Sperg about comic books here

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Gaiman does have a weird talent to foresee some things, and despite his politics, in his stories things are presented with some degree of neutrality, or at least not as propagandized as other writers do.

Like in Sandman, there's a story where a witch is doing a spell that requires a woman, and all she has is a tranny; the universe (specifically, the moon) pretty much says "YWNBAW" and rejects the tranny. But later, Death (who constantly makes an effort to be nice to people) lets the tranny take a female form when they visit a friend in a dream before moving onto the afterlife.

In a short story from one of his books, scientists trying to cure cancer discover a pill that changes your sex. It does cure cancer and other illnesses by "resetting" the organism each time, but people use it to alternate from one sex to the other. Suddenly, a bunch of people appear who can instinctively tell when someone is not currently on their original sex, and it's presented as "a skill some people must have always had but was never relevant until now". Said people become important and sought after by governments, law enforcement, and companies, who employ them to essentially clock people who are trying to tranny their way into a job or relationship. or out of an arrest or whatever else.
So keep your chin up lads, we, with our unique and already finely honed trannydar skills, will be essential to society when the reset pill arrives.
I think Gaiman is just a London/ LA bug person who's Scientologist and music connections allow him to basically know what the rich degenerate children of the rich degenerate elites are saying. The entire school of French philosophy past WW2 has literally been about how to legally fuck children without the parents bashing your brains in on the asphalt. Commie bullshit is literally just window dressing on how they want to fuck kids and change society to allow it.
Adorno and Focoult literally just wanted to fuck kids, most of the people who admire them are just retards or people who want to fuck kids. It's not hard to understand. Gaiman, however, is just a literal cuckhold who wants to fuck people who wants to fuck kids.

Also, I'm pretty sure Null answered how it's easy to out even the best trannies who have all the surgeries, feminine body frames to help, and early transition. They still act like men, their facade doesn't work because they don't want to actually be women. They are gay men trying to trick straight men into fucking them or autists who think women have it easier. The women-to=manlet trannies tend to be molested. That dyke who pretended to be a man for two years literally was found out by male friends about two weeks into her experiment or they wrote her male persona off as gay.
 
I think Gaiman is just a London/ LA bug person who's Scientologist and music connections allow him to basically know what the rich degenerate children of the rich degenerate elites are saying. The entire school of French philosophy past WW2 has literally been about how to legally fuck children without the parents bashing your brains in on the asphalt. Commie bullshit is literally just window dressing on how they want to fuck kids and change society to allow it.
Adorno and Focoult literally just wanted to fuck kids, most of the people who admire them are just retards or people who want to fuck kids. It's not hard to understand. Gaiman, however, is just a literal cuckhold who wants to fuck people who wants to fuck kids.

Also, I'm pretty sure Null answered how it's easy to out even the best trannies who have all the surgeries, feminine body frames to help, and early transition. They still act like men, their facade doesn't work because they don't want to actually be women. They are gay men trying to trick straight men into fucking them or autists who think women have it easier. The women-to=manlet trannies tend to be molested. That dyke who pretended to be a man for two years literally was found out by male friends about two weeks into her experiment or they wrote her male persona off as gay.
Goes farther back than that. Kinsey, the author of the book that started 'the sexual revolution', was all about fucking kids. As young as toddlers.
This is the man who started all this. I know it's a watch but Christ is it an eye opener.
 
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Found some stuff at a flea market Sunday, lots of eclipse stuff all for two dollars each, only had time to look through about half the long boxes but could have spent fifty dollars easy, will probably go back soon
 
So, with the state of things and being the time of year it is, who wants some 'best of the year' or as I call, why you fucking suck and your sales are shit?

Film school rejects put out their best list. Care to guess what was #1? Do a Power Bomb. It's a wrestling book from Image. #4? A book by Tom fuckin' King about deconstructing romance comics.

Entertainment Weekly put out their list. In the top books of the year....G Willow Wilson Poison Ivy! Because it's relevant. I'm not joking, environmentalism.

Oh, Polygon got creative, here's it's list of ten best panels. Care to guess....

They chose She-hulk kicking of her heels before a fight. Yeah. But they also chose Jon Kent in a pride cape kissing another man.

Yep. American Comics in 2022 everybody.
 
Film school rejects put out their best list. Care to guess what was #1? Do a Power Bomb. It's a wrestling book from Image.
Deserved.

It's fantastic, and I've been calling you all faggots for not reading it since the day the final issue came out.

It's not just "better than anything the big 2 are putting out right now, that's how bad comics are currently", no. It's good, really good, irrespective of the current state of the industry.

While I disagree with what @JimiHendrix said before about looking at the context of those controversial pages or panels before bitching (because in what context is that shit acceptable), I do think we gotta take a minute or two out of our mandated Bitching About Bad Comics to look at the stuff that's actually good, because there's some, and this is one of them.
 
