Monday, August 20, 2018 

Joshua Hale Fialkov made mistakes by attacking Trump

The comics writer Fialkov, author of stories like Elk's Run, just added himself to the list of bozos writing superficial attacks on president Trump:

Has Fialkov considered specifying just what "mistakes" Trump made? Apparently not. The only mistakes made are by Fialkov, who's ignored the economic report from 3 months ago, stating that under Trump, businesses and labor have been booming. At the start of the article, it says:
The economy is roaring, and the president’s critics can’t bear to admit it.
And one of those "critics" is Fialkov, alas. He'd do better to reserve his criticism for how the comics medium's handling things now, whether they're offering products that appeal to a real audience, or whether they're sinking into social justice propaganda. If he can't, then he shouldn't even be working in the medium.

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Sunday, August 19, 2018 

Times-Record's comics columnist has crossed a line

The team behind the Guardians of the Galaxy films has already been blowing it terribly in the past few weeks with their disturbing, biased apologia for James Gunn, whom Disney fired for his horrific shiploads of rape and pedophilia jokes. Now, they're joined by a media apologist, Andrew Smith, who writes the syndicated Captain Comics columns for Tribune Media, and the following published at the Fort Smith Times-Record is one of the most loathsome in its minimization of the seriousness of Gunn's repellent jokes:
Dunned Gunn Not Done: The controversy over James Gunn keeps rolling along. But the worst is probably over for the beleaguered director.

Some background: Gunn had directed the first two “Guardians of the Galaxy” movies and was scheduled to direct the third. But he was fired by Disney when some right-wing activists dredged up some decade-old tweets consisting of jokes in extreme poor taste. Disney, worried about its family-friendly image, booted him July 20.

Gunn was a popular guy, though, and his dismissal riled a lot of people up. All the major stars of the “Guardians” movies — including Chris “Star-Lord” Pratt and Zoe “Gamora” Saldana — signed a letter addressed to Disney in support of Gunn. Dave Bautista (who plays Drax) says he won’t appear in GotG3 if Gunn’s script isn’t used, and Michael Rooker (Yondu) quit Twitter in protest. Non-“Guardians” stars like Selma Blair and Patton Oswalt have risen to Gunn’s defense. A petition to reinstate Gunn at Change.org is pushing 400,000 signatures.
In a population of nearly 350 million people in the USA, 400,000 signatures is just a drop in the bucket. All that aside, notice how Mr. Smith is insinuating this was all an injustice because it was allegedly right-wingers who hauled up Gunn's house of horrors. Now that is some way to belittle the fact Gunn's record contains a lot more chilling behavior, like his attendance of a pedophilia-themed party in Hollywood. What a disgrace, and it nullifies Mr. Smith's alleged criticism of the Superboy tale from DC Super-Stars #12 even more. And why would it be just a family-friendly image that's driving these decisions? Even an adult-themed movie producer would be facing a PR crisis after such awful drivel by Gunn made headlines, which is far worse than what Roseanne Barr said in just one measly tweet.
And those years-old tweets don’t appear too much of an impediment for Gunn at studios not named Disney. According to The Hollywood Reporter, the director “has been approached by several top producers and executives at major studios dangling big film projects.”

Plus, Gunn still isn’t technically fired yet. He is still negotiating his exit from Disney, which could hit the studio pretty hard in the pocketbook. So, while unlikely, Disney could still decide to take the path of least resistance and un-fire that Gunn. Either way, it’s probable that Gunn’s script will be used for “Guardians” 3, if for no other reason than to keep Bautista aboard.
Sorry, but that's not so, if the following exclusive from Variety says anything:
After a strong push to get James Gunn back as director of “Guardians of the Galaxy Vol. 3” following his firing from the project, Disney and Marvel are standing by their decision to not reinstate him as helmer for the next installment. The decision came following a meeting between Gunn and studio chairman Alan Horn. [...]

Insiders say Marvel president Kevin Feige was out of town and unable to attend. Sources added that while it was rumored that Feige was pushing to bring Gunn back, Feige stands by the studio’s decision to not bring back the “Guardians” director for the third installment.
See, even Feige, pretentious as he is, understands that at this point, Gunn is only a liability, and no amount of good work he does artistically can change the fact he's got a vile personality. As John Nolte at Breitbart says, the media has failed in their attempted cover-ups and whitewashings, including the loathsome piece in the Times-Record. On which note, let's look at more from that awful article:
So shed no tears for Gunn, whose success on the “Guardians” franchise — the first two movies made roughly $1.6 billion — is gold-plated job security. “Don’t worry, folks,” said William Hughes of the AV Club, “James Gunn is going to be just fine.”

