Tuesday, May 22, 2018 

A writer for the Federalist thinks the Jawbreakers controversy was "ginned up" and doesn't clearly mention the bad acts of Meyer's foes

Another focus on the Meyer/Waid controversy topic at the Federalist, how it all came to be, but this is one all but a dissenting item, and has parts that can be disagreed upon, including the assertion he's a "professional troll" in the literal sense:
Meyer’s popularity needs to be traced back to his start, which began with Twitter spats with different creators, editors, and publishers, generally calling out shoddy work in books or whenever they’d post something political on Twitter. One quote his detractors regularly cite came from him calling an editor a “c-m dumpster” (original word modified).

His Twitter account generally launched attacks on Marvel editors, many of which are young women. While, yes, they were overwhelmingly progressives, attacking them online isn’t particularly a way to gain friends in the industry.

Focusing on female editors is also an offshoot of the “fake geek girl” phenomenon, where many a “fan” complains women in an industry are infiltrating to destroy it and don’t actually care or like the thing they’re working on. It’s hard to put any stock into this idea.
For heaven's sake, I don't agree with everything Meyer does, but for one thing, he's far from a troll in the negative sense, and he didn't solely go after women, young or old. There's also men like Mark Waid, Nick Spencer, Ta-Nehisi Coates, Dan Slott, Steve Orlando and the now former Marvel editor Axel Alonso. It was hardly a problem with women alone, feminist or not.
Later Meyer formed a YouTube channel based on his Twitter, where he’d discuss books, many of which he’d cherry-picked to incite outrage clicks. He’d take on a book like “Squirrel Girl,” complaining about it being written for a 12-year-old girl with a smattering of politically correct platitudes thrown in. But a book like that isn’t exactly highbrow critical thought, it’s a book written and made for tweens (or tween-brained adults), not dudes who’ve been reading superhero comics since the ‘80s.
Even if it is aimed at tweens, that doesn't make it any good. Back in the 80s, there were books like Power Pack that dealt with its cast of younger protagonists and the stories built around them seriously, and more intelligently than expected. The more recent offerings from Marvel suffer from overt social justice propaganda injections, far-left politics included, and that's no recipe for success. All that aside, why does the writer sound like he thinks today's male audience, depending who they are and what their viewpoint is, wouldn't make a great audience for a book like Squirrel Girl? A notable complaint by some observers is that there's little or no new audience coming in to buy and read these items, and without the right ingredients, the chances of getting them will continue to remain slim.

At least the article does admit leftist progressivism's gotten worse over the past several years, and so too has Marvel's ability to hire real talent:
Plenty of other talented individuals who worked at Marvel also packed up for greener pastures. Since then, Marvel has had a very hard time filling those shoes and much of the writing is done by either a few over-worked individuals (Charles Soule must be writing something like 10 monthly books) or the occasional headline-grab name like Ta-Neishi Coates.

None of these headline-grabbers come from comics, so their books tend to not be created with comics in mind. Thus they end up being talky treatises turned into narrative. Many writers fall onto using Twitter headlines of the day as muse, which is how a discussion about the pros and cons of brunch ends up in an X-Men book.
All that aside, what matters is that Marvel so far has failed to hire or rehire real talent who can avoid building outrage culture and alienating the readers. Worst is the blacklist still in place against Chuck Dixon and any other conservative the management deems unworthy of their time. Unless anybody starts campaigning seriously to end the blacklist, it'll continue and ultimately affect even the less conservative-minded.
The comics Twitter crowd is just as unhealthy and vile a community as any other Twitter crowd. It rewards outrage and denies taste or nuance. Many a comics controversy comes from a loud feign of outrage on Twitter—Howard Chaykin’s “Divided States of America” proved its title when the cover featured a man hung with a racist or homophobic slur written on him. The outrage proved the point Chaykin was making with the series—however, he anticipated the outrage to come from the Right, when it actually came from the Left.
Yes, that must've been quite a surprise for the creator of American Flagg. No less so, to be sure, was Image's caving and refusal to stand behind the cover illustration for Divided States of Hysteria, which the columnist forgot to specify.
Diversity & Comics and the people he attacks have a ton in common. Both want the other’s products and preferences removed from the marketplace, and neither will stop until the whole thing is burned down.
Sigh. No, this does not make sense either to draw up a moral equivalence. The difference is that Meyer wants better writers assigned to corporate-owned superhero books who don't put their leftism front-and-center, while his opponents want his products banned altogether. At worst, it risks sounding like some of the weakest writers for National Review, hardly a great bastion of conservatism today. If the columnist were to try and take up a similar career in commentary and get some of the worst editors/publishers like Joe Quesada and Dan DiDio out of comicdom, he could have a chance of bettering Meyer, if he thinks there's a valid cause in store. But that's not what he's doing, and it risks letting too many bad apples off the hook for the wrongs they've foisted upon famous creations.

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Monday, May 21, 2018 

Sidney museum's comics history exhibit

Here's an article in the Canadian Victoria News about a comics exhibition at the Sidney museum with a display of products from the Golden Age to the present, including some rare Canadian superhero comics from back in the 1940s.

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Comicsverse favors the Muslim Ms. Marvel, and takes a negative stance on WW film star Gal Gadot

I just found a most disturbing contrast on the far-left-leaning Comicsverse site, in regards to two subjects. One is an interview they did with a BBC representative, following up on film producer Kevin Feige's troubling comments, and they're gushing even worse than some other favoratists did:
BBC News: Kat Vendetti of ComicsVerse, which uses the high art of comics, as their website puts it, as a platform to discuss issues that promote positive social change told me first what she knows about the possible movie in the possible pipeline.