So, with the state of things and being the time of year it is, who wants some 'best of the year' or as I call, why you fucking suck and your sales are shit?

Film school rejects put out their best list. Care to guess what was #1? Do a Power Bomb. It's a wrestling book from Image. #4? A book by Tom fuckin' King about deconstructing romance comics.

Entertainment Weekly put out their list. In the top books of the year....G Willow Wilson Poison Ivy! Because it's relevant. I'm not joking, environmentalism.

Oh, Polygon got creative, here's it's list of ten best panels. Care to guess....

They chose She-hulk kicking of her heels before a fight. Yeah. But they also chose Jon Kent in a pride cape kissing another man.

Yep. American Comics in 2022 everybody.
Sometimes I turn into Alan Moore very briefly and this is one of those days. Why are they obsessed with capeshit?
 
Deserved.

It's fantastic, and I've been calling you all faggots for not reading it since the day the final issue came out.

It's not just "better than anything the big 2 are putting out right now, that's how bad comics are currently", no. It's good, really good, irrespective of the current state of the industry.

While I disagree with what @JimiHendrix said before about looking at the context of those controversial pages or panels before bitching (because in what context is that shit acceptable), I do think we gotta take a minute or two out of our mandated Bitching About Bad Comics to look at the stuff that's actually good, because there's some, and this is one of them.
Sometimes I turn into Alan Moore very briefly and this is one of those days. Why are they obsessed with capeshit?

They aren't obsessed. But Superheroes are both the unique product of America and very much favored by most readers. Never fear, there is plenty of deconstruction and approved body type on that list if that's what you prefer.

I selected their picks as it speaks volumes about taste making.

A book...about wrestling, at Image, is the best comic book in America. In a year with Marc Silvestri, Greg Capullo, and Gary Frank all producing comics. And maybe that's true. But what's more important is this.

What books get praised are either traditional genre that deal with teh relevant issues or niche indie books that sell like indie books.

This is what happens when you either don't give a fuck about superheroes or only care about them because they're important to readership at large.

I'll ask you your question back, why is it either superheroes (done poorly) or vertitrash? Because everyone wants to blame a man in tights or 'lack of diversity' of genre for comics sales decline or manga's success. But comics in America are and have been putting out diverse genre, often beyond the markets taste for that material.

Care to guess what the top selling books in Japan are?

You don't have to like Superhero books, but when they praise trash (Tom King, G Willow Wilson), don't be shocked trash comes out. And if people don't buy those books, a narrower market place has less room for alt books.
 
I like Godzilla Mendoza (the Spider-man youtuber) but he is completely wishy washy in terms of getting outraged at shit. He got annoyed at wokie shippers and now he's getting outraged at the idea that people arent outraged that Shredder was almost a white guy but wasnt. He's owned by Twitter, and is almost a centrist in how he's emotionally stunted and mad at anything vaguely rightoid or leftoid he dislikes
In his TMNT video he was like "I can't believe they thought of doing this in the year 2014 it's like if they made the blue beetle white and gave him a whitified name" and like the blue beetle WAS white. and if they did this movie in the modern day youd be defending casting idris elba as the shredder and calling him some absurd shit like Daquan Saki and giving him a little Shredder hoodie and his blades made from the metal bits off the laces of air jordans combined together
 
I do think we gotta take a minute or two out of our mandated Bitching About Bad Comics to look at the stuff that's actually good
Agreed, idk if it's comic BOOK related but my copy of the dick tracy case files arrived today. Published just a year before the Warren Beaty movie no less. It has at least one story from every decade from 1930 to 1980. Though I gotta be honest. It's kinda weird seeing the Chester Gould esq art (though he stopped working on the strip in 77) mixing with contemporary references. Cause yeah like a lot of comic strip characters dick tracy never ages but the world around him is constantly changing.


Tracy himself is still sporting that fedora and coat, and everyone is still drawn in that 1930s-40s square jawed thicklined style, while one of his rouges disguises himself as Ronald Regan, the crime lab uses a computer to digitally enhance a surveillance video, and one of the cases mentioned include pirated video tapes.


Like you can change superheros like batman, superman, spiderman, to fit modern times, even the pulp heroes im trying to get into like the shadow, the green hornet, the spirt and so on can be moved to contemporary settings but a character like dick tracy? Yeah he really is a product of his time. Like the rocketter or zorro.
 
I like Godzilla Mendoza (the Spider-man youtuber) but he is completely wishy washy in terms of getting outraged at shit. He got annoyed at wokie shippers and now he's getting outraged at the idea that people arent outraged that Shredder was almost a white guy but wasnt. He's owned by Twitter, and is almost a centrist in how he's emotionally stunted and mad at anything vaguely rightoid or leftoid he dislikes
In his TMNT video he was like "I can't believe they thought of doing this in the year 2014 it's like if they made the blue beetle white and gave him a whitified name" and like the blue beetle WAS white. and if they did this movie in the modern day youd be defending casting idris elba as the shredder and calling him some absurd shit like Daquan Saki and giving him a little Shredder hoodie and his blades made from the metal bits off the laces of air jordans combined together

I have noticed how exceptional YouTubers on fandoms can be.

