Estás usando un navegador desactualizado. Es posible que no muestre este u otros sitios web correctamente. Deberías actualizar o usar un navegador alternativo.
Dude, this very manga has supernatural elements (not even the reason to why this isn't gekiga), but what you talking didn't change at all for manga, and neither did with any type of comic from europe either. What I am complaining about is the incestuous nature of capeshit comics where profits dictate where the story goes in relation to character combat, conflicts and death of the same characters. This fuckery that happens so much that no one takes death seriously in super hero comics. When a character dies in One Piece, Naruto ot whatever title, they stay dead. This isn't a matter of gekiga being realistic and shonen being more fantasy, death in both storytelling view are seen as the same. Which isn't the case with Super Hero comics.
Thats cause THEYRE FUCKING DEAD. Again comics are just not built that way cause its a pulp format. Characters die in self contained stories but will never die in the wider continuity. This will NEVER go away. Manga is different cause its a narrative and everything is permanent. This does not NECESSARILY mean that deaths in capeshit are undervalued. On average it is true, but death can still have impact. Jokers death in DKR is impactful, supermans death in death of superman is impactful. What youre expecting is for Western writers to come up with a million characters and stories every second, which is just not possible cause theyre fucking lazy and the market is very different.
And you see where this ended up? What we see today with capeshit isn't symptoms, it is a complete fungal takeover of the decrepit body. We still have the serialized heroes like Phantom and Tex Willer and they are still being published, there is nothing wrong with that. But lets use a character that went further into the capeshit way of doing things: Conan. Conan has crossovers, is an Avenger, did appear in Marvel events, things that devalued his importance as a character because they want to make money of him more than they care about his own world.
Comic book Conan is a bastardized version in every iteration hes in (Except the Savage sword of Conan because all of them are direct book adaptations). Daredevil, Punisher, Batman and others have had many different arcs with many different stories. Some are good, some are bad, that does not mean the characters are devalued, you just think they are cause the modern comic landscape is shite. If theres a good enough Batman reinterpretation tomorrow, you wouldnt be saying this.
Are you for real? This very thread not many posts ago there was someone wanting to undo one more day, to make Peter go back to Mary Jane and their story as married couple to restart. And these people are majority, they want continuity to matter, they want to see where their story goes next and every single narrative today in any media ks like that nowadays. Episodic stuff is very unpopular compared to it. But in case of Spider-Man they don't realize that peter being married again doesn't mean their stories won't be shit unless they understood that their entire narrative has to change. You ABSOLUTELY can't have both ways. And we even had a taste of it with the new ultimate spider-man that came out recently, only to be shot dead by editorial.
People can want different things, your point is irrelevant. The popularity of stuff like Red Son, Gotham by Gaslight and Born again is evidence of that. Born Again especially fucked up the long established relationship between Daredevil and his Karen Page. There can be interesting things done with spiderman with or without the Mary Jane relationship, its but a tiny blip to make one particular story interesting. One of batmans best stories imo is when hes killed and his parents get fucked up about it, thats a good multiverse story. Same with Red Son. People are just shit writers. I would love to see a Deathstroke comic which gives him the Punisher/Nick Fury Treatment with his backstory, going explicitly against canon.
Lets use DC for example. First of all why are you ignoring the Earth-2 A and B, one of the very real stabilished alternate universes that we could see alternate versions (Older) still living that was destroyed by Crisis on Infinite Earths? Or how this very event lined up everything to occur in the same universe and ignoring alternative worlds for DECADES. Even more when in these years were the days when Elseworlds line existed and flourished but then at some point it just stopped? What happened in the 90s that during the 00s they changed their entire world view of alternate world?
Ive not read Crisis on Infinite Earths and for the most part, both Marvel and DC have tried to do shit things with canon in the 90s and 2000s, trying to create new storylines while making them canon with earlier stories. This makes their shit stink and not memorable for the most part. People dont care about post Hush batman cause its nonsense. People dont care about Grant Morrison Superman cause thats also shit. The only way those characters work is when you do a Killing Joke or a Year One or one specific JLA story focusing on one specific event.
And I wish this was the problem, but it isn't. What happened in the 00s that caused more comics to sell? Comics that had no relationship with each other suddenly were tied together by a very thing named events (that did exists in the 90s too). A big crossover that gobbled their entire fictional universe for a few months that helped comics to sell just by having the tagline "CIVIL WAR" above it.
