Hash brown no filter.
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CUTE CUTE CUTE ʚ♡⃛ɞ(ू•ᴗ•ू❁)
So here’s a snapshot of an unusual and short-lived trend in animated adaptions. You had these villainous characters across three franchises who were inspired by the original “insidious Oriental,” pulp villain Dr. Fu Manchu: Ming the Merciless in Flash Gordon, Dr. Julius No in James Bond, and the Mandarin in Marvel Comics’ Iron Man. All were fairly major antagonists - two were essentially the heroes’ arch-villains. You couldn’t leave them out of an animated adaption, but their original portrayals were maybe not so audience-friendly in more enlightened times. What do you do?
Apparently, you make them green.
Of the three cases before us, Ming’s hue-shifting in 1986’s Defenders of the Earth makes the most internal sense; he was an alien emperor from Mongo, after all, so there’s no reason his pigmentation had to be like those of us puny earth-men. However, it would seem the Hearst Corporation didn’t feel like this alteration was enough to move Ming away from his roots - the 1996 Flash Gordon cartoon would take the idea one step further and make him into a straight-up lizardman.
The Mandarin, meanwhile, was given an in-story explanation for his greenness in 1994’s Iron Man cartoon: the alien gems that gave him power changed his skin color, turned his ears pointy, and buffed up his physique. The logic behind this explanation is given a strange twist, though, by other information in the very episode that depicts it… everything in “The Origin of the Mandarin” points to the Mandarin not being of Asian descent before his transformation. He was archaeologist Arnold Brock, whose character design and portrayal compared to his companion Yinsen implicitly point to him being a white American before going green. It results in his ensuing choice of supervillain name being at best an extension of his stated desire in the episode “to find his destiny” in central Asia, and at worst utter nonsense. “Yes! With this green skin, my elf ears, and the gems I stole from a spaceship belonging to an alien dragon, the world shall fear me as… a bureaucrat of Imperial China!”
Dr. No, though… I have no idea what 1991’s James Bond Jr. was thinking. Compared to the Nehru jacket and clean-shaven look he sported in the film, his animation model actually ramps up the stereotypical elements, which is not helped by his newfound tendency to employ ninjas. Because… half-Chinese/half-Germans hire ninjas all the time? There was no explanation as to why Dr. No became green, but considering he was supposed to have died in his eponymous film, maybe he was actually undead…
Were these character alterations related? Defenders of the Earth and Iron Man were both by Marvel Productions, but produced almost ten years apart - and James Bond Jr. was by a different studio entirely, Murakami-Wolf-Swenson. No, at best, it seems to have been a very strange series of coincidences: to avoid propagating Yellow Peril stereotypes, these three villains instead became part of the Mean Green Machine.
Which is probably still better than being on the Green Team, all things considered.
400th post!
And then there was that time I stayed at a hotel and discovered a freebie Avengers promotional comic that was all about Tony Stark shilling the Wyndham Rewards club. (Oddly enough, I was not actually staying at a Wyndham.)
Stark really does not strike me as a Continental Breakfast kind of guy - or a breakfast before noon guy, really, and you know you can never find anything at hotel breakfast bars after like 10am. On the other hand, that penultimate panel of the assembled Avengers being incredulous is amazing.
Story by Fred van Lente, art by Brad Walker. Part 2 of 2.
Reader asked me to Tumblr this one. And I am but a slave.
And then there was that time I stayed at a hotel and discovered a freebie Avengers promotional comic that was all about Tony Stark shilling the Wyndham Rewards club. (Oddly enough, I was not actually staying at a Wyndham.) Love that panel at the end.
Story by Fred van Lente, art by Brad Walker. Part 1 of 2.
astroanimo-deactivated20150112 asked:
I tried reading Iron Man’s new comic after the first movie came out. It didn’t really register with me. And it took years and years for me to start reading Batman’s “real” comic books after Batman: The Animated Series. I think I bought that Harley Quinn origin one-shot, out of all of No-Man’s Land, and nothing else. All of Batman Proper was a bit too large and unwieldy and unfamiliar.
So according to my experiences only, then yeah, I guess.
The Problem Of Women In Comics: Where They Are (and Aren’t) [Opinion]
ComicsAlliance welcomes guest writer Rachel Edidin, who works as an editor at Dark Horse Comics.
Lately, between Womanthology and DC’s All-New-Almost-All-Male 52, the popular lens has turned-as it is wont to do every year or so-to the Problem of Women in Comics, namely, whether there are enough of them, and if not, what, if anything, should be done to fix that. As often as not, those conversations have two side effects:
First, they erase the women who do work in comic, by ignoring them, by dismissing them as tokens, or by discarding wholesale the areas of comics where women are most numerous and visible. The difference between the questions “Where are the women?” “Why aren’t there more women?” and “Why are so few women here?” is subtle but savage, and too often, the latter two questions and their nuance are discarded in favor of the clean sweep of the former.
