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oluka · 8 months

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Thoughts on Invincible Iron Man #8 and #9

When I read Invincible Iron Man #8, I couldn’t believe my eyes. A reference to Iron Man #182, in my Iron Man comics? More likely than I thought. The fact that the reference was tasteful and also showcased Duggan’s understanding of Tony’s character was the icing on the cake. To sum up the scene: Tony just got hurt very badly by two Stark Sentinels and is half conscious. He reaches out and asks Emma for help. She gets into his mindscape, which we discover is a snowy alley full with empty bottles and sad tags on the walls.

“No way out, safe, hope”. This is the melodrama I want to see in my Iron Man comics. I also loved that Emma didn’t dismiss Tony’s trauma: “It’s real, but it’s not what’s happening right now.” She helps him get out of this flashback/mindspace, and the fight goes on.

There’s this beautiful panel where Tony surrenders his suit to save Emma:

Look at it!! Look at the colours! Look at the lines! The motion!

Anyways. Tony manages to get Emma away from the fight, taunts Feilong to kill him. Then in issue #9, he refuses Steve’s help when he arrives (because he needs to be alone and he wants to protect his friends) and then he meets up with Emma in the sewers, runs back to his workshop to make her a ring to conceal her from Orchis, and comes back to her. He also bandages his own injuries.

He gets down to the sewers again, and gets into an argument with Emma about his and her actions (or lack thereof) against Orchis/Feilong. And then…

Tony has a panic attack. Which I think is the first time, ever, we see this happening explicitly in an Iron Man comic (I’m happy to be proved wrong). He has a panic attack because everything is going to hell and Rhodey is getting hurt in prison and Feilong is trying to kill Rhodey and Tony. Tony is hurting, physically and mentally, and Duggan does not shy away from showing that. I think that Frigeri made an excellent job in drawing Tony so angry and literally foaming at the mouth: he’s not doing well, his emotions are all over the place. He cries (!!) and asks for help, again. I’m really surprised that Tony asks for help twice in as many issues. Is it because he trusts Emma to calm his mind? Is it easier for him to ask her instead of his friends because it’s less personal? Or is he so desperate that there is no other way? I don’t know. Regardless, it’s interesting.

This time, Emma brings him to his happy place:

His happy place, his “idealistic self-image”, is him surrounded by the Iron Man armours. Emma’s comment about there being less unsavoury people and “tramps” than she’d expected pleased my vindicative heart. But more importantly: last issue, we got to see Tony’s worst mindscape, where he falls into when everything is going to hell and he’s dying. And it was him, alone, in the snow, surrounded by his biggest weakness and fear: alcoholism. In this issue, we see his happy place, which is essentially: Iron Man. What Tony loves most about himself is Iron Man, what he hates most is his alcoholism. AAAAAAAA. This is such quintessential Tony. It’s him. I think I haven’t seen such a good characterization in Iron Man comics in a decade. I still barely believe it.

The following panels set up Tony and Emma’s alliance for the upcoming comics. Judging from the solicits for IIM 12 and 13, they’re going to be a team for at least until those issues, and maybe further.

Emma’s ruthlessness and Tony’s genius can make for a deadly combo. They’re not playing around. I hope we will see them shine together. I can’t wait for them to give Feilong and Orchis what they deserve. Also, note the way they phrase their alliance: “To their deaths.” Add to that the way they are framed, both dressed sharply and facing each other like that, and my mind immediately made the connection to wedding vows: “Until death do us part”. Am I reading too much into it, or was this intentional from Duggan and Frigeri? Maybe future wil tell.

To end this long post, here are unrelated thoughts:

1. I love the current trend of Avengers actively helping Mutants fight against Orchis. We have Tony, of course, but also Steve who reformed the Uncanny Avengers to fight against Orchis; Thor just saved a mutant in Immortal Thor #1, we’ve had mentions of Vision, Reed and T’Challa helping on the information side… It’s great. Between AXE Judgment Day and Fall of X, it seems that Marvel writers/editorial have decided to stop pitting the X-men and Avengers against each other. Let’s hope it stays that way. Avengers help everyone, and it’s nice to finally see it even in x-men books. Also, it gives us awesome panels:

2. Tony is his own nemesis confirmed. Thank you, Duggan.

And that’s it! If you’ve read this far, consider telling me in comments or tags what you thought. I might start doing posts like this for every Iron Man comic week.

