Monthly Archive: March 2016

Martha Thomases: Salaam Reads

Salaam Reads

It’s been brought to my attention that I can be something of a downer in these columns. Therefore, I am thrilled and delighted to be able to report on some good news this week.

Book sales are up. In bookstores.

Just a few years ago, the debut of e-books and the success of Amazon were supposed to doom the book business, especially at the retail level. That hasn’t happened, and, in fact, e-book sales have leveled off.

Personally, I’ve never considered e-books to be either morally superior or inferior to hard copy books. I like to read, and I’ve liked to read in every format I’ve come across. I love my Kindle because it’s easy to take an entire library with me when I travel, and because I like lots of pop fiction that I don’t need to display on my bookshelves. I love physical books, too, especially if they are signed, or if they have lots of illustrations. I have some of the storybooks my mother read when she was a girl. I doubt my grandchildren will want to access my (then outdated) Kindle menu.

It may be that book sales are up because all the poorly run bookstores went out of business, leaving only the ones who know how to sell books. It may be that, recently, there have been more books published that customers want to own.

Or it may be that the people who market books know how to reach out to new book buyers in a way that suggests how we can further expand the audience for comics.

To be clear, graphic novels remain a growth sector in the book business. However, the very fact that booksellers embraced a new product category like graphic novels early in this century shows how open the business is to new ideas.

Here’s another way that the book business is nimble: They welcome customers who might be turned away elsewhere, especially in today’s political climate. Simon & Schuster just backed a line of children’s books about being Muslim because one of their editors noticed she had nothing to read to her nieces and nephews that reflected their experience. I’m a Jewish adult, and I want to read all the books described in the link. I wish I’d been able to read them as a child.

The book business is different from the comic book business because it does not rely on its customers to return every week for new product. There are some rabid fan groups (such as those who read four or five romance novels a week), but there are not, to my knowledge, any bookstores dedicated to romance fiction. I do know that there are certain specialties (for example: mystery, science fiction, travel, cooking) but none rely on customers who must have first printings, or mint condition. These stores exist for the reader, not the collector.

Obviously, antiquarian bookstores are different.

In the last decade or so, we’ve seen more comic book stores that resemble bookstores, even as more bookstores stock graphic novels. We can get more stories in more places in more formats.

Life is good.

The Tweeks Figure Out the Hullabaloo Over Veteran Disney Animator James Lopez

Back when we first saw the IndieGoGo campaign on ComicMix for Hullabaloo we were freaking out. A Steampunk animated girl superhero in the hand-drawn 2D Disney style…sign us up! So, imagine our happiness when we happened to run into Hullabaloo creator James Lopez at Long Beach Comic Expo.

Well, first we had to buy all sorts of awesome art from his table, but then we got down to business asking all of our questions about the collection of 4 short animated films that will soon (but not soon enough) be on the festival circuit and on DVD.

What we didn’t know is that James Lopez has for a long time been one of our favorite Disney animators. He was the animator for Timon in The Lion King and the farm animals in Maddy’s favorite movie — Home On The Range (store that away for Tweeks trivia later on). He’s also worked on Pocahontas, The Princess and the Frog, Hercules, The Emperor’s New Groove, and The Bee Movie. Oh and he won an Oscar too. No big, right?!

For those of you who weren’t immediately sold on “Steampunk” and “hand-drawn animation” this is a story about Veronica Daring — a girl scientist who returns home from an elite finishing school to find that she needs to rescue her inventor dad who has gone missing. Veronica meets up with another girl inventor named Jules who is going to help. Two girls with mad STEM skills & cool clothes & gadgets. OMG! Seriously. OMG!

So, watch our interview with Mr. Lopez and then count the days until we can actually watch this awesomeness. You can find our more info at hullabaloo-movie.com.

(And if you are even a smidge excited, Maddy would like to recommend The Finishing School series by Gail Carriger which is like Steampunk girls meets a Hogwarts for Spies).

Glenn Hauman: Six Words

Got a note from Mike Gold: “Denny remains sick. Would you like to fill for Thursday 8 AM? Got anything to get off your… chest?”

Sent a note back: “Sorry to hear he’s under the weather. I hope he’s going to be okay for his appearance at the Garner Arts Center this Saturday, where Dennis O’Neil is going to receive their first Lifetime Achievement Award for his tremendous creations.”

“I certainly hope so. So, got anything?”

“Well, I’ve got an idea for a piece, but it’s probably going to be a bit short.”

