Archive for the ‘Comics’ Category

Read My Essay in Riverdale Avenue Books’ New Anthology, 1984 in the 21st Century

April 4, 2017

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George Orwell’s classic dystopian novel 1984 has been resonating with the world since its publication in 1949, and it’s become increasingly relevant these days with “alternative facts” and the bizarre doublethink that characterizations the current American presidential administration. To explore the impact and legacy of 1984 in these tumultuous times,  today Riverdale Avenue Books is publishing 1984 in the 21st Century, a new anthology with contributions from a variety of great writers, and I’m very excited to be a part of it. Most of the pieces in the book are thoughtful and compellin, and delve into important, serious issues of the day in fascinating ways.

My piece, meanwhile, is about an Archie comic book. I am nothing if not perpetually on brand.

I picked up 1984 as a young teenager because of an Archie comic. The story was “It’s 1984 at Riverdale High” and it centered on Mr. Weatherbee installing a new video security system in the school that allowed him to closely monitor all of his students and employees. Archie sensed Orwellian overtones, and took a stand against the system. Luckily for him, Mr. Weatherbee had purchased it on the cheap and the system didn’t last for long.

Archie mentioned Orwell’s novel repeatedly throughout the story, so when I saw 1984 at a bookstore a little while later, I decided to check it out. I figured if Archie liked it, it must be fun and cool and definitely appropriate for readers my age. It was not any of those things. But I loved it all the same, and the book was both illuminating and served as a gateway for me into more serious literature.

My essay digs into the original Archie comic that got me into 1984 as well as how such an Archie story was both an absolutely bizarre and extremely fitting avenue for Orwell’s dystopian themes. I also talk about the adaptability of the novel, and how it’s evergreen quality has kept it in the public discourse for decades. I hope you’ll check it out, as well as the rest of the excellent pieces in the book.

The e-book is available today through the Riverdale Avenue Books page as well as Amazon; the publication date corresponds with the day that Winston Smith began his illicit journal in the novel. And today only, you can get a free digital copy of the book on the Riverdale Avenue Books site by entering the code 1984FREE. A print  version of the book is coming soon, too. Please enjoy my weird little Archie story!

Superwoman #2 Review: Where’s Lois Lane?

September 14, 2016

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Superwoman  was advertised as a Lois Lane comic book. The New 52 Lois got superpowers when the New 52 Superman died, and now she was ready to take to the skies to defend and protect Metropolis as Superwoman. I was intrigued. It wasn’t the Lois Lane comic I was hoping for; I’d rather see her tracking down scoops and taking down bad guys at the Daily Planet. But I was on board, especially with Phil Jimenez writing and drawing it and Emanuela Lupacchino subbing in on art occasionally. It was a stellar team with a new, different take on Lois, and I was excited for it. Turns out, that’s not was Superwoman was about at all. We’ll discuss, but first:

SPOILER ALERT!!

I am going to disclose a number of shocking reveals!

So the first issue was fine for a while. It had a lot of Lana Lang, but I didn’t mind too much. I knew that she’d be working with Lois, and I was excited to see them grow from rivals and often adversaries into partners and friends. Then we learned that Lana has superpowers too, and again I didn’t mind too much. All the better for rad team ups! I liked the idea of dual Superwomen fighting evil. Then Lois was killed at the end of the issue, or at least it looked that way. It’s a comic book, so I was wary. I’m used to fake out cliffhanger endings, so while I was concerned, I was hoping it would all be a trick and the gals would be back together in the next issue.

But no. Lois is dead.

Real dead too. She straight up disintegrated in the opening pages of the second issue, leaving a grieving Lana to carry on as a superhero on her own. Luckily she’s got a good support system with John Henry Irons and his niece Natasha, two characters I quite like. But Lois is gone, and that means so am I.

Now, Superwoman isn’t a bad comic. Jimenez’s artwork is great, as always, and the series has got a lot of good characters in the mix. The first two issues have been a bit overstuffed, which has affected the pacing of the issues and the readability of the art at times but it is, on its own merits, a decent book. If it was advertised as the Lana Lang comic it is, I probably would have checked it out. I’m not a huge Lana fan, but she’s a character with potential and elevating her to a superhero role after decades trapped being a romantic rival is kind of cool. That’s a good hook on its own.