ComicsVerse: Kevin Feige from Marvel studios has said that she’s going to be appearing in a future movie. I think that’s the most logical trajectory, given how the movies have been going.

BBC News: And she already exists on paper as an identifiable character. As Ms. Marvel but also as Kamala Khan?

ComicsVerse: Yes, and she’s fairly new. She debuted, I think, in 2013. Since she made her premiere in the comics, she’s been hugely successful. Her series has made so many bestseller lists, has gotten so many reprints. She’s made animated appearances. So it was just a matter of time before she would make her big screen appearance as well.
Yep, keep up the comedy please. No sales figures, no nothing. Just a lot of hot air, bias and favoratism, is all. But what's telling besides that is the site rep's "I think", strongly hinting she's not as well-versed in the medium as the site's supposedly meant to be. The reason they may be pushing a character with an Islamic background into the movies has what to do with their horrid politics and belief it's better than anything else, and the quest to indoctrinate the audience into believing this is a valid form of culture.
BBC News: We’ll talk about the specific cultural implications in a moment, but I guess it’s fair to say that BLACK PANTHER was a monster hit, way beyond the African-American community, and therefore, this could be this could be a monster hit way beyond the Muslim American community.

ComicsVerse: You know, speaking to the success of Black Panther, it just shows how needed these movies are. I’m a white woman, so I’ve had plenty of characters myself that I can look up to with Wonder Woman and with Captain Marvel coming up, which isn’t a whole lot to say. Given my experiences watching Wonder Woman and the excitement I feel for the Captain Marvel film, I can only imagine how others might feel getting to know Kamala Khan in a MS. MARVEL movie.
Well from what I once learned, the Captain Marvel movie with Brie Larson may not have gotten a great behind-the-scenes reception as hoped, and so there's no telling if the finished product will either, seeing how it's already shown signs of being the first standout social justice-influenced movie in Marvel's stables.

And can she imagine what victims of Islamic terrorism anywhere in the world - including 9-11 Families for a Safe America - might feel whenever they learn the religion that led to the deaths of their beloveds is whitewashed and depicted in positive terms unquestioned? Doesn't look that way from what I'm reading. Comparing ideology to race/nationality is also very degrading.
BBC News: Do you think it’s a boost for Marvel’s intentions or maybe a slightly worrying element that there will be a lot of responsibility on the studio … on the filmmakers because there’s so much anxiety in the Muslim American community about discrimination. They need to see a positive role model.

ComicsVerse: I don’t know if I have much authority to speak on that a whole lot. What I can say is that when Kamala Khan first made her debut in the comics, there was a lot of backlash and criticism.

ComicsVerse: G. Willow Wilson, I think, has said before that she wasn’t sure what kind of success her character would have, but Kamala has been hugely successful for a variety of reasons. She’s incredibly relatable as a character. Anybody can see themselves in her.

ComicsVerse: The idea of the modern American hero is not Peter Parker or Captain America anymore. It’s a character like Kamala Khan. She’s more reflective of the experience that you can have as an American.
Ah, how fascinating. So Spidey and Cap aren't ideal US heroes any longer. Any particular reason? Most likely, it's political correctness and a disrespect for Kirby/Lee creations that, until recently, most commentators didn't even have the courage to admit they harbored. As for the Beeb, it's just like them to back up the victimology stance, and not admit the ideology itself is a negative example. Furthermore, what can anybody see in the Khan character the sales figures - which are down to around 13,000 by now - prove they're not?

The next example is their comments on Israeli-born Wonder Woman movie star Gal Gadot, asking if her winning a spot in Time's list of 100 most influential people is the right decision. It's not too difficult to guess they believe the answer is no, and their op-ed gets more irritating as it goes along:
This year’s TIME 100: Most Influential People of 2018 is a who’s who of progressive, feminist icons. The list includes #MeToo movement founder Tarana Burke; queer writer, producer, and actress Lena Waithe; West Virginia’s first female fire chief, Jan Rader; trans rights advocate and author Janet Mock, and many others.

On the other hand, the list also includes its fair share of conservative figureheads like Donald Trump, Attorney General Jeff Sessions, and conservative talk show host, Sean Hannity. The jarring combination ranges from every side of the political spectrum and places misogynists in the ranks of revolutionary social justice advocates.

Indeed, like 2018, the TIME 100 list is full of surprises. In the middle of these names, Wonder Woman inexplicably appears. Or, to be specific, the woman who plays her on the silver screen, Gal Gadot.

The inclusion is perplexing, not because Gadot isn’t influential, but rather because WONDER WOMAN is so 2017. Moreover, Gadot deserves only partial credit for bringing DC’s most recognizable female superhero to life. Director Patty Jenkins is largely to thank for the overwhelmingly female-centric focus of the film.

So, why didn’t Gadot or Jenkins make the list back in 2017? In fact, Patty Jenkins was one of the 2017 runners-up for TIME’s Person of the Year. Again, the question remains: Why Gal Gadot, and why now?
What kind of ambiguous query is that anyway? Is that supposed to mean the jerk who wrote this puff piece doesn't think Gadot deserves any credit? Why not equal credit with Jenkins, and why not "better late than never"? Something fishy there alright.
Gadot earned her stripes as a performer in the first WONDER WOMAN movie. Since then she joined forces with other heroes in the JUSTICE LEAGUE film. Naturally, Gadot is also slated to appear in the 2019 WONDER WOMAN 2. Among these accomplishments, Gadot also embodied Wonder Woman to help promote the character’s controversial position as an Honorary U.N. Ambassador for the Empowerment of Women and Girls.