“How short?”

“Six words.”

“Six words short?”

“No, six words total.”

“SIX words?”

“What can I say, Mike? I’m laconic.”

“Are you using big words so that you can avoid describing yourself as short? Or are you just being pompous?”

“I’m not pompous; I’m pedantic. There’s a difference. Let me explain it to you…”

“Never mind. You’ve got to write something longer than that.”

“But why? The entire point of what I’m doing is that by making something so short and punchy it sticks in the mind, goes viral, and becomes a meme that spreads across the nation, even if they don’t know the original reference.”

“And you can do all that in six words?”

“Okay, six words and a picture. And if a picture is worth a thousand words, then it’s long enough.”

“Your topic?”

“How geek culture and social media is beginning to invade and influence politics in this election year, the 21st century iteration of editorial cartoons. Heck, people were talking about Chris Christie’s trapped appearance on Super Tuesday using references to the Matrix and Harlan Ellison.”

“Six words, a picture, and you swear this bit of geek culture is going to get shared all over the Internet and possibly influence the Presidential election. Whaddya got?”

Donald-Trump-Tired-Poor

Molly Jackson: It’s Con and Flu Season!

con and fluNot to sound whiny, but I am miserably sick. I’ve been sniffling and coughing for the past few days. It’s not all bad; I’ve got Star Trek episodes running non-stop and plenty of hot beverages and soup to keep me sated. Still, I just can’t be sick because this weekend holds so much to do!

Amongst other things happening in the city, almost everyone has a chance to attend the In-Store Convention! Despite needing a much better name, it is actually a very cool concept. Comic book stores all over the country simultaneously broadcast a live stream of panels and interviews from the top comic book companies. There are also some celebrities taking part for a full eight-hour day of events.

Now if you are like me and in a major city, then you probably get to go to conventions all the time. However, that is the beauty of in-store con (that is such an awful name!). You get the chance to see every panel, probably much closer than if you were in the audience. And unlike just watching the panels a few days later on youtube, this way you are getting the full con experience. You get to stand on line to get into a crowded space, with poor amenities like bathrooms or food, and spend more money than you would have wanted on cool stuff. Not to mention you will be meeting all these new people who you don’t talk to normally because it’s Wednesday and you just need to grab your comic pull before/after work.

I am willing to bet that this convention was created to help out retailers with another way to drive customers to their stores. And this worse-title ever con can do it. I’ve seen Facebook invites calling people to come to stores and also mentioning sales for that day. I’m betting that other stores might have some other events happening to help drum up foot traffic.

Are you feeling the convention bug again? So go and check out the panel schedule. You won’t have to pick or choose which panels to attend, you can stay there for all of them. Just beware the con flu or end up sniffling like me.

Mike Gold: The Future Is Behind Us

Rebirth A Pig in a Poke

A well-timed survey indicates two out of every three people do not trust self-driving cars. Amusingly, this survey was released just as a Google self-driving car in California became the first of its ilk to cause an accident in traffic. It hit a bus; thankfully, nobody was injured.

Well, gee. When we started our space program, a whole lotta rockets went blooie either on or shortly after leaving the launch pad. We’ve mostly worked that out, although statistically space travel remains just about the least safe way for humans to travel.

One of the top-selling gifts of the recently concluded holiday season (screw you, Donny Trump, it is the “holiday season”) was the hoverboard. This was a locomotive device that did not actually hover. However, it did have a tendency to burst into flames. Retailers pulled the product, and some refunds were offered.

Americans who are all to willing to buy a pig in a poke (screw you, Donny Trump; quoting Mussolini and not rejected the support of white separatists were the most honest things you’ve done since Hector was a pup) rapidly created a nice black market for hoverboards. They still do not hover. They still burst into flames. And they’re still selling like hotcakes – particularly now that they are sold tax-free.

Then again, so are Donny Trump piñatas.

Last Sunday’s Academy Awards broadcast was the lowest-rated in eight years. According the the early demographics, this is because of a significant drop in white viewers. Hello? Is that because all of a sudden a lotta white people decided they no longer like Chris Rock? Maybe. Is that because they’re tired of hearing about dealing with racism?

Gee, I don’t know. Ask Donny Trump.

Our popular culture has grown somewhat reckless. It’s as if, as a nation, we’ve grown fed up with giving a shit. Overload, perhaps, and maybe that’s understandable. Not supportable, but understandable.