But instead we got this bait and switch, and with every page my main thought was, “Where’s Lois?” My frustration at the death of the lead character I was promised trumped whatever level of enjoyment I got from the comic itself. A Lois Lane comic book is LONG overdue. She hasn’t had a solo series since Superman’s Girl Friend Lois Lane ended in 1974, but she’s been a mainstay in the DC universe in every medium for over 75 years now. She should have her own series, preferably with a better title than her old one. To promise this book and then not deliver it is both insulting and disappointing.

Even worse is killing her off in the process. Lois gets killed a lot, especially over the last decade or so. Offing her, for real or not, to create anguish for Superman has become a common trope used again and again by bad writers, and now she’s been offed to create anguish for Lana. Moreover, the New 52 Lois had a terrible run. Since the 2011 relaunch, she’s been sidelined and forgotten, and this new series felt like redemption after years of poor treatment. Instead, Superwoman fell into the same old patterns straight away.

Lois could yet come back, of course. It’s comics, after all; nobody stays dead and Jimenez seems to be teasing something. Plus, why introduce her just to kill her off so quick? There may be a longer plan at work here. But I’ve got no time for it. I really don’t understand DC’s thinking here. Why involve Lois at all, and especially why advertise it as a Lois book in the first place? If the plan is to kill her off for good, you’re only upsetting Lois fans. If the plan is to “kill her off” and then bring her back later, all of the Lois fans will have already jumped ship by the time you do so. No matter how you slice it, the way DC set up this series is just ridiculous.

Lois Lane is the First Lady of the DC universe. She is as brave and heroic and compelling as any of those folks with the masks and the capes, and she deserves some time in the spotlight. Whether she’s dead or “dead,” Lois’s depiction in Superwoman has been yet another in a long list of comics that have treated her poorly. We don’t need more of those. I’m done with the series, and this will be my last review of it. I like Jimenez and Lupacchino, and I like Lana, John, and Natasha, but I love Lois Lane, and any book that kills her off to further someone else’s plot is a book that I’m just not interested in.

You Can Buy A Page From The Comic In Which Lois Lane Fell In Love With Comet The Super-Horse!

August 30, 2016

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I don’t mean to tell you what to do with your money, gang, but here are some very important facts concerning an excellent investment opportunity:

1) In Superman’s Girl Friend Lois Lane #92, Lois fell in love with Comet the Super-Horse.

2) You can buy a page from that comic book RIGHT NOW at Heritage Auctions.

Lois falling in love with a horse needs some explanation; in particular, it should be pointed out that Lois was a horse at the time as well. Or rather, they were both human, then both horses, and their love grew over the course of their encounters in both forms.

The full story is this: It turns out that Comet the Super-Horse, the caped flying horse who was a pal of Supergirl throughout the Silver Age, was also a human named Bill Biron. Now, back in the days of ancient Greece, Biron was a centaur who fell in love with the sorceress Circe and won her affection by saving her from the evil Maldor, a rival wizard.  Circe gave him a potion to turn him into a man, but she accidentally gave him the wrong potion and turned him into a full horse. She then gave him another potion that gave him the powers of the Olympian gods and immortality. Centuries later, he met Supergirl and became Comet the Super-Horse

You with me so far? Now, for some reason, whenever a comet passes by Earth, Comet the Super-Horse, a.k.a. Biron the former centaur, turns into a powerless human man. And when he does, he performs as the magician Bill Biron to make a few bucks. While he was in this form, he met Lois Lane and, much like with Circe, he won her affection by saving her from an assassination plot. He told her that he was really Comet, but she fell for him anyway and they ended up kissing. As Lois explained, “This is wild! Maybe he’s superhorse, but this handsome, human identity of his really turns me on.”

Lois falling in love with random dudes was pretty common in the Silver Age. She wanted Superman above all else, but he was never into settling down. So when handsome guys came along, Lois was often ready to ditch Superman to marry them. This got her into a lot of tricky situations. She almost married a weird looking alien in one issue, and nearly ended up wed to Satan himself in another. So as far as her romances went, a guy who’s also a horse wasn’t too bad.

Trouble did follow, though, as it always did with these romances. The evil wizard Maldor was still after Biron/Comet, and he ended up turning Lois into a horse! Luckily, the comet flew off into space around the same time and Comet returned to his horse form. The duo evaded horse hunters, then frolicked  together through snow and waterfalls in a romantic horse date.