Nonetheless, her appearance on the 2018 TIME: 100 list does not completely add up. Next to the numerous radical, queer, and/or people of color who made the list, the former Israeli Defense Forces member is a conservative choice. Next to the conservative, however, Gadot is a highly palatable icon of female strength. I suspect that Gal Gadot not only saved the DC universe as WONDER WOMAN, she strategically saves the TIME: 100 list as a politically-moderate choice for an influential female artist, however delayed the pick may seem.
And I can only guess - conservative choices are a crime, in the writer's view? Why do I also get the vibe they actually side with the UN on the issue of "controversy"? They do admit that "Gadot does live up to the praise", but soon fall back on more of the same shady commentaries:
Ultimately, why Gadot made the TIME 100 list might not really have much to do with Gadot at all, but rather what she symbolizes. Gadot is just progressive enough to appease progressives, and she’s just beauty queen/mother enough to please conservatives. For example, unlike Wonder Woman, Gadot is not queer, but she’s comfortable playing it on screen.
Umm, what absolute proof do they have that WW is lesbian per se? Or, better still, why does the buffoon consider being a beauty queen and a mom something that pleases only conservatives? That's a telling clue how what we have here is a hardcore progressive who thinks a woman being hot or a parent or both is garbage. But here's where it really begins to stink:
Her controversial support of Israeli nationalism is chalked up to “serving her country” (see Carter’s description). Moreover, Gadot’s real military experience makes her more credible as a feminist warrior princess because she is serving a traditionally male role. However, while she looks progressive for supporting Israeli women’s equality, her role directly harmed others, including women.

Mostly, however, American fans push Gadot’s involvement in Palestinian oppression aside. As a result, fans can believe that Gadot can kick ass in a mini-skirt and make it sexy, all while espousing moderately (white) feminist values. As delightful and palatable as Gadot is to most audiences, it is unclear if she deserved to be on this year’s list of the most influential people.
Ugh, ugh, UGH! So she buys into the whole "palestinian Arabic people" hook, line and sinker. And no willingness to admit that not only is it all a lie, but that both the PLO and Hamas are responsible on their part for brainwashing and indoctrinating many men, women and children alike to be monsters for the sake of jihad, first against Israel, then against anybody else considered a kuffar. Oh, is she implying Arabs aren't white? Guess so, and I've seen that flaccid tactic before. So, this is the most telling clue the writer doesn't think Gadot should be allowed to get an honorable mention because of her politics. We can only guess where the writer stands on the USA embassy's move to Jerusalem (along with Guatemala and Paraguay), and the fact that several Islamic countries banned the WW movie from local screenings.
Although Gadot lovingly embraces her role as Wonder Woman, embodying the character’s best traits in the real world, Gadot simply does not push the envelope. Instead of recognizing her for her influential role in 2017, TIME 100 simply uses her to fill a white-feminist sized gap.
And that's all you need to know that somebody's writing off whites as inferior, undoubtably without even praising any black Africans who made the lists, or recommending those who should. She doesn't even seem concerned about slavemongering by Islamofascists in Mauritania. I don't see why they even bothered to review the X-Men Wedding Special if this is their position. If they don't like Gadot because she's a proud Israeli, it's illogical they should appreciate even a fictional Jewish character like Kitty Pryde, let alone any of the Jewish creators/publishers who made it all happen. Comicsverse's bias is a pure disgrace and unworthy of representing the medium. It's a lucky thing for Gadot that Time would choose her for a place on their top 100, a list which, I'm guessing, happens to cover nearly a year, but Comicsverse makes it sound more like it all pertains to this one, which is fairly dishonest too. If that's their take, then maybe they shouldn't go to see the WW movie sequel, if it's in the works.

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Sunday, May 20, 2018 

The filmmaker who adapted Valerian & Laureline to screen has been accused of sexual assault

In some news related to comics adaptations for the silver screen, the film director Luc Besson's been accused of rape, with Harvey Weinstein accuser Asia Argento bringing up the news at the closing of the Cannes film festival:
Yesterday, French radio station Europe 1 reported that Paris authorities have opened an investigation against French film director Luc Besson, after an actress told them that he had raped her the night before.

According to the complaint, the actress says that she met Besson on Thursday evening at the Bristol hotel in Paris as the Cannes Film Festival was wrapping up. She describes how she was given a cup of tea and blacked out after drinking it, and awoke realizing that she had been raped. She says that the director left a wad of money for her before departing. The actress also noted that she had previously been in an intimate relationship with Besson for two years, one that she felt pressured into for “professional reasons.”

[...] The director of films such as Fifth Element, Lucy, and most recently, Valerian and the City of a Thousand Planets, Besson has a history of dating younger actresses: he began dating his second wife, Maïwenn Le Besco in 1991 when she was 15 years old (Besson was 32 at the time), and they had a daughter two years later. Le Besco has noted that Besson’s 1994 film Léon: The Professional, was inspired in part by their relationship, and that then 11-year-old star Natalie Portman’s parents demanded numerous changes to the script because of age-inappropriate content.
It's too bad though, that, as Portman's demonstrated of recent, she's a bad lot in her own way as well. But putting that aside for the meantime, I once saw that cruddy movie from 1994 at least 2 decades ago, and recalling at least one filthy line of dialogue Portman was given in the script, it doesn't really shock me at all Besson could be the pervert he's now been accused of being. And it sounds like he pulled an act similar to Bill Cosby 4 years after that scandal first broke, and just several months after the Weinstein scandal did, meaning he didn't get the message. Probably because of France's atrocious legal system that makes it difficult to make a public accusation like in the USA. (Update: this posting tells more about what's wrong with Besson.)

