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redbackground posted:Oh snap, it's that guy? Those Necropolis pages (?) were great, and I had since forgotten all about it. I adore that costume, you should crosspost it in the Costume thread. I think it's the big red bow that ties it together.
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Jul 18, 2014 00:03
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Skwirl posted:I never heard that, I understood it as him being insane because he's insane. Hey, they shouldn't have named him "the Mad" if they didn't want him to go mad.
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Sep 10, 2015 02:29
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I like W+D an awful lot, but Luci is not at all among the more compelling characters imo. And that's fine in the context of the series-- GIllen was probably wise to introduce us to the least subtle and most exposition-friendly of the gods first, and also probably wise to resolve her first arc the way he did so he could move onto other stuff.
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Dec 22, 2015 17:34
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WickedHate posted:True that. There's a panel in an old golden age Starman strip where he's punching a guy in the throat and saying "looks like I've turned your Adam's apple... into apple-sauce!" which is probably the most horrifying thing I've ever read.
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Mar 11, 2016 19:23
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I remember that that arc happened right when I was hitting the age of being able to make critical evaluations of things instead of just assuming that if it was in front of me and I was paying attention to it, then it must rule. That particular scene, along with Robin Williams' Toys and We're Back: A Dinosaur's Story really stick in my mind as things I obsessed over for a little while, trying to figure out why, despite hinging on things I liked-- dinosaurs, toys, being back, Wolverine, gross stuff-- I couldn't help but have the nagging suspicion that they sucked. In this case, I stick with what I thought when I was six. It's a neat visual, and a fine way to make Magneto seem scarier after a few anemic years, but it would seem to necessitate forcing a decision that nobody in the X-Men bullpen at the time wanted a make. If you decide to give Magneto this moment, you really, really need to commit to either killing off Wolverine or fundamentally changing him as a character. And sure, I guess a few years later he's running around with no nose, but in the Larry Hama comic and elsewhere around that time, he was still essentially the same guy, just with grosser looking claws and slightly different modulations of grunting and brooding. "Magneto rips Wolverine's bones out and totally kills him" is not unproblematic from the perspective of the X-Men office as it existed in the early 90s because, well, it takes a hugely profitable and popular property off the table. "Magneto rips Wolverine's bones out and I guess he meditates for a while in the backyard and when he comes back inside he's grumpy" is not a perfect solution either, because it's dumb as a plot beat and it also really does demand rewriting the rules of how his powers work in such a way that you're also rewriting the rules of how danger and risk work in Wolverine stories which are, for better or for worse, also a sizable chunk of all X-Men stories. Or as I recall thinking when I put that issue down 23 years ago (what the gently caress?), "Wolverine getting his bones messed up looks cool-- but either Wolverine is dead, which is sad and makes me not want to buy X-Men comics anymore, or Wolverine is not dead, which is confusing, and makes me aware that this comic is just a story in a way that makes me feel sort of bored and mad, which also makes me not want to buy X-Men comics anymore. I guess I sort of wish that cool thing hadn't happened." What I felt no ambiguity about back then, though, was that the Gambit hologram on the cover was very rad. PS. It occurs to me that within that story-line, you have Magneto ripping out Wolverine's bones at the same time as Colossus joins the Acolytes, theoretically putting to bed the whole "why doesn't he just just fling those guys around by their metal bits" issue. If I'm not mistaken this was also around the hey-day of Archangel as a character people were willing to put up with-- did 90's Magneto ever do anything tricky with 90's Angel's wings, or was there some sort of "rare Apocalypse metal" hand-wave?
