Thursday, October 29, 2020 

Newsarama's awkward list of best female heroines

So Newsarama/Games Radar's written a list of 10 notable superheroines from the Big Two whom they consider the best, and it's a shame the modern writing can't match that assessment. Let's see what they say about Supergirl:
Supergirl may have started out as a spin-off character from Superman, but for many fans, she' become so much more than that. DC's Maid of Might represents a certain element of femininity that is often glossed over in fiction – the balance of girlish glee and emotional exploration with confidence and physical power.

Too often female characters must be one or the other, ultra-feminine or super-powerful, but Supergirl - who possesses all the strength of her cousin Superman while facing all the issues of a young woman - is at her best when writers strike a true balance between both sides of that coin, letting her be a real Supergirl.

That dynamic plays an important role in the CW's Supergirl, a show that places a slightly older Kara in the central role and embraces her femininity without shying away from her ability to kick ass.
If this is supposed to imply superheroines have only been depicted as one of the other most of the time in the past, it's laughable. What about Hawkgirl, who came well before Supergirl, and could be feminine and powerful in her own way simultaneously? What about Black Canary? Or, most importantly, Wonder Woman? Oh, and how come no mention of all the rabid politics on the now cancelled TV show, or the politics that turned up in Kara Zor-El's solo book that were insulting to femininity? Are we missing something here? I'm afraid that, no matter how she's portrayed on the TV series, it doesn't excuse the political platform the show was built on for much of its run, and what turned up in the comics a few years ago contradicts the notion those in charge now respect femininity. Next up is Black Widow:
Black Widow has been around as a character since the '60s, but it's only recently that she's become a particularly prominent heroine in the Marvel Universe, thanks in large part to her role as a founding member of the cinematic Avengers.

But the fact that her recent success has mostly been due to her onscreen adventures doesn’t discount her role in comic books, either. Though she started out as a villain, it wasn’t long before Black Widow became an Avenger, a career she's balanced with her black ops work alongside SH.I.E.L.D. and on her own, even leading the team for a time.
I think her recent prominence owes more to political correctness than a real quest for entertainment. Besides, there were some notable stories starring Natasha Romanoff in the past, some of which I own (in a trade format), like a Marvel Fanfare story from 1983, and a miniseries from 1987, Coldest War. Those tales are far more engrossing than today's PC-infected fare. Next is She-Hulk:
To some, She-Hulk is the ultimate expression of feminine power. She's indestructible, super-strong, and without inhibition – all of this with the mind of a high-powered attorney wrapped inside those unparalleled green muscles.

And while she may seem like a typical spin-off character (obviously riffing on her somewhat more famous cousin Bruce Banner), She-Hulk takes the concept of a gamma-irradiated hero to a totally different level, embracing her alter ego and living life to the fullest.

In some ways, She-Hulk also broke other boundaries – her John Byrne-penned ongoing series introduced an indestructible, fourth-wall-breaking hero with a sense of humor years before Deadpool grew a similar schtick.

She-Hulk was Deadpool before there even was a Deadpool.
She was decidedly better written than Deadpool was too years before, but that's beside the point. What's glossed over here is how disturbingly masculine-drawn she became in the past decade when Axel Alonso was EIC, and even after C.B. Cebulski took over, it hasn't changed much, if the following panel from Immortal She-Hulk says anything. It looks dreadful. And they think they're so qualified to talk about femininity, huh? To say she's indestructible - which she wasn't in past decades - risks making her sound like a Mary Sue devoid of flaws. Then, there's the Wasp:
Janet Van Dyne was not only the first female Avenger, and a founder, but also the hero who named the team when they first formed.

Though she started out as something of a sidekick to her on-again-off-again (currently off-again) paramour Hank Pym, Janet quickly became a hero in her own right, leading the Avengers several times, and often acting as the team's moral center.

Wasp's arc has consistently projected upwards, quickly leaving behind any semblance of being a 'damsel in distress,' and progressing to the top levels of Marvel's heroic roster. Add to that her historical significance, and it's easy to see why she's one of the greatest female heroes ever to grace the printed page.