According to this article:
He has also campaigned for greater visibility of poor communities in depressed French suburbs, not just through his films but by setting up his Cite du Cinema film studio and school in Seine-Saint-Denis north of Paris, one of France’s poorest regions.
This is a pretty superficial description of what Besson's foul personality is really like. About 3 years ago, when the jihadist attacks on Charlie Hebdo first took place, he wrote a letter basically excusing the jihadists, parroting the illogical claims all of society is racist and Islamists couldn't possibly be the same. He should never have been allowed anywhere near the comic strip he adapted, and recalling Cinebook may have published an introduction he wrote for one of the volumes they translated, they'd do well to remove it from any future editions.

As noted before, Asia Argento said she'd gotten word about Besson's revolting antics several months prior:
Following a fiery speech at Cannes' closing ceremony that took festivalgoers to task for continuing to harbor predators, Asia Argento said that she has known about sexual misconduct allegations against Luc Besson "for eight months."

The comments followed reports, which emerged around the same time that Argento was presenting the best actress prize at the closing ceremony, that a 27-year-old French actress had accused the Valerian and a Thousand Planets director of raping and drugging her in a Paris hotel.

“I’ve known for eight months,” Argento told The Hollywood Reporter when asked if she was aware of the Besson allegations when she made her speech.
Well this is not going to reflect well on his career, let alone the work he did on Valerian & Laureline and even a film based on Michel Vaillant in 2002. It's bad enough Bryan Singer and Brett Ratner tainted the X-Men movies they directed, and now, a European director's also facing similar allegations, tainting the comics-based movie he directed or scripted just as badly. I guess now, this'll spell the end of Besson's career too, serving as an example of a shady European entertainment rep whose past is coming back to haunt him.

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Paul Levitz predictably sugarcoats Brian Bendis

In a New York Daily News article about Superman's 80th anniversary, the now embarrassing former DC editor/publisher Levitz has served as Bendis' apologist. First, I'll decidedly take the time to look at the following:
It's also a poignant reminder that it all started with Superman, and Levitz understands this about as well as anyone. He's had a connection to the character even before his run as president of DC Comics.

"Superman was my first favorite comic book character. The first comic book that was given to me. I remember the baby-sitter handing me a copy of Action 300 to shut me up," he said.
Considering how badly they've handled the Man of Steel - certainly ever since the overrated Death & Return of Superman saga from 1992-93 and the story where Max Lord mind-controlled him in 2005 - that's why it's pretty hard to believe he considers the Big Blue Boy Scout or any other character in the DC stables his favorite. Now, here's the part about Bendis:
It's a world that writer [Brian] Michael Bendis will take up, moving from Marvel to DC and taking over Action Comics. The move has been likened to legendary artist Jack Kirby's move between the two major comic book companies. In fact, he's already made headlines with his Superman story in Action Comics #1000 with its potentially status-quo-changing revelation.

Levitz believes that Bendis' experience and gift with crafting snappy dialogue could definitely work for the 80-year-old character, especially in terms of Lois and Superman's dynamic, which offers a lot of potential for the writer at the "peak of his power."

"This is a really interesting case and I'm very curious to see the result. I've had no inside information on where he's going. I'll just be watching like everybody else," Levitz said, not showing any signs of wishing Superman would hang up his cape anytime soon.
IMO, Levitz is just pretending - much like many other apologist gushers - that Bendis is a big success in anything. But it's nothing more than an act, elevating phonies to overnight sensations when Bendis' work on Avengers and X-Men was just garbage that didn't handle the women well, denigrated Scarlet Witch and Jean Grey (and it makes no difference even if it was a doppelganger from an alternate timeline), and he was one of the leading engineers in a lot of the crossovers they brewed since the mid-2000s. So why should we even expect Bendis to manage the Clark/Lois dynamic well? We can't. Plus, when Bendis worked at Marvel, that's when they really began padding out their stories for the sake of trade formats, and it brought down the quality of writing even more.

And I'm not interested in the possible status quo change to Krypton's origins either. Bendis has also hinted he's got a negative take on the American Way slogan, and that's just one more reason to feel discouraged.

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Friday, May 18, 2018 

West Coast Avengers title relaunched, only to serve as a vehicle for already failed characters

The Hollywood Reporter's announced that the West Coast Avengers series is being revived, only to serve as a rather obvious "refuge" for at least a few characters whose previous books were disasters of the social justice variety:
The new miniseries will be written by Hawkeye’s Kelly Thompson, with art by Stefano Caselli, and sees the titular star of the earlier series — Kate Bishop, teenage superhero turned Los Angeles-based private eye — gather a team of fan-favorite younger characters together for a very simple purpose: Keep L.A. in one piece.
But who do these "fan-favorites" include? Let's see:
Other members of the team include X-Men supporting character Quentin Quire, fourth-wall-breaking Gwenpool, dimension-hopping superstar America Chavez…and Bishop’s non-powered boyfriend Johnny, who might find that the superhero life isn’t what he expected. Clint Barton, the original Hawkeye, will also be a player in the series, with Thompson teasing that he “doesn’t want to admit how much it’s fun for him to mentor” the younger heroes.
Ah, now America Chavez is one character who was built on grounds for social justice pandering. And if they've turned Bishop from X-Men gay all of a sudden as they did with Iceman, that amounts to said pandering too. In this posting from Marvel's website, Thompson says:
But with every super group is a wild card, and according to Thompson, that wild card is America Chavez:

“I think America is the biggest question mark, and I think that’s something we’re excited to explore: Why does she come back to LA? Why does she come back to be with Kate? Does she miss [the group dynamic] too? Because America, she likes to play things a little close to the vest.”
Simply put, she comes back to LA in the book because Marvel under Cebulski has reached a point where they don't have the courage to just quietly drop these SJW creations and admit they were poorly crafted to begin with, and nobody's interested in reading these stories because it's painfully obvious by now they're not worth the paper they're printed on. Marvel may be "excited", but how many readers are? If the previous books didn't sell big, then there's very little chance any more will care.

