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And if anyone knows of any superior comic torrenting sites, hmu.
Yes, Iceman #1 came out and the plot is about him not being sure what to put as his description on a gay dating site. Adult Iceman was revealed to be gay shortly after the younger one after people kept pointing out one of them wasn't gay. Ironically, it was later revealed (around this year I think) that the past X-Men actually were from another universe like fans guessed so trying to match them up was pretty pointless.
I think it's a problem since it screws with Iceman's character arc being about his immaturity screwing him over and he's always looking for a way out from getting dragged into the usual mutant mess (like how he pretended to lose his powers after M-Day). Making the guy who just wants to be a superhero without baggage of the mutant label a closeted gay man is taking his thing a bit too literal imo. Plus it's strange how he went from being portrayed as "gross immature dudebro" to "gross immature dudebro but it's okay, he craves cock" in the span of one page. I don't know how many stories you need to write to save this from being "learning to be mature is dumb, be gay instead".
I know fuck-all about Iceman tbh (was never an X-men person), but I can see that. I think there's something to be said about characters evolving as time goes on (I mean, One More Day came about because Quesadilla didn't think that Peter Parker would appeal to people anymore if he had a stable, happy marriage for...some reason), so I'm not inherent against changing aspects of a character, but it requires some level of subtlety or talent, which this issue lacked, and probably isn't going to gain in the next few issues before it gets cancelled like all the other character-driven Marvel books lately.
These writers don't understand what the word "hypocrisy" means.
True! Just furthers my point that evolution isn't a terrible thing. Moving out of the Silver Age was hard on some characters, it was change or die. Characters should evolve with the times in interesting ways. Not to shove a narrative or agenda down the reader's throats.
is it a sign that the first thing that comes up for me, is a porn comic?
I can't get over the fact that it's called Marvel Legacy. Y'know, that arc word that Geoff Johns has been using for Rebirth constantly? They're not even trying to be subtle about it being a ripoff.
No, this is actually an okay (but desperate) move. People want the characters they love back. Bringing back F4 is an easy and cheap way to get at least a few people back on board. Also, more publicity. The entire thing is being done to capitalize on peoples' nostalgia in a desperate attempt to bring back people who actually read comic books.
I think the only cover they revealed that would grab the attention of old fans is Jane Foster mimicking the Death of Captain Marvel. The others are only going to remind them while they left. Granted, it was never likely we'd get a sudden change back and Legacy would have them return one by one. Even Rebirth is still in the period of showing cracks in the DCU without giving everything back at once.
You mean she's gonna swoop into a wig shop, and use her armor to steal $20,000 in weave supplies?
THESE DAYS IT MAKES MORE SENSE FOR BATMAN TO BE A VILLAIN
DC ENTERTAINMENT
BATMAN HAS BEEN a hero for decades, constantly saving Gotham City from mad men and murderers. But take away the cape and noble purpose and he's actually a terror—someone capable of causing as much damage as he prevents. And seen through the lens of the 21st century, a time when it's understood that vigilante justice is dangerous, Bruce Wayne's actions don't look much more safe or sane than the Joker's. And in his next incarnation, they're not.
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For Batman: White Knight, writer-illustrator Sean Murphy(The Wake, Punk Rock Jesus) created a version of Gotham with real, modern-day problems, and then let Batmansolve them by making him the villain. How? In the comic mini-series' alternate-reality, it's the Joker—cured of his insanity—who sees that Bruce Wayne is just another part of the city's vicious cycle of crime and sets out to stop him.
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"My main goal was to undo the comic tropes while changing Gotham from a comic book city into a real city—a city dealing with everything from Black Lives Matter to the growing wage gap," Murphy says. "[But] rather than write a comic about the wage gap, I gave those ideas to the Joker, who leads a kind of media war against Gotham's elite by winning people over with his potent observations and rhetoric."
DC ENTERTAINMENT
Despite the fact that their roles are reversed, having heroes and villains who exist as a response to the current political climate is very much on-brand for Batman. For nearly eight decades the Joker and Dark Knight have faced off in the comics and onscreen, and each time, whether they're brooding or cartoonish, they've come to represent the kind of good or bad guys their audience needs. In the 1940s, when the Joker was introduced in Batman #1, the idea of having a masked vigilante face-punching foes seemed like a good way to fight crime. But in the decades since, society has learned that's not always the best course of action. "It's sexy to think crime can be stopped with a fist, but the real solution is a lot more boring than that: education, increasing wages, and building trust," Murphy says. "The line Batman rides between 'noble vigilante' and 'overzealous oppressor' will always be shifting as our own society changes."
And much like the creators of history's various Batmen have changed him with the times, they've also updated the Joker to suit his environs. Over the years, he's been a sadistic psychopath and a giggling, greedy comedian depending on the story's—and the zeitgeist's—demands. That's been true in the comic books and onscreen. The original murderous conception of the character by Bill Finger and Jerry Robinson had to be toned when the Comics Code Authoritywas established in 1954, but in the 1970s the dark, murderous Joker came back. More recently, he's reflected the outlandishness of the 1980s thanks to Jack Nicholson's portrayal in Tim Burton's Batman, and the existential dread of the new millennium via Heath Ledger's performance in The Dark Knight.
DC ENTERTAINMENT
And Murphy's latest version, which will hit comic book stores Oct. 4, is just as apropos. At a time when protectors fail to protect and propaganda has immense power, very few stories—in comics, at least—could be more of-the-moment than a series that shows Batman's vigilantism as part of a vicious cycle and the Joker's charisma as a marketing tool for his brand of justice.
"We know the Joker is a genius, we know he's relentless, and we know he can play the crowd, so why not make him a politician?" Murphy asks. "Frank Miller modeled him after David Bowie. Chris Nolan showed him as a controlled sociopath. I see the Joker as Don Draper."
