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#260 – Black Panther, Mockingbird, Spider-Woman

Join the Marvel team for another top notch episode of This Week in Marvel! Intern Amanda fills in for Ryan as she and Ben cover this week’s biggest comic book releases, including the latest issues of Black Panther, Mockingbird, and Spider-Woman! Dive...

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How Did Misty Knight Get a Bionic Arm?

In “When We First Met,” we spotlight the various characters, phrases, objects or events that eventually became notable parts of comic lore, like the first time someone said, “Avengers Assemble!” or the first appearance of Batman’s giant penny or the first appearance of Alfred Pennyworth or the first time Spider-Man’s face was shown half-Spidey/half-Peter. Stuff like that.

Reader Charlie E. wanted to know when we found out the origins of Misty Knight’s robotic arm.

When Misty Knight debuted in the pages of “Marvel Premiere” #21 (by Tony Isabella, Arvell Jones and Vince Colletta), she had no bionic arm (the previous issue Colleen Wing revealed for the first time that someone named Misty was her partner in some kind of business)…

She didn’t show up again for the rest of Iron Fist’s tenure in “Marvel Premiere” (which was only four more issues), but she showed up again when Chris Claremont, John Byrne and Al McWilliams launched “Iron Fist” the ongoing series out of his “Marvel Premiere” feature. Collenn Wing had been kidnapped and Iron Fist was investigating when he was struck…

Good golly, Miss Molly, John Byrne’s new take on Misty Knight was amazing. That was basically the new standard for Misty right there. And Claremont now explained how she and Colleen worked together.

By the way, at the end of a fight in the issue, Iron Man called Misty by name, which will be important later…

In the second issue (Frank Chiaramonte now the inker), we first learn that Misty has something unique about her…

The next issue has Misty show her strength again…

before later in the issue, while fighting a bad guy, her arm is injured and Iron Fist (and we readers) learned her secret…

This was obviously inspired by the then-popular TV series “Six Million Dollar Man” (although I believe that this slightly predates the introduction of the Bionic Woman). What’s interesting is that I don’t believe it was revealed WHO gave her the arm until the 1986 Marvel Official Handbook entry for Misty…

It says that Stark International designed it. That would tie in with Stark knowing her name back in “Iron Fist” #1.

Many years later, in 2006’s “Daughters of the Dragon” #4, by Justin Gray, Jimmy Palmiotti and Khari Evans, they tell the story of Misty’s lost arm again (she had just lost her bionic arm in battle and her nervous system was in shock from the loss) and Tony Stark gave her her current one…

And that is her current bionic arm. WHY Tony Stark gave her a bionic arm in the first place is still a bit of a mystery, but I suppose it was as simple as him wanting to help out a hero cop.

Thanks for the suggestion, Charlie! If anyone else wants to know when a certain part of comic book history debuted, drop me a line at brianc@cbr.com!

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Brian Cronin
via Comic Book Resources

Did Cable Play a Role in Creative Clash Over Deadpool 2?

Following the surprising news of director Tim Miller’s departure from “Deadpool  2,” a new report may shed light on his creative clash with star Ryan Reynolds. It turns out that a certain mutant cyborg from an apocalyptic future could bear some of the blame.

Although the split between Miller and Fox has been characterized as “amicable,” TheWrap alleges the filmmaker’s relationship with Reynolds has been “contentious,” with the two not even speaking for long stretches after the release of “Deadpool” in February.

RELATED: Rumor: Fox Has a Domino Shortlist For “Deadpool

The website contends the rift is rooted in the actor’s renegotiated deal for the sequel, provided him with a bigger payday, more creative control and casting approval. That divide was allegedly widened first by conflicting visions for the film and then by a disagreement regarding the casting of Marvel Comics hero Cable: Miller purportedly wanted “Friday Night Lights” star Kyle Chandler for the role, while Reynolds apparently envisioned someone else. (Writers Rhett Reese and Paul Wernick said in April they’re looking for a “physically imposing” actor with “strength, gravitas, a purposefulness that Deadpool doesn’t have.”)

Produced for an estimated $58 million, “Deadpool” earned $782.6 million worldwide, and set opening-weekend records for February and for R-rated films. It’s also the top-grossing film in Fox’s “X-Men” franchise.

“Deadpool 2” is expected to open in 2018, but Fox has yet to announce a date.