In the mean time, Circe reached out to Superman through the “stream of time” to tell him that Lois was a horse, and that he could turn her back into a human by exposing her to the radiance of a rainbow. He did so, but part of the spell meant that she forgot her time as a horse, and remembered Biron only as a fun one-night date; she assumed he’d turned back into Comet the Super-horse and just moved on.

Obviously, this is a fantastic issue of Superman’s Girl Friend Lois Lane. And now, you can own a piece of this story! Heritage Auctions has a listing for a page from the issue, pencilled by the legendary Curt Swan with inks by Mike Esposito:

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The page is from the horse hunters sequence, when Lois and Comet fight to escape them. Lois is on the page, but in horse form. And right now, it’s only $12! The price will go up as the auction goes on, and by the time it closes in five days it should be a lot higher, but you never know how these things will go. So get on it, fellow Lois Lane fans! Think of what a conversation piece this page will be when it’s framed and hung prominently in your home. You’d be a fool not to look into it. I’m certainly going to watch the auction through to the end.

 

Superwoman #1 Review: Either One Of The Best Or Worst Comics Of DC’s “Rebirth” Line

August 10, 2016

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Superwoman is a great comic book until the last page, and depending on how that last page plays out it’s either going to be a book I’ll be very much looking forward to each month or a book I’ll drop like a hot potato. We’ll see how it goes. I’m certainly hoping for the former, because I really enjoyed the bulk of this issue. We’ll dig into it all, but first:

SPOILER ALERT!!

I mean, it’s kind of spoiled all over the internet right now, but still!

Read the book first!

This honestly isn’t the kind of Lois Lane comic book I wanted. I’ve been arguing that Lois should have her own series for years now, one that focuses on her journalistic adventures tracking down big scoops and taking down evildoers of the non-costumed variety. I basically want Gotham Central set in the Daily Planet newsroom with Lois as the main character. This book is not that. It’s Lois Lane with superpowers, which she gained when the New 52 Superman died a few months back. But while Superwoman is not what I’ve been wanting, it’s a lot of fun.

First, of course Lois Lane would make an awesome superhero. She’s done it a bunch of times over the years, as she actually mentions in the issue, and it’s always a good time. In Investigating Lois Lane, I call Lois a superhero without superpowers; she’s got all of the same values, bravery, and desire to do what’s right that Superman and Wonder Woman do, she’s just a hero in a slightly more down to earth way. So with powers, she’s got the temperament and heart to use them well and be a stellar superhero.

Second, this is one of the first comic books where Lois Lane and Lana Lang are on friendly terms. They’ve been rivals for decades, often to cringeworthy degrees, Superman’s old flame versus his new one. Writers in the Silver Age really leaned into their rivalry and often had them at each other’s throats, literally so on several occasions. This continued when Lana returned in the Bronze Age; in one issue, they got into a fight at work and Lana dunked Lois’s head in a punch bowl. Throughout the Modern Age, Lana became kind of a sad character who was obsessed with Clark and grated on Lois, and in the New 52 era the women haven’t exactly been pals.

But Lois knows that Lana helped Clark with his powers, and that she needs help to learn how to control hers. She also knows that Lana is smart and a good person, and that her advice and input would be invaluable. So she proposes that they work together and after some reluctance, Lana gets on board. They’re not friends, exactly, but they’re friend adjacent, which is a lovely change of pace. Plus the banter is so much fun.

Third, this relationship comes with the exciting twist of Lana having superpowers too! Her energy powers resemble the 1990s Red Superman era, and she and Lois team up to stop Lex Luthor’s mega-warship from taking out a bridge. So Lana’s not just an advisor and trainer; they have a super-team up! I was so on board for that. Two formal rivals that have been so often mistreated in comics teaming up to be super friends? Yes, please!

Then they killed Lois. Or so the last page suggests. It’s a busy page, so it’s hard to tell exactly what happens. Maybe whatever mystery villain the duo is battling turns Lois into stone or some such, or perhaps Lois just burns out in a manner that may have been exacerbated by Lana using her powers. Whatever the case, Lois appears to be dead and the tease for the next issue is “Who Killed Superwoman?”