#tony stark #Invincible Iron Man (2022)#emma frost #iron man #wednesday spoilers #long post

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earthstellar · 7 months

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Image Comics has dropped their solicits for December 2023, and it looks like Duke #1 is where the Transformers/GI Joe crossover is gonna start really kicking off for the Energon Universe.

I know the general reception to the crossover at the end of ROTB was pretty rough, so it's interesting that they're getting the ball rolling in a GI Joe mini-series.

Personally, my dad was drafted into two wars against his will and suffered greatly for it, so I never had any interest in GI Joe because my dad vehemently hated that shit, as he felt it glorified war to children and that this is morally unacceptable. (He preferred the depiction of Army life of that era in MASH, which he said was at least more honest and aimed at adults.)

I also had classmates who ended up joining the military who had been big fans of GI Joe, two of whom were killed in Afghanistan. I know GI Joe wasn't the only factor involved in their decisions, but it certainly does not make me inclined to like the franchise.

My mother lost her first husband in Vietnam. He had also been drafted against his will. (I strongly dislike the GI Joe Vietnam era material in particular, for perhaps obvious reasons.)

So, I admit my general dislike of the concept of GI Joe as a franchise is at least partly based in my own trauma (and that of my family) relating to the US Army.

I've never been a GI Joe person and never will be (on moral and trauma based grounds), so I fully admit I am not well versed on the lore of that universe, and as such, it's hard for me to make any guesses at what Duke #1 might bring.

But what interests me is that on certain forums and other social media, I've seen very limited audience hype about this crossover in general, especially from the Transformers crowd.

After the extremely progressive writing and fresh visual style and designs of the IDW Transformers storylines which appealed to a lot of people across several age ranges and generations of fans, it feels weird (to me at least) to suddenly have a more old school style crossover with what is essentially a US military propaganda franchise-- At a time when the sociopolitical zeitgeist is that "going traditional" is often associated with "going backwards".

All art is political, and so on.

But I do wonder if what seems to be a lack of audience hype is partially due to the fact that not a lot of Transformers fans (at least, not many under the age of 40 based on what I'm seeing around the internet at the moment) seem to be all that into GI Joe.

A lot of young people are not exactly in love with US military fantasies, and the last Transformers comic series with IDW was a big hit with younger/teen readers-- A lot of that audience might be lost, here.

(And vice-versa from what I can tell, although I'm not in any GI Joe fan spaces so I'm not sure what the mood might be in that community in regards to the Transformers element of this crossover.)

All that having been said, the Energon Universe is only just getting started, and who knows what the comics will actually contain!

I do like G1, so I like the designs for the Transformers as drawn in this run this far.

And who knows, maybe they'll do something new with GI Joe for this. I'm aware that in at least one of the cartoons, they were essentially on the run from the military instead of working for it, which is an interesting twist. Perhaps something similar might happen here, with some Joes siding with the Autobots instead?

It's not fair to judge before a comic is even released, so I'm just thinking out loud here in regards to the crossover concept in general.

I'd be interested to hear what anyone else thinks:

Will you be checking out Duke #1 as a Transformers fan interested in the crossover?

Have any of you been interested in GI Joe previously?

If you're an IDW Transformers fan, are you interested in the Energon Universe?

Any other thoughts on the crossover, any conjecture or hopes for the direction of this run?

I want to give the Energon Universe a chance, but as I mentioned, I do have some difficulty attempting to get into GI Joe in general.

That having been said, I guess we'll have to wait and see what they do with this crossover.

#just thinkin #tw military #transformers #energon universe #transformers comics #long post #idw transformers #idw 1 #maccadam #maccadams

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brandtandstein · 11 months

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Heeeyyy, the news is out!! We were invited by @whatthe-shea to contribute to the awesome new Harley anthology HARLEY QUINN: BLACK + WHITE + REDDER, wherein we got to make our stupidest dreams come true and invent an all-animal supervillain team for our story GREAT PETSPECTATIONS!

From the top we have:

Harley herself, the Maiden of Mischief

Barkseid, scourge of the Armakennels and chewer of Father Boxes

Ares’ Kowarla, the master of disaster, the Passive Aggressor

The Squiddler, Eddie Nygma’s Eight-Armed Bandit of Knowledge

Dex-Starr, the terrifying and fickle Red Lantern

And last but definitely not least, the Best Boys Bud & Lou!

We had the most fun time with all of this, and really hope you check it out when it drops in august!