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Kevin Melrose
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Chris Pine Joins Disney’s A Wrinkle in Time

Chris Pine has boarded “A Wrinkle in Time,” Disney’s adaptation of the beloved 1962 fantasy classic written by Madeleine L’Engle.

The novel follows 14-year-old Meg, her younger brother and a classmate as they travel through space and time in search of her missing astrophysicist father, who disappeared while working on secret government project involving moving between planets by means of a fifth dimension.

Deadline reports the “Star Trek” and “Wonder Woman” star will play patriarch Alexander Murry, husband of microbiologist Dr. Kate Murry, portrayed by Gugu Mbatha-Raw (“Doctor Who”).

RELATED: Chris Pine Swats Down One “Wonder Woman” Rumor

Directed by Ava DuVernay (“Selma”) from a screenplay by Jennifer Lee (“Frozen”, the film also features Oprah Winfrey, Reese Witherspoon and Mindy Kaling. Storm Reid has been cast as Meg.

L’Engle’s award-winning novel was followed by four sequels, “A Wind in the Door,” “A Swiftly Tilting Planet,” “Many Waters” and “An Acceptable Time,” referred to collectively as the Time Quintet.

“A Wrinkle in Time” was previously adapted as a TV movie that aired, following delays, in 2004 on ABC. Disney distributed the project in the United States. The novel has also been turned into a play, an opera and, most recently, a graphic novel.

Filming of the Disney production is expected to begin by the end of the year in Los Angeles.

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Kevin Melrose
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Miss Martian Debuts in Supergirl ‘Welcome to Earth’ Clip

J’onn J’onzz comes face to face with Miss Martian (in her human guise, at least) in a scene from Monday’s episode of “Supergirl,” titled “Welcome to Earth.”

In the clip, which debuted at IGN, Hank Henshaw (David Harewood) visits what looks to be an alien speakeasy, where the bartender (Sharon Leal in her debut as M’gann M’orzz) is caught off guard by the appearance of a Green Martian.

A fan-favorite DC Comics superheroine, Miss Martian was introduced in 2001’s “Teen Titans” #37 as a White Martian who escaped the civil war between her people and the Green Martians. She subsequently gained popularity on the animated series “Young Justice.”

RELATED: Meet Miss Martian in “Supergirl’s” “Survivors” Clip

“Welcome to Earth” also marks the debut of Lynda Carter as the U.S. president, who’s the target of an attack as the fight about alien-vs.-human rights issues boils over in National City. Supergirl and the Department of Extra-Normal Operations are assigned to protect the president and track down the culprit behind the attack, leading Alex to team up with Detective Maggie Sawyer as Kara looks for the recently escaped Mon-El, whom she feels may be behind the assault.

Airing Mondays at 8 p.m. ET/PT on The CW, “Supergirl” stars Melissa Benoist, Mehcad Brooks, David Harewood, Chyler Leigh and Jeremy Jordan. In addition to Sharon Leal, “Welcome to Earth” also features Floriana Lima and Chris Wood.

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Kevin Melrose
via Comic Book Resources

AT&T Reaches $80 Billion Deal For Warner Bros., DC Owner Time Warner

AT&T has reportedly reached a deal to purchase Time Warner, parent company of Warner Bros. and DC Entertainment, for more than $80 billion.

According to The Wall Street Journal, he boards of both corporations are meeting today to approve the merger; an announcement could be made as early as tonight.

RELATED: AT&T in Talks For Warner Bros. and DC Parent Time Warner

The agreement, which would turn AT&T into a telecommunications and entertainment colossus, will be subject to rigorous review by federal regulators, which likely means the acquisition of Time Warner wouldn’t be complete until late next year. The potential merger drew criticism today from Republican presidential nominee Donald Trump, who said, if elected, his administration would block the deal, “because it’s too much concentration of power in the hands of too few.”

The acquisition of Time Warner would give AT&T control of not only DC Entertainment and Warner Bros.’ film, television and interactive divisions, but also Hanna-Barbera Productions and cable networks like HBO, CNN, TNT, TBS and Cartoon Network. In addition, Time Warner jointly owns The CW with CBS.

The move comes more than a year after Dallas-based AT&T acquired pay-TV provider DirecTV for $50 billion, and two years after Time Warner fought off a hostile takeover bid from Rupert Murdoch’s 21st Century Fox.

The post AT&T Reaches $80 Billion Deal For Warner Bros., DC Owner Time Warner appeared first on CBR.com.

