Sperg about comic books here

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Rick The Stick said:
"Not that one"- Betty Brant
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Peter's relationship with Betty was weird but not all that interesting. They tried sliding in the whole "actually, she's a high school drop out, so she's not *that* old," thing but she was obviously drawn and written to be noticeably older than Peter. Much like Gwen Stacy later on, all Betty really did was cry about Peter being in danger. Then, later, in a really retarded decision that was completely against Parker's characterization, Marv Wolfman decided to have Peter start having an affair with Betty while she was still married to Ned Leeds. It was the '70s, so they didn't really show anything, later allowing another write to go "Actually, Peter was just offer a shoulder for Betty to cry on", thereby retconning that bit of stupidity.

After Ned Leeds was originally revealed to be the Hobgoblin, Betty went off the deep end and... well, her character was largely abandoned for decades until recently where every writer seems to be a nostalgia / continuity fag.
 
Tor Lugosi said:
After Ned Leeds was originally revealed to be the Hobgoblin, Betty went off the deep end and... well, her character was largely abandoned for decades until recently where every writer seems to be a nostalgia / continuity fag.
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Flash did get to tap that with his symbiote dick (since the real one was shot off in the war).
 
Stab You in the Back said:
Rereading Morrison's X-Men for the first time in 20 years. Somehow I hate it even more than I did when it first came out.

Morrison writes every character the same way. They are all smug, violent quip machines. Cassandra Nova and Jean Grey? Same personality. Same way of talking. Same tendency to flex their powers upon being they deem to be inferior. All the X-Men play the victim while lording their immense superiority over their foes.

And this run, this completely tone deaf retarded bullshit, has been the mold writers have adopted for the proceeding 20 years of X-books.

Fuck Grant Morrison, that worthless british cocksucking faggot.
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I always find it funny that in this run, he intentionally tried to make it accessible to new readers who were coming in after watching the first movie so while he didn't throw out the old continuity, he kept things relatively self-contained... until the end. And then two years after it ended and he went back to DC, he does a Batman run that relies on you knowing all this obscure shit about the old silver age comics otherwise you'll have no idea what he's on about.
 
More Absolute Batman sperging. I'm noticing a trend where all these "reimagined villains" are just "make them an eldritch abomination".

Joker, Killer Croc, Mr Freeze, and now Poison Ivy all follow this pattern. I know this because YouTube keeps dropping videos with clickbait titles in my recommendations. It's a cool look, I admit, and I'm a sucker for monsters like that. If nothing else it beats crypto bros and TDS, but I don't know how long that particular gimmick can work. Maybe there's a plot reason for it, but it won't make sense for, say, The Riddler to be all teeth, claws, and tentacles.

This also leaves one obvious villain on the table. Scarecrow.

Gunter x Gunter said:
Scottt Snyder is a coward and extremely safe writer for all the grotesque shit he puts into his stories. The fact he dominated the last two decades of bat book is just as bad as leftist like Kelly Sue, cause he was the faggot that propped them up with his middling writing.
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It's because the writing of the last decade has been so bad that mediocrity or even being sub par is enough to be considered a titan. The standard is still nazi cap, Iron Heart, and "unsolicited opinions on islreal".
 
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Saw this advert for the Arrow Comics series "Nightstreets" a black-and-white series from the 1980s, set in The City where a gang war is about to erupt, assassins lurk, a mysterious vigilante lady is on patrol and as seen in the upper right, the biggest crime boss in the city is a cat-man, Felonious Katt. There's no explanation, he just simply is (though the character had appeared in a fanzine published by the founders of the company, featuring Michigan based artists as a goofy anthro character) and his secret is known only to six other people and his efforts to keep this secret are part of the ongoing plot. The art was, like a lot of 1980s B&W comics, rough, scratchy.

The series lasted five issues but was supposed to conclude with six, lots of series had this happen during the 1980s. Caliber Comics, started by Detroit-based comics shop owner Gary Reed published the series in a couple of graphic novel collections, including the previously unprinted material.
 
Judge Dredd said:
Joker, Killer Croc, Mr Freeze, and now Poison Ivy all follow this pattern. I know this because YouTube keeps dropping videos with clickbait titles in my recommendations. It's a cool look, I admit, and I'm a sucker for monsters like that. If nothing else it beats crypto bros and TDS, but I don't know how long that particular gimmick can work. Maybe there's a plot reason for it, but it won't make sense for, say, The Riddler to be all teeth, claws, and tentacles.
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I think you are missing the obvious- its influenced by manga.

Though I don't know how you make Clayface even more body horror then he usually is
 
What really amuses me about early Image is just how many Superman analogs were running around. Suprem
Stab You in the Back said:
That's straight out of the 90s playbook. I vaguely remember a lot of Spider-Man's villains getting hit with a retarded redesign at one point or another.