#dc comics #superheroes #supervillains #harley quinn #harleen quinzel #Darkseid #Barkseid #Riddler #The Squiddler #Ares #The Kowarla #Bud & Lou #dex starr #red lantern #pets #superpets #LOOK WHAT THEY LET US DO

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youhaveforgottenmealready · 9 months

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The Man Who Killed Batman

I admit to being a little dismayed by the view I was seeing. I'm not precious by any stretch of the imagination, and my Pa would have lectured me until my ear fell off if he had seen me pull a face at somebody else's housekeeping, but this place needed some real T.L.C.

There were some attractive planters to the right and the remains of what must have been pretty flowers in pots arranged haphazardly, but the overall view of the grounds was a dismal one. I skirted around an overturned and rusting wheelbarrow, stepped over an abandoned rake, and made my way to the front door. The sign on the door almost made me turn and leave.

"No soliciting. No reporters or press. No autographs," I read aloud. The, "Huh," I added was because I'd never seen anything so unfriendly in my life.

Since I was a reporter — and even had a mint-condition copy of Detective Comics #50 in my bag I secretly hoped to have signed — I should probably have just turned tail and headed for the hills. But my Ma never raised a quitter.

I knocked twice, nice and loud. Then I noticed the actual state-of-the-art speaker system to the right of the door and felt a little foolish. I pushed the shiny white button and waited patiently. After an awkward minute, a voice came through the speaker.

"What do you want?" said a man's voice. I had a strange image of a curmudgeon shaking his fist at me and telling me to get off his lawn. The voice didn't sound old, exactly, but it certainly wasn't warm and welcoming.

"I'm Clark. Kent," I said. "I was hoping to speak to Bruce Wayne."

"Regarding?" The tone was ice-cold, and I felt like squirming like the time I'd had to interview a known drug lord.

"An interview. About Detective Comics. About the death of Batman."

There was a long pause before the voice returned with a snarled, "Sign says 'No reporters.' Can't you read?"

I ducked my head at the insult. But nobody had ever accused me of being a coward, or particularly on the ball when it comes to knowing when to back down. "I can, but can you?" I asked.

"Excuse me?" the voice snapped.

I was pushing my luck here, I knew. But nothing ventured, nothing gained.

"Well, it's just, if you could, you'd know how upset readers are. People have been writing letters to complain this whole week. Nobody understands the reason behind his sudden death. He's a beloved character, and this unexpected end to a popular story has upset fans. People want answers."

I may have overdone it because there was another long pause after my little speech that was just long enough I started to wonder if I'd been hung up on and left to stand on the stoop like a vacuum salesman.

At last, "Been practicing that?" was the sardonic reply.

I was half relieved and half embarrassed. It was funny to get called out like that, but still feel some sense of victory because I hadn't failed yet.

"Just a bit. Please. I work for the Daily Planet. We're a good, fair, paper. And, well, more importantly, I'm a fan."

It was a risk — for all I knew he hated his fans since he put 'No autographs' on the sign same as 'No reporters' — but I would feel dishonest if I left without sharing this.

I reached into my satchel and extracted my copy of Detective Comics #50. Holding it still felt like magic after all those years of finally finding it. Each time I get to relive what it felt like to hunt it down, follow the trail, and finally unearth it at a garage sale — some dumb girl desperate to raise enough money for a trip to New York that she'd sold all her dad's comics after he died.

I held it up before the camera. "This is my copy. It's my prized possession."

There was another long delay where I fought an anxious feeling that made me want to squirm.

Finally, the voice said, "I haven't seen a copy in years." There was something soft about the tone, almost nostalgic. Then the door buzzed and I heard the bolt slide back.

"Come in. Shoes off. Don't touch anything."

I exhaled and fought down the smile I felt curling up at the sides of my mouth. And then I stepped through the door.

*****

Started this a few years ago. This is what I put at the top of the doc:

For this story idea, Bruce is the creator of the Bat-Man comic book series. Then one day, without any explanation, he kills off the character. The death is quite final.

Clark Kent is sent to get the story from Bruce — why did he kill off a very popular character?

#batman #fanfiction #superman #exerpt from a story i'll never write #superbat #AU

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soranatus · 1 month

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Hey, where did you find the power girl and ww ai variant covers? I'm image searching trying to find if they're actually associated with DC at all, but all I could find was the PW image posted on Reddit 9 hours ago. I'm using Google, which objectively sucks, so I know it's probably elsewhere too.

it’s from the June solicitations, I’ll give you a link:

#q&a

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ericafails · 1 year

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WOO! The cover for Alex De Campi and my new book from IMAGE Comics is OUT!