Kevin Melrose
via Comic Book Resources

Archery, Activism, Anniversary: Celebrating 75 Years Of Green Arrow

Green Arrow was born in the Golden Age of Comics and returned to prominence in the Silver Age, but it wasn’t until the 1970s that the character found a compelling voice. More recently he became an unlikely television star — and eventually the elder statesman of The CW network’s shared superhero universe.

Throughout it all he’s been written and drawn by some of comics’ greatest creators, and endured a few radical reinventions. The most famous one ended (arguably) almost 30 years ago, but it continues to inform the character. In fact, it’s only part of a pretty rich history. Since Green Arrow turns 75 this year, today we’ll consider how he got so far.

OVERVIEW

Green Arrow saves the Justice League, from the cover of “Justice League of America” #4, by Mike Sekowsky and Murphy Anderson

Green Arrow’s publishing history breaks down into a few big chunks. First is the combined Golden and Silver Age era which started with the character’s 1941 introduction and lasted through most of the 1960s. Next is the “activist” era of the 1970s and ’80s which began with the character’s late-1969 makeover. Finally (as far as big chunks go, that is) there’s the “grounded” era which the 1987 “Longbow Hunters” miniseries inaugurated. After that, various Green Arrow creative teams have tried to reinvigorate the character using combinations of earlier approaches.

RELATED: DC Celebrates 75 Years of Green Arrow With New Promo Art

Additionally, in recent years Green Arrow has been adapted twice for television — first as “Smallville’s” answer to Batman, and then as the star of “Arrow” — and was the subject of the unproduced “Supermax” film. The character also appeared (mostly in a supporting role) in a handful of animated series.

Certainly, “Arrow” has reached a lot more viewers than the current Green Arrow comics. However, as the current Rebirthed approach indicates, the activist Ollie Queen is still a powerful influence on the character, despite its roots in the late 1960s and its differences with the TV version. For that matter, both have come a long way from the original.

EARLY YEARS

Speedy and Green Arrow, from the cover of “More Fun Comics” #82 (August 1942) by George Papp

Mort Weisinger and George Papp created Green Arrow for “More Fun Comics” issue #73, cover-dated November 1941. Secretly rich playboy Oliver Queen — who taught himself archery while marooned on a tropical island — the character was a combination of Robin Hood and Batman. He had a sidekick (Speedy, a/k/a Roy Harper), was headquartered in an Arrowcave, and used trick arrows and various arrow-themed gadgets including an Arrowcar and Arrowplane. In the early days he was even summoned by an Arrowsignal.

(Speaking of which, the Batman villain Signalman once adopted another criminal identity, fighting the Dynamic Duo in 1961’s “Batman” #137 as the evil archer called the Blue Bowman. It doesn’t look like there’s been a Batman/Green Arrow team-up involving this, but the combination is certainly low-hanging fruit.)

Today we don’t focus a lot on Green Arrow’s Golden Age adventures, but back then he wasn’t very hard to find. Besides a 36-issue run in “More Fun” (issues #73-107, November 1941 to January-February 1946), he and Speedy appeared in “Leading Comics” issues #1-14 (Winter 1941-Spring 1945) as two of the Seven Soldiers of Victory. However, Green Arrow rolled into the Silver Age on the strength of long-running features in “World’s Finest Comics” and “Adventure Comics.” He was in 131 issues of “World’s Finest” (issues #7-134, 136, 138, and 140) spanning over 21 years (Fall 1942-March 1964). Likewise, he was in over 100 issues of “Adventure,” missing only #206 in a 10-year span from #158 to #269 (November 1950-February 1960). Even if they weren’t book-length stories, that’s almost 300 issues of comics over a 23-year period, which isn’t too shabby by any measure.

Probably this period’s most noteworthy set of stories came from 1958’s “Adventure” #250-56 and “World’s Finest” #96-99, written by Dick and Dave Wood and drawn by Jack Kirby. This was right after Kirby and Dave Wood had created the Challengers of the Unknown, and of course just a few years before Kirby and Stan Lee would create another adventurous quartet for the former Timely Comics. Nevertheless, most Green Arrow stories were written by Ed “France” Herron, one of the regular Batman writers. This probably didn’t help the character’s reputation as a Batman clone.

