Hey, everyone! If you haven’t yet, please check this out. Like it, share it, reblog it. Do whatever it takes to spread the word please! We aren’t stalling. haha We are actually working on it diligently. Your wait will be worth it.
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Static Shock cosplay of the costume from the Fan Film for Static that im working on :) what u think
BRHood: I THINK I JUST FELL IN LOVE.
MARRY ME.
Fucking amazing.
(Source: damnlayoffthebleach)
Cover and solicit for Catwoman #0
Oh look it’s the origin of Catwoman’s ass and how it got so round and prominent and why her right buttock is so much bigger!
Nope, just another character origin story.
At least March is drawing the interiors. Perhaps he is indeed off the book.
CATWOMAN #0
Written by JUDD WINICK
Art by RAFA SANDOVAL
Cover by GUILLEM MARCH
On sale SEPTEMBER 19 • 32 pg, FC, $2.99 US • RATED T+
• The secret origin of Selina Kyle!
• Major shocks are in store for Catwoman this year – and this is just the beginning!
I just had legit spasms in my back, because that pose makes me hurt just looking at it.
WHY DOES EVERYTHING HAVE TO BE TITTIES AN ASS ALL OVER THE PLACE? Why can’t women in comics just be in a strong, dynamic pose? Or is that just too much to ask for? -_-
Speaking of Wonder Woman, She had a twin sister…
Nubia
Formed from clay as a twin to Wonder Woman, Nubia was kidnapped by Mars(Ares), who raised her, controlling her mind so that she would help him bring down the Amazons.
After a session in the Amazon Memory banks, Wonder Woman is confronted by Nubia, who challenges her to single combat. The two initially wrestle, then face each other with swords. Wonder Woman and Nubia seem evenly matched until Nubia knocks the sword from Wonder womans’ hand then hesitates to kill her, giving Wonder woman the chance to wrestle her to a draw.
The stranger declares “I am Nubia!”, then she and Wonder Woman embrace.
Looks like someone’s wearing their asskicking boots today!
“It was so odd. It kept talking constantly about ‘space’ and followed me until I reached Graxos IV. Although I felt some pity for the object, I turned it in to the Green Lantern Corps not long after, as they would better know what to do with it.
Lantern Rayner later informed me that was perhaps… an ill-informed decision. He declined to elaborate why, though he mentioned Lantern Salaak quickly tired of being called ‘space dad’.”
ADFDSDFGFDSD Space dad. That is THE CUTEST
dead laughing.
I am shaking and crying
;~;
I SNORTED.
YOU ARE MEAN, DANNI! THIS IS SERIOUS BUSINESS THE MAN’S PARENTS ARE DEAD
(Source: the-beginning-of-project-badass)
Seeing as how I’ve done both the top ten for best and worst superhero costume redesigns, I feel obligated to put my money where my artistic mouth is and take a stab at fixing or updating some of these costumes. I’ve picked five here based on:
- It’s a particularly awful outfit that doesn’t fit the character, or
- It’s a solid character who just needs some updating or tweaking
I’ll list these in order of “reboot depth:”
5. Starfire
What’s wrong: In the wake of DC’s “new 52” this felt like a no-brainer. Starfire is a decent character who’s always, in my opinion, gotten the short end of the costume stick. I get that she’s supposed to be sexually liberated and somewhat polyamorous, and that’s fine, but dressing like a John Carter’s Princess of Mars-themed stripper doesn’t cut it. Really, up until the Teen Titans cartoon she’s always been in the most awkward and impractical getups for someone fighting crime.
The Fix: I went for the simple route and took some notes from the cartoon (notably the skirt). I wanted to make sure it kept the bubbly, innocent feeling of the character while also hinting at some power (with the exposed arms here). The overall effect is meant to convey someone who’s tough, cheerful and comfortable flying around in the air.
4. Dr. Strange
What’s wrong: I love Dr. Strange, but he’s always had the worst outfits. For a guy who basically hangs out in his house in the West Village, he seems to always wear the most ostentatious getups. He’s not an alien from another planet or from some culture that would dress that way, he’s a grown man who became a wizard well into adulthood. Nothing wrong with having some style while you’re maintaining the balance of the mystic planes.
