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CSBG Archive

She Has No Head! – Dreamy Lady Team Ups

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Domino-Kitty-Mystique

06. DOMINO & MYSTIQUE & KITTY PRYDE

Let me set the scene…WOLVERINE IS IN TROUBLE! Who will save him? How about these three totally unlikely ladies? YES. I love Kitty but she works better when she’s allowed to be the high and mighty moral ground that can also surprise the hell out of you (think Kitty vs. Emma in Whedon’s Astonishing X-Men – all sarcastic and mean because she’s so annoyed to be working with someone of such questionable material) – so she’s just going to love her Domino/Mystique team up…but when your friend is in trouble, what are you gonna do? You’re gonna suck it up and use the help available to you, that’s what.

Writer: Jen Van Meter. I love Van Meter’s work and every time I read it, I’m all “why doesn’t she write more comics!?” While I’m anxiously awaiting her new Hopeless Savages volume, I’d love to get her on something mainstream. I loved her Black Cat mini-series a couple years back and she’s definitely got the anti-hero vibe locked down, I think she could definitely handle the general anti-hero-ness of this book.

Artist: Skottie Young. It’s been a long time since I’ve seen Young draw anything to be published that wasn’t YA, like his OZ series and I suspect that’s a deliberate choice, but maybe with the right story we could lure him into a rollicking adventure book with a couple anti-heroes and a too-young-school-marm. Goodness knows he’s freaking amazing at it.

Covers: Young

Psylocke-Storm

07. PSYLOCKE & STORM

I was hesitant to put these two together because well, obvious. And because they’re currently in a book alongside one another, and they were also recently in another book alongside one another in a way that began promising before the wheels came off in a spectacular fashion. But all that to say, I liked where this began. I don’t know that Humphries writing of Betsy ever quite worked for me (even in the beginning) but I like the idea of both Storm and Psylocke in kind of bad places in their lives, leaning on one another and getting shit done. They’ve both been through the gauntlet (and then some) and they’ve reacted differently to things. I think they’ve got a lot to offer one another, as well as a lot of great history worth building on. I say, you send them to Japan for some reason since they both have history there, and let them overcome some old baggage like the badasses they are, while being superheroic on the side, since, y’know, it’s their JOB.

Writer: Marjorie Liu. I’m not sure if she’s had a chance to work with either character much, but I’d sure like to see what she has up her sleeve after her fine work with both Black Widow and Laura (X-23).

Artist: Olivier Coipel. I know that Coipel is like Marvel’s genius that they pilot in on anything they want to give a strong start to, and they’re certainly not wrong, but I’d definitely like to see the guy do more than three issues at a shot. Would love to see him for a year (or close to one!) on something like this since he draws the best Psylocke I have EVER. SEEN. And his mohawk Storm pretty much can’t be beat either. Bonus points if Rogue shows up at some point because man, do I love his Rogue. All right fine, I love everything he does. Leave me alone. Alternate artist for when the inevitably pull Coipel? Mahmud Asrar.

Covers: Coipel

Elektra-She Hulk

08. SHE-HULK & ELEKTRA

Oil and Water, baby, sometimes that is just not a bad thing. I like the idea of the incredible darkness that is Elektra trying to get along with the incredible lightness that is She-Hulk. Tonally, it would be a tough balance to strike, but these unlikely bedfellows, on the right mission, could make for an amazing pair. The jokes alone (all She-Hulk’s?) have so much potential I can’t possibly stand it. But we need more than potential jokes. Just imagine how well they compliment one another physically. Utter opposites, with completely different strengths in every way. Honestly, the more I write about this, the more excited I get! Bonus points for both of them having ongoings of their own coming up and thus making them both “A-listers” of a sort!

Writer: Kathryn Immonen. Immonen is a very funny writer unafraid of unconventional plots; she also did an awesome She-Hulk (though not enough of her) in Heralds. She’d be great on something like this.