THE MAKEOVER

Green Arrow and Green Lantern, by Neal Adams

As of the early 1960s Green Arrow was starring only in the “World’s Finest Comics” feature, and that would end in 1964. Fortunately, by then the character had joined the Justice League in April-May 1961’s “Justice League of America” #4. He would go on to appear in 147 of the original series’ first 230 issues (i.e., prior to the Detroit League), even quitting in #181 and rejoining in #200. Good for him, because apart from the occasional guest appearance in books like “Action Comics” and “Teen Titans,” “Justice League” was pretty much Green Arrow’s only outlet for six years — from March 1964’s “World’s Finest” #140 to April 1970’s “Green Lantern” #76. While that kept the character visible, it didn’t allow for a lot of growth or development.

That all changed in 1969. In August-September 1969’s “The Brave and the Bold” #85, artist Neal Adams gave Ollie a distinctive new costume and some instantly-recognizable facial hair. Shortly thereafter, in November 1969’s “Justice League of America” #75, writer Denny O’Neil took away his fortune and replaced it with a more progressive perspective. Finally, when O’Neil and Adams revamped the struggling “Green Lantern” with April 1970’s issue #76, they brought in the Emerald Archer as a muckraking foil to Hal Jordan’s unassuming space-cop. As the two traveled across America, Green Arrow stood up for the impoverished and the forgotten, romanced Black Canary (Dinah Drake Lance, newly arrived from Earth-Two) and struggled to understand why Roy Harper would get hooked on heroin.

Although the O’Neil/Adams team made a splash with “Green Lantern’s” burst of social consciousness, that notoriety didn’t translate into sales, and the book was cancelled with issue #89 (April-May 1972). “Green Lantern” moved over to an 8-page backup feature in “The Flash,” which serialized the final O’Neil/Adams story. O’Neil stayed on to pen Green Lantern’s solo adventures, but Green Arrow moved on as well, showing up eventually in 18 issues’ worth of an occasional “Action Comics” backup feature (issues #421 to #458, February 1973-April 1976). When “Green Lantern” returned as a regular series in 1976, so did GA; this time drawn by O’Neil’s new artistic collaborator Mike Grell. Grell left after issue #100 (succeeded by Alex Saviuk) but the Green Lantern/Green Arrow partnership continued until January 1980’s issue #124.

Indeed, the Bronze Age was pretty good for Green Arrow generally. Besides co-starring in “Green Lantern” and appearing regularly in “Justice League,” GA once again scored a couple of long-running backup features. First, he returned to “World’s Finest” for 38 issues, spanning April-May 1977’s #244 through October 1982’s #284. Next, he moved to “Detective Comics” for a 44-issue stint, from December 1982’s issue #521 through October 1986’s #567. Along the way, DC published the first issue of the first solo Green Arrow comic, 1983’s 4-issue “Green Arrow” miniseries (written by Mike W. Barr and pencilled by Trevor Von Eeden).

The end of the “Detective” backups capped a run of 16-odd years for the character who’d been made over so famously in 1969-70. After 28 years as a middle-of-the-road crimefighter, Green Arrow certainly wasn’t unpopular; but the character was propelled him into the 1970s and ’80s by a real kick in the verdant pants. Adams’ redesigned costume emphasized Green Arrow’s athleticism, while the ubiquitous goatee conveyed a very with-it sensibility (if not sexuality). O’Neil then opened Ollie’s eyes — and, more importantly, his mouth — to the disillusionments of the 1960s and society’s anguished steps into the ’70s.

At its core, though, the “Green Arrow” feature still came down to standard superheroic fare. Even if the attitude had changed, the trick arrows hadn’t.

THE HUNTER

Detail from the cover of “Green Arrow: The Longbow Hunters” #1, by Mike Grell

In a move that must have made the publishing gods chuckle, Green Arrow once again followed Batman’s lead. The 1987 miniseries “The Longbow Hunters,” written and drawn by Ollie’s old artist Mike Grell, was DC’s second miniseries in the new graphic-novel-esque Prestige Format. The first, of course, was “The Dark Knight Returns”; and like that watershed Batman story, “Longbow Hunters” retooled Green Arrow and Black Canary for the no-nonsense 1980s. Grell established that each of them were entering middle age (specifically, Ollie was turning 40), thereby allowing each a bit of self-examination. When it was all over they had moved to Seattle, Dinah had been kidnapped and tortured and lost her sonic scream; and Green Arrow had become a darker, more violent figure. The final O’Neil/Adams story (from those 1972 “Flash” backups) saw Ollie so distraught over an accidental killing that he retreated to a monastery; but “Longbow Hunters” blew past that, with Green Arrow using deadly force grimly against an increasingly-sinister class of criminal.