The book itself won't be out until October- but bookstore solicits are happening already I guess???

Anyway, I was thinking about those horny Calvin Klein underwear ads when this version of the cover came about.

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dailyjsa · 1 year

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THE NEW GOLDEN AGE #1

From the Justice Society of America to the Legion of Super-Heroes, The New Golden Age will unlock DC's epic and secret-ridden history of heroism, launching a new group of titles set firmly in the DC Universe. From the 1940s to the 3040s, heroes take on the great evils of their time. But in the aftermath of Flashpoint Beyond, those heroes and villains will have their lives turned upside down. DC's future…and its past…will never be the same again. But how are Mime and Marionette connected to this? Why are Rip Hunter and the Time Masters the most unlikable heroes in the DC Universe? And who or what is…Nostalgia? Don't miss the start of the strangest mystery to have ever plagued the DC Universe.

Written by Geoff Johns

Art by Steve Lieber, Jerry Ordway, and Diego Olortegui

Cover by Mikel Jańin

Available at your local comic shop and online TODAY

Variant covers:

Todd Nauck variant

Jay Hero variant

Dan Hipp variant (1:25)

Michael Allred foil variant (1:50)

David Talaski foil variant (1:100)

The original solicitation mentions a Gary Frank variant, but no images have been released yet.

Full preview from this issue is below the cut:

#dc comics #justice society of america #jsa #helena wayne #huntress #doctor fate #green lantern #batman #rip hunter #stargirl #the flash #the new golden age #new releases #long post

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smashpages · 9 months

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Out this week: Big Game #1 (Image, $4.99):

It was inevitable that, at some point, Mark Millar’s creations would all appear together in a crossover. Heck, I’m surprised it took this long. Big Game is by Millar and artist Pepe Larraz, and from what the solicits say this isn’t even the real main cover, because the real one has some huge spoiler on it. Expect appearances by Kick-Ass, Nemesis, the Magic Order and all the other Millarworld creations.

See what else is arriving at your local comic shop this week.

#big game #image comics #mark millar #millarworld #pepe larraz #comics #comic books #new comic book day #can't wait for comics #ncbd #new comics day #new comics #new comics wednesday #out this week #this week's comics #kick-ass #magic order #nemesis #wanted

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gorogues · 2 years

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Spoilers for comics in September!

These are from the official solicits for that month, which you can see at Newsarama.

Flashpoint Beyond #5 and The Flash: Fastest Man Alive #1 have been re-solicited, so they’re included here again. (Edited to add: the listing for Flash: The Fastest Man Alive has now been pulled from the solicits on most sites, probably due to the ongoing controversy. I’ve deleted it from here too, to avoid confusion).

But the Flash dino is coming up in Jurassic League (hooray!) alongside the Reverse-Slash, and Zoom appears on the cover of the George Perez poster book.

THE JURASSIC LEAGUE #5 Written by DANIEL WARREN JOHNSON and JUAN GEDEON Art by JUAN GEDEON Cover by DANIEL WARREN JOHNSON Variant cover by JONATHAN MARKS Hispanic Heritage Month variant cover by DAN MORA $3.99 US | 32 pages | 5 of 6 | Variant $4.99 US (card stock) ON SALE 9/13/22 Darkseid has revealed himself, and the entire world trembles beneath his might. Can even the newly assembled Jurassic League stand a chance against this ankylosaur antagonist and his Legion of Doomasauria? Experience this prehistoric penultimate chapter to find out!

Guess this means Flashpoint is delayed.

FLASHPOINT BEYOND #5 Written by GEOFF JOHNS, JEREMY ADAMS, and TIM SHERIDAN Art by XERMÁNICO Cover by MITCH GERADS Variant cover by XERMÁNICO 1:25 variant cover by SCOTT KOLINS 1:50 variant cover by HOWARD PORTER $3.99 US | 32 pages | 5 of 6 | Variant $4.99 US (card stock) ON SALE 9/6/22 The Clockwork Killer's identity is finally revealed as the dust settles after the showdown at Arkham Asylum. But as we learn the truth behind how the Clockwork Killer came to be, Thomas is faced with a reality-altering choice!

