billy for fucks sake you can fly you magical princess


billy youre a lazy piece of trash being flied around fucking shit


That’s not flying him, that’s discreetly copping a feel.


Lovely teen marvel hero fanart from Christopher Judd (Website/DA)

Young Avengers: The End Of The Season


Those who closely follow solicits have noted the absence of Young Avengers from the just-released February set. They’ve been wondering if that’s the end of our run.

In short: yes.

We were planning on revealing this at next week’s Thought Bubble Young Avengers panel, but the solicits were a…



DC Comics And “The Normal Course of Business” [Opinion]

By Andrew Wheeler

It’s a rough time to be a fan of DC’s comics. The publisher has made so many problematic moves in the past couple of years that the brand is now as strongly associated with disgruntled talent and unhappy readers as it is with iconic characters like Superman and Batman.

In the wake of the inauspicious departure of the Batwoman creative team of J.H. Williams III and W. Haden Blackman, I intended to write something about DC’s editorial troubles. I got as far into the opening paragraph as noting, “I have to write quickly because there’ll be another fiasco along any minute,” before another fiasco came along - the Harley Quinn try-out controversy.

At this stage, talking about any individual incident at DC as a blip seems too narrow. A good week is now a blip for DC. The company has profound problems, and the question we have to ask is, can it be fixed?


Nice to see the compiled list of reasons why I loathe the New 52 with a passion.



Gail Simone’s morning Twitter feed, part 2/2. Welcome to Bizarro Comics.

The addition of actual dude writers who get the joke made this hilarious to me. Also, I love Marjorie Liu, you guys. :)

Writer Notes On Young Avengers 8



Discussion and spoilers and bears oh my, beneath the cut.

Read More

So glad to see the commentary is up on this fantastic, super-complicated issue. Process details like these remind me why I still want to do comics— even with the insane deadline pressure.



Since launch, Kieron Gillen and Jamie McKelvie’s Young Avengers has been one of the most dynamic and gorgeous series at Marvel Comics. That tradition is set to continue at the end of this year, when a whole bunch of guest artists are going to come on board for a special New Year’s Eve themed storyline. Announced at Marvel’s Cup O’ Joe panel during San Diego Comic-Con, the confirmed names for Young Avengers include: Joe Quinones, Ming Doyle, Christian Ward, Becky Cloonan, and Emma Vieceli. On top of McKelvie, that’s one hell of a line-up. (via Comic-Con: Young Avengers’ Artist Showcase - IGN)

And the first Afterparty interview over at CBR.

Very happy we’re getting away with this. 


You’ve probably never heard of Jackie Ormes and that’s a goddamn tragedy. But it’s not surprising—there is no “Jackie Ormes Omnibus” available on, no “Collected Patty-Jo ‘n’ Ginger,” no “Essential Torchy Brown.” She won no awards, can be found in no hall of fame, and is usually treated as “an interesting find” by comic historians. She’s become a curio, a funny little facet of history, undiscovered, even, by today’s wave of geek-oriented feminism.

Jackie Ormes was the first African-American woman cartoonist. Yeah. That’s who we’re ignoring. Her work for the Pittsburgh Courier and the Chicago Defender—both incredibly influential African-American newspapers—was utterly groundbreaking and remains unique, even in the context of modern comics. Her first work, Torchy Brown in Dixie to Harlem, featured the adventures of the titular Torchy, a stylish, intelligent young African-American woman who (feigning illiteracy) boards a whites-only train car to New York City and changes her life. Torchy’s story is a great, irreverent window into the migration of Southern-born African-Americans to the North, a movement that defined 20th-century America—but it is also the story of a girl on her own, living her own life and making her own choices. Torchy was an incredible aspirational figure, the likes of which barley exists in modern comics: an independent, optimistic, fashionable and adventurous black woman. Ormes would later revive Torchy’s story in Torchy in Heartbeats, a strip that introduced international adventure into the heroine’s life. In Heartbeats, Torchy traveled to South America, dated idealistic doctors, battled environmental exploitation and confronted racism at every turn. She was, frankly, awesome