Artist: David Aja. Let’s be clear, I want Aja drawing Hawkeye FOREVER. But assuming it will not actually last forever (and I have to assume that) then I’d love to see him on something like this. He’s proven with Hawkeye that he can do well-paced humor like nobody’s business and one of the first things I ever saw him do that BLEW MY MIND was his issue of Ellis’s Secret Avengers in which he handled the action choreography in a way that, well, blew my mind, as said. So yeah, he’s got this. No problem

Covers: Aja

Capt Marvel-Rogue

09. ROGUE & CAPTAIN MARVEL

Rogue by Yardin

If Schiti’s busy this Rogue by Yardin makes me think he’d be an awesome alternate. Gorgeous!

Sue and I interviewed Kelly Sue DeConnick on last week’s 3 Chicks Review Comics and since DeConnick has turned me into a massive Captain Marvel fan and I have long been a die hard Rogue fan, I asked if/when we might be seeing Rogue show up in Capt. Marvel. I also expressed my  general disappointment that when writers pair the two up for stories they pretty quickly let it with it devolve into punching and nothing REAL gets dealt with.  DeConnick was sweet in entertaining my wishes but admitted that she’d have a lot of research to do on Rogue before she could write a resonant Carol/Rogue story. I helpfully suggested she pilot me for our own team-up whenever she was ready to write that story. So here I am. DeConnick suggested that Carol invite Rogue over for spaghetti, so I say we start there and then let things get weird (as they tend to do when superheroes meet up for simple things like dinner). So, yeah, no way I was making up this list without including THAT book.

Writer(s): Kelly Sue DeConnick & Kelly Thompson

Artist: Valerio Schiti

Covers: Kris Anka

Wolvie & Future Molly

10. I’m gonna leave half of this one up to you guys…cause I just couldn’t figure out the perfect cast to go with the story I want to see. So, the first half of the pair is FUTURE MOLLY HAYES (from the Runaways). Future Molly recently popped up in the (generally disappointing as a whole Battle of the Atom event) and she was AMAZING even though technically a villain it seems. As evidenced by the awesome panel of she and present day Wolverine (ab0ve) she’s amazing. Anyway, it left me wishing pretty damn hard for a “season” of Future Molly Hayes, in her world or in ours, I’ll take whatever I can get. If she’s in ours, who would be a good guide? Maybe help her see that she doesn’t have to hook up with The Brotherhood in the distant future?

Writer and Artist? I know she’s already way too busy over at Dark Horse but I’d love to get Rebekah Isaacs on a marvel book, and I know she could kill something like this. Writer? I’m not so sure, probably depends a bit on who we assign to pair up with Molly. Suggestions?

So what else? What are some bizarre and exciting lady team up books you’d pay good money to see?

 

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Valeria Richards & Darla Deering.

Also, how is there not already an FF cartoon on the air?

Monica Rambeau and Amanda Waller

The obvious choice for Future Molly Hayes would be any other female member of the Runaways.

Less obvious choice would be another adult child of a super villain who herself has a villainous past. Scarlet Witch?

I could also see her teaming up with someone else from an alternate future. Rachel Grey / Summers or Hope Summers.

The mostly random choice would be Lady Deadpool, since Molly was teamed up with Future Deadpool.

i’ve never heard of Troll until now but she looks pretty awesome! sign me up. thanks for the shout-out, Kelly!!

Future Molly Hayes needs the help of SHIELD Agent Maria Hill to rescue young, current Molly Hayes from some terrible traumatizing predicament. If they succeed, Molly might not grow up to become the hardcase “villain” and possibly averting the future she came from.

One more: Abigail Brand, Captain Marvel, & Spider-Woman.

Um, isn’t Jubilee a rich kid from Beverly Hills?

Love this list I would probably buy all of them if they were made, especially #1, you can’t go wrong with Bachalo drawing Emma. For #10 I would do the obvious and pair Future Molly with present Molly, the present Molly could try to turn her future self back into a superhero, I would have Dan Slott write it and Michael Ryan draw it

@Eric: You are right! Her parents were wealthy – though she engaged in petty theft and was generally considered a “mall rat” (which is I suppose why I skipped over the wealthy part). They were of course murdered when she was a teen and she was handed over to a neighborhood family that she then ran away from and of course hooked up with the X-Men at a very young age, but technically you are right. In some ways I like this even more now and will modify the post to reflect it! Thanks for the correction!

Squirrel Girl and Penance. A cuddly cute crusader and a moody mutant menace.