As it stands, Marvel's still proving itself a joke, acting as though these recent SJW ideas must stay in print, when here, the New Universe titles of the late 80s like Star Brand, DP-7, Kickers Incorporated and Nightmask now largely stand forgotten and nobody's clamoring they be brought back and kept in print at all costs. If this is the mentality we've reached in regards to how failed products are handled today, something is definitely wrong with the industry.

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Unprofessional "pros" can hurt the business

Charles Rodriguez wrote a whole item on how so-called pros in comicdom who engage in hostile behavior to fans can prove detrimental to the medium as a whole:
Mark Waid and other comic book pros provide perfect exemplars of how access to the internet can easily lead to potential PR disasters. Walt Disney’s Mark Waid, a once beloved comic book artist, repeatedly called and harassed a smaller publisher, one Antarctic Press, to prevent them from printing an apolitical action graphic novel called Jawbreakers. It’s not the first time that Mark Waid has made himself and those he represent look bad because of social media drama.
Yep, once there was a time Waid had positive regard. He was the co-creator of Impulse with the late Mike Wieringo back in the mid-90s, after all, as a cousin for Wally West who was born with his superhuman speed and became the new Flash sidekick, quickly achieving his own solo book just like Robin, Superboy and Supergirl at the time. Now, Waid's basically tarnishing what good regard he once had for the sake of...jealousy? I don't know. All I know is he's lost his mind, let his politics get the better of him, more so than in the past, and now they're taking their toll.

The guy also presents a few examples of what artwork's become like of recent with a few pictures from a Star Wars comic, and seeing these, I just have to post them here so you can see why this just isn't very good, and is in fact laughable:
So Luke Skywalker, Leia Organa and Han Solo are drawn to look photo-realistic? If this is just what it appears to be, it's waaaay too much, and only diminishes the appeal of the story. You'd think they photoshopped Harrison Ford's head onto the drawing, and maybe they did, but in any event, what matters is that this serves as an example of being overly demanding, and lessens the quality of art. There's plenty of artists who draw inspiration from real life figures (from what I know, John Romita Sr. used Ann-Margret as inspiration for Mary Jane Watson's character design), but this is trying much too hard, and turns the concept of art into a silly joke. If the early Marvel series from 1977-86 had been like this, it would've been dreadful. As noted here:
Richard Meyer has pointed out issues in the art and in the writing. Issues that are apparent, even in apolitical comics like Star Wars. For this sort of criticism, Richard has become a black sheep and enemy # 1. This is because many of the more political stripe see criticism of work made by minorities as hating minorities. Meyer argues that they are just hiring young inexperienced people for low pay and that the results are self-evident.
If they were trying to lower the costs of illustration by making their drawings look like the real deals, they blew it. And here I thought some artists in the past argued they have an "unlimited budget" for these projects. If so, they're not utilizing it correctly.
Every Tweet costs Marvel, erego Disney, money in the long-run. Is it in their interests for Mark to tell customers to “fuck off” and to “never read” comics? Is it in their interests to be blind to poor products? Sure, it could be a troll, but if it’s a fan that’s a great way to alienate them. Same goes for every other company that Mark Waid works for. Not only that, but it may result in people never buying comics from other companies, thus hurting the whole industry.

Other comic book professionals have been just as aggressive. Stating that they wish they could punch Richard Meyer and those like him. How do you think fans would respond? How does this make Disney, DC, and Marvel look?
I'd say it makes it look like they're hiring a whole bunch of lunatics who don't learn lessons from how Hollywood celebs usually go about their business, and the smart ones wisely avoid making themselves look like vulgarians and schemers in public. Worst, it makes the comics business as a whole look like a refuge for crude, nasty, selfish and entitled troglodytes from the margins of society, and weakens the image even more.

You can read the rest of the item for more, but for now, it should be made clear that if the leaders of the industry really want to make it a success, they cannot put up with inmates running the asylum, and have to start laying out the guidelines, to say nothing of enforcing them when a creator is discovered engaging in bad activity. They also have to stop the publicity stunt mentality that's been taken to extremes over the years and led to the flood of politics washing out entertainment value from modern superhero and other comics.

Only that way will the industry be able to improve itself, and even then, there's still many more steps that need to be taken from a business perspective. But that's another story.

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Thursday, May 17, 2018 

GL's Jessica Cruz is being made the easy target

Tim Seeley's leaving Green Lanterns. But not before he concocts a story where Jessica Cruz appears to be made the cheap subject of a storyline about "anxiety disorder", while Simon Baz, on the other hand, seems immune to any such ideas. The interview with Seeley first states:
As Tim Seeley finishes his run on Green Lanterns this week, the writer is bringing the story of Jessica Cruz and Simon Baz back to the flash-forward teases that readers saw way back in the Geof Johns's foundational Green Lantern, who created both characters.
Oh yeah, and who can forget the moments Johns brought his ultra-leftist biases to the fore, introducing the Baz character in a story where a white supremacist turned out to be the terrorist? Totally despicable.
But Seeley doesn't appear to be leaving the characters in a particularly positive place, as the writer confirmed what readers have seen in upcoming solicitations — that the two Green Lanterns appear to be splitting up their unusual two-person team. That will happen when Aaron Gillespie takes over writing the book for two issues, preparing the way for the new series writer, Dan Jurgens.
I'd like to think that's good news, but I won't be shocked if it's not, based on what follows in the interview segments:
Newsarama: Tim, you've been teasing what's going on with Jessica for a while in this book. Why did you want to explore this about her? And how does this theme specifically address who her character is?