2000s had a comic boom cause of the aftereffects of the British Invasion, which just started in the late 80s. By 2010, the British Invasion had less returns and the sjw invasion starting right then made comics shit. There was also the 2000s edge culture which was a leftover of the 90s. Civil War gave comics companies the bad message when it came to its success, I would say the Ultimates by Mark Millar was arguably more successful and that also gave people a very bad message. Edge does not sell on its own, crossovers sell even less unless written very well. I should know, Im a fan of the 90s JLA Avengers crossover which nobody knows except myself, purely cause its writing was very mediocre. There was also the slow creeping of comics into television and movies, which also contributed to it. Its a hodgepodge of different things, not cause of canon continuity and exploitation of superheroes. Marvel and DC are lazy as fuck, they could come up with new material but that does not mean you have to permanently kill off a hero or a villain to make the point.
I like traditional heroism but not the silver age naivety, Triangle-era Superman IMO was the best balance between “feel good” and superheroes being allowed to be a bit more “free” from the indoctrinated comic code morality and tone.
That being said, Squadron Supreme, Ultimates, The Authority and Supreme Power are all up my alley because I like their spins on superheroes “behaving badly” without being the hilarious evil of the Crime Syndicate or the edgewank of the Boys or Injustice.
I still stand by Ultimates 1&2 being perfect time capsules of the 2000s and they’re the highlights of Ultimate 1.0 followed by the Hickman run on Ultimates, that post-911 theme is just as strong as the Authority’s “end of the millennium” theme during the Ellis run. They’re good sibling pieces, especially with left and right themes both have going on.
Plus Ultimate Nick saying “The Ultimates look like a bunch of retards” is still the best thing he’s ever said.
still stand by Ultimates 1&2 being perfect time capsules of the 2000s and they’re the highlights of Ultimate 1.0 followed by the Hickman run on Ultimates, that post-911 theme is just as strong as the Authority’s “end of the millennium” theme during the Ellis run. They’re good sibling pieces, especially with left and right themes both have going on.
Plus Ultimate Nick saying “The Ultimates look like a bunch of retards” is still the best thing he’s ever said
Honestly his team has its criticisms but he really nailed the main trio. Aligning them to the political spectrum while ironically making them actually the bros the main lines aren’t was clever.
Lefty Thor, Lolbertarian Iron Man and Conservichad Cap having dinner and talking as equals was one of the best scenes. Team was dysfunctional but those three were sibling-like in their teamwork, they didn’t always get along but they were the Ultimates.
Ultimate Tony was just a good man in general, despite the end of life hedonism. Him leaving the rosary with Bruce is the scene that pretty much sums up why he’s better than mainline Tony.
It's funny ultimate thor is lefty cause hes essentially a monarch and should usually be a tradcon. There are parts of ultimates which are good but I really hate how mark wrote a lot of bullshit into it, like hulks love interest cheating on him, him essentially being an animal controlled by fury, some of the characters being assholes, idk it doesn't work for the Avengers. But it's the thing which the movie adaptations copied to shit so good I guess. I also really really hate the ultimates for making nick fury black. He's a totally different character to white nick fury which is good but people sorta act as if black nick fury is the definitive one and now he's black everywhere, except in garth ennis outings, who is infinitely better in my opinion instead of acting like a hood nigga in a corporate position.
This is what I wanted but in fact knowing that it will never happen, I would rather want to stories to not be in a shared universe like universe 616 or similars. The shared universe actually hurts more than it helps, there is only one Earth X that is built on this idea of marvel universe narratively, but most of the time it is just memberberries and a world building that isn't adequate. (X-Men in an universe with other super powered people)
And the inverse isn't true? What if a good series that you love eventually becomes shit after writers changed and the story that you loved becomes shit and in the end you are delusioned with it? This happened to me so many times that eventually it becomes apathy. Even more when in a shared universe, you WILL get fucked over by previous or future writers.
A great example is Jon, the son of superman, a very recent character that has his ENTIRE origin story altered, then he gets his own adventures with Damian and then he gets turned into an adult offscreen then he is a ultra faggot. This is just a recent case, but we can use others with even more fucked up stories like Donna Troy, Iron Man, War Hawk and so on.
People are just shit writers. I would love to see a Deathstroke comic which gives him the Punisher/Nick Fury Treatment with his backstory, going explicitly against canon.
And the reason to why we can't is because of the same canon that weights it down for the reader. The canon and continuity goes against the very pulp fiction that you said before. Even more when those same pulp heroes from yesterday still thrives in their niches. And we saw capeshit go from millions to mere thousands in comics and go from the biggest cinematic commercial success to apathy by going the exact same route. Some time ago in France we got their new Conan comics adapted from the books and it was everything that the normal marvel comics didn't do at the same time: just solo stories adapted by different characters with different artists and character designs. Meanwhile in Marvel we had the same character design and the idea of canon (not even Howard's but Marvel itself) in the same universe). Do you understand how one is much better? How can I get one of those books read it and enjoy it without being dragged down by editorial choices that wants to make money instead of good stories?