Kelly: Just one point about Gillen/McKelvie’s Young Avengers run: They did have one fill in artist on issue #6. the great Kate Brown drew it.

I love the idea of “seasons” to define reader expectations. On-goings with fresh concepts do not launch and run 60-odd issues with the same creative team anymore. Artists cannot keep up the pace, because art is more highly detailed. There is a natural readership attrition of 3-4% per month that almost forces periodic re-launches. Running for 9, or 12, or 15 issues makes a ton of sense.

I’d go a step further and borrow a page from X-MEN FOREVER and let creators pick up wherever they left off. The shared, progressing universe was a great idea when Marvel published eight titles and they were mostly scripted and entirely edited by the same guy. The Marvel U had one author, but that just isn’t possible anymore. If Grant Morrison and Frank Quitley wanted to do another ‘season’ of NEW X-MEN, then why should they be beholden to what came after?

Regarding pairings that I’d love to see:
1. Black Widow and Mockingbird: They are very similar characters with essentially no shared history. How does a one superspy react to another superspy? Are they colleagues, rivals or something else?
2. She-Hulk and Black Cat: Basically, it would be fun to watch Shulkie defend someone that is both guilty and fairly likable. That is a side to the anti-hero that we don’t see.
3. Storm and Monica Rambeau: These are another two characters who are superficially similar, but they have very different backgrounds. Seeing them contrasted with one anther might help define them.

Kelly, why would we want to change our medium to be more like another medium instead of focusing on trying to do better something that only comics can do? We should be celebrating the unique qualities of comics and try to do them abetter instead of making them more like television; let television do a seasonal approach since that’s what television has been doing, it’s worked for them for years. Doing something like this just leads to homogenization across mediums.

If it was a DC comic you like was cancelled (even though you only like a few of it), you would be throwing rants at the publisher and how they are ruining the comics industry. Oh well, you’re probably too giddy with what Marvel is doing to criticize them. Putting yourself as writer of your dream team-up comic? Talk about delusions of grandeur, especially when you still have to prove you can write anything good like the other writers you have and many others you haven’t listed.

Is it sad I find the whole “Make Your Team Ups” thing so fun? Maybe don’t answer that.

Ms. Thompson, your list would murder my wallet. But it would die a happy, empty lump of leather. I think my favorite is the Kitty/Dom/Mystique trio, and I’m glad I’m not the only person who enjoyed Jessica Jones, P.I. The one thing I question is the creative team for Emma and Magik. I like Bendis well enough; I just don’t think he has a feel for Emma. He’s very colloquial, very man-on-the-street with his characters, especially in dialogue. Now maybe I’m just way off here, but the second comic I read when I returned to the fold was Whedon’s Astonishing, and for me, he wrote the perfect Emma. Aloof, a little Above It All, always armed with some wry dagger of a quip, but still with a heart. Right behind him is Kieron Gillen’s take on her, along with his Yana (Although Bendis kills it with Magik). So for my tastes, I’d prefer him and his partner-in-creativity McKelvie on that book. (And hopefully I didn’t just commit a huge faux pas by offering up a different creative team to your pairing, because I mean no disrespect.)

I’m tempted to start off my list with Kitty/Emma (by Gillen) and Carol Danvers/Jessica Drew (by DeConnick), but that’s too predictable, so I’ll try to be at least a little more inventive in my pairings, with the personal challenge of no repeated creators. Otherwise I’d end up with Isaacs drawing everything.

1) Kitty Pryde and Jessica Jones by Brian Bendis and Michael Lark: It’s Noir, with just a hint of snark as Jones’ hard edge, street-wise smarts plays against Kitty’s highly opinionated self-righteousness. Also, they solve crimes. Guest starring Luke Cage and Danny Rand as: Babysitters for Hire.

2) Black Widow and Typhoid Mary by Greg Rucka and Phil Noto: Mary, wanting to finally gain control of her flaming psychosis, turns to SHIELD for help. In exchange a device/psychic therapy, SHIELD sends her on extremely dangerous, off-the-books missions, with the Widow along to teach her the finer arts of spying . . . and to press the kill switch should Mary go nutter butters at an inopportune moment.