My opinion: Talking isn’t doing, and no one has ever claimed Gunn acted inappropriately. Having an immature sense of humor as a young adult shouldn’t be a firing offense. I’m 100 percent behind #MeToo, but this is an overreaction. Hire the guy back, Disney.
This is just sick. Putting aside for a moment that even some MeToo advocates may not be 100 percent behind their beliefs, as Selma Blair's strongly hinted, there's times when verbal monstrosities can really cross the line. If bald-faced verbal racism against POC is bad, then condescending, repellent views of women and children's dignity have to be considered the same. Smith has really brought himself down to a new level of degradation. But for anybody aware he fawned over Identity Crisis in the mid-2000s, that's why this isn't such a shock. It's just like these propagandists; they whine and parrot petty complaints about breasts and costumes, but take a lenient view of physical-to-sexual assault, which could explain why, if grisly content of that sort in manga is considered a problem, they never actually seem to complain about crude sexual gropings/assaults in manga/anime, if at all. That's precisely the double-standard that renders the social justice advocates' whinings pure hypocrisy.

And it's not the only weak comment he's made. Here's more about the attacks on actress Ruby Rose for winning the Batwoman role on TV, which curiously omits some key matters:
Sadly, Rose was bullied so much on Twitter after the announcement that she has quit using the service. The power anonymous social media gives to mouth-breathers is appalling.

My opinion: LGBTQ is under-represented in heroic TV roles, and this will help to right the ship. Also, Batwoman is a terrific character, so everyone wins. But the Twitter thing is infuriating.
Curious he wouldn't mention how leftist SJWs bizarrely hijacked the casting choice to attack her under the pretense she's not of Jewish ethnicity, and that's what makes this so infuriating, especially to somebody like me. People who exploit petty issues in the name of a community they doubtless despise are only belittling the seriousness of the subjects involved. Smith's description of the incident is so superficial, you'd think he really meant homophobes and right-wingers went after Rose. Let's not forget that earlier, Smith had the gall to imply right-wingers were wrong to expose James Gunn's house of horrors on the same platform.

And on that note, the behavior of the GotG cast and crew was so reprehensible in their defense of Gunn, they may have tainted the whole film franchise by now, and dampened everybody's enthusiasm for a third installment. This could be the point where the Marvel movie machine really begins to stumble, no thanks to apologists like Mr. Smith either. His defense of Gunn is one of the lowliest acts of his worthless career, and disgusts me as a human being.

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X-Men being "disassembled"

It sounds vaguely reminiscent of Brian Bendis' Avengers: Disassembled from 2004, one of the most notorious stunts next to DC's Identity Crisis. Now the X-Men are undergoing another, almost similar stunt, which also serves as more proof as to Marvel's continued obsession with events at all costs:
Marvel Comics today announced a new 10-part Uncanny X-Men story arc titled X-Men: Disassembled. The arc will bring together nearly all the remaining mutants left on Earth for a story that could “very well be the X-Men’s final mission.” [...]

The revived Uncanny X-Men will kick off with the X-Men: Disassembled story, which, according to a press release, “brings together nearly every mutant left on earth in a story that threatens to destroy them.” The arc will be “an epic tale of mystery and tragic disappearance, with an adventure so earth-shattering, it could very well be the X-Men’s final mission.” The press release goes on to tease that not all the mutants who appear in the arc will make it out alive for Uncanny X-Men proper.
The very subtitle already makes clear they're harkening back to one of the worst "events" in recent Marvel history by Bendis. In fact, already, in another "event" called X-termination, Cable was killed...by a younger version of himself:
Even as Ahab claimed another victim, a mysterious hooded figure attacked young Iceman. Cable arrived to defend Iceman, but only managed to get himself killed in the process.

Who is this mystery player who seems to despise Cable so much? Apparently none other than Cable himself (a younger version anyway).
I don't see a point to this lunacy that'll practically been undone, only this time, they make Nathan Summers look more like a killer. Oh, and is Bobby Drake still homosexual? So long as they keep up that publicity stunt propaganda, far less people are going to care, and Lee/Kirby's creation remains denigrated by the uncaring modern staff.

The example mainly set by Crisis on Infinite Earths no longer has any flavor to it, not even if the doomed heroes in this newest nonsense die heroically without anybody being turned villainous (on which note, it makes no difference if Cable killed a future self of his, it still makes him look horrific). Marvel's still stuck on a bad example that's long lost its drama or impact, and not because readers are against heroes resurrecting, but because it's insulting and disrespectful to the creations of hard-working writers of yesteryear, reducing them to cheap rags for disposal at the alter of publicity stunts.

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Saturday, August 18, 2018 

Will John Byrne actually make a return to Marvel?

It was recently reported that Byrne, particularly famous for his 1979-86 run on Fantastic Four, and late-80s run on Superman, was contacted by C.B. Cebulski about possibly working again for Marvel after nearly 2 decades, when Byrne stomped out after Joe Quesada canceled X-Men: The Hidden Years in 2000 despite selling well:
“There was some discussion on my website: ‘What if you went back to Marvel?’ and it planted this itch in my brain,” Byrne replied. “I thought, what if I went back to Marvel? Could I go back to Marvel? Can I do that? I haven’t drawn like that in 20 years.”

To scratch that itch, Byrne illustrated a sample page featuring a battle between Wolverine and Sauron in the Savage Land.