And while viewers got a glimpse of Janet Van Dyne in action in Ant-Man, she took on a much larger role in the sequel Ant-Man and the Wasp - in which her MCU daughter Hope Van Dyne took on the mantle of the winsome Wasp.
I see they don't mention how misused and marginalized she became in the past decade, and no objective view is taken of how she was handled during 1981, for example, and whether Hank Pym should've been turned into some sacrificial lamb in the process. I don't like how they discuss Jean Grey either:
Jean Grey was the first X-Woman, and even bore the name of her publishing company as Marvel Girl before transitioning to her Phoenix identity in the '70s. But she’s more than just the first female mutant superhero – she's also emblematic of the entire X-Men franchise, and one of the most complex, well-developed characters in comic books.

She may have started out in the typical Marvel superheroine model, but later adventures saw Jean develop a level of depth that many ensemble cast members never achieve. Between her ever-developing relationship with Scott Summers, her vast and terrifying power levels, her descent into madness as the Dark Phoenix, and her penchant for self-sacrifice and redemption, Jean experienced more in her tenure as a hero than almost anyone.

Of course, the Phoenix always rises from the ashes, and the resurrected Jean is a key character in the current 'Dawn of X' X-Men era.
I miss any mention that it was later established that Jean was replaced by a cosmic entity for some time, and 5 years after the whole Phoenix tale was told, the real Jean was discovered cocooned at the bottom of the ocean by the Fantastic Four. Can you honestly feel comfortable with a character who slaughters millions upon billions of aliens on a distant planet, surely one of the most shock value stories of the Bronze Age? Some people may think the Phoenix Saga is a masterpiece, but for me, the whole description of the Phoenix's actions in the 1980 issues makes me sick. And I'm saying that because I'm a fan of Jean Grey, and find it horrible how the whole mess kept getting regurgitated as time went by (like in Grant Morrison's 2001-04 run), and wonder why nobody thought to mention Claremont's original plan to have Jean sprung from Shi'ar custody and not face any justice for the crimes committed against a neighboring alien race, if she were the established culprit. Jim Shooter changed all that, but it doesn't explain why he thought the premise itself was agreeable to start with, and greenlighted it at the time. Now, here's something about Babs Gordon:
These days, she's back in action as Batgirl, her spinal injuries having been healed as part of the 'New 52' reboot. She's remained in her reprised role as Batgirl for nearly a decade now - though her current ongoing series is about to wrap with #50.
Hmm, so they don't mention how that solo book became a drainpipe for SJW ideology, effectively dampening the praise that I believe is owed to earlier, better writers like Chuck Dixon, for example, or John Ostrander, who cast Babs in a special role in the latter part of Suicide Squad, where her new role as Oracle was developed. And it doesn't get any better with what they say about Carol Danvers, referred to here as Capt. Marvel:
Carol Danvers is just about the most powerful woman in the Marvel Universe, and is arguably the publisher's top female hero.

With cosmic powers, a background as a fighter pilot, a high profile movie, and that crucial Avengers membership, she's everything great about superheroes wrapped up in one sleek package.

It's no wonder the next phase of the Marvel Cinematic Universe will likely put Carol front and center, as one of the pillars of the most popular superhero brand in the world.
Unfortunately, when the more than 6 consecutive volumes since 2012 sell as poorly, one after the other, as they did when ideologues like Kelly Sue deConnick took over, you can't say Carol's at the top so easily. Just like why, thanks to all the political correctness Spider-Man underwent in the past decade, it's no longer possible to say he's the top male superhero. That's what happens when you dumb down the creation so badly. Whatever "success" Carol's seen in the past decade owes more to PC media coverage glossing over any mistakes made, even as sales were very poor. And while the film drawing from this very well of PC may have raked in millions, there's no guarantee a sequel - if there is one in the works - will prove as profitable this time around. When they turn next to Storm:
Storm is also the first major Black woman superhero – a distinction that shouldn't be overlooked, especially considering how important she's remained in both X-Men and Marvel lore.
Certainly she was one of the earliest Black superheroines (DC's Bumblebee/Karen Beecher from the Teen Titans is also worth consideration), but so much political correctness in the past decade has ruined everything, to the point where you could ask how important anybody considers her in the wider sphere of pop culture today. Next is Invisible Woman:
Marvel's first superheroine may not have the highest profile of the characters on this list, but Sue Storm set the pace for modern female heroes – and still occupies a fairly unique place in comic books.