DC POSTER PORTFOLIO: GEORGE PÉREZ Art and cover by GEORGE PÉREZ $24.99 US | 42 pages | 12" x 16" | Softcover ISBN: 978-1-77952-095-1 ON SALE 11/1/22 DC Comics is proud to present this poster portfolio of covers celebrating the prolific career of renowned artist George Pérez. Featuring artwork from The New Teen Titans, Wonder Woman, Crisis on Infinite Earths, and more, this collection spotlights George's penchant for crafting some of the most iconic and unforgettable images in comics. The posters in this volume present but a fraction of the work by this beloved illustrator whose art has touched the hearts of comics fans around the world for generations.

#Captain Cold #Girder #Professor Zoom #Reverse Flash #the Flash #the Trickster #Axel #Weather Wizard #Mirror Master #Evan #Tar Pit #Fallout #Zoom #the Joker #Flashpoint #spoilers: comics #solicits

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elfdragon12 · 2 years

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I guess since SG blaster is getting a new toy in the fall. They are getting a comic issue as well. I just saw the September issues on tw2005. And it’s SG Blaster vs SG soundwave!

https://news.tfw2005.com/2022/06/24/idws-transformers-comics-solicitations-september-2022-459221#images

Oh my goodness, I love him so much

#Ask #Lunarsilverfox

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rabbittstewcomics · 2 years

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Episode 357

Non-Marvel/DC September 2022 Solicits

Comic Reviews:

DC:

Aquaman and Flash: Voidsong 1 by Jackson Lanzing, Collin Kelly, Vasco Georgiev, Rain Beredo

Black Adam 1 by Christopher Priest, Rafa Sandoval, Matt Herms

Dark Crisis: Young Justice 1 by Meghan Fitzmartin, Laura Braga, Luis Guerrero

Flash 783 by Jeremy Adams, Amancay Nahuelpan, Jeromy Cox

Earth Prime 6: Hero's Twilight

Milestones in History by Reginald Hudlin, Steven Barnes, Amy Chu, Melody Cooper, Leon Chills, Alice Randall, Toure, Tananarive Due, Pat Charles, Kathryn Parsons, Francesco Francavilla, Jamal Igle, Ray-Anthony Height, Denys Cowan, Eric Battle, Don Hudson, Ron Wilson, Arvell Jones, Maria Laura Sanapo, Domo Stanton, Jahnoy Lindsay, John Stanisci, Jose Marzan Jr, Mike Gustovich, Chris Sotomayor, Michael Atiyeh, Emilio Lopez, Hi-Fi, Dan Brown, Eva De La Cruz, Andrew Dolhouse

Superman's Pal Jimmy Olsen's Boss Perry White by Matt Fraction, Steve Lieber, et al

Marvel:

Marvel's Voices Pride 2022 by Mike O’Sullivan, Stuart Vandal, Rob London, Andrew Wheeler, Daron Jensen, Alyssa Wong, Patrick Duke, Chris McCarver, Christopher Cantwell, Danny Lore, Luc Kersten, Grace Freud, Ira Madison III, Alex Philips, Charle Jane Anders, Ted Brandt, Kei Zama, Lucas Werneck, Brittney Williams, Ro Stein, Scott Henderson, Lorenzo Susi, Stephen Byrne, Lee Townsend, Rachelle Rosenberg, Rico Renzi, Jose Villarrubia, Michael Wiggam, Tamra Bonvillain, Brittany Peer

Miles Morales and Moon Girl 1 by Mohale Mashigo, Ig Guara, Rachelle Rosenberg

New Fantastic Four 1 by Peter David, Alan Robinson, Mike Spicer

Punisher War Journal: Blitz by Torunn Gronbekk, Lan Medina, Antonio Fabela

Who is Jane Foster Thor Infinity Comic by Torunn Gronbekk, Leonard Kirk, Matt Milla

Marvel Meow 9 by Nao Fuji

Image:

Beware the Eye of Odin 1 by Doug Wagner, Tim Odland

Clementine GN by Tillie Walden, Cliff Rathburn

Silver Coin 11 by James Tynion IV, Michael Walsh

Dark Horse:

Lonesome Hunters 1 by Tyler Crook

Ahoy:

Wrong Earth: Confidence Men 1 by Mark Waid, Leonard Kirk

Dynamite:

Samurai Sonja 1 by Jordan Clark, Pasquale Qualano

OGNs:

Runaways Diary by Emily Raymond, Valeria Wicker, James Patterson

Creepy Cat vol 3 by Cotton Valent

Additional Reviews: Obi-Wan ep6, Ms. Marvel ep3, Kevin Can F*** Himself s1, Star Trek: Prodigy s1, Spiderhead, Absolute Fourth World vol 1, Trevor: The Musical, Bone Orchard Mythos Passageway, Centaurworld

A new feature announced!

