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Nathan Edmondson Archives - Comics Should Be Good! @ Comic Book Resources

She Has No Head! – Worth The Wait

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.

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She Has No Head! – World Domination (Or Something)

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.

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From Left: She-Hulk, Black Widow, Captain Marvel, and Elektra

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Trade paperbacks, older editions, and miscellaneous for May 2013

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“Well he said, ‘One thing, before I graduate / Never let your fear decide your fate.’”
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Dancing With Bullets: Performing Masculinity in Image Comic’s “Dancer”

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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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