mega dc

Jenny(XJ-9) Wakeman.:Show gets canceled with no means of getting a proper ending.

Sonic the Hedgehog:Having bland, unpolished game after bland, unpolished game. Not to mention characters being flanderized/dumbed down.

Mega Man:In Development games getting announced, but get cancelled at the last minute.

Captain America:Currently being written as a member of an organization he’s been fighting for years.

And Superman:Being written as a reckless, mopey, brooding, overly violant asshole.

anonymous asked:

Hey, I like your insight! It's insightful and you have wonderful perspective! So... What shortcomings and gains did you see in the Wonder Woman movie? What would you say to people that feel it was a white feminist film? Did you have an issue with her love interest? Bonus question: Gal Gadot hot damn?

Hmmmm so OK here’s what I think: I watched it twice, and as a mega WW and DC fan, I was more absorbed in enjoying it than critiquing as I watched it.

However, what I’ve gathered from criticisms is that people feel it was “white feminist” and that there was not enough rep of poc/woc.

This struck me as a little odd, because Gal Gadot is Jewish, and Jewish women need to be on TV (and not in a negative light too.)

And it….bothers me, that unless a character is specifically brown/black, the other types of rep she brings to the table don’t seem to matter (especially because Jewish is a religious-ethnicity, and many Jewish people don’t consider themselves white based on being Jewish.)

And I WILL NOT deny that media (including ww,) need more brown/black characters, especially women. Pretty much all media does.

But at the same time, I feel its….not quite correct to refer to it as “white feminist.”

Like, comparatively to a white feminist film, this one had a lead Jewish woman, two poc leading supports, one of which was positive (historically based) Native rep that I almost NEVER see and almost made me cry in the theater. There was also a lovely leading support who was fat and not treated negatively about it, which is important too.

Wonder Woman is a step forwards for women that’s never been taken before (a female lead superhero movie,) that we’ve been pushing for for a very long time. Wonder Woman is white in the comics, but casting a Jewish woman I found to be incredibly important both because rep, and because the current political climate in America in regards to Jewish people. That’s two big notches.

And yes, we DEFINITELY need a woc superhero movie, but ww is the most popular female DC superhero and frankly, if they didn’t do one that was going to be popular and do what it did, they would probably never stray into doing female lead superhero movies again. They would use it as an excuse not to.

So basically a) argue whether or not Gal Gadot is poc, but she IS Jewish and that’s important not to wipe away by claiming “white!!!!” and b) progress takes steps, and this one I saw as a huge one. By this movie succeeding like it did, I feel like we have a much higher chance of seeing more future female lead superhero films, especially woc ones.

I’ll have a bigger problem with DC if the make another one with lack of diversity. But that’s a problem I’ll have with DC, not with Wonder Woman.

ww COULD have had a lot more diversity, and that’s a super fair thing to say. But unfortunately as it stands, it had more than a lot of other movies (even superhero,) and the diversity it did have was very important.

Maybe what I’m saying is that there is a gray area between “good diversity” and “white feminist,” and this movie could have done better, but it didn’t do poorly.

And I liked her love interest. Diana is solidly bi to me, and having a male love interest in her back story (with Chris Pine too, I’m not ashamed to say I love him) that was actually pretty good gives me this kind of fantasy like dreaming of having a female one in the current time.

anonymous asked:

You've mentioned Morrison having a "mega-arc" at DC spanning from Animal Man to Multiversity. Which of his DC works are considered to be part of it and what unifies them? Thanks if you answer, your blog is cool.

Really, it’s not one gigantic “mega-arc” so much as a bunch of smaller overlapping story threads - the map of his stories wouldn’t in any honest sense be a baton passed off from one hand to another, either chronologically (starting with his Action Comics run, as it’s his version of the beginning of superheroes in the DCU) or in order of publication (starting with Animal Man), but a big web of connecting and diverging events.

The biggest ‘threads’ so to speak would probably be:

1. His exploration of the multiverse, which goes Animal Man < Final Crisis < Multiversity, with his Action Comics as an offshoot of Multiversity.

2. His idea of humanity as burgeoning gods, specifically connected to the Fourth World and/or Superman, which goes JLA (including DC One Million) < JLA: Classified < Seven Soldiers of Victory < Final Crisis < All-Star SupermanFlex Mentallo: Man of Muscle Mystery is also pretty major here spiritually speaking, and while not a part of the direct narrative driving the others, it’s still connected tangentially to the DCU since he originated in Morrison’s Doom Patrol.

3. His Superman stories running through everything, which if you want to tackle it “chronologically” would go Action Comics < JLA < Final Crisis/Superman Beyond < All-Star Superman, with DC One Million intersecting at multiple points.

4. His Batman saga, with Final Crisis sticking its head in and playing a big part.

I wouldn’t say there’s any one big overriding theme or narrative going on in all of it, beyond maybe a basic shared message of “don’t be a bastard”. Most of the DC-spanning connections are straightforward plot linkages, with Final Crisis as sort of a junction box where they all meet - it connects to Animal Man through Limbo, Seven Soldiers and JLA with Darkseid, his Batman run by taking Bruce off the board for awhile, and Multiversity through the Monitor mythology. And those spin off into their own connections, with Multiversity linking back to Action Comics with Calvin Ellis getting the transmatter array that will eventually take him to the House of Heroes, JLA to All-Star Superman through DC One Million and the Prime Superman, his work with Flash and Aztek connects directly plotwise to JLA, and his early Batman work in Arkham: A Serious House On Serious Earth and Gothic contributed ideas to his bigger run years later, i.e. Joker’s ‘super-sanity’ and the entire concept of Batman vs. The Devil. And even those plot linkages involve at least 2 or 3 mutually exclusive continuities (Action Comics can’t lead to the events of All-Star Superman due to each having Jonathan Kent die in different but absolutely plot-vital ways, and the latter can’t be in continuity with JLA or Final Crisis because in All-Star’s version of Superman’s near future he isn’t married to Lois).