News: Kraven movie plot, Conan license to Titan, Omninews, Miracleman Silver Age, Riverdale spinoff featuring Jake Chang, Scout kickstarts Stabbity Bunny, new OGN series from Molly Knox Ostertag

Trailers: Stranger Things s4.2

Comics Countdown:

Batman: The Knight 6 by Chip Zdarsky, Carmine Di Giandomenico, Ivan Plascencia

Deadly Class 53 by Rick Remender, Wes Craig, Lee Loughridge

Newburn 8 by Chip Zdarsky, Jacob Phillips , Casey Gilly, Soo Lee

Nocterra 11 by Scott Snyder, Tony Daniel, Marcelo Maiolo

Nightwing 93 by Tom Taylor, Bruno Redondo, Wade Von Grawbadger, Adriano Lucas

Lonesome Hunters 1 by Tyler Crook

Something is Killing the Children 24 by James Tynion IV, Werther Dell’Edera, Miquel Muerto

I Hate This Place 2 by Kyle Starks, Artyom Topilin, Lee Loughridge

Beware the Eye of Odin 1 by Doug Wagner, Tim Odland

Flash 783 by Jeremy Adams, Amancay Nahuelpan, Jeromy Cox

Check out this episode!

#comics #podcast #podernfamily #rabbittstew

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sophiegold123 · 8 days

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Analytical Application 5: Gender and Sexuality

Queer Gaze:

In Jack Halberstam's "Looking Butch: A Rough Guide to Butches on Film," the term "queer gaze" refers to a way of looking that challenges traditional heterosexual and patriarchal frameworks through a queer lens. It challenges binary codes of visual pleasure proposed by psychoanalytic film theory, emphasizing the fluidity and multiplicity of sexual desire and identity and reimagining of spectatorship beyond traditional frameworks. Within Halberstam’s text, they reference Valerie Traub’s “The Ambiguities of 'Lesbian' Viewing Pleasure.” In which Traub suggests that the "queer gaze" can be invoked within mainstream heterosexual films, such as Black Widow (1987), “Traub suggests that Black Widow represents lesbian desire between its two protagonists and "solicits a 'lesbian' gaze at the same time that it invites male heterosexual enjoyment".” (1) She is highlighting how the queer gaze involves the ambiguity of viewing pleasure and the multiplicity of spectator positions, challenging binary ways of looking.

This panel image from The Sandman (1988-1996), “A Game of You” (issues 32-37, page 340) can be seen through the queer gaze as the visual representation challenges traditional norms of gender, sexuality, and visual pleasure. The depiction of same-sex intimacy, of two women in a relationship holding each other, offers an alternative perspective on love and desire while simultaneously allowing a reimagining of spectatorship beyond traditional frameworks. The women in the photo are disrupting traditional notions of femininity within gender norms as both of their hair are cut short. Viewers are encouraged to adopt multiple positions of identification with the image as the women challenge heteronormative definitions of sexuality and gender. This further emphasizes the ambiguity of viewing pleasure and the multiplicity of spectator positions that Traub mentioned while helping define the queer gaze. Furthermore, one of the women is topless; the queer gaze challenges the tendency of the male gaze to objectify women's bodies for the pleasure of male viewers. Instead of portraying the topless woman as an object of sexual desire for a male audience or as vulnerable to the male gaze, the queer gaze portrays her as an active participant in her own sexual expression and desire. The queer gaze allows engagement with the image from a multiplicity of identities within spectators, therefore not confining the interpretation to a singular, male-centric perspective.

Male Gaze:

In "Visual Pleasure and Narrative Cinema," Laura Mulvey addresses the concept of the male gaze in cinema and its implications for the portrayal of women. The male gaze refers to the way in which visual media, particularly cinema, is structured around a heterosexual male perspective and traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience. This does not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the determining male gaze’ presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’. Mulvey declares that in patriarchal society ‘pleasure in looking has been split between active/male and passive/female’ (2). Men do the looking; women are there to be looked at.