This makes their shit stink and not memorable for the most part. People dont care about post Hush batman cause its nonsense. People dont care about Grant Morrison Superman cause thats also shit. The only way those characters work is when you do a Killing Joke or a Year One or one specific JLA story focusing on one specific event.
Ah fuck off then. Your alternative is to make a event comic like Darkseid War instead of just taking Superman and doing something with him in a closed bubble? Lets use your own example: Grant Morrison Action comics new 52 run is actually what got me into Superman. I love that run to death, you know what I dont give a shit? The Justice league and the Superman title at the same time of the same publication. Do you know what else I dont like even after Morrison left? Having to do crossover events with Supergirl, Superboy ,Action comics and Superman titles. 8 issues of the same event story. Oh Superboy also had his own crossover with the Teen Titans, so you get DOUBLE bogged down by events and that is your idea of doing something better? Fuck off
You really don't seem to understand that the problem isn't writers being shit. It is the narrative structure that allows it to be a pervasive venom to other works in relation to it. Lets use Venom for example. It started in Secret Wars with the black suit, then it became its own character then fucking decades later it was the spawn of some alien overlord god that is super powerful. Because the capeshit narrative structure doesn't only affect the present into making current stories shit but also goes back in the timeline and retcons and fucks up the past too. And all these decisions are derived from the idea of shared universe and continuity, not because writers are just shit.
If it was just writers being shit we could ignore it and move to the next title. It could just be a vertigo or IDW stinker that you would move on. And there is a perfect comic to showcase this: Marvel's Trouble. The writing and art are totally fine. It itself it is an alright comic in all levels. The complains about it isn't derived from what it is but with who are depicted in the comic: aunt ben and aunt may from Spider-man. If I gave that comic for someone who doesn't know this they would be totally fine with it, but it is hated because of some lore/canon connection and not because the story is shit.
Now lets go back to current Marvel: there ate very few ongoings and currently most of it are basically just 5 issues minis that CAN be connected to other future issues but it isn't guarantee. So how a story that has a definitive end gains value from a interconnected shared world when you have a 5 issue limit? There is no point in doing so.
The shared canon is the point of origin of all these problems, some bad decision in one story fucked over the entire fictional world. Even MCU did this with that shitty blip that made people disappear. That was a narrative mistake that would have consequences in all levels of fictional that you can't just ignore.
It's funny ultimate thor is lefty cause hes essentially a monarch and should usually be a tradcon. There are parts of ultimates which are good but I really hate how mark wrote a lot of bullshit into it, like hulks love interest cheating on him, him essentially being an animal controlled by fury, some of the characters being assholes, idk it doesn't work for the Avengers. But it's the thing which the movie adaptations copied to shit so good I guess. I also really really hate the ultimates for making nick fury black. He's a totally different character to white nick fury which is good but people sorta act as if black nick fury is the definitive one and now he's black everywhere, except in garth ennis outings, who is infinitely better in my opinion instead of acting like a hood nigga in a corporate position.
It's funny to realize that despite being a comic book fan and professional writer, Marky boy really didn't know much about Marvel outside of the movies and pop culture.
As for black Nick, that was because they couldn't use George Clooney, who was supposed to be the new Nick Fury but he ducked out after reading Garth Ennis' Fury mini-series and hated it because of how violent and vulgar it was. Jackson didn't give a shit and said "fuck yeah" when Marvel approached him. And now that's the version everyone's aware of so that's the version they go with because a lot of modern comic writers are also posers.
for black Nick, that was because they couldn't use George Clooney, who was supposed to be the new Nick Fury but he ducked out after reading Garth Ennis' Fury mini-series and hated it because of how violent and vulgar it was. Jackson didn't give a shit and said "fuck yeah" when Marvel approached him.
I've never minded black Nick Fury because as far as I understand it (and I've never been a fan of the Ultimate line so maybe it's different there). He's Nick Fury Jr. and isn't a replacement for the old man. Again, my memory is fuzzy since this was like 15 years ago when I was really starting to fall out of favor with current comics and retreating to the older stuff so I could be wrong.
I like traditional heroism but not the silver age naivety, Triangle-era Superman IMO was the best balance between “feel good” and superheroes being allowed to be a bit more “free” from the indoctrinated comic code morality and tone.