“And then I did another one,” Byrne said. “And what the Hell, I’ll do another one. And suddenly, there were 20 pages. And then I got an email from [Marvel Editor-in-Chief] C.B. Cebulski saying, ‘Love it! Let’s talk about this!’ Oh, that’s unexpected. So yeah, it just happened as a fun thing. It’s still just a fun thing as far as I’m concerned.”
So far, some news sites are discussing this as if it's a possibility, and maybe it is. Much like his X-Men co-writer Chris Claremont's returned yet again, and reportedly is even introducing a new character. Maybe Byrne could even take up the writing on Fantastic Four again as in the past, because from what I know, Dan Slott's revival is thudding in sales, proving audiences have woken up to just how bad his storytelling actually is.

But under the current conditions, who knows if Byrne would be able to turn things around? The sad answer is basically no. Even the 4 dollar pricing has to be considered, because there's less people today who want to spend that much for what could be just 20 pages of story content. In the past, when comics were just 20-30 cents, it would've been fine, but today's expenses don't make that easy. And Byrne's had some questionable content in some of his books from the time he was more active in mainstream (I'm not forgetting that bizarre "Byrne-hold" by the neck that appeared in at least 3 of his Superman stories).

Obviously, Cebulski must want to rehire Byrne because he figures a veteran like him might present a better example than some of the radical leftists he still hasn't shown the ability to get rid of. And maybe Byrne would be a better choice. But it's all coming at a time when superhero comics are facing a collapse that's going to happen sooner or later, and the chances Byrne would be able to turn around a dire situation, alas, are minimal. Too bad, of course, but that's also the fault of publishers who vehemently refuse to make shifts in formats for comics from pamphlets to trade-only, and thus weaken their business structure.

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Friday, August 17, 2018 

Jon Malin interviewed on his newest projects

Bounding Into Comics has interviewed artist Jon Malin about his current work on a book called Graveyard Shift, which was first developed several years ago. On the second page of this interview, he tells that, despite even a certain editor's own unwise attack on Comicsgate, the campaign's been a success in its own way:
BIC: What do you make of ComicsGate’s success over the past year? Do you think it will continue to grow?

Jon: It’s astounding! In about 6 months this community raised over a million dollars with just a few titles, good and decent writers/artists in any Indy publisher would kill for what we did while they go broke by passively allowing political zealots to further erode the audience which effects EVERYONE in that publisher/system, when leaders lack backbone in regards to protecting the financial interests of ALL creators and their own company it sets up an environment where no one wants to rock any boats for fear of backlash not just from the publisher but those they view as peers, so the lunatics run the asylum.

That is the current comics industry and by exposing this we had and continue to have no mainstream comic press coverage, we we’re completely blacked out when we did JAWBREAKERS, CBR forbid even talking about us on their message boards, The VP/EIC of Aspen Comics, Vince Hernadez called us “EXTREMISTS” and we had no room full of over paid marketing execs to help get past these burdens or any other benefits of corporate comics that places like BLEEDINGCOOL and CBR kowtow to. We had social media and we leveraged the shit out of it– and won.

As long as SJW representatives of the comics industry as we know it keep telling their customers to essentially get bent, use political intimidation and identity politics to tell everyone where their place is or when they can sit, stand and speak… with no repercussions from the top down we will grow, through the power of YouTube we will expand the comics audience to people who never walked into a comic shop or bought a comic in their life while the castrated comics industry allows a growing handful of political zealots in positions of power to whittle away all customers from within.
The part about Aspen's own deputy/EIC lashing out is pretty dismaying, considering their products are exactly the kind of thing coming under attacks from the SJW leftists, and it makes little difference whether he's trying to remain on the "good side" of the left-wingers in the medium, it still hampers their reputation. He should've kept quiet.
BIC: The success has come when the industry at-large is contracting. A report indicated the entire industry shrunk by 6% last year. Do you think they might adapt to tap into the ComicsGate market?

Jon: I think the comics industry still doesn’t understand why they’re failing when they try to bring in people like Zoe Quinn, political dividers to try and continue to bring in an SJW audience of low artistic standards and lower tolerance for wrong think and micro aggressions. They’ll double and triple down on identity politics until they crash and burn completely.

My hope is that the writers/artists leave these companies, take some inspiration from us and help us all rebuild the audience through You Tube channels (Or whatever future social media exists as we grow) and crowd funding, I’d love to reach a point where I, as a customer could pay say $25 on a single campaign and get 5 GRAPHIC NOVELS by industry superstars grouped together pledging their absolute best works because we’ve solidified an audience of 20,000 backers or better. JAWBREAKERS, a comic by relative unknowns will have brought in 10,000 backers so imagine what happens when the energy of top talent leave en masse on a scale SIGNIFICANTLY larger than the Image Comics exodus of the 90’s. I believe without significant change that is coming really fast.
Besides that, I hope that someday, somebody will come along and buy out the corporate-owned superhero universes for a simpler business model of storytelling without producing them as a means to build a groundswell for merchandise and movie adaptations. It is possible, and on that, I'd be a lot happier if more besides myself would advocate the idea. That's how to lead to a situation one day where you could make improvements and reverse the harm to the fictional universes. It's entirely possible, so I'll be happy if more could advocate what I have. That's how to make things better.