Tim Seeley: Well, when I first saw the character, I was instantly interested in this idea that she had some kind of event that caused her to have anxiety disorder, which as far as I knew is not how it worked, having an anxiety disorder of my own.

And so, as I had ideas for that, it just so happened that I was asked to do the book. And I thought, oh, perfect! I can work on that and explain what made her who she is. I can explore who she was before that and also deal with what previous Green Lanterns writer Sam Humphries had kind of set up in his run on the book, which is that Jess' ring is different, and it talks to her in a different way.

I tied all those things together and used this goalpost of picking up something from one of Geoff Johns' book, which was a flash-forward scene where we see Simon and this new bearer of the ring which happened to be Jessica having a confrontation.

So I decided to put all those things together and swirl it in a big ol' stew, and then have it end with those panels from Geoff's flash-forward.

That's how I think comics get made = throw crazy stuff in, make them connect on an emotional level, and then get to a point you want to get to.
What I'd like to know is why Cruz has to have any kind of disorder...but not Baz? I've gotten the vibe he's supposed to near perfect in some ways simply because of his religious background, and so, they're not trying anything perceived as seriously negative with the character.
Nrama: So this is your own making, bringing it back to that scene Geoff came up with? Not anything that Geoff said, "here's what that mean"?

Seeley: Yeah. I mean, the first story I pitched to them when they asked me to do Green Lanterns was actually this one. I kind of pitched it as a Green Lantern / Evil Dead story, kind of an allusion to the Bruce Campbell/Sam Raimi horror movie, because I wanted to do this flashback where Jess is reliving this event she couldn't remember in the other book.

And then we just ended up pushing it back as other storylines started popping up that I wanted to do.

But this was always the idea that I came in with.
Oh, and it's just like them to drag GL into horror-thriller territory, which Johns had basically been doing since the day he got his hands on the GL franchise.
Nrama: This week's issue #47 finishes up the "Ghosts of the Past" storyline. And then this is it for you, right? But it sets up that Jessica's ring gets taken away, as we've seen in solicitations for June?

Seeley: Yeah, this is my last issue. So after this, Aaron Gillespie picks up some issues, and then you get Dan Jurgens, who will probably do a whole lot of cool cosmic stuff, because that's what Dan does.

But the idea, from the get-go with this, was to sort of wrap up that first season, in a way, of what Sam had started, where we were asking the question of why are Simon and Jessica together? And why did Hal choose this? And then, if he's the one that put them together, this ends with him being the guy that has to take them apart.
But do they quietly drop Baz from the story proceedings, or do they intend to continue forcing him - as the propaganda concept they created him to be - down the audience's throats without letting go of said propaganda angle? Or, more to the point, do they intend to banish Cruz altogether from the GL role while leaving Baz in place? All I know is Seeley's one of at least a few writers besides Johns himself who've been normalizing Islam by putting it in these books without allowing for any questions about whether it's an acceptable ideology or not, and Jurgens isn't bound to do any better, recalling what he brewed up in Superman of recent.

Speaking of which, Seeley also recently brewed up an even worse story concept in a book called "Imaginary Fiends", a leftist view of 9-11:
As seen in the above panel, this creator-owned project of his is the kind of revolting propaganda that paints Islamists as the victims, at the expense of the non-Muslim victims who really suffered in that terrible experience 17 years ago. It's a most despicable way to speak about the very country that gives men like Seeley the right to be critical. More on the subject can be found here. Seeley may be leaving the GL titles now, but he should practically leave the whole industry altogether, as this approach of his is just what's bringing it down.

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3 political tweets by J.T. Krul

Some people might recall Krul as one of the worst writers DC hired in the late 2000s to script their books, including stories involving Arsenal at the time Roy Harper's arm was severed. Nearly a decade later, and now Krul's working on Aspen's books. Whether or not his writing's improved while working on their products, his leftism's still a problem, as the following tweets he wrote indicate. For example:

So he's attacking Mike Pence using Weekly Standard editor Bill Kristol, one of the most pretentious "conservatives" who's been against Trump from the day of his candidacy, as his formula for attack. But all Krul's doing is buying into fake news, as Mueller himself argued the MSM is pushing against Trump.

And Krul is just trying to out-rant his fellow leftist peers. But it gets worse:

And the Democrats are the biggest flag-wavers on dealing with Islamic terrorism around the world. They wouldn't even attend the inauguration of the USA embassy's transfer to Jerusalem. That's no way to inspire confidence, I'm afraid. The Russia stuff is just more fake news, as I may have noted before.

I have no idea what Krul's talents are as a writer these days, but he sure isn't doing any favors by littering his Twitter feed with so much leftist idiocy, having noticed he also retweeted some extreme stuff on his page. If he wants anyone to consider him a decent scribe, he should avoid mouthing off with politically charged crud and concentrate on his writing. Maybe this could explain why he was so bad at the tasks he got at the Big Two in the past decade or so he's been in the business.

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Wednesday, May 16, 2018 

What are some creators saying about the Meyer/Waid controversy?

Might as well look and see what any creators are saying about Mark Waid's reprehensible and potentially illegal act against Richard Meyer. For example, we have Ron Marz:

Oh please. Their "coverage" has long borne too few positives and far too many negatives. I don't take items like these from BC at automatic face value. But if this is how Marz feels, then hilarious he's taken a job working on some of Aspen Comics' products like Fathom, because the fancy artwork it was known for is just the kind of concepts Meyer's often defended.

He's got it backwards. Not that falsehoods will make much of a dent at this point.

