EXCLUSIVE: "Gargoyles" Co-Creator & "Archer" Artist Launch Marvel's "Starbrand & Nightmask"
Inside this episode!
We begin with a review of the brand new Hexed #1 by Michael Alan Nelson, Dan Mora, and Gabriel Cassata. Then a review of the previous week’s She-Hulk #7, the best issue yet for the new series, brought to you by Charles Soule, Javier Pulido, and Muntsa Vicente. Kevin Wada did the gorgeous cover seen below. Up next we have an interview with Black Widow writer Nathan Edmondson. Responsible for Marvel’s current Black Widow title, and also the fantastic, critically acclaimed, and coming soon to a theater near you – Who is Jake Ellis? and the current Where is Jake Ellis?, Edmondson talk about his approach to Natasha and working with both Phil Noto and Tonci Zonjic. We then talk a little bit about the Guardians of the Galaxy movie, general comics news, and Sue gives us an update on Boston Comic Con, where she was last weekend. Finally Sue managed to find an adorable DRAMATIC READING. Enjoy!
*sidebard: we had a bit of trouble with audio difficulties this week – just imagine while you listen that I am Rob Brydon’s famous “small man trapped in a box.” And if you haven’t seen The Trip, you all should get on that. Greatest. Show. Ever.
3 Chicks Review Comics is a podcast featuring female comics lovers and bloggers. Sue from DC Women Kicking Ass and Kelly Thompson from She Has No Head! Tune in to CSBG every other Monday at noon as we review comics and discuss hot topics of the week. In addition to the blogs above, you can also follow us all on twitter as well: Kelly and Sue. Special thanks to Caanan Grall for our incredible 3 Chicks Logo and to Nik Furious for our awesome 3 Chicks theme song.
Genesis, by Nathan Edmondson, Alison Sampson, and Jason Wordie came out a few weeks ago. A rare one-shot comic book, it tells the story of a man who craves the ultimate power to create, control, and alter his reality. Upon receiving this gift he quickly begins to see that without limits, he will quickly begins to lose touch with the very substance of all life.
When it was first announced post Avengers film that Hawkeye was getting his own book while Black Widow was getting a lousy one shot I was pretty frusrated. Of course Hawkeye turned out to be an utterly fantastic joy of a comic book and a person can’t complain about a fantastic comic book and so I sat back and hoped that Natasha would get her own equally fantastic shot at an ongoing (again).
And last week she did.
Well, world domination may be a bit excessive, but all in all the news coming out of NYCC (and some that came before NYCC) was incredibly positive. Hard to argue with such a killer week of news. Let’s start with some cool stuff that actually happened last week, prior to NYCC.
EDIT: Just to be clear, since people are going nuts in the comments. This post is SPECIFICALLY about the news that was announced this weekend at NYCC 2013. While I talk generally about Marvel and DC and their approach to “women in comics” the catalyst is all the NEW THINGS that were announced this weekend. To summarize: yes, DC has some lady-led comics right now (more in fact than Marvel) but short of the Stephanie Brown announcement they made ZERO exciting moves on the “women in comics” front this weekend. So, yeah, that’s gonna skew what I’m talking about. Try not to cry.
“Well he said, ‘One thing, before I graduate / Never let your fear decide your fate.'”
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There are so many reasons I love Image Comic’s Dancer. I’m a sucker for international thrillers with spies and hitmen (throw in a little sci-fi action and we’re golden), I always wished I could be a ballerina despite my complete lack of coordination, and Nic Klein’s art is incredibly breath-taking and both inspires me as an artist and makes me feel incredibly inept (which is the highest compliment I can pay). So needless to say, I was hooked from the first page, but I honestly wasn’t entirely sure why. The story wasn’t exactly groundbreaking in originality, and the character types were all pretty familiar and straightforward. The script was thrilling, so maybe that was it?
Then I started thinking about Dancer in terms of its identity politics and what it’s actually saying about who we are, who we want to be, and more importantly, who we can be or become under the right circumstances. As The Fox says, “It’s time to stop thinking that you are what you are not, Alan.” As much as it’s about escaping near-certain death, it is about Alan’s struggle with his own identity as a hitman, facing down his own barbarism, brutality, strength, and tenacity…in the form of his clone. His younger self is a pitch-perfect stereotype of the hitman character: he’s strong, relentless, intelligent, and always seems to have the upper hand. The hitman/spy is a pretty standard trope of masculinity, where masculinity has typically been figured in terms of embodied violence and strength. It is monstrous and brutal, a technology of murder that is cold and calculated.
What Dancer manages to do is take two typically gendered binary constructs – ballet and being a gun for hire – and parallels them to reveal the performativity lurking behind said stereotypes.
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