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The SJWs turn against Gail Simone over a joke in Plastic Man

It can happen any time, to pretty much any leftist as much as rightist. It's now happened to Gail Simone, as she discovered the perpetually unhappy, unsatistifed leftists for social justice have turned against her as well, over jokes they didn't like in her new Plastic Man solo book. And maybe unsurprisingly, she apologized to these fools, over elements that are actually quite tasteless nevertheless:











Considering how thin-skinned they're being, I don't think she should've apologized to such victimologists whose ideology is full of contradictions. That said, the material I read on the BIC site looked so heavy-handed, it's insulting all the same, because, if men are being made to look more feminine than women are at the moment in mainstream comics like these, that's why the whole Plastic Man story falls flat and isn't very funny at all.

Still, it demonstrates perfectly the SJW mentality of turning against their own and throwing them under the bus when they're looking for any petty reason to be offended. And look how they may turn this into another case of modifying a pamphlet story for its trade editions, only here, unlike the case with GI Joe and Centipede, it's for the wrong reasons, even if the story's visual "humor" is still insulting to the intellect.

Things have also changed quite a bit since Simone wrote Birds of Prey in the mid-2000s, with Ed Benes as artist. Today, the chances they'd use his style could be far less likely, and she's probably disowned her work there altogether.

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Thursday, August 16, 2018 

Gerard Jones gets 6 years in prison for his child porn storage crimes

Finally, it looks like the sentencing of Gerard Jones has taken place for the child pornography felonies he was arrested for at least a year and a half ago:
Writer and historian Gerard Jones has been sentenced to 72 months in federal prison by United States District judge Vince Chhabria on Tuesday. Assistant United States attorney Meredith Osborn prosecuted the case, assisted by Lance Libatique.

Jones, 60, is scheduled to begin serving his sentence on November 30. Following his prison sentence, Jones is set for a supervised release period of five years. The writer has been court-ordered to pay an assessment of $10,200, as well as unspecified restitution to his victims to be determined at an October 4 hearing.
If he's ordered to pay monetary compensation, does this indicate he knew some of the victims? If that's the case, he really is demonic. This article also says:
Jones is known for his 1990s run on Green Lantern, which brought Hal Jordan out of retirement, as well as co-creating the UltraVerse character Prime. The California-based writer eventually segued to writing about comics in a series of books, including the 2005 Eisner Award-winning Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book.
Many of these writings will likely go out of print, or not be reprinted for a long time. As of now, the only Green Lantern and Wonder Man issues he scripted that were reprinted include those crossing over with issues of the Flash, Operation Galactic Storm and the Infinity War. But that's pretty awkward to say Jones "un-retired" GL, because after the 2nd volume was cancelled in 1988, Hal Jordan and company spent a year as a feature in Action Comics Weekly (and I think that's where artistically, GL began to self-destruct). Here's some more news at CBR:
Although Jones, 60, initially pleaded not guilty to the charges, he changed that plea in April, and in doing so admitted that he had uploaded a video containing child pornography to a private social-media channel. San Francisco police were tipped off to the video in September 2016, leading to the investigation, search and subsequent arrest.

[...] Jones worked for more than a decade as a comic writer, co-creating Prime and The Trouble with Girls at Malibu, and El Diablo at DC, and penning such titles as Green Lantern, Justice League and Hulk 2099. However, he’s become better known for his Eisner Award-winning book on comics history, Men of Tomorrow, and on violent entertainment, Killing Monsters: Why Children Need Fantasy, Super Heroes, and Make-Believe Violence.
As I may have once noted earlier, a man who'd commit such an abominable crimes as aiding/abetting child exploitation only makes the defense of violent entertainment look very, very bad. One more reason why Jones should be shunned, and his books boycotted. Why, in the past year or so since his arrest, I've had to inevitably reevaluate some of his work, and concluded it was not what it could've been. The beginning story for GL Vol. 3 took a pretty cheap path, making a Guardian into the foremost villain, and even before that, Emerald Dawn was crummy with its premise Hal got in cahoots with the law for drunk driving. Even the Wonder Man series and Justice League work Jones did weren't very impressive. I never read his work on Marvel's 2099 line, and after this scandal, I'm sure I wasn't missing anything. 6 years isn't even enough; he should've gotten at least ten. For now, he better show he's sorry by going voluntarily to the slammer, and if he's smart, he'll stay far away from the comics medium for the rest of his life.

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CBR fawns over what they consider 19 "best" written DC characters

Here goes CBR with another one of their dismal ranking lists, containing fluff-coated takes on several DC characters/superheroes, starting with the black version of Wally West as Kid Flash:
The New 52 saw the departure of one Wally West and the arrival of another. However readers feel about that decision, the new Wally has certainly proven that he’s more than Kid Flash 2.0. Wallace is remarkable for a variety of reasons — DC Rebirth retconned the identity of Wally’s father to Daniel West, or the Reverse-Flash. It takes more than a year of Rebirth for him to internally overcome the shadow of his father’s villainy.