As ComicMix columnist Joe Corallo has pointed out many times, Marvel Comics has retreated somewhat from its commitment to diversity in characterization. What makes this all the more regretful is that Marvel has pretty much led the way in opening opportunities up to a much more diverse range of creators. Go know. DC’s response to our changing times is to hit the reboot button once again, like a monkey in a crack experiment.

Here’s a fact of life that people who try to sell you shit don’t want to know, and this includes manufacturers, politicians, and comic book publishers alike: we “consumers” (I loathe that term; I shall not be defined by what and how much I buy) control the markets. All of them. If we do not like a product, if we think it’s not safe, if we decline to vote for imbecilic megalomaniacs, if we shift our attention from the umpteenth painting of lipstick on a pig towards honest efforts from dedicated storytellers… then all that crap will go away. Ford couldn’t sell Edsels so they stopped making them.

That’s how capitalism works. Let’s use it to our advantage. Let’s not support crap.

 

Box Office Democracy: Triple 9

Triple 9 is a throwback to a different time. It’s the gritty kind of crime movie that seems to have been pushed out of the spotlight by slicker movies like the Fast & Furious franchise and by a run of bizarrely gritty cop films like End of Watch. Triple 9 feels more like a Training Day when it’s working and a bit like Smokin’ Aces when it isn’t. Triple 9 has a relentlessly tense script and a talented enough cast to round out a lot of the rough edges. The throwback element that didn’t work for me is that Triple 9 is an alarmingly racist movie. It’s also a very misogynistic movie, but it’s much harder to get to an alarming level with that what with the rest of pop culture.

Every non-white character in Triple 9 that has a name I remember six hours after walking out of the theater was a bad person. It’s a movie about corrupt cops that rob banks so there’s a fair amount of moral ambiguity expected, but it becomes a little much. Every Mexican character is evil and almost all of them are tattooed gang members who hang around in packs and menace the decent people of the world. The most telling thing is that the white people in Triple 9 are universally morally superior. Casey Affleck is the good cop, Woody Harrelson fights his demons but gets the bad guys, and Aaron Paul is the bank robber who’s conscience gets in the way and stops him from doing the really bad things. The exception is Kate Winslet as the ruthless mob boss but they go so far out of their way to establish that she’s the head of a Jewish mob that it still feels a little slimy.

Triple 9 is also relentless in objectifying women. With the exception of Winslet and Michelle Ang every actress in the movie is either a sex object, set dressing, or both. This is in the grand tradition of gritty crime films going back to the golden age of cinema: this is a movie about men and their masculine struggles. There are dozens of moments in the movie that come back to this but the one that stood out to me was when Teresa Palmer comforts Affleck when he’s struggling with his police work she walks away to reveal she was bottomless so we get a look at her butt. It didn’t reveal anything about her character or add anything to the script— it just seemed to indicate that the filmmakers thought so little of me as a viewer that I needed some naked flesh to draw me back in after two minutes of talking with no gunshots or explosions.

I’ve spent two paragraphs talking about some serious, constantly distracting, issues I had with Triple 9 but it was also an outstanding crime caper film. I was consistently on the edge of my seat, and that isn’t a phrase I like using but I was literally sitting forward in my chair a lot of the time. I am usually pretty good at seeing twists coming particularly in heist films and I was genuinely surprised at some of the turns they threw out in Triple 9. The main characters were deep and complex and the acting was incredible, particularly from perpetually underrated treasure Chiwetel Ejiofor. In another time this could have been a big summer blockbuster and with a slightly less weird script we might even be talking award nominations, but that time is gone— this isn’t the kind of movie people want anymore and it just feels so antiquated even with all the sleek filmmaking.

Mindy Newell: It Doesn’t Know It’s A Game

American Flagg

Joshua/WOPR: “Shall we play a game?”

David (Matthew Broderick): “Love to. How about Global Thermonuclear War.”

Joshua/WOPR: “Wouldn’t you prefer a good game of chess?”

David: “Later. Right now let’s play Global Thermonuclear War.”

Joshua/WOPR: “Fine.”

General Beringer (Barry Corbin): Mr. McKittrick, after very careful consideration, sir, I’ve come to the conclusion that your new defense system sucks.

McKittrick (Dabney Coleman): I don’t have to take that, you pig-eyed sack of shit.

General Beringer: Oh, I was hoping for something a little better than that from you, sir. A man of your education.

Officer: Sir, it’s the President.

McKittrick: What are you going to tell him?

General Beringer: That I’m ordering our bombers back to fail-safe; we might have to go through this thing after all.

