The comic book publishing world is small.
And people talk.
Which is my way of saying just how odd two new arrivals look this week when stacked up against each other.
These are stories of two weddings, one that becomes a disaster, the other surely headed that way,
Continue reading “Did the X-Men Just Take a Dump on the Bat-Event of the Year?”
As far as trolling goes, this is impressive.
Marvel Comics no longer publishes a “Fantastic Four” comic. It’s all part of a scheme to devalue the property enough so that 20th Century Fox will stop trying to make terrible film versions about the foursome and allow the rights to revert back to Marvel Studios.
Me, I’m Old School, I believe some money is always better than no money, but what do I know? Not enough for the House of Ideas, and then again, who is to say that monthly comic sales have any impact on how a film is received? DC’s “Wonder Woman” for decades pulled less than Amazonian numbers, but the big budget film last summer won critical acclaim and broke all kinds of records.
Marvel’s decision to drop its flagship title is just one of a legion of errors that help explain why the company is once again rebooting its titles in less than a year.
But if Marvel won’t give the world a Fantastic Four, DC will.
Continue reading “Marvel Won’t Publish ‘Fantastic Four’ so DC Will.”
Marvel Comics writer Mark Gruenwald loved Captain America.
And he proved it in countless stories of the Star-Spangled Avenger during the ’80s and ’90s. His Cap was the strong, unwavering hero that serves as the template today for the big-budget blockbusters starring Chris Evans.
But not every story can be a masterpiece. Sometimes the pressure of the monthly deadline – or here, the biweekly deadline – can prove to be too much for even the most able of scripters.
Take, for example, “The Superia Stratagem,” a six-part saga running bi-weekly during the summer of 1991 in which Cap goes up against a secret society of female super-villains.
Continue reading “That Time Captain America Almost Became Caitlyn America”
Marvel Comics has a diversity problem.
The company employs too many morons.
By now, I’m sure you’ve had your fill of the Marvel marketing dunderhead who blamed Marvel’s falling sales and its shrinking share of the marketplace on its female and minority heroes.
But the real problem lies not with its nontraditional heroes but with its approach to selling them, and this all became apparent when I watched the Warner Bros. film “Suicide Squad.”
The best stories are driven by conflict, and comic books are no exception.
Good vs. Evil, life and death, the fate of our civilization, the world, the universe, all reasons why readers keep coming back year after year.
And yet one of the most horrific acts of violence, one that has stayed with this reader all these years, centered on the flipping of an urn.
It remains distressing to this very day.
Continue reading “‘Tomb of Dracula’: The Lord of Vampires is the Worst Houseguest Ever”
Mark Perigard 