With the return of the original Wally, Wallace needed a new role in the DC Universe, and he found one when he joined the Teen Titans. Since then, the new Kid Flash has grown into a capable hero and a successful character despite the return of his predecessor.
Oh for heaven's sake. If they'd created this character for his own role and agency, this might've made sense, but this is more or less the same mistakes Marvel made touting their own changes to a character's racial/gender components, so their assertions fall flat. Besides, it doesn't take much to guess that, while they do acknowledge in this article that the New 52 was unpopular with fandom, they never seriously panned it themselves or insisted that it be reversed, and this is certainly a telling clue to that effect. Shoehorning KF2.0 into the TT is also like Marvel shoehorning some of their own SJW-pandering characters into the pages of a new take on Champions and other team books. In addition, you could argue that if black Wally remains in the role of a superhero, it only makes his presence in the DCU superfluous, and that's the problem with how many of these diverse characters in costumes are being handled now - the publishers think they have to keep them around at all costs, no matter how lacking in ideas they've become for what else to do with them. Maybe if they'd made him a member of the Legion of Super-Heroes in the future, he'd be effective, but the way he was inserted to the DCU certainly doesn't work.

Still, that's probably nothing compared to their loathsome take on Geoff Johns' own SJW-pandering:
There have been many Green Lanterns over the years, so it’s hard for new characters to stand out when they put on the Power Ring. Consider some of the successful characters that have served with the Green Lantern Corps, like Hal Jordan and John Stewart. However, two of the DCU’s newest Lanterns, Jessica Cruz and Simon Baz, have been shining examples of noteworthy new Lanterns.

Cruz battles anxiety and constantly fights it in her job as a space cop. Baz, on the other hand, is wrongfully arrested and a victim of racial profiling. Every day, he has to defy racism and negative stereotypes. Both characters clearly overcome great fear, and so much more, which is why they’re two of DC’s best new characters.
Most intriguing is the lack of mention of Baz's "defining" trait: he's a Muslim adherent, and his whole introduction and creation 6 years ago was political in the extreme; by far the most politicized of Johns' awful, overrated scripting. Christopher Priest made it worse with the propaganda he injected into the Justice League title he was writing till recent. DC's insistence on keeping this badly developed character around at all costs is another reason why they're failing long term.

And since we were talking about Johns, another concoction of his, Marionette and Mime, are also featured on the list:
Marionette and Mime have not been in the DC Universe very long, but they’ve already made an impact. These two characters have become, arguably, the leading characters of Doomsday Clock — other than a Rorschach-focused fourth issue, the pair has appeared in every installment of the series.

The two criminals are representative of the blurred lines of good and evil in Geoff Johns’ future DCU. They’re clearly villainous and dangerous, but their love for each other is the strongest connection that DC has introduced in quite some time. Mime is particularly intriguing, as his silent-yet-powerful presence reminds the reader of Black Bolt (without the crown, of course.)
Even in the present-day DCU, the lines between good and evil can be pretty blurred, recalling Sinestro becoming a GL again in Johns' hack writing after all the terrible deeds Sinestro had committed over the years.

There's even a derivative take on villainous speedsters who's turned up:
DC Rebirth has introduced a few new speedsters, and Godspeed is the most intriguing of them all. The man under the mask, August Heart, works with Barry Allen at the Central City Police Department. When August loses his brother, the perpetrator goes free because the evidence is destroyed in the accident that gave Barry his superspeed powers.

Heart takes matters into his own hands and gets struck by Speed-Force infused lightning for his efforts. At first, Heart uses his powers to help the Flash. However, Heart’s hunger for revenge drives him over the edge, as he becomes Godspeed, a villain that feeds on the superspeed of others.
You know what this sounds like? A cross between the Reverse-Flash and Savitar, the villain who appeared in the mid-90s when Wally West was the Flash. And they even had the gall to link his creation with elements of how Barry became a super-speeder during the Silver Age. I'm not impressed.

Let's also note the part about a new lady speedster introduced:
In DC Rebirth, female speedsters are few and far between, which makes Meenha Dhawan even more remarkable. Dhawan, a scientist at S.T.A.R. Labs, gets struck by lightning in the same Speed Force storm that gave August Heart his powers. Meena adopts the alias of Fast Track and helps Barry train the many new speedsters running around after the storm. Fast Track and the Flash battle the Black Hole and the two heroes briefly dated.

Dhawan disappears and eventually returned as an agent of the sinister Black Hole group. Meena proves that she still has a good heart, though, when she helps Barry prevent Grodd from destroying Central City.
It doesn't matter. It sounds like they lacked faith in this creation, or else they would've kept her on the good side. And if there's a lack of lady speedsters now? That's because they basically wrote Jesse Quick out of the proceedings when they didn't have to. They all but threw away a gal with far better potential.

In the comments, one person says:
Most of those "new" characters are derivative of old characters. DC and Marvel are currently suffering from a lack of originality.
Yup. Another says:
So, supporting characters from their TV series and lame derivatives of existing properties. Not exactly a creative golden age at DC Comics.
From what I know about the new character called Damage/Ethan Avery (apparently not the same as the son of Golden Age Atom Al Pratt introduced in the mid-90s, Grant Emerson), he's little more than a mimicking of the Hulk, so what's the big deal about this "new age of heroes"? Not much, really. This is just another example of CBR's cascade downhill in the past several years, and even before that, they were already pretty obedient to the establishment.

