it’s here! The third THANOS AND DARKSEID: CARPOOL BUDDIES OF DOOM. Written by Justin Jordan, Drawn by Rafer Roberts. You can read the first two THANOS AND DARKSEID comics here.
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Andulka
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@mikeexner3
it’s here! The third THANOS AND DARKSEID: CARPOOL BUDDIES OF DOOM. Written by Justin Jordan, Drawn by Rafer Roberts. You can read the first two THANOS AND DARKSEID comics here.
Adamant may be on hiatus, but that doesn’t mean the AdamanTeam isn’t hard at work! Here’s a sketch by new member of the team, artist Dann Franco! http://adamant.loopholecomics.com #comics #webcomics #makecomics #sketches
He’s so intense!
That time Sina Grace almost had a problem.
That last panel. That’s what’s up.
Can you explain why Marvel thinks that doing hip hop variants is a good idea, when absolutely no announced writers or artists on the new Marvel titles, as of now, are black? Wouldn't correcting the latter be a much better idea than the former?
What does one have to do with the other, really?
Hi Tom! I hope you see this before it goes viral and you tune out the replies. I may be too late.
The short version is here, in Whit Taylor’s “The Fabric of Appropriation.” The long version:
Killer Mike, a rapper I grew up listening to and who Marvel recently paid homage to with the Run the Jewels variant covers, once said, “Closest I’ve ever come to seeing or feeling God is listening to rap music. Rap music is my religion.”
I can relate. A few years ago, I found myself in Tokyo for work. I don’t speak Japanese, but that didn’t stop me and my friends from running wild over the city for a few days. One of my favorite experiences—a cherished experience—was when I ended up in Shibuya looking at shops. I found a streetwear spot that was down some stairs and around the corner. It didn’t look like a streetwear shop from the outside, but the signage and windows had a vibe, so I stepped in.
Inside were a couple customers and two shop workers. I was the only black guy in the room, and it was small, so I shopped quickly and went to check out. The clerks didn’t speak English, but they definitely spoke hip-hop. They saw my shirt, a riff on Nas’s “Illmatic” cover, and we bonded over one of the greatest rap albums of all time, kicking favorite lines back and forth. I paid and left, richer for the experience. We connected because we’re part of the same culture.
I say this not to brag, but to emphasize this: I’m squarely in the target audience for the rap covers you’re homaging, and I know first-hand how incredible rap music actually is.
Rap is worldwide, but rap is black, too. There’s white in there, and where would rap music be without our latin brothers and sisters, but in terms of perception, coding, impact, and legacy: it’s a black art form. Undeniable, like saying “Midnight Marauders is the best A Tribe Called Quest album.” (That’s a rap joke, too.)
One issue with Marvel publishing hip-hop-themed covers in the wake of not hiring black creators is that…a dialogue goes two ways. Axel Alonso said Marvel has been in a long dialogue with rap music, but that isn’t true. It’s a long monologue, from rap to Marvel, with Marvel never really giving back like it should or could. Break the Chain was decades ago, you know? (I did appreciate the Aesop Rock shout-outs in Zeb Wells & Skottie Young’s fantastic New Warriors from way back, however!)
One has to do with the other because of optics. If you don’t employ black creators, and then you purport to celebrate a black art form for profit (and props on hiring a few ferociously talented black artists for the gig!), people are going to ask why that aspect of black culture is worth celebrating but black creatives aren’t worth hiring. I know how many black writers Marvel has hired and allowed to script more than two consecutive issues of a Marvel comic. Do you? Do you know how many black women have gotten to write for Marvel?
Or, more directly: Storm is the highest profile black character in comics. Which is great! But…she’s mostly been written by white men, and a very small fraternity of black men, throughout the decades. Imagine what a black woman could bring to the character. Shouldn’t a black lady get a chance at bat? I grew up on Alison Sealy-Smith, and I’ve got a soft spot for Halle, but there’s a gap there.
Back to optics: you can’t celebrate and profit off something without also including the group that you’re profiting off the back of. Marvel has made a lot of money off brown faces. A portion of X-Men’s juice is from the struggle for civil rights, and we all know what the phrase “black Spider-Man” has done for the perception of your company. (He’s Puerto Rican too, tho.) So to see Marvel continue to profit off something very dear to black people without actually giving black people a seat at the table…I was going to say it “stings,” but in actuality it sucks. It makes Marvel look clueless and it makes black people wonder why they bother with your comics.
Whit Taylor’s “The Fabric of Appropriation” went up this week. It’s a measured look at cultural appropriation, both why it happens and how. Her last point (which I’m going to spoil, forgive me) is that “maybe it’s not so much about who has control over a design, but whether the people it originates from feel in control of their identities.”
With these hip-hop covers? You’re in our house. (“Whose house?”) These albums changed lives, provided the soundtrack to our youth, or maybe just sounded really nice with the bass cranked and the treble at half on the EQ. To claim you’re paying homage (for profit, with no-doubt rare variant covers to be sold at a mark-up to an audience that often does not include the people these albums were created by) while simultaneously not being willing to hire the people who could bring those concepts to your comics in an authentic fashion…the optics are bad, man.
