Post by The Captain on Oct 11, 2019 15:57:49 GMT -5
...the following about comics:
- Captain America, particularly Steve Rogers never-quit attitude and his unending devotion to his ideals - Skottie Young's artwork, particularly on I Hate Fairyland - "Adult" comics like V for Vendetta, Watchmen, From Hell, and Fables that make me think and demand re-reading - Milk and Cheese comics, because no matter what kind of mood I'm in, they always make me smile. Same goes for Sam and Max: Freelance Detectives - Finding some hidden gem, be it for reading purposes or financial gain, while digging through the dollar bins
"As a youngin' I used to share the colt 45 on the street corners with my friends. I'm not proud." - icctrombone
"If you are strong, be a protector. If you are smart, be a humble influencer. Strength and intelligence can be weapons, so do not wield them against the weak. That makes you a bully. Be bigger than that." - Chris Pratt
The fact that there is a Highway to Hell but only a Stairway to Heaven should tell us all we need to know about expected future traffic.
I love that the characters never age. It's great that a character who debuted in, say, 1950 or 1960 can still have adventures now. With the best will in the world, the likes of Sean Connery and Roger Moore had to stop playing 007 once they were too old. An 89-year-old Sean Connery could not play Bond now. But characters who debuted decades ago can have adventures now.
I love that no character can truly die. They can be brought back with a clever storyline or via a company-wide reboot. A soap opera cannot do that. When a character dies in a soap, for the most part, they can't be brought back (it has happened, of course, e.g. Dirty Den in Eastenders, and that shower nonsense in Dallas, but it's generally avoided).
I love that long-running characters can reflect the various decades, whether it be Batman's zany sci-fi exploits from the 60s, the dystopian adventures he had in the 80s/90s or countless other approaches.
I love that characters can change by reflecting real-world technology. The Iron Man of the 60s had hi-tech armour. The Iron Man of today, while the same character, can use AI, nanotechnology, etc. The Batman of old studied maps to make his way around foreign cities. The Batman of 2019 no doubt has GPS.
Ben Reilly. Great character screwed over HORRIBLY.
Calvin and Hobbes.
Jack Kirby. Nuff said.
Kurt Schaffenberger's ladies. Hell, throw his crossdressing Jimmy in for good measure, too.
The May "Mayday" Parker Spider-Girl comics. THIS is how modern superhero comics should be written.
That one existential Garfield strip where Garfield is a ghost trapped in denial.
The early Golden Age Superman created by Siegel & Shuster. I much prefer this anarchist SJW who couldn't fly over the nigh-omnipotent tool of the establishment who replaced him.
Most anything surreal and absurd.
Last Edit: Oct 11, 2019 20:43:41 GMT -5 by Duragizer
"We must recognize, and loudly proclaim, that every one, whatever his grade in the old society, whether strong or weak, capable or incapable, has, before everything, THE RIGHT TO LIVE, and that society is bound to share amongst all, without exception, the means of existence it has at its disposal."
Oh, oh, oh - so just because you happen to love something or other, you think all these comics companies should ignore business realities and lose money by publishing comics that meet your personal specifications, all just to satisfy your selfish desires? HOW DARE YOU?!!!
Post by codystarbuck on Oct 11, 2019 21:55:50 GMT -5
Peanuts, Calvin & Hobbes and Foxtrot. Alex Raymond's Flash Gordon Hal Foster's Prince Valiant Alan Moore's ABC line Patty Cake Bone Uncle Scrooge Super Goof Junior Woodchucks The Spirit Fighting American Meskin & Robinson Black Terror Dick Ayers' Ghost Rider Comico's Johnny Quest comics The Sky Wolf backup strips, in Eclipse's Airboy
"Fortunately, ah keep mah feathers numbered for just such an emergency!"
Post by draketungsten on Oct 11, 2019 22:35:30 GMT -5
Roy Thomas on Conan. classiccomics.org. A Hulk slug-fest, especially against one or more Avengers. A frustrated JJJ. The Legion Of Substitute Heroes. The DC Absolute/Marvel Deluxe (or whatever they call it) format, with over-sized pages but not as impractically thick as the ominbusus. I love that Simonson added some depth to Volstagg. The first 50 issues of Milligan's Shade.
NEXUS (but only when Steve Rude draws it) LIBERTY MEADOWS (it's criminal that Frank Cho couldn't continue making a living doing this wonderful series) GROO THE WANDERER by Sergio Aragones SALLY FORTH by Wally Wood JANE'S WORLD by Paige Braddock DR. STRANGE by Steve Ditko GIRL GENIUS by Phil Foglio GHITA OF ALIZARR by Frank Thorne COLEY COCHRAN by John Blackburn ULYSSES by Lob & Pichard
Last Edit: Oct 11, 2019 22:43:19 GMT -5 by profh0011
Post by chadwilliam on Oct 11, 2019 23:08:43 GMT -5
...that whatever it is that made me lose my childhood interest in things such as hockey, video games, and Star Wars let me keep my love for comics. I can still connect with this medium in much the same way I could as a kid while I look back on other interests from that time with a sort of weird detachment. For whatever reason, my brain has decided that the adventures of Ace the Bathound have earned their place amongst the great classics of literature and I'm not being anything less than sincere when I say that.
All right, I apologise for that bit of sarcasm I posted above, but I just couldn't resist.
In case that was too sarcastic, I'd say that I absolutely love the unique information-delivery possibilities offered by the combination of text and image.
If that's too abstract, then I absolutely love the world-creating power of artist + writer when it comes to narrative comics.
If that's too general, then I absolutely love: the colour and pageantry of superhero comics; the visually-enhanced ambience or atmosphere of horror comics; the immersive experience of fantasy comics like the best of Warren's or Marvel's stuff; the mind-blowing, consciousness-expanding comics of writers like Steve Gerber, hindered or aided as they might be by the artwork; the sheer story-telling virtuosity of B-D creators like Hergé or Jacobs, where every panel is a study in itself; the utterly convincing characters and stories of 80s and 90s independent comics (Love & Rockets, Dirty Plotte, Hate, etc) the utterly unconvincing but still fun characters and stories of 80s and 90s independent comics (Lloyd Llewellyn. Love & Rockets, etc)
Post by beccabear67 on Oct 12, 2019 0:18:05 GMT -5
Beanworld. I always love a visit to Beanworld.
Also Krazy Kat, Zot, Al Hubbard Scamp, Little Archie, Yoko Tsuno, Captain Easy, and The Avengers (the real Avengers with The Vision, Black Panther, Captain America, The Wasp, Iron Man, Thor...
...and basically just any pile of four color newsprint comics I haven't read minus the extreme muscles and guns era stuff. Like Scrooge McDuck I could have a bin full of them funny books and swim in them, throw them up and have them rain down on me, burrow under them, count them, stack them, arrange them...