Axel-In-Charge: Navigating the "Civil War II" Landscape, Bringing DMC to Marvel
Alex Ross welcomes you to Wizard #42 with the greatest heroes and villains of the Marvel Universe…plus, Dark Horse Star Wars comics are still in canon, Marvel purchases Malibu, Keith Giffen reveals which of his creations he hates, and one of the magazine’s worst features finally says goodbye. All in today’s Guide to the Guide to Comics!
It’s true: Marvel’s X-titles have been cancelled. Also, Rob Liefeld debuts Maximum Press, Frank Miller and Neil Gaiman are interviewed, and one lucky fan wins dinner with a guy in an X-O Manowar suit. All in today’s Guide to the Guide to Comics! Continue Reading »
“You’re much stronger than you think you are. Trust me.”
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What insane marketing hook did Marvel initially use for the Age of Apocalypse? How did the average Person on the Street react to Wizard’s Bad Girls survey? Why would anyone ask John Byrne about his breakfast? Find out in this week’s Guide to the Guide to Comics!
Youngblood receives its first rebranding, Event Comics is still preparing to take over the comics industry, and Brute & Babe escape the pages of Wizard and star in their own comic. All in today’s Guide to the Guide to Comics!
Can Wizard do a promo piece on the Spider-Clone storyline while keeping a straight face? Will Event Comics change comics forever? Can Zero Hour keep DC’s continuity straight for at least five years? Find out in this week’s Guide to the Guide to Comics!
Wizard celebrates women with another Jim Balent cover, TSR resolves the X-Men vs. Iron Man debate, and an anonymous Wizard copywriter makes J. Scott Campbell very angry. All in today’s Guide to the Guide to Comics!
It was that Citizen Kane represented, more than any other movie Joe had ever seen, the total blending of narration and image that was – didn’t Sammy see it? – the fundamental principle of comic book storytelling, and the irreducible nut of their partnership. Without the witty, potent dialogue and the puzzling shape of the story, the movie would have been merely an American version of the kind of brooding, shadow-filled Ufa-style expressionist stuff that Joe had grown up watching in Prague. Without the brooding shadows and bold adventurings of the camera, without the theatrical lighting and queasy angles, it would have been merely a clever movie about a rich bastard. It was more, much more, than any movie really needed to be. In this one crucial regard – its inextricable braiding of image and narrative – Citizen Kane was like a comic book. (Michael Chabon, from The Amazing Adventures of Kavalier and Clay)
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Can Wizard top its Camaro giveaway contest? Will Jim Balent’s Catwoman corrupt the nation’s youth? Also, which industry powerhouse was writing Wizard sidebar pieces in 1994?
When we were driving out of the town I said, “I hate the corpses of empires, they stink as nothing else. They stink so badly that I cannot believe that even in life they were healthy.” “I do not think you can convince mankind,” said my husband, “that there is not a certain magnificence about a great empire in being.” “Of course there is,” I admitted, “but the hideousness outweighs the beauty. You are not, I hope, going to tell me that they impose laws on lawless people. Empires live by the violation of law.” (Rebecca West, from Black Lamb and Grey Falcon)
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Is Marvel ready for Beavis and Butt-Head? Which creators are sniping at each other in the letters column? Why did Wizard have to run a public apology after Comicfest ’93? Do any of the X-Men wedding issues match their original solicits? Find out in the Guide to the Guide to Comics!
“For the enemy to be recognized and feared, he has to be in your home or on your doorstep. Hence the Jews. Divine providence has given them to us, and so, by God, let us use them, and pray there’s always some Jew to fear and to hate. We need an enemy to give the people hope. Someone said that patriotism is the last refuge of cowards; those without moral principles usually wrap a flag around themselves, and the bastards always talk about the purity of the race. National identity is the last bastion of the dispossessed. But the meaning of identity is now based on hatred, on hatred for those who are not the same. Hatred has to be cultivated as a civic passion. The enemy is the friend of the people. You always want someone to hate in order to feel justified in your own misery. Hatred is the true primordial passion. It is love that’s abnormal. That is why Christ was killed: he spoke against nature. You don’t love someone for your whole life – that impossible hope is the source of adultery, matricide, betrayal of friends … But you can hate someone for your whole life, provided he’s always there to keep your hatred alive. Hatred warms the heart.” (Umberto Eco, from The Prague Cemetery)
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Horror in fiction tends to involve the jumpy, the gory, the hideous, and/or the monstrous. As a genre, horror often aims to shock its audience, to have us screaming and leaping out of our seats and staying up at night to avoid the inevitable nightmares. That said, being scared is not necessarily the same thing as being horrified, is it? The sudden thrill of a masked psycho killer lunging out from the shadows might startle me and get my heart racing, but I don’t feel any deep-seated disgust, displeasure, or discomfort because of it. There is no true horror there, only cheap fear, and though some may argue that this is a subtle, even needless distinction, it is nevertheless a significant one when it comes to talking about Wasteland #1.
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