And then there was Patty-Jo ‘n’ Ginger, her most successful and longest-running work. Patty-Jo ‘n’ Ginger was a single panel gag strip, like Family Circus—an illustration with a caption beneath it. Ginger was a beautiful, stylish young woman always accompanied by her little sister Patty-Jo, a clear-eyed, sardonic kid who spent most strips calling out the bullshit they endured on a daily basis as black women. Ormes’ talents shine through especially well in these little stories: her canny wit, the absolutely gorgeous clothes she drew her women in (seen also in her Torchy Togs paper dolls) and her skillful, succinct way of imparting to the reader just how goddamn stupid our society can be about gender and race. Patty-Jo is never shamed or taken down a peg for being an intelligent, outspoken little girl—in fact, she was made into a highly popular doll that wasn’t an obnoxious Topsy-style stereotype. She preceded Daria, Emily the Strange, Lian Harper, all those wry little girls we celebrate today—and yet, I see her on no t-shirts, can find her in no libraries. Patty-Jo is celebrated only in doll-collecting circles at this point, as the cute little symbol of a bygone age.

At Jackie Ormes’ height as a cartoonist, her work reached one million people per week. In the 1940s and 1950s, she reached one million people per week. She didn’t just surpass barriers—she leapt merrily over them. She introduced the general populace to a voice that had always existed, but was seldom heard—a voice that is still smothered today. She created African-American women who unapologetically enjoyed glamour, who pioneered their own futures, who refused to keep silent about the walls they found themselves scraping against every day. I haven’t even covered the half of it: Ormes was also an avid doll collector, served on the founding board of directors of the DuSable Museum of African-American history, and was targeted by the McCarthy-led witchhunts of the 1950s. Remember Jackie Ormes. Celebrate Jackie Ormes. Visit The Ormes Society and support the essential work they do. Keep her memory alive so that we may enjoy a million more Torchys and Patty-Jos in our comics—instead of the paltry handful we are offered today.

(First in a series on women in the comics industry.)

(Source: prynnette)


in case you hadn’t heard, jim steranko is on twitter.



I’ve got three things I’ve got to get turned in today, two kids to get fed and dressed and a bag to pack and a flight to catch, so I can’t respond to this the way I’d like, but I’m putting it here so I don’t forget.  

I also need to let my temper subside a bit.  If I were to reply right now I’d resort to name-calling and insults and we all know there’s no ground to be gained there. 

Instead, when I’m not shaking anymore, I’ll recount my career trajectory AGAIN.  [Magazine writer/research assistant—>comic reviewer—>7 years /10K+ pages adapting manga into English—>anthology shorts—>co-writing gigs—>one-shots—>minis—->ongoings]  

Maybe I’ll get Alejandro Arbona to attest—AGAIN!—that I was blind-submitted for my first gig at Marvel.  I’ll offer that if you’re looking for Men to Credit for My Career, you should look first to Neil Gaiman, Warren Ellis, Peter Rose, Steve Niles and Jamie Rich — all of whom were responsible for making introductions or getting me chances to submit my work well before Matt Fraction had any pull in the industry.  (I’ll also state in no uncertain terms that I wasn’t sleeping with any of those men, because I know, dear Anon, that is your next assumption.)  Or Brian Bendis, who had championed my work in a way I will never be able to adequately thank him for.  (Ditto Steve Wacker.)  

(Also not sleeping with Brian or Steve, just so we’re clear.)

Maybe I’ll ponder why it isn’t Fraction who’s considered to have benefited from nepotism.  After all, more than 10 years ago now, Matt Fraction was my plus one to Joe Quesada’s 40th birthday party and it was me who sent copies of Last of the Independents to Joe and Axel.  I mean, clearly, it was those gestures that got Fraction his career — certainly not the merit of his work, right? I mean, come on — those Hawkeye Eisner noms are part mine, right? 

(I can’t imagine how sick Fraction must be of hearing me tell that story. But I bet it’s not half as sick of it as I am.)

(The first person I met in the industry was Wil Rosado. Through him, the first editors I met were Andy Ball, who’s since moved on, and Joey Cavalieri. Just in case anybody wants to make a chart. This would be… maybe 4 years before I met Fraction, Gillen, Ellis, McKelvie et al on the WEF.) 

Okay, deep breath.  