The Fix: Two parts Vincent Price, one part Christopher Lee and one part Dr. Orpheus, this Dr. Strange is still magical, but with a more coherent design direction.
3. Ms. Marvel
What’s Wrong: Simply put, I think it’s embarrassing for Marvel to showcase a prominent character like Ms. Marvel and have her wearing that outfit. It’s just so tacky, and tells us nothing about the character. Basically they just changed the colors of Jean Grey’s Phoenix costume and exposed more skin. Come on, guys.
The Fix: Since her origins are ostensibly tied with Captain Marvel, I decided to go a route that’s more along the lines of the Ultimate Marvel version of that character, where her abilities come from alien technology rather than vague space magic. The notion that she’s, for example, permanently bound with this technology that she doesn’t fully understand can make for some interesting stories. There can be some potential with this character again with just a little bit of tweaking.
2. Wonder Woman
What’s Wrong: Wonder Woman, in my opinion, is a character that’s always been on the cusp of being really neat but never quite making it like Superman or Batman. Although a feminist pop icon, her origins are too tied up with creator WIlliam Marston’s obsession with bondage. Because of this (and an all-too-frequent parade of poor or sexist writing), she’s never had a solid, progressive design. The 21st century can update this character.
The Fix: One part Thor, three parts Xena. I’d push the mythological angle further. Just as nobody thinks of Thor as “Superman with a hammer” I don’t want Wonder Woman to be “girl Superman,” as she’s sometimes seen. I’ve also tweaked her origin slightly, making her a more literal “statue come to life.” This isn’t as extreme as it seems: in regular canon, Wonder Woman’s origin was that she was formed out of clay by the queen of the Amazons, and imbued with the powers of the Greek Gods. This, I think offers more story possibilities if she’s less literally human, physically. Her personality would remain the same (nothing more fun than the perspective of an Amazon in the modern world), but we now have an added Pinnochio-style layer.
The costume change is mostly conservative. Because of the strong fetish associations (and overall impracticality for a fighting Amazon), I’ve removed the lasso in favor of more traditional Greek weapons. The overall effect is intended to push Wonder Woman’s core themes further while making her also stand out as more than just “the female superhero.”
1. Superman
What’s Wrong: Since his creation, Superman’s drifted from being a progressive champion for the common man to a patriotic middle-America boyscout who represents the establishment and traditional values. When he was developed in the 30s, Superman was very much a Depression-era hero, mostly going after villains like crooked money lenders and saving people who were being abused by the system. His superpowers came from the fact that he was from a more advanced society, and his morals too were because he was simply a brainier, more sophisticated guy. During and following WW2 and into the Cold War, though, he became an official symbol for American values in particular (it was originally “Truth and Justice,” without “the American Way”). He was now not just an alien, but an alien raised by simple Kansas farmers and his abilities had a more generic “superpower” explanation. This is all fine, really, but I think the original concept is more compelling these days.
The Fix: ”Superman: the Man of Tomorrow, Strange Visitor from Another World.” I really want to push that. First off, Kryptonians should actually look like aliens and not white people. Here I have Kal-El from a race of beings who are essentially post-human (in that they’ve long since merged with technology). They’re strange to our mortal eyes but mean well. I’d keep the “destroyed planet” origin but more heavily emphasize the “non-interference” part of Superman’s mission statement.
If you’ll remember from the 70s movie, his father Jor-El told him he was forbidden to interfere with the course of human history, but when you think about it, that’s kind of vague. What I’ve done is added a Star Trek or Uatu the Watcher kind of prime directive to all advanced species: Kal-El can’t let people know that he’s an alien, nor can he openly interact with them using advanced technology. Still, he’s a compassionate guy and wants to help, so he takes the form of “Superman” to inspire the mortals in a constructive way. Also, the notion that he can take on different forms means that the Clark Kent secret identity need not be as bad as it currently is.
The costume redesign holds to the basic themes but makes it a little more working class. The buttons at the top are meant to invoke overalls, and the sleeves are cut a little higher for someone working with their hands. I’ve removed the spandex and gone with looser fitting slacks, while keeping a short cape and boots, since he’s still an adventurer.
Overall I want to evoke a classic Superman feel while making it a little more modern in its exploration of the sci fi themes. He’s still basically the same guy: an alien from another world looking to fight injustice, but without the overt patriotism and a quirkier execution of the secret identity.