Grell followed “Longbow Hunters” with an 80-issue stint writing the first-ever “Green Arrow” ongoing series (pencilled by, among others, Ed Hannigan and Dan Jurgens). The book introduced longstanding supporting characters Shado and Eddie Fyers, and in many ways foreshadowed the “Arrow” TV show. Ollie abandoned trick arrows for the extra-pointy kind; he stopped wearing a mask in favor of a hooded costume; and he even stopped going by “Green Arrow.” For the most part, Grell treated Ollie and crew as if they were disconnected from the rest of the DC Universe. When the book crossed over, it was with similar titles like “The Question” (written by Denny O’Neil), a Bat-book, or the Native American hero called The Butcher. Moreover, when Ollie’s old buddy Hal Jordan stopped by, there was no ring-slinging to be had. About the wildest Grell’s run ever got was a crossover with his early-’70s creation The Warlord; and that was all but inevitable given the two characters’ similar grooming.

Chuck Dixon and Jim Aparo became “Green Arrow’s” regular creative team with February 1994’s issue #83. In addition to steering the book back towards a more superheroic feel, they also laid the groundwork for Ollie’s successor, his son Connor Hawke. Ollie died in a helicopter explosion in October 1995’s issue #101 (pencilled by Aparo’s successor Rodolfo Damaggio) and would stay dead for the next several years. Connor then teamed up with various Bat-characters and fellow successors Kyle Rayner and Wally West; and joined the Justice League. The series ended in 1998 on a sort of two-part tease. The last regular issue, October 1998’s issue #137, hinted strongly that Ollie would return; and the subsequent issue, a “DC One Million” tie-in, confirmed it.

REVIVAL

Speedy (Mia Dearden), Black Canary and Green Arrow (Connor Hawke), from the cover of “Green Arrow and Black Canary” #2, by Cliff Chiang

Regardless, readers still had to wait over two years for the next volume of “Green Arrow.” Written by Kevin Smith (fresh off “Daredevil”), pencilled by Phil Hester and inked by Ande Parks, the first issue of the relaunched series was cover-dated April 2001. Ollie’s revival was the work of his old friend Hal Jordan, since transformed into the godlike Parallax. In fact, Hal’s actions suppressed Ollie’s memories of the “Longbow Hunters” era, effectively reinstalling the O’Neil/Adams version of his operating system. Smith, Hester and Parks’ run lasted 15 issues and introduced a new Speedy (Mia Dearden) and a new villain, Onomatopoeia. Brad Meltzer followed Smith with the 6-issue “The Archer’s Quest,” a trip into Golden and Silver Age iconography which guest-starred Roy “Arsenal” Harper and involved a Green Lantern ring.

After that “Green Arrow” settled into a comfortable groove with a decent variety of creative teams. It was cancelled in 2007 after 75 issues, in favor of a new “Green Arrow/Black Canary” series where the longtime lovers would finally get married. In turn, that series lasted 29 issues (December 2007-April 2010) before being relaunched again — without Black Canary — as part of 2010’s “Brightest Day” event.

Prior to that, though, the 2009-10 miniseries “Justice League: Cry For Justice” toyed with the idea of a splinter League, led by Hal Jordan and Ollie Queen, which would take up the familiar “proactive crimefighting” trope. The miniseries (written by incoming “JLA” writer James Robinson and painted by Mauro Coscioli) was received poorly, in no small part because it ended with a) the death of Roy Harper’s adolescent daughter, b) the destruction of a major DC city, and c) Ollie’s lethal retribution on Prometheus, the villain involved. Also, the dialogue often felt forced, the art was stiff, and once again Roy Harper was made to suffer. The “Brightest Day” relaunch was therefore designed to give Ollie some closure and/or redemption in the wake of “CFJ.” (Roy got his closure, or something meant to approximate it, in the infamous “Rise of Arsenal” miniseries.)

THE NEW 52

Green Arrow by Andrea Sorrentino, from the cover of “Green Arrow” vol. 5 #17

If it weren’t for DC’s 2011 line-wide relaunch, fans might still be trying to chart Ollie’s development from generic crimefighter to big-hearted liberal to deadly urban avenger, and back again. Nevertheless, writer J.T. Krul, penciller Dan Jurgens and inker George Pérez rebuilt Ollie from the ground up, restoring his fortune and giving him a television-esque support staff a year before The CW’s “Arrow.” The New 52’s “Green Arrow” was basically an updated version of the Golden Age original, with high-tech equipment and little in the way of progressive bromides (or, for that matter, facial hair).