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Vox Day was interviewed about his Alt-Hero projects

Bounding Into Comics interviewed novelist Vox Day about his comics-based projects and free speech issues, and here's something interesting that came up:
Bounding Into Comics (BIC): The comic book industry at large appears to be in decline. The latest report indicates a 6% decline in sales in 2017. What made you want to dive into comics with Arkhaven Comics and Dark Legion imprints when the comic industry appears to be contracting?

Vox Day (Vox): The decline in the comics industry is the result of two factors, an artificially constricted distribution system and the SJW convergence of the publishers. People simply don’t go to comic book stores like they did in past decades and they REALLY don’t like the conversion of all their traditional heroes and villains into politically correct parodies of themselves. No one wants to read tedious left-wing sermons about Gay Black Hindu Socialist Batman in a Wheelchair crying onto Hispano-Palestinian She-Joker’s shoulder over his doubts that society will accept his planned transition into Batwoman.

Their stories are boring. Their heroes aren’t heroic. Their villains are cardboard cutouts. Their morality tales aren’t moral. Their female characters are increasingly fat and ugly and mannish. It’s no wonder their readers are increasingly abandoning them.
Hmm, the part where he alludes to "palestinians" is interesting, because it suggests he may have wisely modified the troubling approach he was taking in past years, which he'd be strongly advised to do even now, because if he really wants to impress without right-wingers of any sort feeling uneasy, he'll certainly avoid making statements about Israel in bad taste.

If he's making efforts to improve his political outlook, that'll be a positive step on his part, and make his comics projects more enjoyable, and easier to look forward to.

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Wednesday, August 15, 2018 

SJWs reject actress chosen for Batwoman TV role because...she's not Jewish

Social justice leftists become weirder and more offensive, and even discouraged the lesbian actress picked for the planned Batwoman TV show from running a Twitter account in the process:
Actress Ruby Rose is limiting her social media presence amid backlash over being cast as an openly gay Batwoman in The CW’s Arrowverse.

Rose, who is slated to play Batwoman in The CW’s annual crossover event between its DC dramas Arrow, The Flash, Supergirl and Legends of Tomorrow, was met with fury from fans who contend a Jewish actress should have been picked for the role to “reflect the superheroes’ heritage.”

In response to the online anger on social media, the 32-year-old Hollywood starlet deactivated her Twitter handle and limited comments on her Instagram account to users she knows personally. [...]

In a follow-up tweet, The Meg star lamented the lack of support among the LGBT community, noting this month was being emotionally trying for the actress.
There's a simple answer for this: not only do they not actually care for the project, as per the social justice pseudo-approach, they've thrown her under the bus. All that aside, this is really getting offensive now, because many of these SJWs are anti-Israel, and if Gal Gadot were hired for the role, they'd find an excuse to attack her as well.

Whatever one's opinions on these issues, I think this can explain why Twitter just isn't worth using, because of how it's built, which only leads to bitter quarrel threads all over the place. Of all the social media accounts you could run, they're decidedly the weakest choice, and not worth the bother.

I don't care for this Batwoman TV show in the works any more than the rest of the leftist-pandering DC adaptations on CW, but it's clear even the SJWs never did, the liberal politics notwithstanding, so what's the point of their production?

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IDW's got a MeToo case?

It looks like the already flagging fortunes of IDW are about to get worse, as the following news states that a former employee of the company is suing the main publishing president for sexual harassment:
Last night, Bleeding Cool reported that famed attorney Lisa Bloom of The Bloom Firm, a Los Angeles legal team that specializes in high-profile media-related cases that involve sexual harassment — and was prominent in #MeToo coverage — had been hired by a (recently) former IDW executive.

While the details of the case have not been made clear, and there is no sign that anything has been filed or charges made at this date, Bleeding Cool has been informed by close sources that the allegations being made are focused against IDW Publishing President and Publisher, Greg Goldstein, and these will include allegations of sexual harassment. And it may be seen in the wider context of the #MeToo campaign.
This is the first possible sexual misconduct scandal in the comics industry involving a top executive, not unlike the Weinstein scandal and even John Lasseter of Pixar animation. And it's not bound to help their fortunes if it builds up into a court case. It may be time for the owners of licensed merchandise adapted for their comics to start pulling the licenses away for good, because this possible scandal could spell the swan song for IDW.

It was bad enough several of their lower ranking contributors embarrassed their PR with social media atrocities. This news could really run them into the ground.

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Monday, August 13, 2018 

Superficial article about Marvel's "fresh" start

The Fort Smith Times-Record keeps up the fluff-coatings with the following sugar-drenched mishmash about Marvel's stale start, which, although Mary Jane Watson might be back in Spider-Man, still isn't looking good:
Marvel’s rolling “Fresh Start” initiative has reached many of its major titles in recent weeks, re-launching them with first issues and new set-ups. Some new elements are obviously inspired by the movies, but we can also see Marvel correcting what it sees as mistakes. With “Spoiler Warning” fully in effect, here we go:
Not all mistakes have been corrected. Last time I looked, they were still sticking by the Iceman-as-gay premise, and they're still employing some of the worst radical leftists like Ta-Nehisi Coates to write Captain America. Granted, they may have reined in most of the rabid leftists going wild on Twitter antagonizing fans, but some still remain negatively active there, and that's not good. Now, what does it say about the books in question:
Amazing Spider-Man No. 1

This is the third first issue of “Amazing Spider-Man” in four years (and sixth overall), so that isn’t cause for much excitement. But it does dump a lot of what has happened in recent years and races as fast as it can to the past.

