Why The Russos Are The Best Thing to Happen to the MCU Since Joss Whedon
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I can’t deny the appeal of crowdfunding. I’ve contributed to a handful of projects, including the Stripped documentary, the new Steve Rude sketchbook and a guide to Star Wars’ domestic filming locations. I’m also planning to pledge to Leaving Megalopolis, the new graphic novel by Gail Simone and Jim Calafiore.
Like many of you, I’m predisposed to like Simone and Calafiore’s work based on their issues of Secret Six. I also enjoyed the way Simone and her collaborators brought a little town of superheroes to life in Welcome to Tranquility. Heck, I just like Simone’s writing generally, and as it’s within my budget, I don’t mind spending the money.
However, while responding to Tom Spurgeon’s call for crowdfunding thoughts, I had a crazy idea: What if a license fee were part of the crowdfunding proposal? In other words, what if one item in a project’s budget were earmarked for licensing particular characters from DC or Marvel?
While there is a fine line between stupid and clever, I’m not sure upon which side this post lies. That’s probably not so good — but it hasn’t stopped me yet. …
This post is about world-building. Ideally (and at the risk of being too cute), world-building would be what you made of it. The notion of a shared superhero universe implies a certain level of consistency, which at best offers a rich, textured backdrop and at worst becomes a tangled thicket of details. Naturally, each reader’s level of involvement will vary, and these days readers have quite a few options. Today I’m trying to sketch a general picture of how those options affect the stories themselves, and vice versa.
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Over the years — over the decades, really — it has been suggested that I read too many comic books. These concerns are not insignificant, and over the decades I have tried to deal with them appropriately.
However, while talking about DC’s Big Events with a friend on the way to the movies, I got a new perspective on the way these stories are received. Basically, my friend had seen Identity Crisis on a list of all-time worst comics and wanted my thoughts, because he had enjoyed it. Similarly, he liked Blackest Night not so much for the nonstop carnage, but for the sense that there were consequences.