Comics are awesome.

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Dominic
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Re: Comics are awesome.

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BWprowl wrote: Man, Hasbro was so confident in the marketing line they had laid out for TF, they let Go-Bots advertise INSIDE the Transformers comics! That just seems cocky!

It may not have been Hasbro's choice. Marvel likely sold the ad space. (And, the ads are the thing that publications make money on. Circulation money is just a little cushion.) Either way, it is funny.

So Transformers or GI Joe began as toy properties that exist to make money rather than as literary properties that exist to make money. Not much difference between the two there. Maybe the comic-shop owners are trying to make some distinction between toys aimed at kids and comics aimed at... what? Kids, teens, possibly college-age. I enjoy some comics as an adult, and so do some of you, but I'd be willing to bet the amount sold falls as you get into an older audience. I certainly used to collect far more titles a month back in the early 90s than I did a few years ago. But the point is that both toys and comics are aimed at younger audiences. I doubt an adult who isn't into either would see much of a distinction. To them it would all be kids' stuff.
Comics are nominally aimed at an older base now. But, much of the maturity is the sort of thing aimed at 13 year old boys who think they are hard-core. (Think "Lobo", but minus the parody elements.) Even kiddie books are "aging" up. Comic sales are generally falling, regardless of reader age.

The caliber of writing has little to do with the target audience though. Garth Ennis is seen as mature, and his work largely epitomizes the stereotype that comics are written for man-children. "Simpsons" comics are for more clever than many would expect, despite being all-age friendly. Moore's "Watchmen" is seen as being more sophisticated than Gruenwald's more balanced "Squadron Supreme", when its real advantage is that it appeal to the coffer-house crowd.
The Dark Knight was incredibly successful, but largely overlooked by the industry for awards and recognition.
"Dark Knight" was also *good*. And, some people complained that it was not comic-booky enough, and/or too thinky for an action movie.

Like I said, I doubt the average adult not into collecting or comics would make much of a distinction between comics and toy based properties. And neither do I... they're all mass entertainment aimed primarily at a younger audience. Each has it's own virtues, but I wouldn't say that one is better or more legitimate than the other.
Indie books are often seen as legitimate. For example, if you read self-indulgent trash like "Crumb", you are reading "art". "Maus" is considered legitimate because it is a story about Nazis and Jews that uses cats and mice. (And, artsy types can claim to have read about WWII without having to read a boring history book on the subject.)


Dom
-if it is that important, why trivialize it with comics?
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Re: Comics are awesome.

Post by 138 Scourge »

Gah...indie..comic...sense...tingling...

"Maus" never claims or really tries to be a history lesson, really. It's Art's retelling of his father's stories about being in the camps. There's some historical reference thrown in there, but I'd say that's more to add context. Or because Speigelman figured "I had to research this, then by criminy, it's goin' in there." The fact that the characters are mice, cats, dogs, pigs, etc in the story's just an extension of the "clean line" masking done to make a character more relatable (and easier to draw and get body language and emotion out of). So as a secondhand memoir in comics form, it excels.

As for Crumb, he's just a dude that enjoys drawing and making some comics, and just does it. He makes what he wants, and most of the time it works. I've always enjoyed the man's work, myself.

Okay, now for the Golden and Silver age stuff. First, for my part, I'd take the original X-Men comics over Claremont/Lee X-Men any day of the week. It's raw as hell, and downright odd, but has a lot more of it's own character to it, I find. While certainly a lot of Golden Age stuff wasn't that spectacular, it's gotta be pointed out that the artform wasn't as refined then, these guys were only just then figuring out the vocabulary of the comics story. And the greater editorial freedom meant that the artist could pretty much put any sort of craziness on the page, which some of 'em used to great advantage.

With the Silver Age, you get a little bit more refinement. A little. But there's still the sense of crazy energy and freedom in a lot of the stories. They could move a tale in those days. F'rinstance, there's one issue of "Lois Lane" in which Lois goes to Krypton in a time machine, meets baby Kal-El, falls for Jor-El, gets a beating from Lara (good thing for her, red sun, eh?) and makes it back to Earth. This does not even fill the entire issue. The time machine? Got it off-panel, even. These days, it'd be six months of "Time Machine Quest" spread out across two series, then the "Voyage to Krypton" issue #0, then a seven-issue series, and when Lois returned to Earth, she'd return with a baby she and Jor-El had, who'd artificially age during the trip and become the new Superboy. Or maybe SuperLad, add an extra book. As for Silver Age artists, while there were a bunch of low-quality artists in those days, there was also Curt Swan, Gil Kane, Steve Ditko, Joe Kubert, and of course Jack Kirby.

So yeah, things like that are why I like the Silver Age of comics.
Dominic wrote: too many people likely would have enjoyed it as....well a house-elf gang-bang.
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Re: Comics are awesome.

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Crumb does not seem to be saying anything though. And, indy comics come out so sporadicaly that I cannot bring myself to bother with them.

My problem with "Maus" is that so many people act like it is a definitive story about that point in history . "Rise and Fall" is much better. "Nazi War on Cancer", for all its polemics, is much more insightful. "Maus" and "Diary of Ann Frank" are just pop-history. Granted, they are better than apologists screeds like "Slaughter House 5", (or "Columnist 5" as I call it), but that is setting the bar low.