If Lois is really dead, then I’m out and this book can go right to hell. I’m so sick of dead Loises. The entire 21st century history  of Superman comics is dead Loises, in various forms. Lois is why I showed up for this book. I love Lana, but I’m not going to read a Lana book that comes at the expense of Lois. It doesn’t help that I was reluctant to get this book in the first place because serial sexual harasser Eddie Berganza is editing it. Between that and killing off Lois, I’ll drop this book and never look back if the final page reveal holds.

However, this is superhero comics. Fake out death cliffhangers are the genre’s stock in trade. If this is a momentary thing that’s reversed and the book continues to be Lois and Lana: Super Friends, then I’m all about it. This was a very enjoyable opening issue, and I’m excited to read more if Lois stays in the picture.

I’m not sure how to read the tea leaves on this one. This book is called Superwoman, singular, so that hints that Lana might replace Lois since there can only be one. And there’s already another Lois Lane in the universe, a transplant from the pre-New 52 days, so the Superman offices might have considered their leftover New 52 Lois to be redundant. On the other hand, I know that Phil Jimenez loves Lois, and I’m hoping he’s going to stick with the character. Lois is on upcoming covers, too, though I’ve been fooled by that trick before. I’m also hoping that DC is smart enough not to tease us with a Lois book just to kill her off. They can’t be that dumb, right?

So, Superwoman may be the start of an exciting new series, or it may be a straight up pile of garbage! Time will tell. I’m really hoping that Lois is alive, because this was such a fun first issue and I am so down for more Lois and Lana fun. Phil Jimenez did a great job with the writing and the art, particularly with the excellent new costumes, and I’d love to see this new partnership explored for many issues to come. But if Lois is gone, I’m gone. We’ll see how things shake out.

Remembering Noel Neill, The First Live Action Lois Lane

July 5, 2016

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Noel Neill passed away last Sunday at the age of 95, having lived a long and fascinating life. She wore a number of hats during her time in show business; she was a model, a singer, and an actress in both film and television, but she was best known as Lois Lane. Neill was the first live action Lois, playing the character alongside Kirk Alyn’s Man of Steel in the 1948 serial film Superman and reprising the role in its 1950 sequel, Atom Man vs. Superman. After Phyllis Coates left the Adventures of Superman television series after one season in 1952, the producers immediately reached out to the original Lois, and Neill played Lois next to George Reeves’ Superman for the next five seasons of the program until it ended in 1958.

Neill was Lois Lane during the bulk of the run of the Adventures of Superman, making her the person that an entire generation of fans associated with the character. The show was a hit in its initial run, and remained popular in syndication for a long time as well. Until Margot Kidder took over the role in Superman: The Movie in 1978, Noel Neill WAS Lois Lane.

Neill’s Lois was pleasant and kind-hearted, a stark contrast to the no nonsense brashness that Coates and later Kidder imbued in the character. Neill brought a warmth and friendliness to the role, which fit the part; the program was aimed primarily at children from its second season on, and Neill’s Lois was a good match for its fun, sometimes silly tone. She often found herself in goofy adventures alongside Jimmy Olsen, caught up in a zany plan that required Superman to come save them.

But Neill’s Lois wasn’t all damsel in distress hijinks; in one notable episode, she wrote an editorial that encouraged women to come out and vote in order to get rid of a corrupt politician, leveraging her position at the Daily Planet to try to make a difference. Moreover, she was a constant presence at the newspaper, always chasing down leads and trying to land front page scoops. She was a respected career woman at a time when most of the women on television were homemakers, serving as a role model for young girls in the 1950s and offering them an alternative future to aspire to.

After the Adventures of Superman ended, Neill remained closely associated with Lois Lane and the Superman franchise. She cameoed as Lois’ mother in an early scene in Superman: The Movie, appeared in the Superboy TV show in 1991, and had a small role in Superman Returns in 2006. Neill was also a regular presence at comic book conventions over the decades, representing the show alongside Jack Larson long after most of the original cast had passed. By all accounts, she was delightful, kind, and encouraging to everyone she encountered at conventions, and was a wonderful ambassador for Lois Lane.

I was so sad to hear about her passing yesterday, but wow, what a life. She got to be Lois Lane, TWICE, and seemed to love every minute of it. As a young girl growing up in Minnesota, her father ran a newspaper and she dreamed of being a reporter; she even wrote some articles for Women’s Wear Daily before turning to show business. Then as Lois, she got to live her dream on the big screen and the small screen, and wholeheartedly embraced her association with the character from then on. She will be remembered and missed by legions of fans, young and old.

