Comics Alliance Podcast 103: Cape Comics Art, Arkham Aesthetics, and Agents of W.T.F.
Welcome back to the ComicsAlliance podcast, covering the latest comic book entertainment news topics. Joining Senior Editors Andy Khouri and Caleb Goellner for this episode are Senior Writer Chris Sims and Staff Writer Andrew Wheeler.
This week’s topics:
- The nature of mainstream American comics with respect to idiosyncratic creators working on corporate properties — particularly the artists drawing titles published by Marvel and DC Comics.
- The group also checks in on the Agents of SHIELD television series, which by most accounts is something of a misfire for the otherwise victorious filmed entertainment division of Marvel.
- The aesthetic impact the Arkham Asylum games may or may not be having on the ever popular Batman universe of comic books and other stories and products.
By Betty Felon
As a cosplayer who currently resides in a rather cozy secret lair (aka a small apartment in Boston), one of my continuous obstacles is being able to neatly organize all of my clothing, collectibles, and costumes in a confined space, while still maintaining enough space for sewing and prop-building. Ever since I started cosplaying, I’ve always been envious of the spacious secret headquarters and hideouts of the characters that I was emulating, especially the heroes who had the space to display all of their previous incarnations of their costumes and their entire artillery of weapons and gadgets. Since most of us will probably never be able to own our own Batcave (let alone, Wayne Manor), organization is the best weapon for storing your alter-egos and preventing the chaotic mess of fabric and Worbla in your limited work space.
In an installment of IKEA Singapore’s series of “IKEA Bedroom Stories” commercials, Frank (civil servant by day, cosplayer by night) describes his room as an “organized mess” of costumes, craft supplies, and action figures. Like many cosplayers, Frank struggles to keep his limited space tidy and orderly while working on costumes and props, which often results in an inevitable chaos of fabric and scattered costume pieces (an issue that I am all too familiar with during convention season).
Ask Chris #186: The Strange Rise Of The X-Men
By Chris Sims
Q: Why do you think the X-Men didn’t find their audience until two decades after they were created? – @godofthunder851
A: I’ve got a minor quibble with your timing in this question — it was more like 12 or 15 years, really — but you’ve got an interesting point there. I think most comics readers are well aware of that piece of trivia about how the X-Men were about to get the axe before Giant Size X-Men #1 breathed new life into the franchise and set them on the path of becoming what was probably the single most popular and influential franchise of the ’80s and ’90s, and that’s not really how things usually work. In comics, you tend to either come out of the gate to massive, enduring popularity (like Batman or Spider-Man), come out strong and then fade away for whatever reason (like, sadly, Shazam!), or just sort of flounder in the midcard. It’s rare that something sticks around on the edge of being canceled for a solid decade before it finds its footing, and nobody bounced back harder than Marvel’s Merry Mutants.
But really, what you’re asking here is two separate questions: Why didn’t the X-Men take off in 1963, and why did they in 1975? So let’s look at the history and see if we can’t figure it out.
The War Rocket Ajax podcast returns to ComicsAlliance on Fridays, featuring early, comics-specific content availably exclusively in advance of the guys’ full length episode, covering games, wrestling, film and other media.