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Mar 20, 2016 07:50
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Wheat Loaf posted:Is Magneto quoting something there, or is it just something Scott Lobdell made up? I can't find it online. It's from the Aeschylus play Prometheus Bound, I think
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Mar 20, 2016 19:52
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I'd like his humor more if it didn't so often feel like it was predicated on picking on characters for not being tough-heeled macho men. I mostly really liked his Hitman/JLA thing but the bit about Kyle Raynar getting raped really struck a sour note. Similarly, I reread part of his Marvel Knights Punisher run this weekend and found it a lot more uncomfortable than I did when it first came out. Detective Soap is kind of just trampled over for not being hard enough on crime, and this extends to him pissing his pants, putting a gun to his head, and loving a woman who's implied to be his sister. Ha... ha...? That sure shows him for not unconditionally agreeing with The Big Good Boy, Frank Castle. I guess it's hard not to read these scenes today in light of his first arc of Crossed (which I believe is the last Ennis I read): he seems to think that the world is a hard and cruel place, but that's a good thing, and that people too sensitive or not "masculine" enough are destined to be humiliated and punished by it, and that's hysterically funny because everyone around them secretly hates them anyway. I mean, look-- The Boys prominently featured a dog that raped people and this was all generally framed as an instrument of karmic and comedic justice. That's just not a world-view I can play along with. Maybe I'm just bitter because I know I'd last two pages in a Garth Ennis comic before a grizzled man in a black trenchchoat knee-capped me for vague reasons. That being said he has really great comic timing, and I think he generally has a rare knack for knowing what kinds of jokes his collaborators will best be able to land. That bit from The Pro that was just posted isn't very funny or original, but Amanda Conner kind of nails it.
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Apr 4, 2017 16:48
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I think a lot of these readings are sound-- I mean, if I totally hated The Boys I wouldn't have finished reading it-- and frankly I'd be hard-pressed to disagree that Ennis is very good at carefully undercutting the same myths he enjoys scaffolding a lot of his narratives around (and yeah, most of these are myths of masculinity). But I stick by my feeling that he way he "does" humor detracts from a lot of what works in his dramatic work. I think Butcher and Hughie's arcs, on paper, are pretty sophisticated and moving. But I also am 100% sure that as much as we're eventually meant to pity Bucher and see Hughie as the aspirational character of the whole story, Ennis also writes his jokes with the expectation that we're happy and amusd to see a rape-dog punk the guys we don't like. I honestly can't think of a writer who can swing from absolute empathy to none at all on a dime like that. Sure, we're not necessarily supposed to "like" Butcher or Frank Castle-- I mean we wouldn't take them home to meet our moms-- but that James Ellroy quote is a telling one. We are led to believe that we live in a world where these hard, bad men are necessary, and that the sacrifices of themselves that they make are ugly but valid. I don't want to embrace them. I don't care about the price they paid to secretly define their time, and if I were them I'd ask for my money back. At the same time-- I've read an awful lot of Ennis and nobody forced me to. So no matter how morally repulsed I am by a lot of his work-- and no matter how strongly I feel that a good 70% of his jokes are tasteless and/or not very funny (I did like most of All-Star Section 8-- there is an element of virtuosity in his craft and an underlying vein of-- I don't know, melancholy? very deeply subsumed tenderness?-- that keeps drawing me back. Although I wish he'd nurture some interest in vulnerability that isn't quarried up laboriously from under eight inches of trenchcoat. Anyway, I really enjoyed reading the past page or so of this thread. I think Wanderer's advocacy of Ennis has shed a lot of interesting light on his ouevre that hadn't occured to me at all.
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Apr 6, 2017 23:22
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purple death ray posted:Uru is the metal Mjolnir is made of. I don't know why the sentry hates mutants. Apocalypse's twin children from the future (??) brought back some dead characters as horsemen: besides Sentry, you had the Grim Reaper, Banshee, and Daken. So that's why he was spouting some Apocalypse-y nonsense (see also: why is he blue and covered in jagged line)-- because he was a brain-washed Apocalypse zombie.
