Marvel Archives - Page 2 of 140 - Robot 6 @ Comic Book Resources
Jonathan Hickman writes a dense story. I’d almost consider him the anti-Bendis in the matter/anti-matter chamber that is the Avengers. While Brian Michael Bendis focused on the small story (sometimes a bit myopically), Hickman branches out into the vast unknowns of space and reality, and presents stories in a massive scope and scale. He has complex, overarching plots that have enormous charts to keep track of timelines and major events. He creates mythologies for his own subcultures for readers to delve into. The threats his Avengers face are beyond the realms of mortal ken, which sometimes means beyond the reader’s ken as well.
Don’t get me wrong, I think it’s great that the Avengers are facing down greater problems and dangers than, say, ninjas or hoodlums. If you’re going to be the premier superhero team, you have to be challenged by something no one hero could face on her own. Giving the Avengers grand designs makes them seem more important and, therefore, more heroic when they succeed. On the other hand, sometimes a larger scope can be too large to grasp, and when the reader loses the personal interest of the story, it can be a chore to slog through. I’d be lying if it didn’t seem like homework sometimes to figure out Hickman’s builder/mapmakers/Ivory Kings/Black Priests cosmology, and that my eyes didn’t glaze over during some issues as I waited for the heroes to do something spectacular.
Well, the wait is over! The last three issues of New Avengers have gotten us back into the game with a huge reveal, some personal triumphs and tragedies, and I feel more invested in this Incursion story than ever before. What’s been going on? And why did it take so long to get to the fireworks factory? Read on!
WARNING: Spoilers (obviously) for the New Avengers #21-23.
Often the infographics peddled by companies to websites aren’t that interesting or well-done, but I’ll have to hand it to HalloweenCostumes.com and, more so, artist Kate Willaert: While opinions may vary on how interesting the Marvel Heroes Height Comparison Chart is, the art is certainly nice — and it’s sprinkled with a little humor.
They’re pretty savvy, too, as they not only include the Guardians of the Galaxy, but also Howard the Duck and Ant-Man. So now, the next time you’re involved in a bar wager that rests on who’s taller, Captain America or Hawkeye, you’ll have a quick-and-easy answer.
Political cartoons | “I think it might be pretty risky to go back home,” says Chinese cartoonist Wang Liming, who’s on Japan in a business trip and is thinking about staying there. “If I go back, they might use my cartoons as an excuse to detain me.” Liming, whose pen name is Biantai Lajiao (Perverted Chili Pepper), was arrested and briefly detained in 2013 on charges of “rumor-mongering,” stemming from a post on the microblog site Weibo. This time, an anonymous commenter on a state-owned discussion board called Liming a “traitor” because of a cartoon he posted online that showed mainland Chinese being sent to Hong Kong to oppose the Occupy Central pro-democracy campaign and demonstrate how to kowtow to the government. “That post is written like something out of the Cultural Revolution,” Liming said, calling it a “smear campaign.” He has 500,000 followers on Weibo and another 340,000 on Sina Weibo, and he says he is losing income because his accounts have been shut down. [Radio Free Asia]
Marvel released its November solicitations, and as I’ve feared for a few months now, New Warriors by Christopher Yost and Marcus To is ending with Issue 12. This isn’t exactly a surprise, as anyone even casually watching its sales probably saw this coming: July’s Issue 7 sold about 17,000 copies, a few thousand below the traditional line of death for a Marvel title.
While the writing may have been on the wall, it’s sad to see such a fun and spirited comic go away. As a longtime fan of New Warriors, this fourth attempt to revitalize the property was the most true to the fondly remembered original series by Fabian Nicieza, Mark Bagley and Darick Robertson. The bright and energetic art was fantastic, the dialogue was pitch-perfect, and yet … it just didn’t click with enough readers.
So what’s the problem?
Unfortunately, the creators had an uphill climb for a number of reasons. Some are unique to the New Warriors and others are shared by non-marquee properties at Marvel, DC and other publishers. In February, when this New Warriors series launched, I celebrated the B-list characters and their comics. Now six months later, we’re staring down the barrel of cancellation. These B-listers are a double-edged sword, so now it’s time to look at the edge of the sword that we don’t like (or however that metaphor works).
As comics fans continue to grumble about casting and rumored plot details, and predict box-office doom for director Josh Trank’s Fantastic Four, filmmaker Marty Langford takes us back 20 years with a sneak peek at his documentary Doomed! The Untold Story of Roger Corman’s The Fantastic Four.