3) Miss America Chavez and Pixie by Kieron Gillen and Jamie McKelvie: Two young heroes meet while having a night on the town and despite not agreeing on styles of music or preferences of heated beverages, form a bond over one thing they do have in common: kicking the asses of villainous party crashers.

4) Dani Moonstar and Patsy Walker by Mike Carey and Valerio Schiti (I expect to be praised for resisting the urge to name this “Hel’s Angels): A conflict between Hell-lords (maybe the result of ‘Hell on Earth War’) has caused several dark souls/demons/spirity, magicy, monster things to escape to our world, so Hela summons her own Valkyrie and Mephisto calls in a marker with an old tenant, sending Dani and Patsy to clean up the mess.

5) Sabra and Black Cat by Marjorie Liu and David Aja: The Mossad needs something stolen from American soil, and as they don’t want to tweak their allies they decide to go with someone outside their ranks, someone they can easily disavow, so they send one of their top agents to recruit—and keep an eye on—one of the world’s top thieves.

6) Sif, Athena, Oya and Feng Po-Po by Kathryn Immonen and Cliff Chiang: With so many breaches of the ‘Don’t Mess with Earth’ policy, the Council of Gods has appointed a special team to ‘handle’ conflicts between pantheons that might spill over onto Earth. (And yes, I probably did much more research into MU gods than anyone ever should to find those last two names.)

7) Captain Marvel and Emma Frost by Kelly Sue DeConnick and Rebekah Isaacs: No solid plot ideas here, just a desire to see Carol and Emma butt heads and possibly become hesitant friends with the help of my dreamiest of creative team ups.

For Molly: I skipped BotA, so I don’t know much about adult Molly, but I’ve read Runaways, so I’ll pretend she just grew up, got hardened, and may still use the obfuscating stupidity thing. For a partner, she gets Songbird. Mel knows a little something about walking on the dark side and about the hardships of keeping on the straight and narrow after crossing over. To redeem our wayward scamp, I’m bringing back the originator Brian K. Vaughn with Becky Cloonan on art. (Didn’t Molly punch Logan through a car once? Maybe that’s why he doesn’t remember her.)

Lastly, I love the idea of comics running in Seasons. It just makes so much sense for serial media, especially with an eye toward accommodating new readers. It offers a much cleaner way to collect storylines, eliminates the current ‘Relaunch to #1 every 12 issues’ trend, provides more—and cleaner—entry points and makes continuity lockout less of an issue. Sure, in a sense it all boils down to mind games as it’s the same number of issues, just labeled and collected differently, but that being the case, why not lean toward ease of entry?

@Chris

“Lastly, I love the idea of comics running in Seasons. It just makes so much sense for serial media, especially with an eye toward accommodating new readers. It offers a much cleaner way to collect storylines, eliminates the current ‘Relaunch to #1 every 12 issues’ trend, provides more—and cleaner—entry points and makes continuity lockout less of an issue. Sure, in a sense it all boils down to mind games as it’s the same number of issues, just labeled and collected differently, but that being the case, why not lean toward ease of entry?”

Um, how does restarting at #1 at the beginning of every “season” eliminate the problem of restarting at #1 after 12 issues or so that we have now? And it doesn’t make sense for serial media, because comics are different than television. In television, you have to film episodes, get the actors together, build sets, organize shoots, write scripts, and fund support staff. This is why television has to run in seasons, to accommodate all of this stuff; they need some off time to catch up. You could say it’s necesary now because artists take a while, but the virtue of comics is that we have a history of fill-ins, and not all of them are bad.

Look at Uncanny X-Men in the 1980s – Paul Smith was actually a fill-in technically, plus you got Rick Leonardi, Barry WIndsor-Smith, and even Jim Lee started out as a fill-in. Comics aren’t beholden to having a constant “cast” of creators the way television is, and I think that’s a unique, positive trait of comics. Trying to make comics more seasonal to get rid of this is going to make it a lot harder for new artists to break in, since historically doing a fill-in was how you got a shot at a big break. That’s how Joe Madureira turned into a superstar, by filling in for John Romita Jr. on Uncanny X-Men, and even in the past few years, you had Ryan Stegman’s fill-in issue of Amazing Spider-man kickstarting his period as a Spider-family artist.