While its true that early stories didn’t exactly serve Sue particularly well, she developed into the heart and soul of the Fantastic Four, serving as Marvel's first family's de facto – and literal – mother. And that may be one of the most crucial aspects of her character.

While Sue Storm is powerful in her own right – many writers have said she's got the most raw power of anyone on the FF – she also represents an important aspect of womanhood that many female heroes have sacrificed or had used against them – motherhood.

That Sue can serve as one of the most respected heroes in the Marvel Universe (and its first female hero) while simultaneously raising two children and shepherding the growth of many more through the Future Foundation can't be understated.

Plus, it takes a pretty amazing woman to stand up to a blowhard like Reed Richards.
First, they're wrong about Sue Storm being Marvel's first superheroine - one of the earliest was Miss America, debuting in Marvel Mystery Comics #49 from 1943 whose real name was Madelyne Joyce Frank, and was co-created by Otto Binder and Al Gabriele. For a time, it was implied in the Bronze Age that she and her husband, the Whizzer, were the parents of Scarlet Witch and Quicksilver, but that was later changed to Magneto and his late wife Magda Lensherr. If anything, Sue Storm was the first Marvel superheroine of the Silver Age, when she debuted in late 1961. (But Mr. Fantastic a "blowhard"? If anything, he sometimes got carried away babbling his scientific jargon, to the occasional distress of his family and fellow heroes, and Sue had to remind him he should cut it short.)

But what an interesting note about motherhood and womanhood! Have they taken into consideration all the recent artwork at Marvel beginning when Axel Alonso was EIC that's denigrated a lot of their female casts by making them look masculine (including the aforementioned She-Hulk, when they drew her in some instances with very masculine-looking muscles), and certainly less feminine, almost entirely eliminating their breasts and villifying sex appeal, something Stan Lee oversaw when he was in charge of the once House of Ideas (She-Hulk was developed as a big green sex symbol under his oversight too), and nobody in his time ever accused him of wrongdoing, and we could even cite modern Marvel's denigration of Mary Jane Watson, kicking her to the curb and thus removing one of the best symbols of womanhood from Spider-Man's world in 2007's notorious One More Day when Joe Quesada was still EIC. At the time, they also trolled the audience by getting rid of the Parkers' daughter, featuring a young girl in a cameo who's implied to be the daughter May, basically erasing her along with the marriage through the Mephisto deal. As a result, Newsarama's allusions to motherhood bear some pondering too, because under Quesada, he pretty much belittled the idea along with marriage between men and women.

Unfortunately, they fail to flesh this out into a full-fledged argument where a case could truly be made for womanhood/motherhood, obviously because they don't have what it takes to make a seriously objective, meat-and-potatoes argument over what went wrong with Marvel in the past 20 years, and there's no chance Marvel would ever draw inspiration from Amy Coney Barrett for motherhood and womanhood, because her approach is anathema to theirs. Last up is Wonder Woman:
Diana of Themiscyra represents the best of mankind, and of womanhood. Strong, compassionate, fearless, and independent, as Wonder Woman Diana is a pillar of the Justice League and one of the greatest heroes and warriors in the entire DC Universe.

And though her real world origins are complex, William Moulton Marston and his collaborators Elizabeth Holloway Marston and Olive Byrne created an equally complex character who would grow to become a feminist icon and the character that almost anyone in the world thinks of when you say "female superhero."
Trouble is, WW's been just as much a victim of dumbing-down in modern times, and during the New 52, her origin as the product of enchanted clay was retconned so that instead, she was the daughter of Zeus, which may not have been changed even after New 52 was abandoned 5 years later. If not, it symbolizes all that's gone wrong with corporate-owned comics today, where bad ideas remain firmly in place, no matter how badly served the creation becomes as a result. Almost hilarious is how feminists don't seem to care if the retcon remains, despite how it slights their alleged beliefs.

And that concludes a little look at a not-very-objective item about women in mainstream comicdom, by people who aren't very dedicated to advocating for quality writing.

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Wednesday, October 28, 2020 

Cecil Castelucci hijacks Barbara Gordon for her own political allusions

In this Newsarama interview, where writer Castelucci discusses the finale for Batgirl, it would seem she's exploited the moment for comparing Babs Gordon to a modern leftist politician who's done a very bad job:
Nrama: What made you want to bring a political element into Barbara Gordon's life?