Bendis is going to tell me that I shouldn’t acknowledge this, that I’m feeling trolls, but here’s the pickle: people deny that this happens.  We’re told that the insults to our dignity working women face are in our imagination, that it’s a thing of sexy Mad Men past.  It’s WOMEN who make this a thing, right?  (Hysterical, don’t you know.)  We’re to the point where I meet young women who won’t identify as feminists because the struggle is over and it’s only a thing if you make it one. 


It’s not a natural assumption to leap to the conclusion that I got my job because of my marriage.  It’s the product of deeply-ingrained sexist thinking.  I can name for you a half a dozen men who did, in fact, get their first big two gigs because of who they knew and their dignity and their qualifications have never been called into question.  I’m lucky if I go a week.  

I was recently directed to a post on a snake pit of a message board (what was I thinking, even going to look?) by a man I’d known as long as I’d known my husband, a man I’d met at the same time—a man who had felt free to ask professional favors of me on multiple occasions—who was lamenting how “easily” I’d gotten to where I was because of Fraction. When friends of mine pointed him to my CV, he half-apologized because he had no idea.  Apparently he thought Marvel—a publicly-owned company—was in the habit of handing out gigs to freelancer’s wives just for kicks.  Then he threw up the bit about it being a natural assumption. 

I would say simply ‘fuck that guy’ and chalk it up to his not being half as smart as he thinks he is, but here’s the thing: 

That guy has daughters.  

For them, and for my daughter and for your daughter, I am going to occasionally shine a light on these things… even though it both enrages and embarrasses me.  

I don’t know if it’s the right call, but I know that ‘ignore it and it’ll go away’ isn’t working. 

I need to figure out a way to contain my outrage enough to talk about it in a way that doesn’t attack, but invites dudes like Anon to rethink their ‘natural assumptions’ without setting myself up as an uppity bitch that they’re invested in proving wrong.  

I… I clearly don’t know how to do that right now.  But I’m going to figure it out.   


Right now, the kids need breakfast and my son has questions about the xenomorph that can’t wait another second.  

I’m out. 

Men In Comics: Systematically Taking Away Everything Women In Comics have Accomplished

Actually i suppose you don’t need the “in comics” bit.

This is completely unacceptable behavior, thinking, believing. As an industry it’s never going to get better for women until the men in it say FUCK THAT. My wife was published long before me. My wife was writing in comics before me. She was in comics even before she knew me. And on top of working her ass off, she (and surely innumerable others) have this ANONYMOUS BULLSHIT slung at them. She’s earned every one of her gigs and more on her own. And she works harder than many and hasn’t once taken to a message board anonymously to sling this kind of rancid bullshit at others.

And this dick of a little boy thinks the reason she gets to do his dream job is me.

Kelly Sue DeConnick/Matt Fraction is a real-life OTP that will destroy your horrible misogynistic argument by taking absolutely none of your lazy bullshit. And it’s AMAZING.


They’d better not make me regret drawing this, or so help me God…

Posted here at Runs on Duncan.

I can’t stop laughing at this jfc


“Ho ho, don’t you all feel things got a little out of hand with this issue?”

— David Aja, just now.


America process. 


Mindblowing preview of the next Hawkguy spotlighting Pizza Dog. Aja gettin that Eisner.

Source: CBR
posted 1 year ago with 1,884 notes
via:kierongillen source:oliversava
#hawkeye #PIZZA DOG #comics #marvel
But i’ll say this: they’re not gonna fuck. She doesn’t want to fuck him and he doesn’t want to fuck her. It’s not going to happen. They never daydream about it. They don’t wonder about it. They won’t idly pass the time thinking what if. There is nothing sexual in their relationship. Flirtatious? At times. Sexy, even? To a point, maaaybe? I don’t even want to play with will they or won’t they. Because they won’t. So I’ll say, again, unequivocally, as long as I’m on this book, it’s not in the cards even remotely for either of them. I am interested in a love between these two that has nothing to do with sex or physical/sexual attraction. The dog won’t die and they won’t fuck. The end. —

Matt Fraction reassures me and others fearing the possibility of Clint/Kate becoming canon. 

Because NO.

(via newageamazon)

“The dog won’t die, and they won’t fuck. The end.” needs to be crosstiched on something. 


(via sweaterkittensahoy)


(via the-wordbutler)


(via hellotailor)