Also, we’ve tried this before – Mark Millar did is with the Ultimates, and while that kind of worked for him, it hasn’t taken off despite him doing it for years. I don’t see issue numbers as a continuity lock, especially since you have online resources like Wikipedia and fan sites that can fill you in on everything you need to know in 10 minutes in order to start a story. Just make it easy for a reader to tell when a new storyline is starting, and most people interested in starting to read comics will just jump on there and try to pick things up as they go. That’s what I did with the X-Men years ago (perhaps the hardest franchise to jump into) and I stuck around.

@Greg: Yes! I would read that!

@Mark Black: If you’re going to mix DC/Marvel that’s not a bad choice at all.

@Mike Eisner: You know, I think you’re right about pairing Molly with a Runaway…HOWEVER, since she’s already time displaced, what if we send her back a bit and pair her up with Gertie? OH MAN. I WANT TO READ THAT SO BAD NOW. WINNER!

@Matt: I think Future Molly and Present Molly is the best alternative to the above Future Molly/Gert pairing. :)

@Nick: Nice!

@Stephen: Thanks, totally forgot about that! I’ll correct the piece!

@Dean Hacker: Yeah. I’m not saying you have to take the “seasons” approach to everything, but I do think it makes a certain amount of sense. The only thing I can think of close to “infinite” ongoings the way comics are are soap operas, and even those are struggling in this day and age. Even massive book series tend to eventually end, and even if they don’t/haven’t yet, they still feel more like “seasons” since there’s such a long break between new books.

I don’t know, I see plenty of reasons against it as well, but I think it’s an interesting idea.

I have trouble getting on board with any argument that includes X-Men Forever as an example ;) – but I agree with you in theory.

Love your pairings, I’d read them all!

@Saul: Clearly we’re not going to agree here. Just for the record, I’m not suggesting changing the entire publishing model, I’m talking about being more flexible and forward thinking in some of our publishing choices. That said, I don’t think our current model works very well and I think some of the best books stand as testament to that – as they tend to have definitive endings. But your mileage may vary of course.

@Chris. I LOVE your pairings (and ideas) I wish Marvel would bring you on staff immediately – some of those ideas are wonderful. I would buy all of them, but I think Black Widow/Typhoid Mary would be my favorite, or perhaps Dani/Hellcat…and you are indeed to be praised for resisting the urge to name it Hel’s Angels. ;)

@ Kelly

I can see where it would work for some series, but the idea of it (and this is just me personally) bugs the hell out of me since even the argument that it’s the only option that allows a single creator to have their unique vision begin and end on their terms is a bit unfounded, since you can still get that with manga, and those runs will go on unbroken for decades sometimes and the main writer/artist is still in control of their vision (we get this in American comics through Indy labels or people like Bendis or Geoff Johns given the run of a franchise until they feel like quitting the franchise.

Look at Mike Carey’s run on X-Men Legacy, where he started on an existing book, made it his own, and then ended his run on his own terms before handing it off to another (admittedly weaker) writer. Jason Aaron is now wrapping up Wolverine and the X-Men on his own terms, and while the book is ending after he leaves, he made it a whole 42 issues instead of just doing a “season,” plus it’s another example of giving an artist a chance at super-stardom by letting them do fill-in work for the main artist (so much so that Bradshaw went on to became the main artist).

I don’t mean to argue and hope this isn’t being read in a mean-spirited tone, it’s just something about the idea of trying to take a unique medium and make it more like another medium while stripping away the altered medium’s unique elements strikes me as wrong; it seems like homogenization, which I’m very much against in comics since it takes away variety whimsy, the biggest assets they have and why I’m a proponent of other genres getting a push in comics over superheroes. It also smacks of attempting to replicate something that works for another very different medium on the grounds that maybe it will help save the medium from the downward spiral it’s in, which doesn’t make sense to me either.because we’ve tried that when it comes to trying to replicate comic-based movie success in comics, and those efforts are pretty transparent, weak and annoying to say the least.