The panel image from The Sandman (1988-1996), specifically from "A Game of You" (page 449), portrays the male gaze in action. Here, a man working in a comic store treats the character Barbie as a passive object of male desire. Within this lens, the spectator viewing the panel is also compelled to adopt the male perspective, exercising control over the gaze and objectifying Barbie in the process. The worker’s objectification is evident as he crudely comments on her breasts, reducing her to mere body parts. His behavior is echoed by other men in the store, who join in laughter at his remark. This collective reinforcement of the male gaze serves to perpetuate traditional gender roles and power dynamics. Barbie's observation that the man appeared "really amused" by her interest in comics further highlights the gendered expectations imposed by society; that only men are meant to enjoy superhero comics. Instead of encouraging her exploration of new interests, the man's reaction belittles her, contributing to the perpetuation of patriarchal norms.

Gender Performativity:

In this panel image from The Sandman (1988-1996), “ The Doll's House” (issues 9-16, page 288) the character Rose goes to a drag show in which her landlord, Hal, was performing in. “Hal” transforms into “Dolly” when he/she does drag and this shows the performative nature of gender. Rose states “I’d been to see Dolly’s show. That was what Hal called himself, when he was herself.” This emphasizes how gender is constructed through societal norms of gender roles and how gender is a performance of these norms. Drag performances provide avenues for resistance and subversion within the constructs of ideologies that aim to impose subjectivity upon us. Through drag, the norms and expectations dictated by these ideologies are challenged and even rendered ineffective. Through visual media like comics, the complexities of gender construction and performance can be brought to the forefront, encouraging critical reflection and promoting inclusivity and acceptance of diverse gender identities.

Gender norms:

Judith Butler in her essay “Gender is Burning: Questions of Appropriation and Subversion” defines gender norms as societal expectations and standards that dictate how individuals should behave, dress, and express themselves based on their perceived gender identity. These norms are often reinforced through cultural practices, institutions, and discourses, shaping individuals' understanding of what it means to be masculine or feminine. Butler's analysis suggests that gender norms are not inherent or natural but are instead socially constructed and performative, meaning that they are enacted and reproduced through repeated behaviors and interactions. She states “Identifying with a gender under contemporary regimes of power involves identifying with a set of norms that are and are not realizable, and whose power and status precede the identifications by which they are insistently approximated.”(5)This suggests that aligning with a particular gender involves conforming to a set of norms that may or may not be fully achievable, that these norms hold power and authority independently of individual identifications.

In this panel image from The Sandman (1988-1996), “A Game of You” (page 443), the character Wanda's transphobic aunt reinforces traditional gender norms by insisting that individuals must adhere to predetermined gender roles assigned by society. She articulates the belief that one's gender identity is determined by a higher power and that deviation from these assigned roles is unacceptable. The aunt specifically mentions adhering to norms such as wearing colors associated with one's assigned gender. She states “you mustn’t go trying to change things.” This dialogue is in light of Wanda's recent tragic death. Wanda’s aunt shows no empathy for her and calls her death a “mercy”, further stating “otherwise he’d probably have died up the line from Aids or some such”. Wanda’s aunt is implying that any deviation from these norms would lead to dire consequences. This highlights the pressure placed on individuals to conform to binary gender categories and by admonishing any attempts to challenge or change these norms, the aunt perpetuates the marginalization of individuals who do not fit neatly into traditional gender categories.

Sex/gender binary:

Judith Butler's work in "Gender is Burning: Questions of Appropriation and Subversion," deconstructs the sex/gender binary. Butler argues that gender is not an inherent or stable characteristic but rather a performative act. The sex/gender binary traditionally categorizes individuals into two fixed categories based on biological sex—male and female—and assigns corresponding gender roles and expectations. However, Butler challenges this binary by asserting that gender is a social construct performed through repeated actions and behaviors rather than an innate attribute tied to biological sex. In her view, this performative aspect of gender destabilizes the binary notion of sex and gender, opening up possibilities for individuals to subvert or challenge traditional gender norms.

In this panel image from The Sandman (1988-1996), “A Game of You” (page 413), the character Wanda tells Maise Hill about her transgender experience, and disrupts the sex/gender binary. The phrase "I was born a guy" recognizes her assigned sex at birth based on physical and biological characteristics. This aligns with the binary notion of sex, where individuals are categorized as either male or female based on biological attributes. The statement "now I'm a gal" highlights the individual's gender identity, which differs from her assigned sex at birth. Wanda's self-identification as a woman and her expression of gender as an internal sense rather than strictly tied to biological sex serves to disrupt the binary understanding of sex and gender. Furthermore, the phrase "although I haven't gone all the way" suggests a nuanced understanding of gender transition. Wanda acknowledges that her transition may not conform to expectations such as undergoing surgical procedures. This highlights the diverse ways in which individuals navigate their gender identities, showing how gender and sex are not binary and there are not just two fixed categories based on biological sex.