Since Marz is the topic in focus for the umpteenth time, I might as well add a few of his political blabberings like this one:

So Marz can't even thank the USA for moving its embassy to Jerusalem, something the more sensible people in this country have campaigned to have done for many years. Shameful. Now, look what he wrote 4 times:

You're right, Marz. So if this is another assault on Meyer, the consequence will be that some people won't be buying your work on Fathom no matter the quality of scripting, and Meyer may not recommend it either, as your words are bound to discourage. Personally, I hope Aspen gets a clue and removes Marz from their books, because he's only turning their business into a joke.

There's also a writer named Ken Lowery:

I think Ken should just let it go, because it's not doing comicdom any favors.

This may not be fully related, but I think I'll have to add Nicola Scott to the mix:

I don't understand why somebody whose Wonder Woman art was rejected by the UN suddenly wants to take an article like that at face value. As a Comicsgate supporter myself, I defend the character designs she was working on, and it's a pity she's making it difficult by siding with that stupid tripe written by people who aren't really comics fans.

This is definitely no surprise by now.

The idea behind Comicsgate was to defend some of the ideas Kurt was known for providing in his Avengers run, for example (hot women and well-paced stories that aren't watered down to suit an audience that isn't there), and today he embraces the very demonstrators seen early in the run demanding that more heroes of different race be allowed into their ranks, as though they weren't open to them already, with Black Panther being a prominent example. Busiek can blabber all he likes, but the chances he'll get steady jobs anew at the majors are pretty minor at this point. Besides, Kurt's said things/taken positions women wouldn't like.

But maybe the worst example is Patrick Zircher, who's fallen back on more bad bias, and here when Meyer once spoke positively about him a few months ago:


Umm, the information came from a Reddit posting, so it's not like we know for sure whether Waid was punished by Marvel. But hey, if it's such a big deal, go ask C.B. Cebulski and see what gives.

If the two women he speaks of happen to actually be two men - namely, the above examples (one of whose actual name is Brian) - then I'm not sure why he says two women, save for PC he can't bring himself to rise above. Of course, if he's talking, say, about the "milkshakers", it's not like they're innocent. But if he thinks they are, he could at least explain what the topic was and why he believes Meyer was wrong. Disappointingly enough, he ignores the seriousness of Perez's own antics. He and another tweeter then brought Ethan Van Sciver into the conversation:



Curious why he doesn't address the case of Darryl Ayo and Tim Doyle's hostilities. He could've at least admitted they wronged him, but Zircher evidently doesn't have the guts.

And how come he doesn't admit to one of his biggest mistakes besides his leftist leanings, that being his backing for Identity Crisis, and sugarcoating the story he illustrated in Nightwing 93 where the Tarantula forced herself on the former Teen Wonder? A story which Devin Grayson now disowns, remarkably enough. Say, how come Zircher doesn't admit it's a mistake to associate with writers as overrated and awful as Brad Meltzer and Brian Bendis either? A real shame he won't admit both Big Two made big mistakes on their part.


We didn't fly into a tizzy because Bobbi Morse was depicted as a feminist. We did because the script in the abortive solo book made Bobbi look like a cheating murderess. And nobody cares that Chelsea Cain took an approach that's actually hurtful to women, not even Zircher? Sigh.

Thank goodness there was one voice of sanity who can be added here besides Van Sciver:

And Dixon is somebody whom Zircher et al haven't exactly defended, for that matter. Which is a real shame, because there's so much he's proven capable of, and I'm sure if you gave him a more sci-fi oriented title like Superman, he could work wonders on that as much as Batman, but no, DC has to yield to Bendis instead.

Those creators who're attacking Meyer would do well to just ignore him and act like he doesn't exist, because in the end, all they'll have done is boost him more and more, encouraging more audience to check him out. Is that what they truly want if they have such a problem with him?

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Twitter suspended Bosch Fawstin again, for daring to question Marvel's Islamic propaganda

The ex-Muslim cartoonist Bosch Fawstin had his Twitter account suspended again, it appears, for challenging Marvel's Muslim propaganda in the form of the Ms. Marvel book (H/T: Breitbart):
Here’s the gist: Marvel’s Muslim superhero comic book, Ms. Marvel, is being published during wartime, while Muslims are on the warpath, and the comic book, which has been around for about four years, completely avoids the Only reason we began to discuss Islam: Jihad. I take great exception to that, as an American and as a cartoonist who writes and draws a comic book that takes on Islam and Jihad, The Infidel, featuring Pigman. If you don’t know, I’m a recovered Muslim, and the winner of the Mohammad Cartoon Contest. Jihadists came to kill those of us at the event and died for it. I mention this to show that I’m committed to this fight of telling the truth about the enemy and his ideology, despite death threats.

And speaking of death threats, I reported two death threats that I got from Muslims on Twitter, and Twitter did Nothing about them, leaving their accounts intact. Let that sink in.

Back to Marvel. Marvel fancies itself as telling stories about “the world outside of our window”, but they completely ignore the war that is literally outside of their window in Manhattan. Comic books used to take on America’s enemies. Now, both Marvel and DC Comics publish Muslim superheroes, while completely ignoring Jihad, and presenting a false, benign version of Islam to readers. It’s the equivalent of them publishing German and Japanese superheroes during World War Two, without any mention of the war that was going on, in the comics.