David (Matthew Broderick): “Is this a game or is it real?”

Joshua/WOPR: “What’s the difference?”

  • Wargames (1983), Directed by John Badham

Last week I watched Wargames on one of my cable channels, which was a weird bit of synchronicity because just a few days before, February 18th to be exact, the New York Times ran a very interesting article about that point on the graph where fiction and reality meet. It was called “‘Wargames’ and Cybersecurity’s Debt to a Hollywood Hack.”

Wargames, if you don’t remember – and I would be very surprised if you don’t, my fellow geeks – was a 1983 movie which starred Matthew Broderick as David Lightman, a high school student who is failing every class but also happens to be a genius computer geek in an era when it was not yet totally cool to be a high school computer geek. He accidentally hacks into the Cheyenne Mountain security complex known as NORAD (North American Aerospace Defense Command) and its super computer WOPR (War Operations Plan Response). WOPR is programmed to run numerous nuclear war scenarios and their outcomes, but David, a computer game “connoisseur,” believes that he has hacked into a games manufacturer’s R & D system, and decides to play global thermonuclear war, which is listed along with other strategy-learning games such chess, backgammon, checkers, and poker. But the computer “doesn’t know it’s a game,” as David desperately tries to tell the military. WOPR is counting down to Armageddon.

Anyway, the article tells the story of how, on June 4, 1983, then-President Ronald Reagan watched the movie at Camp David. The following Wednesday, Reagan met with his national security team and 16 members of Congress to discuss the upcoming meeting with the Soviets about nuclear arms. There he asked if anyone had seen Wargames, gave a synopsis, and if such a thing was possible. Coming on the heels of his Star Wars speech in which he asked scientist to develop “laser” weapons that could shoot down Soviet (or other hostiles) ICBMs from space, everyone in the room was thinking, to paraphrase, “There he goes again.”

But as the meeting disbanded, Reagan held back General John W. Vessey, Jr., Chairman of the Joint Chiefs of Staff, and told him to look the possibility of someone breaking into the nation’s high security and top-secret computer systems.

One week later, the General returned to report that the President’s question wasn’t so off the wall and out of the box at all. In fact, to quote the New York Times, what the General actually said was, “the problem is much worse than you think.”

Reality imitating fiction.

There must have been something in the air in 1983, for that was also the year that Howard Chaykin’s American Flagg hit the comic book shops. Published by First Comics – which was co-launched by Rick Obadiah and ComicMix’s own Mike Gold – Flagg takes place in the year 2031. The U.S. government and the boards of major corporations have moved to Mars, and the Soviet Union has collapsed because of Islamist fundamentalism. The new center of power is the Brazilian Union of the Americas and the Pan-African League. America is ruled by the “Plex,” an amalgamation of the U.S. government and corporations. The population of the United States is centered around massive centers of commerce termed Plexmalls; the “Plexus Rangers,” including former television star Reuben Flagg, enforce the law.

Okay, the U.S. government is still in Washington. The Soviet Union did collapse in 1991, but Vlad Putin’s “wannabe” Soviet Union has problems with the Islamic fundamentalists living in the border states. But, can you say “Citizens United?” The 2010 Citizens United Vs. Federal Election Commission case, brought before the Supreme Court – which voted 5-4 in favor of the plaintiff – changed the landscape of our political system. Although it was originally meant for non-profit corporations, the principal has extended to private corporations – our First Amendment right to free speech as been convoluted to money as people. As in, to quote Mitt Romney, “Corporations are people, my friends.”

So I watch the 2016 Presidential campaign with a besotted eye. It does seem like some dystopian science fiction movie or comic, doesn’t it? The Republican candidates are cursing like roughnecks, complaining about television make-up, throwing bottled water at each other, tweeting and trolling like sociopathic adolescents, and a billionaire head of a corporation is leading the polls. The Democratic candidates are a woman suspected of murder and of e-mailing top-secret information on a public server and a socialist Jew from Brooklyn who isn’t Larry David.

And the current President is keen on sending a manned mission to Mars.

Emily S. Whitten: On Being of the Tribe of Geekdom

The Dresden Files

So I’m lying on the physical therapy table today, mostly trying to not concentrate on how painful whatever my therapist is doing is (“But it’s the good pain ­– the good pain!” I assure myself as I grasp the edge of the table) when the therapist next to me and his patient start talking about having just seen the Deadpool movie. Naturally I can’t help but join the conversation.

