“Team titles offer the most obvious opportunity for publishers to increase diversity in their output. Both publishers lean heavily on their biggest characters to sell their team books, but the same books offer a chance to build an audience for new or lesser characters. This is the technique Brian Michael Bendis used to great effect to elevate the African-American character Luke Cage and other favorite characters in the Marvel Universe. Team books allow publishers to bridge a gap. On the one hand they can satisfy readers who want to see Batman and Wolverine; on the other they can introduce readers to characters they might learn to love. In effect the current audience underwrites the R&D for new or minor characters that may appeal to audiences that want to see themselves represented. This strategy seems so self-evident that it frustrates me that it's so often squandered. I accept that solo books with female leads have proven a hard sell for a male-dominated audience, but I don't see why any team book with seven members should ever have only one or two women. I understand why Cap, Iron Man, Wolverine and Spidey need to magically appear on multiple teams at once in addition to their own books, but I don't understand why all those other white people need to be there. I don't understand why Monica Rambeau isn't on any team at all. The answer that editors, creators and some fans typically give to these questions about diversity is that story comes first. Story is what matters. Good stories are the most important thing. But that's a red herring, and such a pious one that it might be a holy mackerel. There is no binary choice between "good story" and "better representation." The "good story" line is popular nonsense. One might as plausibly defend bad spelling by saying "we put story first." No one has suggested that diversity should come at the expense of story, and there is no tension between those expectations. Story should come first, but, "a better reflection of the diversity of the world wherever possible" should be somewhere on the same checklist.”—
This really good piece on Comicsalliance
A quick recap of the last three episodes of Arrow Season 1
Since I won’t be recapping the last episodes of the first season of Arrow over at ComicsAlliance, and I’m not watching them if no one’s paying me to do it, here’s my wrap-up of the season, as it plays out in my imagination:
Episode 1.21: In an effort to win back Dig’s loyalty and friendship, Ollie seeks out Deadshot and kills him. In flashbacks, Slade, Shado and Ollie fight over a water canteen in a Fyers prisoner transport. Moira and Boe get into an argument when he discovers she may have put the hit out on him a while back. Merlyn and Laurel get stuck in an elevator and have to work out their relationship issues. Roy Harper and Thea get stuck on a disabled ferry boat and make out.
Episode 1.22: The cat now out of the bag, Moira demands to see where Steele has been held for the past dozen episodes. He’s on the island where Ollie was for five years, Boe reveals! And can’t be brought back! Roy searches for Arrow and finds him. He asks to help him. “I work alone,” Arrow says on his way to meet up with Dig and Smoak who are on the tail of his former partner the Huntress, who has returned. Merlyn and Laurel each separately talk to Sgt. Lance, who has had enough of this shit. In flashback, Fyers drinks another soda in front of everyone.
Episode 1.23: The Undertaking is revealed at last! It’s Delta City from RoboCop. Boe takes off a mask to reveal he’s actually Dick Jones. Merlyn is Clarence Boddicker! Moira takes off a mask to reveal she’s Lewis. Arrow sheds his skin and becomes RoboCop. The show is now RoboCop. In flashback, the Island is revealed to be Murphy’s dream. Deadshot returns from the dead again (he’s RoboCop 2).
Thanks for the fun times, everyone. Thanks to all the editors at CA. You guys are the best.