Here’s the full context of my tweet that supposedly did me in on Twitter:

The head of Marvel Studios, Kevin Feige, was asked by someone on the BBC, if Marvel’s Muslim superhero will appear in Marvel’s movies. And Feige answered yes. I ask why. The heroes in Marvel’s films have been around for over sixty years in the comic books, so they’ve stood the test of time, and making movies with them makes sense. This Muslim superhero barely sold 13,000 copies of her comic book last month, which are cancellation numbers, so she’s unpopular, no matter Marvel’s propaganda that she’s “popular”. There’s No demand for Muslim superheroes, not even by Muslims. But the coward leftists at Marvel Comics who allowed Marvel’s Muslim editor, Sana Amanat, to shoe-horn a Muslim superhero into Marvel’s lineup, are too afraid to cancel the comic book. And now, Marvel Studios is too afraid to answer “no” to a question about her being in the movies. (Amanat is now Marvel’s Director of Content and Character Development. She actually wears a Yassir Arafat scarf at comic book conventions.)

So I tweeted about it, calling out Marvel for continuing to publish this Islamic propaganda comic book while Muslims continued murdering in the name of Islam, and how callous that was of them. I naturally got a number of Muslim and Islamophiles responding to me, and Twitter decided that my reply in the attached screenshot was cause to oust me for “hateful conduct”.
Any "explanation" they've given him since was ambiguous, and it's clear Twitter's staff prefer to avoid the hard issues altogether. Naturally, this is all a disgrace, and they'd do well to reverse their decision if they don't want their platform's image and reputation to get worse than they already are.

Marvel, of course, is making themselves look ridiculous by continuing to publish the Muslim Ms. Marvel book despite such poor sales and the fact it only leads to more monetary losses, and they're not doing any better by employing somebody as revolting as Amanat is with her checkered scarf. I think this is more reason to avoid their current output, so long as they continue to employ those with reprehensible beliefs and personalities.

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Tuesday, May 15, 2018 

It certainly is time Waid retired


According to this video commentary, there are employees at Antarctic Press who were galled at the mishandling of Richard Meyer's Jawbreakers comic, and even at Marvel/DC, some were angry at how Mark Waid went out of his mind sabotaging somebody else's marketing. There is a legal case to be made here that Waid broke the law and could be sued for engaging in behavior that was completely avoidable, and he should be fired to send a message.

The Federalist's already on the subject, and I'd like to make a point regarding one of theirs:
The comic industry has been embattled over the last several years, with Marvel Comics sinking to new lows in sales. Marvel went to extreme measures in their business to signal their political correctness, with every one of their books being penned by vocal anti-Trump and anti-conservative writers. DC Comics has followed suit, with multiple books pushing pro-transgender narratives in recent issues, along with launching a line of new young adult books which the company claims is aimed at capturing a more diverse market.
There's just one little thing: DC began pandering to the SJW and diversity propaganda pushers several years before Marvel did, with a Black Firestorm, Asian Atom, Latino Blue Beetle and even a female Manhunter in the mid-2000s, with the worst part being that Identity Crisis served as the precursor they spun out of, denigrating the white protagonists for the sake of replacing them with the racially diverse ones (Elongated Man wasn't even replaced at all, just killed off along with his wife by the end of the overrated 52 maxi-series). Even during the post-Flashpoint era of 2011-17, they did this with at least a few characters connected with the Justice Society (a gay Alan Scott, Islamic Dr. Fate, black Hawkgirl, and possibly even a black Wildcat) in the Earth 2 series, which is now defunct. Say, did I mention the first Mr. Terrific, Terry Sloane, was turned into a crook in this rendition? As though it weren't bad enough Geoff Johns and David Goyer had to make his granddaughter (Roulette) a criminal in the early 2000s. So Marvel was just following up on their antics, taking them to major extremes. Those who think Marvel started it all should take a look at what DC was doing nearly a decade before.

Now, of all the people in comicdom who could be conspiring, look who else were involved:
“Gee, I can’t imagine why publishers wouldn’t want to affiliate with this audience,” tweeted Gail Simone, a feminist icon in the industry.

“Is that the thing where those twits started bullying female Marvel editors after Flo’s memorial? Yup, that was creepy,” said Neil Gaiman, speaking of #ComicsGate and citing left wing op-eds as his source for his alleged facts.
My, why am I not shocked Gaiman's being so knee-jerk hostile? He once said it's vital to defend even icky speech, but when it's the mediums he works in, he suddenly changes his inferior tune. No wonder I didn't approve of his handing of Lyta Hall in the Sandman series, and didn't even find it as good as the Swamp Thing under Alan Moore.

Regarding the stores refusing to carry it, Critical Blast found one retailer who was troubled by the news:
We spoke with Arkansas retailer Michael Tierney, owner of The Comic Book Store in Little Rock and Collector's Edition in North Little Rock, for his insight. While he has not participated in any online retailer forums, he stated, "If retailers are colluding to block the guy from market, that is very concerning." Tierney noted that, while it wasn't quite at the level of price fixing, a violation of the Sherman anti-trust laws, "to actively bar someone from having their product sold" was certainly a cause for alarm.
Those store managers who deliberately conspired obviously won't consider the divisive atmosphere they're creating, nor how it may have already cost them consumers.

Now as for Waid, Meyer's filed a complaint with Federal Trade Commission and Texas AG's office:

It won't be easy at this point for him to salvage his ailing reputation. Naturally, it's a terrible shame it had to come to this, but literature doesn't always reflect the personality of the authors. In hindsight, outside of the Flash, what successes did Waid truly have? I sure don't consider his run on Daredevil a success with the politics shoved into it, and again, since the mid-2000s, he's long lost any energy he once brought to the table. I think it's time he went into retirement. After all, Roy Thomas has been retired for some time, so why doesn't Waid just consider the same, if he wants to be remembered on positive notes? He could've just ignored Meyer's project and then nobody would've cared. Instead, he's led to the opposite result and now faces legal motions as a result of his apparent disregard for the law. What a shame.

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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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