Castellucci: Once again, this goes back to her own history as a character.

In the Bronze Age, Barbara Gordon becomes the youngest congresswoman (and one of the only ones). She was like the AOC of her time. So having her work for a congresswoman now and thinking more about politics was a very natural move for her as a character.

I think one of the strongest elements of Babs/Batgirl as a character is that she is always looking for ways to be a hero: librarian, Batgirl, Oracle, civil servant; they are all ways to be of service to the community.

I also think that right now, in this world, at this time, we have politics on our minds a lot. And I do think that the arts reflect the world. I really wanted to leave Batgirl with many different options of how she could be a hero moving forward. Who knows! Maybe she'll be Mayor of Gotham when she's older! That'd be rad.

Regardless of what she does, she's heroic. And she lives in Gotham and no matter where you live, politics affect how you can help those in need.

P.S. Everybody please go vote.
They certainly can affect, if you've experienced what Andrew Cuomo put New York nursing homes through. Make Babs Gordon into a Congresswoman, fine (though IIRC, after Crisis on Infinite Earths, it was thought discarded from continuity). But what Castelucci's going by is insulting to the intellect, comparing Babs to Alexandria Ocasio-Cortez, who sabotaged Amazon's plan to open a division in NYC, and has supported anti-Israel fake news, among other troubling directions. Incidentally, Castellucci might want to rethink her use of initials to describe Ocasio-Cortez, since she took offense at Donald Trump referring to her by initials instead of her full name, all for the sake of finding an excuse to lambast the POTUS, obviously. (Yet Ocasio-Cortez didn't have an issue with computer game players using her initials, which proves it's all just an excuse for division.) Why does Castellucci think AOC is such a big deal, but not Senator Martha McSally, who's got an impressive military record as a pilot? Flying is something a lot of adventurers in comicdom have specialized in, yet Castellucci pays no attention to that.

Since Babs Gordon's the daughter of a police official, one has to additionally wonder what Castellucci thinks of the premise originally conceived by Bill Finger and Bob Kane, in an era where law enforcement is being wrongfully villified. Then again, if the title is being cancelled after issue 50, maybe that says it all?

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Heather Antos may have put needless politics into Harbinger

Newsarama/Games Radar interviewed the dreadful former Dark Horse/Marvel editor whom Valiant made a mistake in hiring, and predictably, they sugarcoat everything possible:
Fans of Valiant Entertainment have faced a disheartening shortage of their favorite titles due to COVID-19, but some good news is coming in 2021- the return of Harbinger.
But if Antos, for example, wasted no time in dumbing it down, then it's no wonder their fortunes began to dwindle ever since she came on board, and are unlikely to recover now. Here's where it becomes fishy:
Nrama: In the announcement, The Harbinger's co-writer Jackson Lanzing said it was "unapologetic in its politics." What does he mean by that?

Antos: I don't want to speak for Jackson or Collin and put words in their mouths, but the truth of the matter is Harbinger has always been a bit of a political book. I mean, Peter and his Renegades are a bit anarchist, really - the system isn't working for the people, and they are fighting it. 2021's The Harbinger is no different.

Whether it's Peter fighting his own wrongdoings from his past - both figuratively and literally - or fighting the broken system that villainized him from the very beginning, how can a book like The Harbinger not be unapologetic in its politics?
Anybody who defends their likely direction by saying it's "always" been political sounds pretty obsessed, and not so interested in entertainment, if at all. Chances are high this is an allusion to the USA system, and not to the poorest European ones. Or, no chance there'll be any critique of corrupt politicians like New York's governor Andrew Cuomo, who led a disastrous step during the early part of the Covid19 crisis that cost lives, nor any chance there'll be critiques of Pennsylvania's Tom Wolf, who so far has allowed BLM/Antifa riots and looting to continue in Philadelphia with no proper opposition.

Antos is, at this point, reason enough to avoid whatever future output Valiant offers, and some might even be discouraged if the company is now owned by a Chinese business, after all the trouble they caused with the Corona outbreak in the first place.

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Tuesday, October 27, 2020 

CBR gushes over Mark Russell's propaganda works

CBR wrote a sugarcoated list of what they describe as Russell's best, most spectacular comic writings without even going in depth or giving a clear picture what they're really about. They say:
Mark Russell is relatively new to the comic book writing scene, yet has already significantly impacted the industry. Since his debut in 2015 with DC Comics, Russell has built a reputation for himself as a go-to writer through his work at various publishers and with his creator-owned properties.