Even if you haven’t picked up a DVD bootleg at a convention, you’re undoubtedly familiar with the legend of the 1994 film, shot over 28 days for a meager $1 million so producer Bernd Eichinger could retain the film rights to the Marvel Comics property. Featuring low production values and high levels of camp, The Fantastic Four was never released in theaters, and many — including Stan Lee — have long contended it was never intended for distribution. However, Eichinger, Corman and others involved tell a different story.
As much as I enjoyed my well-worn copies of The Official Handbook of the Marvel Universe, the often-strained pseudoscientific explanations for superhuman abilities sure could sap the fun of out comics. For instance, the Hulk wasn’t simply (!) a gamma-irradiated man who turned big, green and strong when he got angry — if I remember correctly, his additional mass came from another dimension. In an amusing contrast, the “Powers & Abilities” section of a Handbook entry could go on for paragraphs, even pages, while in Who’s Who in the DC Universe, it might only rate a sentence or two.
Stanford researcher Sebastian Alvarado manages to find a nice middle ground in a pair of videos exploring the science behind Captain America and the Incredible Hulk. There’s no mention of other dimensions or unstable molecules here, but there are some big, and impressive-sounding words — such us epigenetic modification, which Alvarado theorizes might be behind Bruce Banner’s transformations.
Hello and welcome to Shelf Porn, our weekly look at one fan’s collection. Today we’re featuring a return engagement to the home of Chad Holloway in Wisconsin, who tells us that since the last time we featured his shelves, “my collection has changed dramatically and is now more prominently displayed.”
If you’d like to see your collection featured here, you can find instructions at the end of this post.
And now here is Chad …
The problem is that heroes win. Episodic storytelling can only get away with formula for a short amount of time before something has to change, and if there’s one constant to mainstream comics, it’s that the heroes should win. Maybe not all the time, but eventually.
When heroes lose, it bums us out. I’m not saying comics called “Magneto” or “Sabretooth” don’t sell well, it’s just they’re not going to sell as well as one labeled “Wolverine.” As readers, we come to see our heroes face a peril they will eventually overcome. Marvel’s Civil War and Dark Reign were great examples of the heroes ostensibly losing the battle, but in time (and a couple of other events later) they would win the war.
With every success our heroes experience, a greater challenge should be on the horizon. No one wants to see Spider-Man fight street-level criminals forever; let’s take him into space! Or put him with the Avengers! And so the stakes rise higher and higher with every foe defeated. Instead of having heroes face bigger and bigger catastrophes — Earth can only be in peril in so times each week — there has to be a different kind of challenge to keep our heroes on their toes and readers on the edge of their seats. So, we change the hero; maybe it’s some new powers, maybe it’s a new supporting cast, maybe we go facelift, costume change or new personality.
Take The Superior Spider-Man: Pretty much all of the above were thrown at Spider-Man to give the character a new look, new cast and new outlook. Stories began focusing less on if Spider-Man was going to win and more on how he was going to do it with Doctor Octopus in control. And because books with Doctor Octopus’ name on the cover won’t likely sell as well as those with Spider-Man’s, there’s little risk in making the switch for a while to see if it shakes things up. The old status quo eventually returns, and everyone feels like they got a little vacation.
Probably the best example of the personal shake-up is the Hulk. He’s somewhat of a cottage industry of protagonists in himself. He has tons of supporting characters, and some of the most important ones to the Hulk mythology are those in his own head.
WARNING: Some talk of Hulk #6, so please grab a copy and read along!
Well before Iron Man’s Hulkbuster Armor makes its big-screen debut next year in Marvel’s Avengers: Age of Ultron, cosplayer Pablo Bairan has brought the comic-book version to life, quite epically.
And as difficult as it is to believe, the massive suit is mobile, with an honest-to-goodness person in side. You can see for yourself in the photos and video below.
If it seems far too soon, and far too exhausting, to start planning for Comic-Con International 2015 (it’s just330 days away) then think about this: Early-bird tickets went on sale Thursday for D23 Expo 2015, scheduled for about a month after the San Diego convention.
Billed as the Ultimate Disney Fan Event, it will be held Aug. 14-16, 2015, at the Anaheim Convention Center, across the street from Disneyland. It brings together elements of Disney, Pixar, ABC, Lucasfilm and Marvel under one (figurative) tent.