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Apr 11, 2017 02:00
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Malachite_Dragon posted:There is literally no difference aside from art style between comics and manga. Move on. I like a lot of manga but they're produced, marketed, and consumed under very different conditions than Western comics. They also start from way diffent models of story-telling, although there's more and more fruitful and interesting cross-contamination these days. For a long-winded and meandering example of these formal differences, Western cape comics and action-oriented manga treat the space of the "fight" in disparate ways. Superhero comics tend to elide fights except for big beats, and if they run long it's as a medium for character drama. Spider-Man fights Doc Ock for eight pages so he can talk to Doc Ock for eight pages, or think about Doc Ock for eight pages, or spend eight pages thinking about ways in which his fight with Doc Ock mirrors or supplements stuff going on in his life. It's like Jacobean drama-- the fight is where catharsis happens, but most of the thing is the tension leading up to the fight or dealing with the consequences of the fight. There's the much derided convention of characters in mid-lunge delivering big chunks of exposition-- but I don't think that has to be a problem, because these fights are often just as much about character drama being expressed physically more than they are about clarity and linear continuity-- and it's often very effective. With the right artists-- John Romita Jr., Paul Smith, Byrne-- Chris Claremont's fights in Uncanny X-Men could be all-time greats, well-paced, exciting, and crisp, even while being extraordinarily talky. A big exception is Frank Miller, whose fights do tend to be more choreographed, but he, of course, was very much influenced by manga. Also Emma Rios in Pretty Deadly. Manga on the other hand is often all about breaking a fight into its minutia, tracking it beat by beat. This can lead to long, protracted, tedious fights-- a common complaint about Bleach, to name a pretty popular one-- but it can also lead to fun, operatic fights with lots of unexpected twists and turns (another really popular one-- the above-mentioned One Peace, which David Brothers has written thoughtfully about in the context of its fights, is noted for this, ditto, say, Fist of the North Star or Jojo's Bizarre Adventure), or be really strikingly choreographed and plotted out dances between the characters (here are a few good articles by the cartoonist Katie Skelly that explain this better than I can in the context of Hiroaki Samura's Blade of the Immortal. At the same time, this means that when manga does short, impressionistic fights in the Western-ish style, it still prioritizes moments and beats differently than somebody like Mark Bagley, who does great fights but coming from a much different tradition. Taiyo Matsumoto is great for this-- most of the fights in No. 5 are very short, but even when they become protracted they're done very efficiently, giving an impression of brutality and speed that really only works when you're used to the form lingering on the moment-by-moment poetics of battle scenes. One style isn't better than another. I'd rather read one Ditko Spider-Man fight than a hundred chapters of Bleach, and there are a lot of bland, garbled fights in Western comics by mediocre artists, or good artists saddled with a script that uses fights poorly. But it's silly to argue that either form is complete junk, and inaccurate to say that they're exactly the same. And more and more the best artists in both forms are mutually influenced by one another-- I think this idea of an inseperable gulf is mostly in the heads of fans. Edit: In the context of threads like this it also puts manga on the back foot. It's harder to give useful context AND cool moments in the space of 3-4 pages, and posting, like, 30 at once is unreasonable. How Wonderful! fucked around with this message at 19:26 on May 22, 2017 |
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May 22, 2017 18:37
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I've honestly never been that impressed by Roy Thomas and if there's a big critical revival of Roy Thomas going on I'm unaware of it. I also don't really know his stuff at all. I like his Conan an awful lot and I dislike his Avengers pretty strongly. Ditto the little I've read of Infinity, Inc. and All-Star Squadron. So, like-- not being facetious at all, I swear-- what are the classic, can't-miss Roy Thomas runs? Of course, there's also the possibility that he's just not for me. I'll also concede that I only really start loving Claremont's tenure on Uncanny X-Men at the point where most people check out. Mutant Massacre onwards, essentially-- adore the Outback stuff, wish he'd been able to play out the Muir Island business at the pace he wanted, love his work with Silvestri, etc. So I could also just be The Comics Deviant. How Wonderful! fucked around with this message at 19:50 on May 30, 2017 |
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May 30, 2017 19:34