For myself, I'm not so much outraged at wokeism in isolation, but the damage it does as a whole

I'm generally just frustrated because professional artists will complain and bitch about superheroes, work on their indie movie pitch, then bitch about not getting paid enough. So then they go back to those heroes and they write something neutered and half assed because they whine they don't own it or their scared or they just want to clout chase by getting good press. Except that press doesn't read comics or like what normal people like. It's the same way with movies. Did you watch any of the Academy films this year? I fucking didn't.

Look, I loved Crossgen, Valiant. Still salty about Brath and El Cazador. I don't get my fucking pirate book unless batman et al are pumping along.
 
Am I the only one here who genuinely loves the first several issues of Valiant's run on Turok from the 90s? Sure, the series went completely to shit, but the first few issues were gold in my book. And, let's face it, NOTHING could possibly be as shitty as Cuck Wendig's Turok books.
 
Sometimes I turn into Alan Moore very briefly and this is one of those days. Why are they obsessed with capeshit?
Because for the most part, excluding deconstruction of the genre type stories it is a simple black vs white, good vs evil idea, something simple to understand and for the masses to relate with, no subtly, not much left to the imagination, you could walk in to a capeshit movie halfway through and more or less figure out whats going on and what the intention of the characters are, like starwars they like it because like them, it is stupid, loud and abundant in pop culture.
 
well who doesnt like good guys and bad guys?
The truth is we do.

The other truth is that people like their twists and turns in stories as much as the best amusement parks have the best roller coasters.

I don't think capes should go the way of the dodo. The problem is the damn zoo/wildlife preserve/feral den/hunting grounds that's just made itself welcome in the room since 1996. I've already written about it in the Comicsgate thread. In fact, let me go and fetch it.

Is it that time again? Yes it is!! It's I Love Beef's US Comic Book Industry Spergouts!

[T}he 1996 US Comics Crash should be treated as the equivalent of a mass destruction incident on par with the Cretaceous–Paleogene extinction event or a global nuclear apocalypse, or if more down to earth, the sacking of Rome or the Peloponesian War marking the end of an empire. And I'm going to come out and say it: after the US comic giants having copped out to the censors and moralfags for years for the sake of its own bottom line, do you seriously think that they'd have any integrity left to save them after fucking killing Superman? Rock and Roll and Metal fought back against the morality in media fuckers, the fuck wasn't getting comics to do the same out in the Supreme Court? I only feel bad the same way some small time petty criminal gets fucking massacred being in the wrong place at the wrong time in business they have no way in hell they can deal with: what a disappointing waste of life.

If there's anyone, fucking anyone, who wants to make new comics here in the States, they'd best do something so revolutionary, so ground breaking and so influential that it can clear out the metaphoric wastelands of ruined cities, radioactive waste, and tainted scorched earth that composes the very foundation of the "rebuilt" comics industry after 1996, and compete head to head, not all fucking pussyfooted and petty punkass bitch, with the Japanese anime and manga industry and even the European comics industry. Remember, superheroes are only alive today because of movies these days, not the comics they're based on, and then there's the national stigma that comics and reading are for nerds, and then, we have the lovely problem of how comics about superheroes have problems with characterization and depictions of morality. And that's not even counting the other shit, like how no one is willing to face the truth that the industry fucked up and is pretending nothing fucking happened.

tl;dr You want to save comics? You'd best give a fuck enough to not do the same lackluster ignoramus hubris huffing pride jerking copium jenkem shit that's been repeated again and again blindly. Wannabes and halfassed glory seekers die burning out not knowing what the fuck hit them beyond this point. Don't say I didn't fucking warn you.

Now give me my hats, trash cans, and puzzle pieces, along with expert rebuttals. I'm done.

The other problem is the huge ass cultural stigma/image comics have unfortunately dug themselves into a hole with in the States. Even back in the 2000s when anime hit Cartoon Network and Barnes and Nobles were getting in on the craze, anime and manga wasn't simply getting popular because of it simply being from Japan, it was because anime and manga is the hands on realized equivalent of "what if animation and comics weren't bitchmade, belabored, and overly censored to begin with?"

Good lord, comics and animation with stories and variety like.... TV shows, movies, and music even? Holy shit! Sure, even back then fans still loved animeshit doused with the nerd flavorings we're all used to, but they provided some need human interaction and introspective than just full on beeline for saving the day. If you do truly ask me, it was video games that also provided the hugest opening. Probably because you weren't around back then, but Japan did rule the video games market, and that was how the people knew about anime over in the States mainly in the first place.