“So what did you think?” I inquire, and both of them enthusiastically agree that it was great. “Have you read the comics, or did you come to the character through the movie?” I ask. Neither has read the comics, although the patient’s son has. But both agree that they are looking forward to the sequel already; and after some talk about Deadpool, the conversation slides easily and naturally into Netflix’ Jessica Jones and Daredevil, and then hops over to The Dresden Files. The therapist and his daughter have found much to discuss in Jessica Jones; the patient agrees with me that The Dresden Files show was mostly a hot mess, but that was a real shame because Paul Blackthorne was so good and we’re big fans of the books. “It’s like you’re all in the same club,” comments my therapist, around this time.

And so we are. Whether we come to it through reading, the screen versions, other avenues, or what-have-you, it’s clear that we three are, as Anne of Green Gables would say, “kindred spirits” (also referred to mysteriously as “the race that knows Joseph,” and “the Tribe of Joseph”) when it comes to genre entertainment. We vary in age, race, gender, profession, and probably many other demographics, and we’ve only just or recently met; but in discussing these creations, we easily converse like old friends.

I find it interesting, the ability of some people to meet and immediately have a sociable and passionate conversation on these topics; when others either wouldn’t care, or would only want to discuss them because they are the topic du jour and they don’t want to be left out. And I have noticed that amongst these people, there seem to be less misunderstandings; or at least, more easy understandings of what the other person means or how they feel, even if it’s not always conveyed perfectly. I don’t think the ability to find such kindred spirits only applies with genre entertainment fans – in fact, there is certainly a larger pool of kindred spirits in my world than just these sort. And I don’t think that every geek fits this mold – certainly there are misogynists, pedants, and the like present in any field of interest. But I do perceive a vast overlap in the geeks and kindred spirits in my life; and notice that I get along particularly well with people who are passionate about genre works and the creative arts.

It seems to me that it is a very good thing to be of this “Tribe of Geekdom.” I think the people I meet who are kindred spirits in the enjoyment of comics, genre literature, sci-fi and fantasy TV and movies, and the like are simply more. More vibrant, more clever, more adaptable, more understanding, more creative, more passionate, more adventurous, more fearless; more interesting. And it leads me to wonder why that is. Are some people just made that way? Or is it perhaps because they were introduced in childhood to creative works that opened their minds? Or has our mutual love of these creations simply built a foundation of common ground that has brought us to a similar way of thinking before we even meet?

It also leads me to wonder what the world looks like to the “other kind of folks” (as Captain Jim of Anne’s House of Dreams would say). Does my tribe only look like the most interesting one because I’m in it? Whatever do the other folks think of us, talking enthusiastically about lightsabers, musing on what it would really be like to fight with superpowers, dreaming about living amongst Ray Bradbury’s Martians, or discussing how the rules of magic would function as laid out in our favorite book. And do they, in fact, think that they are the ones in the most interesting tribe? Do they feel like “more” to each other?

Which leads me to also wonder, are there really “two kinds of people”? Or is it simply our view from the “darkness behind the eyes, where the little voice is” as Lady LeJean of Terry Pratchett’s Thief of Time described it, that both defines our place in the universe and provides a viewpoint to categorize others in relation to our selves? Is it more likely that we all land on a spectrum of understanding in relation to each other, and those who are too far down the spectrum from ourselves seem, indeed, like another sort of folks entirely? And if they move up the spectrum, will it seem to us like they’ve switched tribes?

Heck, I don’t know. I just know that, like L.M. Montgomery, I perceive a dichotomy of understanding; that it makes me happy to encounter by happenstance as I go about my daily life other people who seem to understand the world in the way that I do; and that many of those folks seem to be, in my experience, most definitely of the Tribe of Geekdom.

So, hooray for the Tribe! And until next time, Servo Lectio!

Joe Corallo: Iron First – Lose / Lose

475620871KS00118_Game_Of_Th

Last week news broke that Marvel Entertainment has cast Finn Jones to play Iron Fist in their Netflix series slated for 2017. Jones is a blonde haired, blue eyed, straight cis white man and despite playing a character that in the comics would also match that description, this was also looked to as a chance for Marvel to cast differently as the character of Iron Fist appropriates heavily from Asian cultures. So, basically, this was a lose/lose casting situation for Marvel, and Marvel chose to lose.

To me the real question is not why they cast the way they did. My question is, why are they making an Iron Fist show at all? Sure, part of this is me being flip, but I’m also trying to make a valid point.

