You’d better pray Alfred Beagle lives, slime. Because if he doesn’t, at one minute after twelve, I’m going to carve your grimy little heart right out of your gutless chest.
Helena Wayne (Wonder Woman #295)
It’s fucking making them tons of money, but it’s taking away the heart of DC. The inspiration, the heroism. The part of the universe that hooked me as a child of four and kept me reading my entire life. Their target audience is the teenaged/young adult male who loves gore and mutilation and murder, the same audience who somehow thinks it’s okay to send rape threats to someone who criticized a fucking comic book cover for being shitty. They are actively targeting the audience who are acting like total fucking assholes. And it’s selling.

That’s the worst part. It’s selling. And all it cost was their soul.

Dayna Abel, What’s Good For Sales Is Not Good For Comics, reviewing DC’s Future’s End from Free Comic Book Day. (via osheamobile)

Sad but true.

(via blackphoenix77)

In the words of Mark Waid, Future’s End looks to be The New 52-iest of “New 52” storylines.

(via dr-archeville)

—-Future’s End #1 is one of the worst comics I have ever read. And I’ve been reading comics since 1975. I’ve no idea how four talented writers managed to do this but it’s just awful. It’s so awful that I have to believe editorial basically wrote it. It should have an Alan Smithee writing credit. Full review here:

In short: It’s utterly depressing that this is selling.

(via corrinalawson)

Women In Fridges (and the corresponding MANPAIN) is sexist because it reduces women’s importance to how they are valued by men. Their pain is merely a plot device. The audience isn’t supposed to feel sad because Jean Grey went crazy and died, we’re supposed to feel sad because Wolverine is depressed now, poor baby. Jean Grey becomes That Chick Who Wolverine Angsts About. And I say this as someone who doesn’t even like Jean Grey. Manpain is all about how the camera focuses on a male character’s pain when their’s is hardly the most important pain going on in the room.

I read a blog post by someone who I sadly know only as Thingswithwings who summed up my feelings on Women In Fridges and Manpain in a far better way than I can: “the show runners think that, if we don’t establish that a female character is important to men, is in a romantic relationship and kissing a dude, we won’t care that she’s died.”

I’ve had enough of female characters being reduced to plot devices with boobs. Give me female characters who have agency. Female characters whose feelings are taken seriously for once. Female characters who have their own plot arcs that are separate from their relationships to men. And, like magic, you will have a Strong Female Character.

Hannah Walker
I think that a huge problem is people who read comics and don’t understand the point of superheroes, which is to be the best version of yourself. You love Captain America? Well, you know what Captain America would never do? Go online anonymously and shit on a girl for having an opinion.
Brian Michael Bendis, dropping truth bombs in an interview with Vulture (via brynnasaurus)

It’s the sort of idea you’d think I’d get angry about, but I didn’t. I was simply too baffled at the Stupidest Idea I’ve Ever Heard. Of course, I probably wasn’t angry because the Stupidest Idea I’ve Ever Heard isn’t racist, sexist or really offensive on any of those levels. It takes a certain amount of logic to come up with an offensive idea. You have to be adhering to certain stereotypes and actually attempting to craft a half-assed story. It takes a special cluelessness about humanity or malice to offend. It takes a small amount of intelligence.

It takes no intelligence to come up with the Stupidest Idea I’ve Ever Heard. It is in no way offensive to me as a person, or even as a fan. It is just something so pointless and wasteful that I feel sorry for the person who came up with it. The person who came up with it works in the entertainment industry. That person is paid to come up with ideas to entertain us. That person needs ideas in order to pay for food and rent.

That person is so clearly out of ideas, the bread and butter of their chosen business, that I can’t help but feel sorry for them.

Ragnell on ‘Anti-Creativity’ (Source)

(Also sums up my thoughts on Power Girl fighting a giant squid. But then, this same argument could be made for the entire series in general).

It is so lovely to see them back together again. The Huntress was dispatched in the most awful, casual and disrespectful way in the original Crisis story. This was Batman’s daughter, for goodness sake, and she was killed off in a couple of panels.

And Karen’s not really had a best friend since, and that was almost 30 years ago. I love Power Girl, she’s my favourite character. But she’s always seemed an outsider on the DCU main earth. It really made me smile to see her reuinted with her best mate.

Mulett on Huntress/Power Girl’s friendship (CBR Forum)

"Before I left, I told you I never belonged here. You said ‘Home is where you make it.’ I never forgot that. I always was going to come back." Kara Zor-L (JSA Annual #1)

'Everything I have, everything I am, is because of him. I am the Batman's daughter. I am The Huntress' -Helena Wayne (JSA Annual #1)

I think what made this particular ending special is that we finally saw a side of Helena that has only been implied but never explicitly shown. The fact that this was Batman’s daughter literally pulling the trigger without a second’s hesitation does make me wonder what kind of life she had on Earth-2 for her to be willing to go this far for her goals. What’s more is that just before killing the chairman, she made a comment about how “there were so many ways [he] could’ve helped [those women] and left them their souls,” thus maybe implying that she herself no longer feels like she has one. The fact that she even teared up a bit makes it seem she took personal interest in this case, or her experience with this case triggered some painful memories for her.

Me when I reviewed Huntress #5 a hundred years ago.

Admittedly, I crack myself up reading my own reviews sometimes.

I get so ridiculously wordy when I write, I should probably leave a sticky note on my monitor that says:

'Remember, you're not writing a 10-page research paper for class that requires you to throw in as many words as you can just to meet that requirement alone.'

These days, writing 10+ pages of anything comes naturally to me….which I think has impaired my ability to  stick to the point.

Hmmmm…I think it’s time to consider a different career.

So tell me a little bit about this Huntress series. It’s one of the first things kind of coming after that initial wave of New 52 books, and another character who you are very closely associated with, even though we haven’t seen your Huntress in comics for a long time. I haven’t read up on all the ins and outs of this new series. How are you splitting that difference? Is there a way in which the relaunch is enabling you to bring in some elements from the character that you wrote before back into this new Helena, or are you really kind of starting from whole cloth again?

Well, the thing that unites both characters is that they were driven by attitude. Within the DC universe then, and I think still through most of the run of the Helena Bertinelli version, and probably right now going forward—there’s a really tough broad. Her attitude towards what’s going on is much more direct, it’s much more action-oriented, she’s less tolerant of criminality, moral criminality, she’s very unambiguous in all of those ways, and that creates a great storytelling opportunity.

Paul Levitz discussing the Huntress during a video interview with CBR in Summer 2011, just before Huntress #1 release. (source)

There will be a point to this quote later.