superhero Goliath.
Proof that not only are black protagonists considered expendable to the SJWs running Marvel, but that SJWs outside the company don't give a damn about those they knocked off either. The same happened with Jim Rhodes, Iron Man/Tony Stark's colleague, at least 2 years ago in Civil War 2, but did they care? Not by a longshot.

And while we're still on the subject, if we look at the clown matters from a political perspective, it's worth noting that Marvel's SJW staff have made a tradition more out of "punching nazis", meaning, American conservatives and Republicans they can't stand. Not very clever, I'm afraid, given how it's come to serve as an excuse to avoid more challenging topics like combating Islamic terrorism instead.

So anyway, there's another of these shoddy columns that turns everything into tabloid fodder, without offering any objectivity as to recent storylines in superhero comics.

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About me

  • I'm Avi Green
  • From Jerusalem, Israel
  • I was born in Pennsylvania in 1974, and moved to Israel in 1983. I also enjoyed reading a lot of comics when I was young, the first being Fantastic Four. I maintain a strong belief in the public's right to knowledge and accuracy in facts. I like to think of myself as a conservative-style version of Clark Kent. I don't expect to be perfect at the job, but I do my best.
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