Instead of trying to try and make a format change to make comics sell better and hope it leads to better storytelling, we should just focus on telling good stories that don’t alienate new readers while also not ignoring the character’s back stories. If you want to make format changes, instead of going with a different medium for inspiration, look closer to home; for years I’ve said American comics could learn a lot from manga storytelling/plotting (especially the Shonen Forumla, which is just begging to be applied to the X-Men) instead of just taking surface elements like the art style and the same three or four outdated character archetypes. Also, putting a lot more effort into diversification (of characters, creators and their styles, and genre types) and giving it an honest chance (this is actually something the Big 2 have been getting better at in the past few years, but more would be even better).

I’m not saying the season approach shouldn’t be tried; in fact, for a few isolated books, it would help provide that diversity I was harping on, but making it a major publication model and initiative(although obviously not the main publication model) would be misguided IMHO.

@ Kelly Thompson:

Clearly, there is a gap between concept and execution on X-MEN FOREVER, but that doesn’t make it a bad idea.

Soap operas are a pretty good parallel. That is another case of a business model that was built around one demographic and technological reality that has struggled to adapt to a different reality. For them, it is not just that adult women no longer stay at home to raise kids, but also that the folks who are at home have a bunch of options.

With comics, the target demo has had a steady increasing set of options for years and the publishers have kept doubling down on the business model that Stan Lee came up with in the early sixties. It has reached the point where different arms of the same company (i.e. Marvel) are out-performing the publishing group in what they consider their core competencies (e.g. action-driven events, threaded narratives). It seems like a good moment to really what comics do well, what they do relatively poorly and devise a publishing strategy around that.

It seems to me that one of the things that comics can do that movies (or TV, or even animation) really can’t is present highly personal stories about these global icons.

To Ms. Thompson:

Thank you. I’m glad to know I’d hurt your wallet nearly as much as you’d hurt mine. If they offered, I probably wouldn’t say no. (Have to leave a little uncertainty there for negotiating purposes.) The Typhoid Mary/Widow idea was probably my favorite of mine as well. I really like Mary and feel she has more potential than just some small time villain rendered ineffectual due to a scrambled coconut. I’d rather see her striving to pull herself together and struggling mightily due to her scrambled coconut. Also, the face paint stays. I considered throwing Magic in with Dani and Patsy, for the sake of schadenfreude, but was afraid that might be overkill, especially as I already broke the ‘pairs’ guideline with the Gods series. Maybe she could Guest Appear. Ha! I gots my props. My day is officially made. :)

To Saul:

Because it clearly divides the various #1s in a sensible manner. Instead of the three or four Wolverine #1s floating about, with another one on the way, we’d have Wolverine: Season 1, Issue 1, Wolverine: Season 2, Issue 1 and so forth. It cleans up any questions or doubts of where to start, especially for anyone not accustomed to unseasoned relaunches, and it does so with minimal effort. Also it clearly delineates entry points for the reader. You no longer have to wonder about when a storyline is over, so if you don’t enjoy Storyline X for whatever reason—let’s say the character’s on a space mission and you just abhor space stuff—but you still want to give the character/creative team a try, you know Storyline Y—with the character back on Earth—begins with Season 2.

Look, I’ll readily admit it may not be the most perfect of all possible solutions, but it can’t be worse than the current trend of frequent relaunches or the daunting triple digit numbers of years not too long past. For me, it’s not a huge deal. I’ll take to the Net, search Wikipedia or CBR or wherever and figure out where the storyline starts. Or maybe, just like with ‘Angel,’ I’ll ‘tune in’ for an episode, find I’m drawn to something (characters/storyline/writing style/whathaveyou) and then fill in what backstory I deem necessary. From the sounds of things, you and I know that if we jumped into Uncanny X-Men on Issue 423, we don’t necessarily need to hunt down all 422 previous issues to make sense of things. But for a new reader coming in, they see that 423 and are liable to think, “No way I’m catching up on that much history. My wallet couldn’t take it.” So they pass. Or, as with the Wolverine example, there’re just so many #1s floating around the back bins (or on Comixology) that they may not know which 1 to start with. I just think the season system offers greater ease of entry and understanding, especially to nontraditional or uninitiated readers.

Mary jane and gwen

Set in the 60′s

Private investigators

The Allreds

’nuff said!!

PIXIE. The only teen character not encumbered by tired comic book tropes.