As a writer, Russell is a comedic genius with his own creations and can take existing properties and reconceptualize them for a more mature and sophisticated readership. Over the years, he has shown that comics are not only an escape from the real world but can be used to address current socially relevant issues.
Unfortunately, those would be ultra-leftist issues, as he demonstrated in his Hanna-Barbera adaptations, for example. And CBR's writer clearly wants us to take what they're saying at face value about "genius". Including what they say about Russell's take on "Prez":
In 2015 as the build-up to the 2016 Presidental election began, DC Comics tapped Russell to reimagine Joe Simon and artist Jerry Grandenetti's 1970s character Prez Rickard, the first teenager to serve as President of the United States. In the original 70s series, the Constitution was changed, which allowed Rickard to be elected to the nation's highest political office. The recent series, starring Twitter sensation Beth "Corndog Girl" Ross, is elected President in the Year 2036 and thrust into the political world where corporations hold political office, and the poor are used as human advertisements.

This reboot of the character was funny, pointed, and full of satire exposing everything wrong with the current state of American politics. Initially slated for a 12-issue series, it was reduced to six issues, leaving many more stories to be told with this character.
But they weren't, were they? I guess it just wasn't as successful as they think it was, and not many people were interested in reading. I notice they aren't clear what's wrong with the current state of US politics? Gee, how weird. They also cite his entries in DC's Year of the Villain event:
Company-wide events and crossovers are one of the things driving the comic industry these days; usually, the one-shot issues that tie-in to the overall stories can be hit and miss—however, not Russell's contributions to DC's recent Year of the Villain event. As part of this DC Comics event, Russell contributed one-shots featuring Sinestro, Harley Quinn, and The Riddler.

Russell took these installments, which could have been an opportunity to tell a simple story, but instead turned each of these into a high-concept story that works on multiple levels. Not only were his three contributions high-concept, but he also took different angles on the event.
Never trust something built around villains. Especially when it's claimed they're "high-concept". They also brought up the Snagglepuss mangling:
Russell then tackled, reinvented, and made the B-list Hanna Barbera cartoon character, Sugglepuss, into a relevant gay icon. After debuting as a backstory in the Suicide Squad/ Banana Splits one-shot as a southern gay, Tennesse Williams-esque playwright living in the 1950s driven, Snagglepuss was ready for the comic book spotlight under Russell's expert hand in Exit Stage Left: The Snaggpuss Chronicles.

Russell's tragic yet honest portrayal of the playwright's journey from the respected playwright to television cartoon star provides the character with a new and meaningful origin. Russell's work on Exit Stage Left: The Snaggpuss Chronicles earned him two more Eisner nominations, but the 2019 GLAAD Award for Outstanding Comic.
We've heard all that before too. And of course, they have no interest in voicing concern over the denigrating way Russell spoke about artist Jae Lee some time ago. By exploiting established cartoon characters as a way to channel his far-left politics, Russell has only demonstrated why he actually lacks the creativity to tell them with his own creations. I also have to wonder why he thinks anybody cares about cartoon creations from a studio that folded almost 2 decades ago, after being in business for nearly 45 years. CBR can say what they like, but it doesn't change that he's just another ideologue embraced by modern politicized company executives because he represents all they hold dear, at the expense of the properties they shouldn't be overseeing.

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Monday, October 26, 2020 

HBO Max's Green Lantern show will be based on James Robinson's PC characterization of Alan Scott