Finally, here’s a bio of Noel Neill that first appeared in Superman’s Girl Friend Lois Lane #7 in February 1959. When Lois’ new series began, many of the letters from young fans asked about Neill and wanted to know more about her, so DC put together this piece for them. Fans continued to ask about her even after the article ran, so DC reprinted it a few more times throughout the 1960s:

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Go Support “Sequential Crush Presents How to Go Steady” On Kickstarter!

June 27, 2016

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I don’t post about a lot of comic book Kickstarter projects here because there’s always a billion of them going on, many of which look fun or intriguing for one reason or another. But every so often there’s a project that I think everyone should get behind, and today that project is Sequential Crush Presents How to Go Steady by Jacque Nodell, with art by Jenny Cimino. The book is a how-to guide for love and dating based on romance comic books from the 1960s and 1970s, and it looks fantastic.

Romance comics are often overlooked by comic fans these days. When we think of the history of the medium, we often just focus on superheroes, or the brief crime/horror surge of the early 1950s, but romance comics were a big deal for a long time. They first debuted in the mid-1940s and became increasingly popular; by the 1960s, practically every comic book publisher had at least one romance book, if not several. It was a massively popular genre, and one of the very few corners of the comic book world marketed directly at female readers.

Reading old romance comics today is always entertaining because they were very much of their time, and often behind the times a bit since they tended to embody the values of the old white men who published them rather than the trendy young girls who read them. But they definitely did evolve as American society did, even resulting in some distinctly feminist tales by the 1970s. The genre offers a fascinating perspective on how young women were viewed in this era, as well as the dominant values of the period and how they changed.

Nothing better captured these dominant values than the advice columns that appeared in almost every romance comic series. Young girls would write in to ask advice on everything related to romance, from kissing to dating to fashion to jealousy to break ups, and the advice columnists would try to steer them in the proper direction. Jacque Nodell has pored over innumerable stories and advice columns to put together this book that explores the “timeless dating advice, wisdom, and lessons from vintage romance comics.”

And she’s certainly the best woman for the job! Her website, Sequential Crush, is arguably the best online resource for classic romance comics, a veritable treasure trove of old stories, advice columns, and quizzes, along with thoughtful and illuminating commentary on them all. In a landscape where the history of romance comics is too often ignored, Jacque Nodell has continually shone a light on the genre.

Jacque was actually a huge help in my own research, too. While putting together Investigating Lois Lane, I was stumped by a blatantly anti-feminist letter column that ran during Lois Lane’s women’s lib era when editor Dorothy Woolfolk revitalized her series; I couldn’t find information about it anywhere, and had no idea how to tackle it in the book. Then I found out about a similar column from a romance comic that was also edited by Woolfolk on Sequential Crush, and all the pieces fell into place. You’ll have to read my book to find out how, but my chapter on the subject owes a huge debt to Jacque!

Sequential Crush Presents How to Go Steady also features original art by Jenny Cimino which looks gorgeous; she’s totally capturing the classic romance comic vibe with her work here. The project as a whole should be a great, interesting read, and will be of particular interest to comic book fans, romance fans, and history buffs alike. You should definitely go take a look at it and considering backing the project; it’s almost a third of the way there now, and I’m very much hoping to see it make its funding goal and even more because this is definitely a book I want to have. Comics! History! Romance! What more could you want?

The New Civil War: The Cap/Hydra Reaction and a Call for a Ceasefire

June 1, 2016

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Steve Rogers: Captain America #1 hit comic shops a week ago, and comics Twitter has been aflame ever since. SPOILER ALERT: The issue revealed that Captain America was an agent of Hydra, and interviews with writer Nick Spencer and editor Tom Brevoort suggested that this wasn’t a gimmick or a fakeout and that Steve might have been a sleeper Hydra agent all along.

And so the war began. A few idiots harassed creators and made death threats. Creators got indignant and defensive. Valid, thoughtful critiques were dismissed out of hand. Everyone got SUPER mad, and all sorts of blocking, muting, and fiery language ensued based on which articles someone retweeted. It’s exhausting to watch, and seems to be taking an emotional toll on many people.