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TenCentFang posted:
That's from Marvel Team-Up Annual #4 and I think it was Frank Miller's first writing credit at Marvel. Edit: Whoa, that's not true at all. I think it's his first credit as just writer and not writer/artist. How Wonderful! fucked around with this message at 18:42 on Sep 23, 2017 |
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Sep 23, 2017 18:36
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It's a wildly uneven run but I liked that in D.G Chichester's 90's Daredevil he shows the Kingpin getting involved with Hydra and finding himself in way over his head. Much like arguments that the Punisher works better at a certain remove from the rest of the Marvel universe, Chichester's Kingpin is portrayed as a successful and cunning criminal and entrepreneur who makes the mistake of thinking he's playing the same game as jetpack fascists who plot and fight decade-long battles on an international level. He can outmaneuver almost any other NY-based crime villain and can give characters like Daredevil or Spider-Man a pretty good run for their money in one-on-combat, but that whole storyline is about him finding out that he's not invincible-- much like how any reasonable writer would, presumably, have a physical brawl between the Kingpin and, say, Iron Man wrap up pretty quickly. That's why I prefer the Kingpin to a lot of other arch-nemesis type villains-- there's a sense that although he is, in context, a terrifyingly capable and dangerous person, there's a more or less clear narrative ceiling for what kind of stops he can pull out. He can ruin Matt Murdock's life by intimidating his friends, hurting his loved ones, damaging his business, etc., but he's probably not going to fire an orbital laser at him or anything like that.
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Sep 24, 2017 00:34
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Discendo Vox posted:"Realism" doesn't work well as a defense or explanation when the comic also does this. The police aren't racist because it's realistic or some sort of social commentary, they're racist because the writer wants to have characters be racist, so that the writer can be racist. This method lets the author equivocate with transgressive imagery because the world of the comic is an unpleasant place. Ennis and Millar both use the same routine. That's the whole point. This is a good post and I'm kind of surprised that everybody seems to be willfully misreading it. Deadly Class isn't a realist narrative-- as evidenced by the blatantly absurd "twisted John Hughes" page linked here-- and so falling back on "it's just realistic" is a goofy defense. Yes, cops say racist poo poo, and yes, in a comic a little more closely aligned with realist fiction those same cops could say that same stuff and it would be fine. But Deadly Class is predicated almost entirely on exaggerating and amplifying stereotypes and I would say that it very often veers into clownish racism. Remender isn't interested in mimesis, he's writing a big loud angry cartoon, which in and of itself is perfectly fine. But when he errs and lapses into some ugly rear end issues of representation I think it's totally valid to hold him to it.
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Dec 3, 2017 00:58
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As mentioned western comics and manga have different rhythms, different panel transition grammars, different visual shorthands. Each takes some practice to learn how to read. A thread about pithy little moments isn't going to teach you. Again, as mentioned, we also all (I'd guess) know who Batman and Spider-Man are and don't need a lot of scaffolding to understand what they're up to when we see them punching and fighting. I don't know why it always descends into a "manga's bad, yuck" thing. I have some hunches but they're lovely and aren't a very generous set of reads of older western nerd communities. I don't really like 40s-50s Hollywood musicals. The colors annoy me and the pacing feels off. My partner loves them. She hates dour Eastern European comedies from the 70s. I can't get enough. Somehow we manage to co-exist without calling each other garbage. I have so many students who love love love manga and couldn't give a poo poo about Marvel or DC and are infinitely smarter and more with it than I ever was at their age. I feel like a lot of time reflexive comic-fan hatred of manga comes off as weirdly defensive at best, creepy and sort of racist at the worst. It also strikes me as weirdly ahistorical-- what major mainstream artist working in superhero comics since the 80s doesn't have a big dose of manga in their creative geneology? Even if that's second-hand, by way of Frank Miller or Jim Lee or whoever, I have a hard time thinking of anyone who doesn't owe a lot to the form. I feel like people in this thread who like manga could be better at picking and choosing examples that work to impress people who don't know the narratives nor the mediums, and I feel like people in this thread who hate mangacould learn to just, like, chill a little.