To me that's why Bronze Age and 80s are the sweet spot. By the start of the 70s you really saw people go "Hey this comics code thing is retarded and it's not actually enforced by the government so why are we still going by these rules?" And you see creators returning to a pre-code laxness in what content was allowed and what they wanted to write/draw. I think that's why a lot of silver age (DC especially) stuff is too dated for me. Like it's so silly and obviously was designed to get nickels out of children's pockets from the newstands that I can't take it seriously. Some Silver Age stuff is charming sure, but Bronze Age for me is mature enough while still having restraint and traditional heroism, while also not being afraid to show the flaws of the heroes.
Don't get me wrong, I love 90s comics too as that's my wheelhouse and what I grew up reading, but 90s comics tended to have the opposite problem of no restraint and becoming goofy by people trying to out-edgy each other. Also, and I don't know if this is just me, but in the early years of the transition to digital inking and digital coloring has aged very poorly to me, and a lot of late 90s comics especially look "dark" as in there's like a filter over the printed pages and the contrast of colors is really muted.
Don't get me wrong, I love 90s comics too as that's my wheelhouse and what I grew up reading, but 90s comics tended to have the opposite problem of no restraint and becoming goofy by people trying to out-edgy each other. Also, and I don't know if this is just me, but in the early years of the transition to digital inking and digital coloring has aged very poorly to me, and a lot of late 90s comics especially look "dark" as in there's like a filter over the printed pages and the contrast of colors is really muted.
The transition to digital really was a learning curve that took a while for some colorists to get right. I love Adrienne Roy's 80s and early 90s work but some of her early forays into digital just looked awful. And you had some garish looking pages that had to be put out because the artist had dragged their feet on getting the book done.
For me, one thing I hated about going digital was when companies decided to just darken the pencils and have colorists use those instead of having a proper inker finish the lineart. It looked fine for Wolverine Origins because Richard Isanove was doing a painted style that matched Andy Kubert's pencils. But so many indie books trying to save money just looked awful because they had the wrong coloring style used for them.
Finished Tintin volume 3, this time it was in America. I fucking kid you not, there was a violent police incident after he reports a crime and gets some american police brutality treatment 10 pages in.
Quite woke for a comic nearly 100 years old. Kek, americans never change lol
I went on a bit of a comic binge while we were on tor.
Robert Kirkman legitimately has the most blatant and troublesome cuckold fetish. I bring that up not because I reread Invincible (I read /co/'s recent storyime of it beforehand and good fucking lord did the second half age like complete shit) but because I read Battle Pope, where the titular character literally cucks God.
jesus fucking christ dude
that disgusting literal cuckold character who watches his chick getting dicked down in capes wasn't as fucking blatant as this (capes was also being storytimed and no one there liked it and neither did i)
I started V for Vendetta and promptly dropped V for Vendetta because it was boring.
I reread the Authority, and it was painfully mediocre. Mark Millar in particular tried way too hard. I downloaded the omnibus or whatever from getcomics that was uncensored, and it turns out some original pages were blatant fetish shit. I mean Jenny Sparks' corpse getting raped type of fetish shit. That is a thing that happened. Look it up. I'm not going to post that here because I don't want it on my computer, and I already deleted the archive. Ironically, I think I enjoyed the replacement corpo Authority more than the actual Authority.
I read Luther Strode, which started off good as far as indie comics go. And, like most indie comics, drops the ball real fucking quick. What a waste of an actual interesting premise. Then again, it had an "alt-girl" cow ring whore for a love interest, so what was I expecting?
I'm going to try to read as much as Transmetropolitan as I can before Ellis' faggotry becomes too much and ruins the story because I kind of enjoyed the first issue.
Instead of continuously updating Frank Castle's backstory so that he fights in more modern conflicts, why don't writers make it so he is cryogenically frozen like Captain America, so Frank can retain his status as a Vietnam War veteran? I feel having that aspect of his backstory be interchangeable is a mistake.
Oh, this was that transgender superhero they tried so hard to shill during Absolute Power and whatever thing in space they did with another non-straight superhero (who was also shilled) and was probably introduced earlier than that. I thought he was boring and they basically made him look like a "normal" woman in every way other than occasionally referencing him being transgender. I guess DC realizes their only audience is progressives because this is just sad.
Instead of continuously updating Frank Castle's backstory so that he fights in more modern conflicts, why don't writers make it so he is cryogenically frozen like Captain America, so Frank can retain his status as a Vietnam War veteran? I feel having that aspect of his backstory be interchangeable is a mistake.
They likely realize Frank’s appeal comes from being grounded in reality (at least for a comic). That’s why he still uses boring assed rifles in a world of hellfire shotguns and Galadorian energy weapons. Sure, he gets a War Machine suit or a Frankenstein makeover or a gun that shoots swords from time to time, but those things seem to lack staying power.