*********************
So there you have it. I’ve hope you’ve enjoyed my superhero costume trilogy!
that
wondie
is perfect
And the idea of Supes looking non-human is very interesting :9 Hope they do an elseworlds like that one day
The Starfire and Dr. Strange redesigns are my favorites of these. c:
![comiccharm:
comicsalliance:
The Problem Of Women In Comics: Where They Are (and Aren’t) [Opinion]
ComicsAlliance welcomes guest writer Rachel Edidin, who works as an editor at Dark Horse Comics.
Lately, between Womanthology and DC’s All-New-Almost-All-Male 52, the popular lens has turned-as it is wont to do every year or so-to the Problem of Women in Comics, namely, whether there are enough of them, and if not, what, if anything, should be done to fix that. As often as not, those conversations have two side effects:First, they erase the women who do work in comic, by ignoring them, by dismissing them as tokens, or by discarding wholesale the areas of comics where women are most numerous and visible. The difference between the questions “Where are the women?” “Why aren’t there more women?” and “Why are so few women here?” is subtle but savage, and too often, the latter two questions and their nuance are discarded in favor of the clean sweep of the former.Second, they bypass context. The Women-in-Comics problem doesn’t exist in a vacuum. It’s the product of a myriad of factors, combined and compounded over decades, tangled inseparably with the structure and the very definition of comics as we recognize them. If we’re going to fix this (and I don’t think there’s any reasonable doubt that this is something that needs to be fixed) we need not only to address immediate problem — the comparative dearth of women in comics, particularly in shared-universe superhero and other high-visibility genres — but to examine what created and now maintains that inequality.So, how did we get here? What steps would you need to take to create and calcify the kind of demographic inequality that has become endemic to comics? Turns out it’s not that hard, and I’ve narrowed it down to three simple steps.
1. Purge the mainstream of all but one narrow subgenre, produced by two publishers.
2. Spend decades persistently and systematically alienating female creators and readers from that genre.
3. Manufacture pretexts to dismiss or simply ignore any work that doesn’t take place within that narrow genre / publisher paradigm.
Rachel elaborates on those points in this excellent editorial for ComicsAlliance.
This is such an amazing article and sums up my feelings so perfectly. If you haven’t read it you really should!](http://24.media.tumblr.com/tumblr_lqpay5O4oC1qcw9rdo1_500.png)
The Problem Of Women In Comics: Where They Are (and Aren’t) [Opinion]
ComicsAlliance welcomes guest writer Rachel Edidin, who works as an editor at Dark Horse Comics.
Lately, between Womanthology and DC’s All-New-Almost-All-Male 52, the popular lens has turned-as it is wont to do every year or so-to the Problem of Women in Comics, namely, whether there are enough of them, and if not, what, if anything, should be done to fix that. As often as not, those conversations have two side effects:
First, they erase the women who do work in comic, by ignoring them, by dismissing them as tokens, or by discarding wholesale the areas of comics where women are most numerous and visible. The difference between the questions “Where are the women?” “Why aren’t there more women?” and “Why are so few women here?” is subtle but savage, and too often, the latter two questions and their nuance are discarded in favor of the clean sweep of the former.
Second, they bypass context. The Women-in-Comics problem doesn’t exist in a vacuum. It’s the product of a myriad of factors, combined and compounded over decades, tangled inseparably with the structure and the very definition of comics as we recognize them. If we’re going to fix this (and I don’t think there’s any reasonable doubt that this is something that needs to be fixed) we need not only to address immediate problem — the comparative dearth of women in comics, particularly in shared-universe superhero and other high-visibility genres — but to examine what created and now maintains that inequality.
So, how did we get here? What steps would you need to take to create and calcify the kind of demographic inequality that has become endemic to comics? Turns out it’s not that hard, and I’ve narrowed it down to three simple steps.1. Purge the mainstream of all but one narrow subgenre, produced by two publishers.
2. Spend decades persistently and systematically alienating female creators and readers from that genre.
3. Manufacture pretexts to dismiss or simply ignore any work that doesn’t take place within that narrow genre / publisher paradigm.
Rachel elaborates on those points in this excellent editorial for ComicsAlliance.
This is such an amazing article and sums up my feelings so perfectly. If you haven’t read it you really should!