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Dec 10, 2017 02:36
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site posted:Didn't you know western art and animation is for big strong white manly men but anime and manga are for the colored, queers, and pedos I need to know what big brawny dudes with 270 probations for racism think is valid cross-cultural exchange. It keeps me alive.
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Dec 11, 2017 19:46
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Discendo Vox posted:Well, now I'm curious. Do you recall what issue? Maybe we need a seasonal "Spooky panels" thread. What-If? vol. 2 #17.
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Oct 12, 2018 21:35
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Cancer Mom posted:If you ever do self harm it will be 100% justified . Also it will probably end up leading to the healing of some poor 9 year old's rectal cavity I can't tell if you really love Richard Evans or you really hate Kraven's Last Hunt.
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Oct 16, 2018 03:08
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I feel like I end up saying a variation of this every time the Manga Conversation comes up, but I think people who want to post manga should be mindful of the different visual grammars of Eastern and Western comics storytelling, and also keep in mind that we all probably recognize Spider-Man, that he's good, Mysterio, that he's bad, Batman, The Hulk, whoever else, just by cultural osmosis and being immersed in that culture, whereas most mangas will need more contextualizing or else it just looks like crazed, confusing motion. I think the OPM "clips" posted in here are a good example because OPM is absolutely a virtuosic comic and its battle scenes are among the best, and so cinemographic that gifs like the ones posted are possible (and very impressive)-- but they still demonstrate how the "camera" moves and behaves differently in manga, and how showing motion and interstitial "frames" is prioritized differently than it is in Western superhero comics, which tend towards tableu-like "shots" that on a surface level are more immediately "readable." Both are solid techniques and I think the best artists in both mediums draw from each other (see the just-posted Kill Six Billions, or, well, the just posted James Stokoe) but when people who don't read much manga say that manga fight scenes are difficult to follow I don't think they're necessarily just being stubborn. I was trying to think of which action mangas I'd actually call good matches for a thread like this populated mostly by readers of Western comics, as a thought exercise-- even stuff like Lone Wolf and Cub which has scrupulously clear fight staging moves at a pace which might seem jerky or bloated at first glance. I think Blade of the Immortal has absolutely unbeatable fight scenes but often the problem comes up of interspersing panels that "communicate" peoples' various moves, counterattacks, manuevering, etc. with sort of the fight equivalent of pillow shots, just emphasizing how people move, or the ambience. Samura's emphasis on motion in particular leads to a decent amount of panels that might just look like weird blurs. I think Dungeon Meshi is actually a really good candidate, not only because Ryoko Kui has such a clean, elegant style, but because her characters and situations draw on fantasy archetypes nobody reading this forum could possibly be unfamiliar with. The elf wizard casts big spells, the knight goes in with his sword, the little thief sneaks around for an ambush, etc.. Since most Dungeon Meshi stories are done in one the pacing is a little closer to Western action scenes too-- brisk, snappy, each panel communicating at least one shift in the tide of the fight. (I'm not even a huge manga expert, so like, I won't pretend that the above is comprehensive or even particularly insightful. But I think that comics being a global medium now is wonderful, and that reading stuff from anywhere in the world that you can is well worth doing, and it seems like a shame to look at a country that produces an enormous amount of comics and go, "no, absolutely not this one") How Wonderful! fucked around with this message at 15:29 on Oct 18, 2018 |
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Oct 18, 2018 15:25
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I could have sworn there was some side bit in Spider-Verse about all the Electros across dimensions teaming up or something. I don't know precisely where she first showed up but the follow-up event that just started also has a very charming female Doctor Octopus who I guess fills her world's Spider-Man role.