And we get to the real, nitty gritty here. Superheroes and comics already took a major hit with the Dark Ages of Comics, and there was already major Gen X disillusionment with "All American" stuff in general with this decade. With comics, Superman and superheroes were paramount with authority of "the man" and were even considered "child's trash" because of truth of how The Comics Code lorded over them leaked out, and this isn't even going over anti-heroes or Image or the Dark Age's contribution to the Crash. You had the LA Riots, the Japan Bubble Economy, post Nam', the Morality in Media guys running amok on anything that didn't fit their vision, people getting sick as shit about The War on Drugs and its hypocrisy, the Spurs Posse and OJ Simpson getting away scot free with rape and murder because they were athletes, the Waco Siege, that two man fucking brick shithouse arsenal armed robbery in LA in 1996 that made huge ass news coverage, all of that shit. Fuck, wasn't Mike Diana arrested for "lewd and obscene content" because the fucking USPS guys snooped around his incoming mail? Being close of all of that shit about "America's Failures" and why capes weren't doing anything about that definitely left a really sour and bitter taste in everyone's mouths about superheroes. After the whole alt media boom, it's probably no surprise when you had anime fans talk huge shit about comics and animation from the States and dissing capes to Disney. There was definitely some sense of rebellion and stickin' it to the man back in the day when you were an anime fan in the coming of the Millennium, believe me.

Capes more or less still have this sort of stigma these days.
 
American disillusionment didn't hurt comics (hell, Millars' Ultimates and Civil War are two love letters to the Bush administration) but the general contempt that came for comics and cape comics in general, from the Ellis clique that overtook comics in the early 00s, which was amplified by Joe Quesada and Dan DiDio embracing the short sighted "angry comic fans buy more comics".

I can not overestimate the cancer that Warren Ellis and his acoylytes inflicted upon comics and the damage it caused, all because Ellis and his clique were pissy that they were failed screenwriters/novelists.

As for Turok's 90s Valiant run, it was a decent update of the premise but it got kind of boring after a while.
 
American disillusionment didn't hurt comics (hell, Millars' Ultimates and Civil War are two love letters to the Bush administration) but the general contempt that came for comics and cape comics in general, from the Ellis clique that overtook comics in the early 00s, which was amplified by Joe Quesada and Dan DiDio embracing the short sighted "angry comic fans buy more comics".

I can not overestimate the cancer that Warren Ellis and his acoylytes inflicted upon comics and the damage it caused, all because Ellis and his clique were pissy that they were failed screenwriters/novelists.

As for Turok's 90s Valiant run, it was a decent update of the premise but it got kind of boring after a while.
I'm honestly surprised there's not any sort of large scale study on the history of the American Dark Age of Comics, personally. That's a shame, really.

I am going to stick with my guns on this one though. I do agree with the events you're talking about, but those are more the events that came about after everything piled on. I don't know if anyone has said anything of this manner, but comics, and moreover, art, or even lack there of, showcases the psyche and insight of society. High words, I know, but expression reflects "the inner self" (good lord I'm sounding like Van Driessen). If superheroes and cape comics are inherently American and have made themselves to be all American, wouldn't they also reflect upon the country's age and the times?

Granted, my studies and analysis is just one side of things. I did notice that back in the late 80s that comics got a lot of flak as the turn of the decade was coming. I'm also very but thankfully surprised that I can have a proper discussion about comics here. Must be because people are actually civil than two faced and passive aggressive.
 
American disillusionment didn't hurt comics (hell, Millars' Ultimates and Civil War are two love letters to the Bush administration) but the general contempt that came for comics and cape comics in general, from the Ellis clique that overtook comics in the early 00s, which was amplified by Joe Quesada and Dan DiDio embracing the short sighted "angry comic fans buy more comics".

I can not overestimate the cancer that Warren Ellis and his acoylytes inflicted upon comics and the damage it caused, all because Ellis and his clique were pissy that they were failed screenwriters/novelists.

As for Turok's 90s Valiant run, it was a decent update of the premise but it got kind of boring after a while.
I read "SuperGod" and really enjoyed it, i always felt like "Transmetropolitan" was a bit forced in many respects and gets acclaim more so because people want it to be good over its actual worth, although i really like that Derrik guys art, aside from that I recall some comic where a cult based on Aum Shynryko is confronted by a team of superheros on some kind of monster island and remembering that this title was supposed to have been some kind of subversive twist on superhero team books but having it feel like just a typical team book, although i only read the first two tpb's... Didn't realize Warren was as supposedly influential on modern comics as many claim he is, always felt like another UK guy riding on the coattails of Alan and Neil writing dark Vertigo esque shit that tightrope walked between pretentiousness and just plain forgetfulness.
 
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