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Vulture got hit with that hard, going from an old dude with wings to an energy vampire sucking the vitality out of people to make himself young. Which is at least better than the 2099 iteration, a bona fide cannibal.

Kraven got killed off and replaced by his dark and gritty son the Grim Hunter. Doc Ock got killed off and replaced by a hot chick. Both murders committed by Kaine in the early days of the Clone Saga.
 
Also, recent purchase, via Lulu.com. The complete collection of "Kelly Green", a series of graphic novels from writer Leonard Starr (artist and writer of the long running comic strip Mary Perkins On Stage, and the revival of Little Orphan Annie and artist Stan Drake, who worked for years on the strip The Heart of Juliet Jones. Their strips had enjoyed popularity in Europe, and they were given the chance to produce work for the adult comic market, with no creative restrictions. By the early 1980s working on 'continuity' newspaper strips - in which a story was serialized a few panels a day over many months - had become a thankless task, due to competition from TV soap operas and reduced print sizes, which made it harder for the detail on the artwork to stand out.

Starr pitched the idea for Kelly Green to Dargaud and the duo were commissioned to make a series of color books, all of which are reprinted in the original black and white, including one which had never been published in English before. Kelly is the wife of a cop who dies in the course of his duty on the first of the first story. She suspects a crooked superior set him up. To earn a living she becomes a 'go-between', a neutral party that gets paid to make exchanges in cases of blackmail and ransom.

Kelly Green turns out to has picked up the tricks of the trade from her husband as well as three rehabilitated crooks her husband helped out, and is well placed to deal with the shady and duplicitous characters she encounters in the course of her work. It is also strongly suggested that she took the job to preserve a sense of danger and excitement in her life. In the five albums that came out, we have "The Go-Between" where Kelly takes on her new job and a case involving a Florida millionaire brings her to the person responsible for what happened to her husband.

"One, Two, Three...Die!" where she becomes embroiled in a case of whoever is killing off the adult children of a heartless millionaire, Having bonded with the first victim's sister, her landlady, she has a personal stake in this.

In "The Million Dollar Hit" she was paid to deliver a ransom from an oil company to an executive who was in actuality a con man, who had embezzled a lot of money in a foolproof way and the payoff was the cost of not revealing the method. Said executive has fled, after the underworld style slaying of his chauffeur, and the case takes Kelly to Alaska and involves a senator who may be crooked, and local natives who resent the big oil company's presence on their land.

"The Blood Tapes" features the shooting of Alec Blood, rock star just after he'd finished his latest album. The master tapes have been stolen by criminals who want $500,000 in ransom from the record company, but thanks to a bad economy and kids not buying records like they used to, they don't have that much on hand. So they make a deal with connected casino boss Tom Ragan to supply the funds, with the promise the record will be a big seller. Naturally, Kelly is retained as the go-between, having apparently built a pretty good reputation since entering the business. In Vegas, Kelly finds finds herself unexpectedly attracted to and repelled by the mobster, who reminds her, in his own way, of her late husband. Not his looks so much as his attitude.

The fifth volume, "The Comic-Con Heist" has Kelly in San Diego just in time for Comic-Con, having been recruited to act as go-between for an art gallery looking to recover a million dollars worth of original comic strips. Kelly travels to San Diego with gallery employee Gretchen, who gives our heroine a crash course in the history and value of sequential art. Much of the action occurs at or adjacent to the Comic-Con, where she gets shown around and has a group of comic pros chatting pointed out to her (Will Eisner, Milton Caniff, Burne Hogarth, and Jack Kirby), and recovers the comics early on, but a string of murders of costumed attendees has occurred, all signs pointing to a fugitive police detective with a history of violence. Kelly ends up working with the detective, who believes the talk show host he'd been moonlighting as a bodyguard for is involved...

Looking at these books, you see Drake took every opportunity to depict Kelly and her supporting cast in far more risqué situations than were permitted in US newspaper strips.
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Judge Dredd said:
ore Absolute Batman sperging. I'm noticing a trend where all these "reimagined villains" are just "make them an eldritch abomination".
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Stab You in the Back said:
That's straight out of the 90s playbook. I vaguely remember a lot of Spider-Man's villains getting hit with a retarded redesign at one point or another.
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Looks like the writer is trying to ape the full 90s style, but he can't or is not willing to go the full mile, and it ends up looking stupid. I'm not sure what the point of making the villain characters not evil is if they're going to go bad at some point, plus the bloody Joker is still the main bad guy anyway. I expected more OCs rather than blatant recycling, but I expected too much.
 
I have been talking with someone very knowledgeable about comics from whom I have learned a lot, and it turns out that about 80% of everything I dislike in modern comics is the fault of someone named "Bendis". The other 20% of things I dislike in modern comics mostly turns out to be from two people named "Garth Ennis" and "Grant Morrison".

It's all much simpler than I thought it was. Like these three are right there in almost anything bad I might name.
 
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