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Oct 22, 2018 15:03
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DO NOT SHOOT THAT HEAD, TEODOR! YOU ARE A LOT OF THINGS, BUT YOU ARE NOT A GUY THAT SHOOTS A HEAD!
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Nov 8, 2018 18:22
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Yeah I don't want to sound like I'm just buttering him up out of Goon Solidarity, but Vulpes' comics feel like first encountering Matt Fraction in the mid-aughts and just being shocked and delighted at the new kind of energy they brought-- like the first arc of Casanova or something. Or like-- when Al Ewing burst into Marvel seemingly out of nowhere. They all rule and for sure being paired up with such great artists doesn't hurt.AkumaHokoru posted:those trippy panels are amazing...also you guys are somehow making me hate spiderman less...I've hated him my whole life from sharing a first name to him being like a total pushover despite being loving spiderman when he isnt in the suit...but the loving multiversal spiderman stuff is really doin it for me and i dont know why Spider is a great first name.
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Dec 22, 2018 15:51
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It was very very good and the cover was very very bad. I like Aaron's Avengers a lot-- it's throwing a lot in the air and it has the potential to implode under its own weight, but it feels so much joyous and playful than the last big "ideas" run on the series with Hickman.
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Jan 24, 2019 02:19
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ManiacClown posted:Hey, in my defense, I had a thought that it might be Thatcher, but it seriously looked like a dude. Then again, in retrospect… Thatcher. I hate Thatcher too, but come on, this isn't great.
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Jul 4, 2019 08:47
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Android Blues posted:In the 1992 John Ostrander Spectre run, the Spectre murders the entire population of Vlatava, the fictional country Count Vertigo is from, because its civil wars and ethnic cleansings have gone on so long that he deems the entire nation to be "full of sin". That run was so weird and ambitious, I should really reread it one of these days. I remember the Percival Popp revamp as being very 90s but also kind of endearing.
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Jul 6, 2019 18:32
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It also feels like he's playing catch-up and throwing a million things out there without giving them time to percolate. This is really apparent in his early aughts return to both titles, in which every issue seems like it's introducing a new squad of villains who will never appear or matter again. This was already kind of a symptom of his writing earlier, but in the 80s it felt invigorating, like he was populating blank spaces on the shared map with new concepts like the Marauders or the Morlocks or Alpha Flight or Mystique's Brotherhood/Freedom Force. But by the end you could sense fatigue setting in-- it's easy to forget how prevalent the Reavers are for awhile, and how boring most of them are, or that Claremont was responsible for relative dud concepts like Hardcase & the Harriers or the Dark Riders (who to be fair had a pretty steady presence through the early 90s but mostly remained ciphers with overly busy designs). But compare even the dullest of his 80s creations with like, any of the Neo, or the Goth, or the Crimson Pirates, or Vargas and his boring-rear end clique, or the Skrull X-Men that Xavier goes off to mentor in the late 90s in a fill-in, or the gang of dinosaur people. That verve just isn't there and on top of that he's introducing new specimens into an already over-populated pond. Edit: But yeah I do also want to agree that his latter-day returns to the franchise get a worse rap than they deserve. They're creaky and the psychosexual elements land with less of a frisson and more of an "ugh" but they have their good moments and often have really fun art. In periods where the franchise felt stuck with a holding pattern, he came back and wrote stories that had ideas and forward momentum, even if they largely sank without making much impact I admire him for that. How Wonderful! fucked around with this message at 16:05 on Oct 28, 2019 |
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Oct 28, 2019 16:02
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Android Blues posted:The funny thing is, you can see this same propensity in ill-fated comics today, and I think at least some of it traces back to Claremont's legacy. You still get would-be superhero teams debuting as squads of five or six undifferentiated individuals, each with a different power, a snappy one word codename that's metaphorical, allegorical or referential in nature, and, if they're lucky, a single personality beat. It's wildly different from what a new super-team looked like before Uncanny X-Men blossomed into prominence. Claremont was so influential on the genre that he changed its baseline value for "generic". One of my favorite things about the original Busiek/Bagley Thunderbolts is how neatly their cover identities fit into this mold. They absolutely look like one of those boilerplate-ragtag groups and I've always liked that they show up in their dumb costumes right in the post-Pantheon era of PAD's Hulk.