For those unfamiliar with Iron Fist, here’s a quick background. Iron Fist, a.k.a. Danny Rand, was created in 1974 by comic book legends Roy Thomas and Gil Kane. His primary ability is being a master of martial arts, but he also has some additional powers including an ability to concentrate his chi in his fist, which gives him his name. The character was heavily influenced by the early-mid 70s interest in martial arts in Western culture – even Jon Pertwee as The Doctor practiced a form of Aikido. Iron Fist started in the pages of Marvel Premiere, later getting his own title, then joining up with Luke Cage a.k.a. Power Man. After his “death” in Power Man and Iron Fist #125 in 1986, Iron Fist would fade in and out of the Marvel Universe, occasionally getting his own solo series again, most notably a run in the mid-2000s written by Matt Fraction. Oh, and like most other characters created at Marvel from 1974 and before, he’s a straight cis white man.

In hindsight, it’s easy to see how Iron Fist was problematic. Not only is this a character that appropriates Asian cultures, he’s been written and drawn almost exclusively by straight cis white men. Larry Hama has contributed to the character, but he’s one of the rare exceptions. Yes, I completely understand that Iron Fist is a white man, but maybe if you’re going to appropriate a culture you should have some input from people in that culture.

Iron Fist will be, if everything goes according to plan, the fourth solo Marvel Entertainment Netflix series. We’ll have had two seasons of Daredevil, a season of Jessica Jones, and a season of Luke Cage before Iron Fist has his own show. Maybe he’ll show up in Luke Cage. So why are people upset? Why does Iron Fist just seem like a bad idea now?

The primary reason for me, and maybe a lot of you out there who also aren’t thrilled by the prospect of an Iron Fist show, is the lack of diversity casting. Not because Iron Fist should have been cast different, but because he we don’t need an Iron Fist show. The TV shows have a much larger audience than the comics. And often a much different audience.

The people who have been enjoying the Marvel Netflix series, and even Agents of S.H.I.E.L.D. have been watching Marvel move towards more diversity. Daredevil featured a straight cis white man, but Jessica Jones was about a straight cis white woman and Luke Cage a straight cis black man. Having them go back to a straight cis white man lead after this comes off as a step backwards to many in the audience, and rightfully so.

Fans of the comics can yell from the rooftops until they’re blue in the face. They can point out how Iron Fist/Danny Rand has always been a straight cis white guy. They can call out people for being casual fans and criticizing them for having never read an Iron Fist comic. All of that misses the point. Marvel Entertainment on TV has been giving off the impression to its viewers that they care about diversity, and to many viewers out there this is a move against the expectations that Marvel has set up and a betrayal to an audience that expects more.

Some people may be thinking to themselves who else could Marvel have even picked. Didn’t Marvel Entertainment have to make an Iron Fist show if they wanted to do The Defenders? The answer is a resounding no. In all of Marvel’s TV and movie adaptations they don’t always follow the comics that closely. Sometimes they don’t follow them at all. If they did, the first Avengers movie wouldn’t have had Captain America, Hawkeye, or Black Widow in it, the first X-Men movie would not have had Wolverine, Storm, Rogue, Mystique, and many others. Black Widow in particular was added to Avengers because of Joss Whedon’s instance to have more representation after all.

Marvel has many, many characters to consider instead of Iron Fist. In a conversation I had with fellow ComicMix columnist Molly Jackson, she suggested why not Moon Knight? What about Dakota North? Monica Rambeau? Squirrel Girl? Or the incredibly obvious choice of Kamala Khan as Ms. Marvel? It doesn’t matter if these characters were in The Defenders or not, they could still just as easily be in the team. Guardians of the Galaxy, Ant-Man, Agent Carter, Jessica Jones, and Luke Cage all show Marvel’s willingness to use lesser known properties in a different medium to give them new life and a larger audience. Why not also use that strategy to expand other characters profiles to expand representation rather than adding yet another straight cis white guy to the mix? Marvel could still even just add Iron Fist to Luke Cage, just as Luke Cage had a big role in Jessica Jones. Iron Fist doesn’t need his own series for that.

Some will write this off as overzealous social justice warriors that just don’t understand comic properties and are searching out the next trivial cause to latch themselves onto. That is not what’s happening. What we’re seeing, as far as I can tell, is backlash to a tone deaf company that’s expanding its audience reach and not following through with the unspoken promise of better representing the audience that people like Joss Whedon worked hard to cultivate for them.

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