Stan Lee's "Spiderman" was redundant as heck. That first appearance of the Sinister Six was used as the outline for a video-game, because it was structured exactly like one. And, I am sorry, but Gardner Fox's run at DC was.....well, it set the precedents for some of the worst things in comics now, including the time and dimension hopping that Scourge mentioned.

As much as I appreciate Kirby's art, if only for forcing the styles to evolve, his writing was *bad* pulp. "OMAC" is terrible. Unreadably terrible.

I do agree that not all Silver-Age books were bad though. I love Robert Kanigher's work. 60s Batman works suprisingly well, even before the transition away from silliness. Superman was hit or miss, as every few issues was essentially a different "Elseworlds" kind of story.

My point was to point out that the precious source material for mainstream books is not as brilliant as some say it is.

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Re: Comics are awesome.

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Has anyone here been reading "Last Days of Animal Man"? Now that's an interesting DC book. It tricked me too. At first I thought it was just some side story about Buddy Baker losing his powers, possibly dying in the end. Picked it up on nothing more than a whim. Then things started to get weird in issue 2, and issue 3 finally made it clear: this story does not take place in mainline DC continuity. It's actually set 15 years into the 'future' of the DCU, so you get to see a bunch of alternate '20 minutes into the future' versions of DC characters, like the League of Titans, or the Green Lantern of Earth being a whale (no, seriously). This is really the best part of the book, since it means it doesn't have to bother tying into whatever big events are going on, and can just focus on telling a decent story. Admittedly, that story has his a few cliche-bumps (the latest issue was Buddy discovering that his years spent super-heroing had caused his now-grown children to go all "Cat's in the Cradle" on him), but for the most part, it's an enjoyable, interesting look at the depowering process, which so many other heroes usually get rushed through as a side story. Again, a little ham-fisted in its techniques (the issues are titled after the stages of grief, with each issue indeed showing Buddy going through that stage), but well-done nonetheless.

And dammit if I don't really love Whale-Lantern.
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Re: Comics are awesome.

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All Hail Megatron #12 (John Romita reference):

Last night, I hung out at Lewis' and picked up my Apocalypse Comic variant of "All Hail Megatron" 12. As with the Apocalypse variant of issue #1, the cover is based on an iconic comic from the past.

Coller gets the basics right. He credits Romita when signing the piece. But, there is something missing.

As most readers of this blog know, I am something of a fanboy for all things "All Hail Megatron". As much as I like "All Hail Megatron", something about this cover bothered me. And, while actually holding the book last night, it all came together.

The cover homage on issue 1 worked. The first issue featured Megatron holding Reflector, referencing Brian Bolland's cover to "The Killing Joke". As much as I am not a fan of that particular story, the cover homage was appropriate. Just as "The Killing Joke" was a story that added a new layer (or 2) to the Joker and Batman, and was seen as an instance of the "Batman" franchise growing up, "All Hail Megatron" did much the same for "Transformers".

But, duping Romita's "Spiderman" #50 just seems hollow. It is not just that cover has nothing to do with the story. That is common. (Cover art is generally just an artist drawing a character doing something kewl.) Homages are also common. (And, Coller does better than most by virtue of crediting the original artist.) The problem is that Coller is going out of his way to dupe an iconic cover with specific associations that has nothing to do with the story in "All Hail Megatron".

The original Romita art shows Peter Parker walking tiredly towards the reader, away from a large, half-strength image of Spiderman, with the text reading, "Spiderman no More!" The AHM cover puts Megatron in the same position, effectively walking away from himself.

But, the whole point of "All Hail Megatron" is that Megatron is *not* disillusioned. He is not at the top of his game in AHM, but he is doing pretty well. In issue 12, Megatron just resecured control of the Decepticons and is making of with the Matrix....when he gets shot by a sniper. The only way this could count as a "Megatron No More!" story is if we assume Megatron was brain damaged by the head shot. (There is not evidence for or against this.) And, even then, the cover art shows a disillusioned party walking away, not a wounded party being carried away.

Near as I can tell, Coller just wanted to dupe an iconic cover for the sake of drawing a cool picture of Megatron.

If an artist is going to dupe an iconic image for a cover, why not have it be an image that implies or says something about the comic itself? Maybe Coller could have used Perez's cover for "Crisis on Infinite Earths" #7, with Starscream as Superman and Megatron as Supergirl? How about Jim Starlin's cover to "The Death of Captain Marvel"? Heck, a riff on Liefeld's cover to "New Mutants" #87 would have worked better.

The problem is that comcis are becoming so derivative that just having a reference, regardless of how well it fits (or not), is reason enough to throw the reference out.


Unless some one is a completist of some kind, ("All Hail Megatron", "Transformers", Romita homages), this is probably not worth picking up. It is not even very good if one is looking for a cover that really sums up the comic inside.

Grade" C/D Technically sound, but lacking in thought.



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Re: Comics are awesome.