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Oct 29, 2019 01:56
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Gologle posted:Remember that dumb thing Neil Gaiman did where one of the Endless convinced a depressed Rao to explode and destroy Krypton so Superman could be depressed that he's the last survivor? And later on it turns out that depressed star is super duper important because it infected all the other stars and convinced them to end the universe? Or something like that. I don't remember Sandman Overture all that much, because it felt to me like Gaiman was pandering to his fanbase too much. To be fair I'd probably want to explode too if a late-period Neil Gaiman character started talking at me.
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Dec 1, 2019 19:06
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Kalli posted:Sometimes he'd also lift his sunglasses and cheat at pool. Gotta love that early Claremont era where part of Cyclops' mutant power was being good at math. The least badass thing possible. You be nice to Amadeus Cho!
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Jan 3, 2020 02:46
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A little something nice for Laura fans from today's X-Men #5 to make up for Fallen Angels:
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Jan 29, 2020 16:11
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The diamonds are just a little "thanks for dropping by" present.
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Jan 31, 2020 15:24
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TwoPair posted:Hulk #13: Hulk is smart in this series and has made it his mission to depower every other gamma-powered character in the Marvel universe. Bagley is usually such a crisp storyteller, I was kind of taken aback by how goofy paneling on the second image made me think Steve Rogers was just being fussy about his nap.
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Feb 1, 2020 16:44
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Malachite_Dragon posted:Yeah, I just prefer the futures where he gets over it or uses it for productive purposes, not where he turns into what looks to be a biker dude going "Hur hur I'mma gently caress your daughter" or whoever the woman Steve is talking about is. Jennifer Walters is She-Hulk and the post included context that he was going after around trying to depower other gamma-based characters. She-Hulk is also his cousin although that never stopped Mark Millar.
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Feb 2, 2020 04:47
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I got curious so I went to the OED, my first and only friend.  Pretty good vintage!
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Feb 4, 2020 06:37
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Infinitum posted:The Ravages of Time- Chapter 527 This is really beautifully drawn, it reminds of me of Hiroaki Samura when he's putting the effort in, or the guy who does Vagabond. I will check this out, thank you for sharing it.
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Feb 4, 2020 15:06
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moment with a Vassal sacrificing themselves for their Lord.
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It's not a slur if Elfface is a mutant. Are you a mutant, Elfface...? 
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Feb 4, 2020 15:58
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Yes, I am a mutant, yes my power is not being able to do a cartwheel, yes I was on the Joe Kelly team for 18 issues, yes for the love of god I died off-panel in an ill-considered Chuck Austen allegory, but I'm back now and thrilled to be here.
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Feb 4, 2020 19:41
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It's an enormously charming series and as well written as you'd expect from Gene Luen Yang. His essays in the back matter are also pretty good-- if you have a kid or know a kid whenever the collected edition comes out it'll be like, the ideal comic book present for them.
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Feb 20, 2020 22:00
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Kate has some weird stuff going on with Krakoa where the island doesn't fully accept her and she can't go through the gates. So there's some ambiguity about how resurrection will effect her. This is still ongoing in the comic so who's to say how it shakes out but, for example, there's a lot more gravitas and suspense about this death than any of the cartoonishly gory deaths in X-Force because we don't know for sure what the outcome will be.
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Feb 21, 2020 17:21
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InsertPotPun posted:like EVERY mutant could kill millions before being stopped. if they could be stopped. the only reason comics work is because they have a benevolent creator. in reality we'd all be murdered by the first bulletproof mutant who wanted to before the x-men got out of bed that morning. Actually you'll find that in BSS we are friends of the mutants.
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Feb 21, 2020 21:40
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