If you do want to follow all the linked-up stories ‘in-order’ though, @benito-cereno‘s list should set you up just fine. And while they’re not directly linked aside from being works of his set in the DCU (if only in a step-or-two removed sense in the latter case), go ahead and read Doom Patrol/Flex Mentallo after Animal Man, both because they’re amazing and because thematically Flex is HUGE to a lot of what Morrison ended up doing at DC.

deathchrist2000  asked:

Alan Moore or Grant Morrison?

Oh, shit.

Look, the simple answer is Morrison. He’s my favorite, and if I made a grand list of all my favorite comics ever, more of his stuff would be closer to the top than Moore’s. But if any of my followers have learned anything, it’s that I’m never satisfied with a simple answer where a short essay can do.

Just to get the actual ongoing ‘conflict’ between the two out of the way: I don’t know either of them and as such can’t comment on any personal negative feelings going on. But from my point of view, Morrison mentioning he doesn’t much like Watchmen and having a few gags like No-Beard vs All-Beard at the Bard’s expense isn’t quite as harsh as Moore essentially calling Morrison a half-talented hack and thieving shit who’s made his career off of stealing his ideas. I’ll agree as hard as anyone that Moore’s been almost comically hard-done-by as a creator by the industry, but if we’re extending the sphere of what constitutes creative bankruptcy into the realm of “is also smart and has had some similar outlooks and ideas”, I don’t imagine he would get off clean himself, even in regards to Morrison.

So obviously they have a lot in common. Chaos magicians, superhero revisionists, part of the UK wave of writers that reshaped American comics, all-around smartypants. They have some similar thematic preoccupations (the power of stories, the nature of time and consciousness, human ascendance) both play the long game well in terms of plotting, both are perfect at nailing That One Moment that tells you everything you need to know about a character. Each have specific strengths: Moore’s a more tightly-controlled formalist and his dialogue has less notable quirks (though I think Morrison’s considerably more talented than many give him credit for in both areas); Morrison’s comics are more willing to wear their heart on their sleeve, and I think his ideas and themes are often more effectively woven into the structure of his stories (though again, to describe Moore’s work as generally being coldly clinical or lecturing as it has been on occasion is I think to tremendously sell him short). On a purely technical basis, I’d say Moore takes the edge, but not by enough for him to claim an out-and-out victory. I far prefer Morrison’s usage of the elements of the Big Two universes for his metafictional commentary (i.e. his DC Mega-Arc from Animal Man to Multiversity), but that doesn’t feel remotely crucial enough in and of itself to give him the win either.

The “who got into my head first and mucked around the most” test won’t do it either. All-Star Superman and Flex Mentallo are my two favorite comics period, but huge parts of my introduction to the medium were The Jungle Line in the old The Greatest Team Up Stories Ever Told and Supreme. I read Watchmen and Batman R.I.P. around the same time just as I was getting into reading comics on a regular basis. I hit JLA and Tom Strong in the back issue bins pretty near each other. Promethea and The Invisibles both rewired my brain real good. They’ve both done fairly beloved comics I’m not a fan of with Arkham: A Serious House On Serious Earth and For The Man Who Has Everything.

What I think it truly comes down to - beyond just preferring Morrison’s aesthetic - is the way they build their stories. With Moore, his best comics are often like a stick of dynamite: the tension is in watching that fuse burn towards the explosive, with a spark or two shooting off along the way to keep things lively. It’s powerful, but it’s a restrained experience. Morrison’s work is more like riding a tidal wave: the way up is a rush all its own, and even then you know it’s when that wave crashes against the shore of his finales that shit is going to truly get real, and in 25+ years of mainstream work he has yet to disappoint in that regard. Maybe it’s because he’s openly more improvisational than Moore while still being able to stick the landing; maybe it’s the idea rush and higher degree of action in his material; maybe it’s a subtler aspect of the craft I need to be paying closer attention to if I ever want to capture any of that fire in my own work someday. But most of Morrison’s best stuff just leaps off the page with an absolute kinetic energy that Moore’s can’t match - perhaps related to the ‘sterile’ feeling some complain about with him - and that for me is what seals the deal.

Of course, a lot of my very favorite Morrison works (All-Star Superman, Flex MentalloAnnihilator, Multiversity), while still possessing that propulsive and energetic quality, are also palpably more tightly controlled in the same way as Moore’s oeuvre. Watchmen lacks almost all of that sort of feeling of unstoppable narrative momentum, and Watchmen is still Watchmen - I’d probably still rank that over Promethea, which I consider Moore’s most Morrison-esque work in that regard (though I haven’t read a fair chunk of his works, including From Hell). Both approaches have their place and can hit it absolutely out of the park, especially in the hands of singular talents operating on their level. And while both their comics’ careers seem to be at least somewhat winding down (though with Morrison you can never be sure), readers and creators alike are privileged to have their work, and we can all only hope they’ll be begrudgingly willing to set aside their differences and unite to save us all when Armageddon comes a-knockin’.


How did they do it? Batman v Superman fight scene explained An exclusive look at the making of DC Comics’ mega-brawl

p.s. Henry’s stunt double is PERFECT