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I've seen the "Last Days of Animal Man" book, because it's really hard not to notice that first issue's cover. Been waiting to hear anything about it, so now, I dunno, I might check it out. But dude, "twenty minutes into the future"? Wow, Max Headroom's show is remembered? Didn't know people watched that thing.

And LDOAM's fist issue cover brings me nicely to Dom's point about kinda "homage" covers. Overall, I'll take a cover that tells you what's going on in an issue over a "poster" kinda cover, but for a decently-done comedic homage, I'll make the exception. I'm sure there wasn't that much thematic link between "AHM #1" and "The Killing Joke" (for one thing, distinct lack of midgets and no musical numbers), but it still worked. If the homage is funny enough and well-drawn, I'd say it works.

So, how's 'bout this,gang?

I'll probably try to jump back on with the new #1 (that irritating marketing strategy works, dammit). I'm curious about the new writer fella anyway. But what I'm more excited about is the Bumblebee solo series, because I like Zander Cannon, and it's interesting that a relatively known for other stuff creator's on this thing. He may not be hugely known, but dude worked with Alan Moore on ABC's "Top Ten" books, so he's not exactly bush league.

And, though I'm kinda lukewarm on the Wreckers, really, a Wreckers book written and drawn by Nick Roche? Yes, please. In for that.
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Re: Comics are awesome.

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Dominic wrote:Maybe Coller could have used Perez's cover for "Crisis on Infinite Earths" #7, with Starscream as Superman and Megatron as Supergirl?
Great, now that image is stuck in my head. And I find it creepy. I think you're the only person I've ever seen write an entire review on just a cover Dom. I don't really see what your problem with it is. While it might not represent a disillusioned character like Spidey was, nor a damaged Megatron as in the actual story of this issue (not that any of the AHM covers have really portrayed the story within those issues), it does indicate the end of the main "All Hail Megatron" story line, hence a "All Hail Megatron no more" so to speak. And it is a pretty cool looking homage cover.
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Re: Comics are awesome.

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Wow, an actual *ongoing* series from IDW? If it's up to par with AHM, then I will be happy. Bumblebee mini, I've got no idea, since I'm not familiar with the writer, and I'm fairly neutral towards Bumblebee. But oh man, a Wreckers mini written and illustrated by Nick Roche? Yes, yes, yes, yes, and more yes.
Dom wrote:Maybe Coller could have used Perez's cover for "Crisis on Infinite Earths" #7, with Starscream as Superman and Megatron as Supergirl?
Oh God someone draw this right now.

Great, now I'm imagining what would happen if George Perez drew a TF book, and I'm getting really sad that IT WILL NEVER HAPPEN.
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Re: Comics are awesome.

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Sparky Prime wrote:
Dominic wrote:Maybe Coller could have used Perez's cover for "Crisis on Infinite Earths" #7, with Starscream as Superman and Megatron as Supergirl?
Great, now that image is stuck in my head. And I find it creepy. I think you're the only person I've ever seen write an entire review on just a cover Dom. I don't really see what your problem with it is. While it might not represent a disillusioned character like Spidey was, nor a damaged Megatron as in the actual story of this issue (not that any of the AHM covers have really portrayed the story within those issues), it does indicate the end of the main "All Hail Megatron" story line, hence a "All Hail Megatron no more" so to speak. And it is a pretty cool looking homage cover.

Hold on now. You are on a forum where one of our members is going out of his way to get us to appear high on google results for the phrase "house elf gang bang". We have discussed "Kiss Play".

And, you are disturbed by a cover homage?!?!?!?!?!? :lol:


Peter David used to write entire columns based on a few panels of art, usually beating on Liefeld pretty hard. Coller does not warrant the verbal thrashing that Liefeld did. (Of course, after guys like Pat Lee, I am actually nostalgic for Liefeld.)


I know that not ever cover for AHM was a great representation of what happened the issue, or even the series. That is common enough for comics. (At best, the standard now is that covers are posters that show guys from the comic doing something.

But, basing a cover on an iconic image from another cover should be done with more reason that just "well it is a cool image". The "Kiling Joke" reference for issue 1 works for thematic reasons. Even Guidi's plagiarized cover to "Armada" 18, (referencing art by Byrne or Adams) made sense for the comic inside. But, this just feels derivatife.

I do not know if they were really going for the pun you descibe. If so, it makes it more justified.

Dom
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Re: Comics are awesome.

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Dominic wrote:And, you are disturbed by a cover homage?!?!?!?!?!?
I never said it was the most creepy thing ever. But a cover in which Megatron replaces Supergirl? Yes, I do find it a bit creepy. You can't tell me you don't find that a little bit disturbing.
But, basing a cover on an iconic image from another cover should be done with more reason that just "well it is a cool image". The "Kiling Joke" reference for issue 1 works for thematic reasons. Even Guidi's plagiarized cover to "Armada" 18, (referencing art by Byrne or Adams) made sense for the comic inside. But, this just feels derivatife.
Again with the plagiarism comments? Honestly Dom, it that was truely a case of plagiarism, such homages wouldn't be so prevalent in comics and something would have been done to change that long ago. But at any rate, I feel this cover works in the sense this issue ends the main storyline of this story.
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