“When it comes to Kate Bishop, she’s such an incredible badass, but she’s also this kind of rich, privileged level of snotty that makes her both worldly and also small-minded in a way. ”

…is this based solely on Fraction’s version in Hawkeye (I’ve only read a few issues of it), because that doesn’t sound like Kate AT ALL in any version of Young Avengers.

@Push You Down:
I myself have had the same problem the with characterization of Kate in YA and Hawkeye.

forums.comicbookresources.com/showthread.php?475907-PREVIEW-Hawkeye-15&p=17874925

I will however warn you and say that I’ve found YA to be highly overrated and middling. This coming from a person who loved Gillen’s run on X-men.

@Push You Down

I agree that hasn’t shown up much in Gillen’s YA, but that might be because she hasn’t been as prominent a character as Loki or Wiccan. I think it’s a fair reading of Heinberg’s characterization, though. Rather, Fraction has developed her in a way that grows out of seeds Heinberg planted.

Wish there was more diversity…

Storm, Jubilee, Monica Rambeau, and Psylocke (debatable whether or not she counts…)

Emma Frost, Magik, Kate Bishop, Elsa Bloodstone, Boom Boom, Black Widow, Jessica Jones, Domino, Mystique, Shadowcat, Elektra, She-Hulk, Rogue, Captain Marvel, Molly Hayes

Ratio of 4:15. Not even a third of the characters are women of color.

I get that women want to diversify comics by having more female-driven books. I love and support that. But when I see people throwing out ideas for books and they don’t even include 1/3 women of color, it’s like… There’s a certain hypocrisy in that. Sure, you can say one battle at a time, but is that the right way to go about it? I mean both morally and strategically. Never mind in terms of being an accurate representation of the United States (where most of the characters live/most of the stories take place/most of the comics are made/sold), let alone the world.

So… Maybe next time don’t just think, “I need a few minorities” and be satisfied with just a few. That’s when something is token. Maybe next time think, “I want to make a truly diverse cast of characters” and then do it.

The Wasp, Dazzler and Mary Jane Watson! The Fashionista! The Pop Queen! And the Supermodel!

How ’bout FUTURE MOLLY HAYES with PRESENT MOLLY HAYES.

@Quinn

When it comes to women of color, Mystique, She-Hulk and Domino might not fit the bill as “white women”. << Just a joke!

But, in all seriousness, Emma Frost is English, also Black Widow and Magik is Russian, and Sif is not even from this world.

What is that Young Avengers image taken from? I DEFINITELY want to read a YA book starring Gravity, Julie Power, Karolina Dean, et al.!

@Geo

Emma Frost isn’t English, simply has an English accent based on events in her origin comic series if I remember correctly.

Adult Molly Hayes and Future Valeria Richards( and maybe her Future brother as a possible love interest for Molly?)

Jessica Jones and Jessica Drew (Spider-Woman) Bendis did it once, before Drew became Spider-Woman again. Would be fun seeing two P.I.’s solving mysteries without powers being the main focus.

Squirrel Girl. ANYTHING Squirrel Girl. Hellcat is another. Squirrel Girl and Hellcat written by Kathryn Immonen would be a MUST buy for me. Both of these characters deserve better than comic limbo.

And, Valkyrie and Sif? That book writes itself.

It looks like you are wanting a lot of female writers on these. Is it just because they are about women? Because some you have mentioned are pretty bland at best. I do, however, like a lot of your artist choices.

I’d want Parker writing Sif and Troll. He did an amazing job with her on Thunderbolts.

A Moonstone team up would be good.

I love the idea of seasons – I think it also gets over the problems of filler, and of endless end-of-the-world crises. One reason I stopped reading X-Men in the late 90s (aargh, I feel old!) was the contrast between the huge, bombastic cross-over events and some of the writers that felt like they were just marking time before the next one. Having a book do a run of solo stories, eg, could be a mid-point solution (thinking of the way the Australian outback bit of X-Men was done – that rolled nicely, to me).

I think it also fits with graphic novels and such. I don’t buy any individual issues any more, I wait for the collection (no ads is one reason, and I prefer reading a story in arc-form. That said, I’m sorely tempted to look up the X-Men with Magik in, because damn, I love Illyana. Bring back the Chris Claremont/Bill Sienkiewicz partnership for that and I’d buy it for definite!

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