New writer Nick Spencer is following an acclaimed, eight-year run by writer Dan Slott, whose tenure thrilled some and horrified others. Under Slott, Peter Parker became a wealthy mogul in the Tony Stark vein, the CEO of an international tech company. Part of that was due to Otto Octavius — you know, Dr. Octopus — taking over Parker’s body for several years as the “Superior Spider-Man.”

Slott erased much of that by the time he left the book. Octavius was ejected — he’s currently inhabiting a clone of Parker’s body — and Parker Industries crashed and burned. So he put most of the toys back in the box.
Wait a minute. Now Octavius is resurrected inside a clone of Parker's body? Granted, it may not be the real Peter's body, but I don't see why Doc Ock's own body has to be theoretically wiped out and his brainwaves stuck in another, regardless of whether he can control his tentacles there too. This is just pathetic, and only suggests they'll exploit that for the sake of a different kind of Clone Saga, if they haven't yet (next thing you know, that clone will turn out to be Ben Reilly!). They haven't dumped much of anything, except on the audience's intellect. The claim Slott's run was "acclaimed" is also insulting, but not unexpected, coming as it does from such media phonies. Similarly, the moral equivalence that Slott's writing both thrilled and horrified is very poor.
Spencer is finishing the job. In a story titled “Back to Basics” (naturally) Peter Parker is once again broke and forced to share an apartment with two other twentysomethings. (One is old pal Randy Robertson, the other is secretly the supervillain Boomerang.) And as surprise gift to long-suffering Peter-MJ shippers, the always effervescent Mary Jane has returned to the supporting cast — and for the first time since the Parker-Watson wedding was erased by the devil in 2007, once again a possible romantic interest.

On the other hand, some things cannot be un-done. Parker isn’t an anonymous schlub any more: He is actively hated by most of the planet for the failure of his Apple-like products. Also, his PhD was achieved by Doc Ock (while in Parker’s body), which sure looks like plagiarism to everyone else. That “fact” was revealed in this issue — a public humiliation so disturbing that this longtime Spider-reader had to close the book and read something else for a while.

The good news is that the worst should be over, and now Spencer can tell his old-fashioned Spider-Man stories the way he wants to without further agony. And new artist Ryan Ottley (“Invincible”) is well-suited for both Peter Parker scenes and Spider-action, despite my visceral dislike of how he draws teeth.
Uhh, what if more social justice propaganda finds its way into the book somewhere down the line? What so old-fashioned about that? If that's where they're headed next, the worst is not over, and the premise of Peter becoming a pariah over Doc Ock's actions is irritating. Though what happened in the past few years does prove, in a sense, that the phony Spider-fans never had a problem with the idea of Peter getting rich, through a fluke or not; it was all just Mary Jane posing a "problem", plain and simple, because she's seen as an obstacle to their twisted social justice beliefs. And the idea of sharing an apartment with Boomerang also sounds ludicrous.
Black Panther No. 1

“Black Panther” really isn’t one of Marvel’s major books — it’s never been a big seller, even with acclaimed writer Ta-Nahesi Coates writing the current series. But the movie has elevated T’Challa to A-list, so the comic book’s re-launch deserves some mention.

But there’s not a lot to say. “Black Panther” No. 1 opens with a huge mystery: A man who looks, acts and talks a lot like T’Challa, but has a different name, awakens as a slave for aliens in an off-world vibranium mine in the far future. Well, that’s what it looks like, anyway. Unraveling this mystery is the book’s point, and for now, any comment would be pure speculation.
Interesting the writer basically confirms the recent movie did nothing to boost BP's sales as a comics character, which may not have changed even now. And no surprise he'd sugarcoat an ultra-leftist like Coates either. There's plenty of other, far more talented black writers out there who'd make far better, less political choices than Coates, but none of that matters to these awful J. Jonah Jamesons serving as apologists for commie-like scribes with tasteless political views.
Captain America No. 1

Boy, did this book need help. New writer Ta-Nehisi Coates does his best in this first issue, but there’s a log of ugly to deal with.

First, previous writer Nick Spencer (see Spider-Man above) wrote one of the most hated “events” in Marvel history last summer, one in which history was subtly altered so that Steve Rogers has always been a Hydra sleeper agent, who comes out of the closet (so to speak) and takes over the world. A fascist Captain America infuriated a lot of readers, especially given current political trends, and while history was eventually returned to normal, nobody in either the Marvel Universe or our own has forgotten.

Prior to that fiasco, writer Rick Remender sent Captain America and Sharon Carter to another dimension for a while. While in “Dimension Z,” Carter was aged 20 years or so, which complicates her relationship with Steve Rogers and causes her a lot of personal anguish.

The easy thing would be to just ditch all this unpleasant history, but Coates has done his homework and tackles both of these elements head on.