Footnotes:

Jack Halberstam, “Looking Butch: A Rough Guide to Butches on Film” in Female Masculinity (Durham: Duke University Press, 1998) 178.

Laura Mulvey, “Visual Pleasure and Narrative Cinema” in Film Theory and Criticism (New York: oxford University Press, 2009), 715.

Judith Butler, “Gender is Burning: Questions of Appropriation and Subversion” in Feminist Film Theory a Reader (New York: Washington Square, 1999,) 338.

Butler, Judith. “Gender is Burning: Questions of Appropriation and Subversion,” 339.

#@theuncannyprofessoro #oxyvisualanalysis #gender #sexuality

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sunsetpinsandcoins · 7 months

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The Art of Designing Custom Lapel Pins: Tips and Inspiration

Custom lapel pins are an eye-catching and versatile way to express yourself, promote your brand, or mark a particular occasion. They can be simple or elaborate, and they are available in many materials and finishes. However, with so many alternatives available, it can be difficult to know where to begin.

Here are some inspiration and ideas to help you create meaningful and gorgeous custom lapel pins:

Allow yourself to be moved by inspiration.

Before you begin crafting your lapel pins, spend some time perusing the internet and social media for inspiration. Examine different lapel pin designs to see what you like and dislike. Consider the colours, shapes, and materials employed. You could also get ideas from your own life and interests. What are your interests? What piques your curiosity? What do you want your lapel pins to say?

Think about your audience

Who are you making lapel pins for? Are they for you, your family and friends, or your customers? When selecting design elements, keep your target audience in mind. If you're creating lapel pins for a corporate function, for example, you should use a professional and polished design. A more whimsical and comical design would be perfect for lapel pins for a fan event.

Select the appropriate materials and finishes

When creating personalised lapel pins, you have a selection of materials and finishes to pick from. Soft enamel, hard enamel, die struck metal, and offset printing are some of the most preferred materials. Each substance has its own distinct appearance and feel. The least expensive alternative is soft enamel lapel pins, but they are also the least lasting. Hard enamel lapel pins are more durable and appear more polished than soft enamel lapel pins. Die struck metal lapel pins are the most durable but also the most expensive option. Offset printing is best suited for lapel pins with intricate patterns or a lot of text.

Keep things as basic as possible

Keep your lapel pin design as straightforward as feasible. A lapel pin with too many characteristics may appear cluttered and amateurish. Focus on one or two main aspects, such as your logo, mascot, or a meaningful symbol.

Use high-quality photographs

If you plan to use images in your lapel pin design, make sure they are of excellent quality. Fuzzy or pixelated images will make your lapel pin appear amateuris.

Ask for feedback

Once you've completed a preliminary draught of your lapel pin design, present it to some friends, family, or coworkers and solicit comments. This input can assist you in identifying design components that could be improved.

Here are some more ideas for one-of-a-kind lapel pins:

* Make your lapel pins stand out by using contrasting colours.

* Select a design that is simple to read and understand.

* Use a legible typeface that is appropriate for the size of your lapel pin.

* Keep your lapel pin text to a minimal.

* To make your lapel pin design look more polished, consider adding a border or edge.

To get you started, here are a few samples of bespoke lapel pin designs:

Lapel pins for business: Make business lapel pins with your company's logo, mascot, or catchphrase on them. Lapel pins can also be used to publicise a new product or service or to commemorate a company achievement.

Lapel pins for the event: Custom lapel pins can be used to mark a significant occasion. This is an excellent way to provide your guests with a keepsake that they will treasure for years to come. Your event lapel pins can be used to promote or thank attendees.

Lapel pins for a club or organisation: Custom lapel pins are an excellent way to express your support for a worthy cause. You can use your lapel pins to represent the insignia, mascot, or mission statement of your group or organisation. You may also utilise your lapel buttons to recognise your members' achievements.

Personal lapel pins: Personal lapel pins are a terrific way to show off your personality and hobbies. Lapel pins can be used to display your favourite slogans, emblems, or artwork. Lapel pins can also be used to memorialise a particular occasion, such as a wedding or graduation.

When making lapel pins, the most essential thing to remember is to have fun and be creative. Lapel pins are an excellent method to express yourself and show the world who you are.

#Custom Lapel Pins

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