Now, I know that a few dummies on both sides, the threatening trolls and the dickish creators, are never going to change, but everyone else in the middle of all of this probably can, and thus calm it all down. And I’m sure this piece will catch on like wildfire because everyone loves a call for calm and rational thought. I jest, of course; I’ve been writing on the internet long enough to know that angry pieces do SO much better. But for the few of you reading this (thanks, by the way!) maybe we can learn some things and help tone things down a bit.

So, here are my thoughts:

1) Creators are being harassed and threatened. That is NOT COOL.

And also indefensible. Harassment and threats are terrible and wholly uncalled for in any situation, much less over a comic book. This should not be minimalized or swept to the side; this is a scary, unpleasant situation, and entirely undeserved for those dealing with it.

2) Because of this, creators are upset.

And understandably so. Threats are frightening, and seeing their colleagues dealing with this must be unpleasant and perhaps bring up memories of their own past experiences with harassment. As such, they’re a bit defensive. They want to defend their friends, and also take a stand against this sort of reaction generally.

3) There are legitimate, valid critiques of Steve Rogers: Captain America #1.

And of all comics, really. But this issue especially. Marvel turned Captain America into a Nazi, basically. That’s going to upset people. Particularly Jewish people, who have written some very thoughtful, emotional critiques of the issue. Moreover, it’s all obviously a stunt; whatever Marvel may say about Captain America being Hydra for real, this is comics. It’s going to be undone, probably sooner than later. Captain America was created by two Jewish men, and punched out Hitler before America even entered the war, so turning him into a Hydra agent for a brief story/sales gimmick is going to irritate some people.

4) Some folks are conflating the harassment and the criticism.

And that’s not cool either. They are very different things. Harassers are a bunch of idiots, while critics have valid points to make, and are part of art generally. If you make something, you will be reviewed and critiqued. That’s how art works. Conflating harassment and criticism is a way to dismiss all criticism out of hand, which is dumb at best, and willfully ignorant at worst.

5) Others are conflating harassment and calls for representation of marginalized groups.

And this is just super dumb. The superhero genre is not great at telling stories that star anyone other than straight white dudes, but some people seem to think that wanting more diverse characters, be it gender, sexuality, or race, is “fan entitlement” that goes hand in hand with harassment. This is obviously stupid.

So what can we do? Well, we all can chill out. Things have gotten heated and it would behoove everyone to take a step back and try to get some perspective on the situation. For those who are outraged at the fan reaction, separate the trolls from the legit criticism and maybe listen and reflect on why people are upset about the comic. They’re not trying to crush freedom of speech or squash creators’ ability to tell a story; they’re passionate, often well-versed fans with valid points, and Captain America means a lot to them.

For those who are outraged at the issue, and the comic book creators who defend it, consider that death threats are ridiculously uncool and scary, and that it must be difficult to see your colleagues deal with that. Also remember that they are human beings, and that a tweet or a retweet is not the sum total of who they are. Moreover, these are people who love telling stories, and being defensive about their ability to do so unfettered and without fear is a fairly natural response.

Now, I don’t want to create a false equivalency here. Yes, a lot of people are getting upset on both sides and I think that we could all do with a little bit of calming down and moving forward, but the whole situation highlights some systemic problems within the superhero industry and its fandom. This current bout of harassment is awful and contemptible, of course. However, while people are understandably upset about harassment right now, harassment is a daily problem for those who write about and critique comic books, especially women and people of colour; threats are the norm. It’s also the norm for female comic books creators. That all of these folks, mostly men, are vocal about harassment only now feels a bit disingenuous, and this combined with the conflation of harassment with legitimate viewpoints and calls for diversity is very frustrating indeed. There’s a degree of privilege at play here that doesn’t sit well with me, as well as a degree of punching down. Critics are upset at the actions of a massive corporation, and those who back the corporation so wholeheartedly while dismissing these critics are definitely the Goliath of this scene. In many ways, this situation has turned into an avenue for gatekeeping and downplaying marginalized voices.

At the end of the day, though, everyone could benefit from a cessation of hostilities. Let’s just be kind, and remember that threats and harassment are terrible and that reasonable, well thought out criticism is good and healthy. People can disagree without being jerks about it. Nick Spencer and Jesus Saiz are going to tell their story, and some people are going to like it and some people are going to think it’s dumb and problematic, and there will be various discussions therein. Let’s be civil, try to see the other side, check our privilege, and just be reasonable human beings. It’s not that hard.


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