While we’ve certainly seen a number of fan films featuring Superman, Judd Dredd and the Bat-family (the Dark Knight, Batgirl, Nightwing, the Gotham villains, etc.), I think this is the first one I’ve seen starring Black Panther.
The brainchild of D.A. Jackson, who wrote, directed and starred, Storms of Carnage: The Black Panther Unleashed is an extremely violent — as “Storms of Carnage” may suggest — “real-world” take on the Marvel character that’s part political/crime thriller, part no-holds-barred martial-arts film. (Seriously, the last half isn’t safe for work, or possibly for the squeamish.)
Disney Consumer Products struck deals with more than 50 companies for Guardians of the Galaxy merchandise, ensuring store shelves are stocked with everything from a Big Blastin’ Rocket Raccoon Figure to the LEGO Milano Spaceship Rescue Building Set to the Rocket Raccoon Suit-Up Backpack.
But somehow, nobody thought to license — spoiler alert? — a dancing Baby Groot.
Business | Marvel parent company Disney has reportedly laid off as many as 17 of the 60 full-time employees at DisneyToon Studio, the Glendale, California-based division that produces animated direct-to-video sequels and prequels, such as The Lion King 1 1/2 and Mulan II, the Disney Fairies releases and the occasional feature film, most recently Planes: Fire & Rescue. While Disney has been cutting positions throughout the company for the past few years — dating back to 2011 with the elimination of 200 jobs in its interactive division and about a dozen at Marvel — Variety chalks up these layoffs to the declining home-video market. [Variety, Deadline]
Passings | Dan Lynch, former editorial cartoonist for the Fort Wayne Journal Gazette, died Sunday at age 67. Lynch also worked for the Kansas City Times, and his cartoons were syndicated nationally and appeared in Time and Newsweek. However, his career was cut short by a debilitating stroke in 2001. “Dan had (what I thought was) a fabulous drawing style,” said Julie Inskeep, publisher and president of The Journal Gazette. “And, in the 20-plus years he worked at the JG, he provided a vast array of cartoon topics – always welcome, though not always in agreement with our editorial board. But he got people to think and react in his special and powerful way.” [Fort Wayne Journal Gazette]
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
For whatever reason, Marvel is bringing the original Howard the Duck comics back into print. These are pretty great comics on their own, from creator/writer Steve Gerber and artists like Val Mayerik, Frank Brunner and Gene Colan. However, this is a Best of 7 because Howard the Duck itself facilitates all sorts of discussions. We can talk about creators’ rights via Gerber’s disputes with Marvel, and we can go from there to the extent to which a unique voice can (or should) be replicated by successors. (Personally, I thought the 2007 Ty Templeton/Juan Bobillo miniseries was pretty fun.) On a more superficial level, there’s the publisher’s biggest filmed fiasco.
Still, it does come down to the comics. In an era when the Big Two were expanding their scopes and testing their limits, Howard the Duck was one of the biggest experiments of the mid-1970s, and one that paid off in such entertaining fashion. Anything that brings it back into the spotlight is fine by me.
Decompression in storytelling sucks. I’m not saying that it can’t be done right and really enhance a plot — the first few issues of the original Ultimate Spider-Man prove that point quite well. I’m just saying that, for the most part, it wastes our time.
As much as I respect Jonathan Hickman, I have to admit his Avengers arcs are running really long in the tooth and are densely packed with so much information and so little resolution that I feel as if I’m being strung along. It took this week’s issue of New Avengers to get me reinvested in the grand arc, and the story had to get all WorldstarHipHop to shake things up. As a reader, you can feel when things slow down, and the less you want to go back and reread to remind you of content that should have been addressed issues ago. It can start to cause regret, resentment against the book itself (why am I still reading this?) and a weird sort of Stockholm syndrome where you don’t like a particular series but you keep buying it because, man, the payoff better be good.
On the other hand, comics that “compress,” or at least move along at a faster clip, leave little time for regret. It’s not even that shorter stories can’t be as complicated as longer ones; the story simply leaves it up to the reader to unpack the plot and characters long after the story ends. And hey, even if it’s bad, at least it didn’t waste your time? There’s a certain amount of assumed intelligence when a comic moves at a good clip and packs in as much detail as it can to give you the biggest bang for the number of pages, and, in the Thanos:The Infinity Revelation, Jim Starlin wants you to be super-smart.
Does the original graphic novel live up to the very well-deserved Starlin hype? More importantly, is it worth the $25 price tag for such a thin little hardcover? Read on!