For example, he deals with Carter’s pain by displaying Agent 13′s essential nature (as a fighter) rather than denigrating her (as a victim). He shows great skill in a conversation between Steve and Sharon on a dinner date, which is the best scene in the book.

He also addresses the Spencer mess. He shows that a lot of people don’t trust Captain America any more, which is a sad legacy of Captain Hydra. But he is dealing with it, and apparently in a fairly hopeful way (which a “Captain America” book should be). And rather than pretend that fascism in the comics doesn’t reflect the real world, at least on some level, he embraces the comparisons.
I'm sorry, but anybody who says the mess left by Spencer should be jettisoned and then proceeds to act as though addressing said mess in-story is not making a convincing case. The part about whether fascism in the comics reflects the real world - and is embraced by the scribe for a premise - is also disturbing, as is the claim Coates did his homework. If Mark Waid could handle it badly, so too can Coates; I'm not trusting him with this either.
Fortunately, not all of modern “Captain America” stories have been disasters. Ed Brubaker’s run on the book demonstrated how well it works as an espionage title, and masterminded the transformation of Bucky Barnes into the Winter Soldier. Brubaker established that Bucky has always been a stone killer, extrapolating back to World War II, where we learned that the “sidekick” was doing the dirty work while Captain America was on camera. Coates takes advantage of Brubaker’s espionage slant and Winter Soldier, the pragmatic ice man who calmly snipes bad guys.

Coates puts a lot of balls in the air in “Captain America,” some of which may not pay off for months. (That’s what he does in “Black Panther,” too.) Enjoying “Captain America” may take a commitment by the reader to stick around for a while, but it’s probably one worth making.
It won't pay off at all. It sure isn't paying off financially, and I don't see why we should put money into these phonies' pockets.
Thor No. 1

Thor Odinson has been MIA in his own book for several years, with Jane Foster wielding Mjolnir as a Thunder Goddess. (Also called Thor. Don’t think about it too hard.) That arrangement ended with the last iteration of the book, where Jane’s human self succumbed to cancer — but was given a second shot at beating the disease by All-Father Odin. She had to give up her hammer hobby, though, and ol’ Goldilocks is back with “Thor” No. 1.

But here’s an example where the movies have fed the comics, instead of the other way around. Writer Jason Aaron is obviously aware of what worked so spectacularly well in “Thor: Ragnarok,” as one can easily picture Chris Hemsworth voicing some of the dialogue in this story. Long gone is the stoic, Shakespearean Thor of old, replaced by one inclined to self-deprecating humor and sardonic observation on what fools these mortals be.
This doesn't sound appealing either. At its worst, it sounds like Aaron borrowed a page from Brian Bendis. I don't recall Thor of old looking down at the human race so negatively before. And if Jane's still bald from cancer, that's just simply disgusting. In fact, how can't we think about that SJW-pandering idiocy too hard, when it's just too laughable to take seriously, what with the male name put to use for a woman so deliberately and inorganically?
Also, Loki is as much supporting character as nemesis, and you can hear Tom Hiddleston in his dialogue — especially when he infuriates Thor by drinking his last beer. Another welcome supporting character is Thori, Thor’s adorably murderous puppy, a spawn of Garm, the giant canine who guards Hel in Norse mythology.

It’s not all sunshine and rainbow bridges, though. Thor is currently missing an arm, which is fellow Asgardian Tyr’s gig, and feels wrong for a guy whose physical strength has always been a major draw. And I’m not a fan of Mike Del Mundo’s art, which is a bit on the cartoony side.

But artist Christian Ward does a much better job on the back-up strip, starring the Thor of the far future. A feature Aaron established in previous runs of “Thor,” the ongoing adventures of cranky All-Father Thor and his three cheerfully disrespectful granddaughters is sneaky, snappy fun.
A canine cub who's lethal? What's so "adorable" about that? I don't like the sound of the future-era characterization either. And why should we be impressed when Thor's still missing his arm?
Tony Stark: Iron Man No. 1

Just like in “Thor,” the titular character has been absent in his own book for quite a while, replaced by a genius teen named Riri Williams, who goes by the nom du combat Ironheart. But Stark is back in the armor in this issue, and acting more like Robert Downey Jr. than ever.

And that’s all you need to know, if you enjoy the Marvel movies (and who doesn’t?). “Tony Stark: Iron Man” is full of big ideas and frantic, funny dialogue, both of which race by pell-mell. Stark is in full manic genius mode, which makes this book, by writer Dan Slott and artist Valerio Schiti, irresistible.
Sorry, but I wouldn't trust Slott with Shell-head any more than I would on Web-head. Naturally, you can't expect any criticism to turn up just how poor the characterization of Williams actually was in these puff pieces. Nor can you even expect any in depth focus on recent history and how better potentials have long been wasted on all this SJW-pandering. In the end, I don't think any of these books are worth it, or are going to be, with all these terrible hacks still assigned to work on them. It's otherwise just another failure of C.B. Cebulski to really show he can bring in better, more respectable talent whose politics are kept more to a minimum. This whole "fresh start" is mostly looking stale in the long run.

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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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