In this sugary Deadline Hollywood article about HBO's new TV show based on the Green Lantern franchise (produced by none other than Greg Berlanti, among other shady folks), it turns out the only way a white character like the Golden Age's Alan Scott is allowed to be cast in a modern SJW-themed sci-fi production today is to make him homosexual, and in this case, going by what the overrated James Robinson brewed up nearly a decade ago in the abortive Earth-2 series from the New 52 monstrosity:
The drama will depict the adventures of a multitude of Lanterns, including Guy Gardner, Jessica Cruz, Simon Baz and Alan Scott — Earth’s first Green Lantern, who, true to the comics, is a gay man — and many more. The series will also include fan favorites such as Sinestro and Kilowog, and will also introduce new heroes to the ranks of the Green Lantern Corps.
Look how lacking in research this is - pretending Scott was always gay, even though in the Golden Age, he wasn't, and there were 3 women he was involved with in decades past - Irene Miller, Molly Maynne, alias the Harlequin, and Rose Canton, the original Thorn, the latter who bore Scott's 2 twin children, Jade and Obsidian from Infinity Inc, while Molly became the lady whom Scott later married. Also notice how, in another sign of social justice around the corner, they're putting Geoff Johns' Islamic propaganda creation in the cast, yet they'll doubtless refuse to acknowledge Islam's hostility to homosexuals. Wow, I'm sure Robinson is really having a ball knowing that his desecration of Martin Nodell and Bill Finger's Golden Age creation is considered the superior one by today's PC standards. This news compounds my opinion Robinson's take on Starman was vastly overrated during the 90s, and ensures I won't be buying anything with his name on it now.

Screen Rant makes things worse with their own gushing:
When DC's New 52 initiative rebooted the DC Multiverse after the events of Flashpoint, there were several things that weren't the same or were missing completely. One such element that was gone was the existence of the JSA altogether. In the new DC timeline, the Justice League were the first heroes to emerge in the world, only 5 years prior to when the New 52 begins. However, the New 52 did run a series titled Earth-2, which featured the members of the JSA in the modern era. Remarkably, Alan Scott got a major retcon to his sexuality, where he was revealed to have come out as openly gay.

While this reveal was in 2012, future comics featuring Scott and current iterations have held true to this retcon, even in stories featuring the JSA in the past. Given that the JSA was operating during the 1940s it would have been much harder for Alan to be as open about his sexuality, considering that before the 1960s, acts of homosexuality were treated as felonies punishable by imprisonment. This was a historic move on DC Comics' part, one that was generally lauded as a positive and progressive move on the part of the publisher, and will be a featured element for Scott's character in the upcoming HBO Max series.
If this is so, then clearly, we're not missing anything. The site's contemptuous writer wasted no time celebrating the retcon as the most spectacular thing that could possibly happen, lauding it as "historic", despite how LGBT issues have long grown very old, and painting the 40s as worse than they actually were stateside. They sure love to use the word "progressive" too, don't they?

This CBR item, which is also pretty bad, notes a most fascinating omission of characters from the cast:
Fans of the Green Lantern franchise will immediately recognize that two prominent names are missing from the HBO Max cast list: Hal Jordan and John Stewart. Hal Jordan has starred in numerous volumes of the Green Lantern comics, with John Stewart becoming a household name in the Justice League animated series.
My my, so Hal for starters, the Lantern whom they'd be claiming until recent was by far the most famous GLC member, has no part in this TV show, nor does John, who debuted in 1971? On which note, and before we forget whom the production crew is comprised of:
Executive produced by Geoff Johns and written by Seth Grahame-Smith and Marc Guggenheim, HBO Max's Green Lantern series has yet to receive a premiere date.
This was the same man who claimed to be big on backing Hal as a star, yet here, he takes part in producing a TV show that so far is lacking the character, or at the least, marginalizes him. How fascinating. But whether or not Hal and John are present in this current iteration, Johns alone is enough to make me change the channel, or turn off the TV set. (Or, if this were broadcast on computer-based video frequencies, to turn off the web browser.) What he did to the Flash was terrible enough; I'm not going to waste time on the TV shows he produces, no matter what the tone or content they're filmed with.

And in the end, again, you could make an argument the structure of these live action adaptations strongly suggests the only way a white man like Alan could be cast in such series today is if they're characterized as homosexual. That's how political correctness seems to work these days.

In addition, this further explains why I've become so disillusioned with anything Green Lantern-based, as they fell victim post-1988 to the worst political correctness possible that became considerably worse as things went along. As somebody who is a GL fan, it's terrible to see characters and a comics franchise that once had enjoyability fall so hard to modern PC mentalities.