Jay-Z once said, “I came back and it’s plain, y'all niggas ain’t rappin the same. Fuck the flow, y'all jackin our slang. I seen the same shit happen to Kane.” He was talking about biters, aka shark biters, aka culture vultures, aka cultural appropriators.
If you’re going to homage hip-hop, do it in the best way possible: keep it real and put some people of color behind the pages in addition to on them.
“Protons Electrons Always Cause Explosions.” Thus spake the RZA, whose favorite Marvel superhero is the Silver Surfer.
Peace.
This. Just this.
Some pages from THE LEGACY OF LUTHER STRODE #2 Out June 24th, 2015 Written by Justin Jordan Art by Tradd Moore Colors by Felipe Sobreiro Issue 1 is already available, so grab it from your local comic shop, or pick it up digitally right here.
Sheesh. Gorgeous.
I just thought this set of tweets was really important.
This is how I feel about Cinderella and Snow White. They’re pretty important, I think.
THANK YOU
Cinderella is such a powerful and admirable character. Those who view this movie as anti-feminist either haven’t actually seen it or missed the point entirely. These tweets sum it up better than I ever could.
Bravo.
I’ve got some bad news, writers. In comics, the artist works harder than we do. On a simple one to one basis, they just plain work harder. A writer can easily write a script a week (or at least, should be able to.) An artist has to spend an entire month on the art. That’s a 1:4 ratio. That means...
Being good to each other is so important, guys.
that went in an unexpected direction
Excellent.
Heroes con Commission rates
9x12 head/bust 50 and full body 100. 11x17 full body 175. 300 with full BG. Add 25-50 for washes 50-75 for full color. Extra character are negotiable. No original characters.
Drew's rates! He's goooood.
The Boy Wonder, comic short by Jake Wyatt.
http://jakewyattriot.tumblr.com
can you say INSPIRING? Because wow what
I had forgotten ALL ABOUT this thing. Mr. Parker brought this post to my attention. Turns out I drew this thing like… four years ago? Three years ago?
I love the hell out of Robin, y’all. I have a soft spot for all teenaged vigilantes.
Very cool.
Panel zoom of Adamant, Page 3, available for your viewing and reading pleasure at http://adamant.loopholecomics.com #loophole #webcomics #comics #superhero #robots #offwithhishead
SPLANG!
I think patience is the most important thing. Collaborators don’t go anywhere. If there’s someone you want to collaborate with, you don’t need to go crazy trying to get them to do as much as possible. Good things will happen; the most important part is just doing your work. I learned that quickly but there’s still this weird fear of becoming quickly irrelevant or I guess not breaking in hard enough. There’s this fear that you put out a book and no one will care. There’s always something to wish about. I wish we could have sold better, I wish we could get more press and sometimes it’s a bummer, but at the end of the day I’m really happy and excited with where I’m at so whenever I feel that way I quickly feel like an asshole because two years ago I never would have guessed that I’d be able to do the amount of work I’m doing. So I really think patience is huge. For anyone breaking in it can feel impossible and really soul crushing at times, but as long as you’re doing work you believe in you’re getting something out of it and pushing forward.
-Frank Barbiere, Comics Beat
http://comicsbeat.com/frank-barbiere-talks-five-ghosts-avengers-world-and-phasing-into-comics-interview/
(via fjbarb)
Had a great 2014, thanks to all who read Invincible and all who follow me on my sites. I appreciate you to pieces! I wanted to give you a Short comic I wrote and drew a while ago. It was published in an anthology called GIANT SIZE KUNG FU BIBLE STORIES! Get the book if you can, it’s got tons of great shorts. Hope you enjoy my contribution, I had a lot of fun breaking loose and doing whatever I wanted. Amazing colors by Kelsey Shannon. Here’s to 2015!
Ryan
So icy. So icy.
= FULL COMIC HERE =
XOXO is a romance comic paulallor wrote and I drew! (Please click through for the full 6 pages). This is just the pitch, and XOXO is still looking for a dear home. But oh man, I loved working on this so much and I reeeally really have my fingers crossed to do more in the future. Paul is fucking fantastic.
Welp. This should be a thing somewhere. Really nicely done by two fantastic creators.
Sooo… here it is first two strips to COFFIN HUNTERS.
Two east coast cops, that don’t like each other much, chase nefarious grave diggers and other oddities across the weird wild west.
UPDATED as we see fit.
Happy Christmas!
Paul & Joe, doing awesome comics about the weird, wild west. What's not to love?
Kendall is good.
Reblogging this to include the last page I finished inking with the set. I’m pretty proud of these pages, so much so that I’m willing to put them out there again without any cringing feelings of “why did I do that?”.
I feel pretty satisfied with comic pages I do. not quite the same with single illustrations. But the latest page I was trying to include a lot more blacks. I don’t know if it necessarily works, but I’ve been very ‘scared’ of doing heavy blacks on figures and I think it worked out okay. I’m also concerned that last page might look too different, but I guess that’s something to be concluded when the whole set gets finished and it can be viewed as a whole. I’d just read the first issue of All New Captain America and really wanted to try something with that style that Stuart Immonen and Wade Von Grawbadger have cultivated so well.
I need to find someone capable and willing to (re)color these for me. I don’t think I’m doing a good enough job with them on my own.
There's a reason his name is Kendall Goode, people. And the colors are gorgeous, don't let him fool you.