Second, they bypass context. The Women-in-Comics problem doesn’t exist in a vacuum. It’s the product of a myriad of factors, combined and compounded over decades, tangled inseparably with the structure and the very definition of comics as we recognize them. If we’re going to fix this (and I don’t think there’s any reasonable doubt that this is something that needs to be fixed) we need not only to address immediate problem — the comparative dearth of women in comics, particularly in shared-universe superhero and other high-visibility genres — but to examine what created and now maintains that inequality.
So, how did we get here? What steps would you need to take to create and calcify the kind of demographic inequality that has become endemic to comics? Turns out it’s not that hard, and I’ve narrowed it down to three simple steps.
1. Purge the mainstream of all but one narrow subgenre, produced by two publishers.
2. Spend decades persistently and systematically alienating female creators and readers from that genre.
3. Manufacture pretexts to dismiss or simply ignore any work that doesn’t take place within that narrow genre / publisher paradigm.
Rachel elaborates on those points in this excellent editorial for ComicsAlliance.
Shia LaBeouf’s Self-Published Comics May Be a Secret Code from Space
By Matt D. Wilson
Better known as an actor, the son of Indiana Jones, and a renowned scholar in the language of Cybertronian,Shia LaBeouf made a surprise appearance at the C2E2 comics convention in Chicago this past weekend, signing self-published comics that the Chicago Tribune described as being “borderline philosophical” and having “crude, child-like drawings.” I unfortunately missed the signing, but when I discovered that my local shop, Chicago Comics, was selling two of his three comics in the store, I dashed from the convention over to pick them up.
They are… an experience to read. If I didn’t know any better, I might say they’re secret messages sent from space robots to warn us of impending armageddon. Or maybe they’re just some freshman-English-level poetry thrown into a couple picture books. Probably the latter. One of the two LaBeouks I bought, Let’s F***ing Party (above), has no narrative at all.
When she left DC Comics in September of last year, Janelle Asselin was one of the few female editors at the company. Asselin, who worked on the Batman line, was an editor on Birds of Prey as well as an associate editor on Batwoman, Detective, Batman and few other books. During her time at DC Comics, Asselin began work on graduate thesis in publishing at Pace University. The topic was one that I have a lot of interest in — increasing the sales of comics among women. I follow Asselin on Twitter and kept tabs on her progress over several months. With the thesis finished, I set up some time to speak to her about her findings. The following is an interview with her about the findings of her thesis and thoughts about women in comics.
Janelle, you took on this thesis when you were an editor at DC Comics, which as you say in your piece, focuses on male readers. Tell me about how you came up with the topic.
I knew when I started my masters program that I wanted to do as much as I could to turn what was a generally focused publishing program into being comics related. I often used comic companies for assignments and things like that. So I knew that I wanted my thesis to be about comics from the very beginning. My thesis advisor had me come up with two possible topics, so I chose women and comics as one and copyright and comics as the other. Through the course of doing some basic research and talking through both topics with friends and family, it became clear that while both interested me, the topic of women and comics was the one I was really passionate about. I worry that a lot of times, commentary on the topic of women and comics veers into the negative, w
hich is so easily dismissed by people on the other side. I wanted to write something positive - something that admitted the problems in the industry (which are plentiful) but more importantly offered what I saw as solutions. And certainly being in the midst of the early days of planning the New 52 and watching, from the inside, as DC hatched marketing plans and all that as I came up with my topic was…influential.
That seems to imply you had some questions about how they were choosing their targets for the new 52. Were you surprised about the lack of targeting of female readers (i.e. the identification of the male 18-34 target)?
I wasn’t surprised, but it was hard to think - I’m working on a book like Birds of Prey which I’m OBVIOUSLY pushing to be aimed at women 18-34, and instead the whole part and parcel was aimed at one narrow demographic. I don’t think it’s a good idea to ignore a demographic that could be so valuable and which is largely so untapped at this point.
The truth is people are leaving [superhero comics] anyway, they’re just doing it quietly, and we have been papering it over with increased prices. We didn’t want to wake up one day and find we had a bunch of $20 books that 10,000 people are buying.
DC Comics Co-Publisher Dan DiDio on the upcoming line-wide relaunch.
As the DC Comics relaunch approaches, Co-Publisher Dan DiDio offers some unusually frank reflections in an interview with The Los Angeles Times on the necessity of reaching out to new readers, why they raised the prices of their comics, and why it didn’t work.
(via comicsalliance)
My favorite queer-coded Disney princess.
(HRT = Human Rear Transformation)