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Sunday, October 25, 2020 

Tom King is blatantly performing political activism

CBR reported that the awful King is going to be doing a form of political activism in Philadelphia on election day, by giving away free copies of a Batman comic to voters, in what's clearly political activism on DC's part by extension:
King has announced that he will be signing and handing out free copies of Detective Comics #1027 at a popular Philadelphia comic book shop on Nov. 3 for anyone who votes in the upcoming election. "Box of Detective 1027 I'll be signing and giving away FREE to voters on 11/3 [at Fat Jack's Comicrypt] in Philly." King posted along with a photo of the boxed comics. "See you there in a safe line or wave as you pick up a comic and go or get one the next day."
King's writing and conduct online towards other creators is so bad, I wouldn't take his work even if it's free. Besides, there's far too much emphasis on Batman and the darkness the franchise is built upon these days. For now, if DC's allowing this, it says quite a bit about where they're going too, under the management of Jim Lee and company. I couldn't think of a better time to avoid their new products, which have become very bad artistically anyway.

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Saturday, October 24, 2020 

A writer promoting a comic about detecting fake news perpetuates a falsehood

The Conversation has an article by a sociology professor promoting a comic titled "Won't Get Fooled Again: A Graphic Guide To Fake News", whose purpose is to teach how to identify fake news. Unfortunately, they lose me when the tell the following:
The effects of misinformation have been evident throughout the COVID-19 epidemic, with many citizens confused as to whether a mask will decrease the chances of spreading the infection. Similar tactics are being levelled against Black Lives Matter protesters, such as labelling them all as rioters when videos and photos show most behaving peacefully.
So, more of this apologia for the BLM movement, is it? Ignoring reports and photography that shows BLM "protestors" acting violently, and overall setting truly awful examples. One of the movement founders was even mentored by a former collaborator of Bill Ayers. And when the professor brings up what her students thought of the alleged research:
In my findings, students identified several reasons why media outlets post or re-publish fake news, including making mistakes, being short-staffed, not fact-checking and actively seeking greater viewership by posting fake news.

The students pointed to holistic media literacy and critical thinking training as the best responses. This finding runs counter to the tactics currently used by publishers and tech companies to label or “fact-check” disputed news.

One student summarized this mindset best: “As citizens and consumers, we have a responsibility to be critical. Don’t accept stories blindly. Hold those in power responsible for their actions!”
And yet, the biased professor chose not to approach the BLM issue with a critical, objective eye, accepts all claims of peacefulness blindly, and doesn't hold them responsible for their actions. What's the point then?
Getting multiple perspectives is a great way to expand our digest of viewpoints. Once we can see a story from more than one angle, separating truth from falsehood becomes much simpler.
If she really believes what she's saying, then she shouldn't go miles out of her way to airbrush BLM's worst acts. So why must we believe her comic about fake news is anything but an attempt to parrot what Donald Trump says about fake news, obviously trying to claim it for the left side of the spectrum instead. Anybody who does that is a joke, and it won't surprise me if the overall comic's the same due to partisan politics overwhelming the narrative.

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Friday, October 23, 2020 

Jim Zub seems to agree with my belief in going for trades-only formats

I discovered the following conversation Canadian-based writer Zub had, where he answered the following question: This, again, makes a case similar to what I've been advocating for comicdom as we know it - abandoning what's fast become an antiquated, unprofitable format today priced expensively at 4 dollars-plus (yet with page counts possibly getting lower to 20 or less), and going for what can be relatively cheaper as a whole, rather than the sum of parts. This way, a reader also gets a fuller story without having to worry about missing anything, and possibly spending more to get a paperback collection in order to get the whole story that way.

One more, closely connected statement Zub made worth noting: Oh, he's right about that. There's a lot of stories I'm willing to buy in trade format, if that says anything, so the argument has to be made further why it's best at this point to go with trades-only, and save money by jettisoning the floppies.

In addition, an end to floppies could bring about the end of company wide crossovers, and no doubt, that's one of the reasons why the Big Two have clung to the antiquated format till now, because of all the corruption they find appealing in jamming these crossovers down everyone's throats so they can milk the speculator market's dollars dry, along with the aimless addicts who buy out of an absurd habit not based on merit. One more reason why the time's come to stop buying a story even remotely connected to a crossover, because buying them only ensures they still won't get the message we can't accept this anymore, and they'll keep on doing it. But again, let's remember that the Big 2 are on their way down and out, as more people have luckily caught on to how poor their conduct really is.

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Comics in the medical world

Here's an article in The Lancet medical journal telling about the part comicdom's played in medical history as early as the 19th century cartooning precursors, and what part they can take today in discussing the Covid19 pandemic.

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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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