Perhaps it was too different, because this version didn’t last. After a few issues, Keith Giffen had replaced Krul and Ray McCarthy had replaced Pérez, and the creative-team turnover didn’t stop there. Ann Nocenti was the regular writer from issues #7-16 (with Judd Winick writing the flashback issue #0), and her artistic collaborators included Harvey Talibao and Freddie Williams II. Ultimately, in issue #17 writer Jeff Lemire and artist Andrea Sorrentino killed off the support staff and sent Ollie on a globetrotting quest, battling weapons-themed clans of martial artists and assembling a team of “Outsiders.”

Despite all these weighty storylines, this Green Arrow was still younger than readers had seen in a while (if ever). He joined the New 52’s Justice League of America — emphasis on the “America,” to distinguish it from the A-list Justice League — and later helped form Justice League United. In both instances he was an easygoing teammate, trading quips with the likes of Stargirl, Animal Man and Adam Strange.

However, when “Rebirth” came along this version of Green Arrow grew a goatee and had his consciousness expanded, once again making him more like O’Neil and Adams’ world-weary liberal.

THE TAKEAWAYS

Green Arrow, from “Batman: The Brave and the Bold”

Looking back on 75 years’ worth of Green Arrow is instructive. For one thing, it puts that 1969-70 makeover in perspective. Denny O’Neil and Neal Adams may have been Green Arrow’s two most influential creators, but they only worked on the character together for about a year; and O’Neil’s time with Ollie on the revived “Green Lantern” only lasted about another four years. The extended “Adams suit” era spanned about 17 years, from late 1969 to 1987; but that was almost thirty years ago. Although the 2001 revival (and subsequent series) downplayed the grittier “Longbow Hunters” era in favor of the O’Neil/Adams version, the “Arrow” TV series takes its cues more from the Grell- and Dixon-written series (not to mention the Christopher Nolan Batman movies) than it does from O’Neil/Adams.

To be sure, there’s a live-action or animated Green Arrow for every era’s fans. Besides “Arrow’s” grudging acceptance of superheroics, there’s “Smallville’s” more upbeat interpretation, “Justice League Unlimited’s” take on O’Neil/Adams, and the Silver Age excesses of “Batman: The Brave and the Bold.” While each is clearly distinct from the other, none seems overly at odds with the character’s comics background.

Still, it’s easy to forget — particularly for a DC lifer like me — that despite the staying power of the O’Neil/Adams makeover, it’s not necessarily the be-all and end-all of Green Arrow. Unlike O’Neil and Adams’ Batman revitalization (also in late 1969), it didn’t go back to the character’s Golden Age origins. Instead, it uncoupled Green Arrow from one of the main elements he shared with Batman, and replaced it with a clear authorial voice. Mike Grell did much the same with “The Longbow Hunters,” just changing Ollie’s perspective to fit Grell’s particular approach. If you put the initial “O’Neil/Adams era” of the ’70s and ’80s together with its revival in 2001-11, the resulting 27-odd years almost equal the character’s relatively-bland Golden and Silver Age eras (1941-69). That leaves about 13 years’ worth of Grell and Dixon-written stories (1987-2000), plus the past five years of New 52 and Rebirth series (2011-16).

It all adds up to a character with some pretty decent potential, whether as a straight-up superhero, an outspoken crusader, or a gritty urban warrior. While he doesn’t have the unbroken publication history of DC’s Trinity, over the past 75 years Green Arrow has never really gone away. Instead, he’s proved pretty adaptable, even if he sometimes he comes across as a relic from a more rough-hewn time. That’s entirely appropriate for a self-taught survivalist, don’t you think?

The post Archery, Activism, Anniversary: Celebrating 75 Years Of Green Arrow appeared first on CBR.com.

Tom Bondurant
via Comic Book Resources

Jessica Jones Season 2 Will Be Directed Entirely By Women

Marvel’s “Jessica Jones” has been critically acclaimed for everything from its handling of sensitive topics like sexual assault to bringing the comic book source material to life in such a dedicated way. And showrunner Melissa Rosenberg is committed to continuing to change the game in the second season of the Netflix drama.

During the Transform Hollywood Symposium, Rosenberg delivered a keynote speech in which she announced that all 13 episodes will be directed by women.

All 13 episodes of @JessicaJones S2 will be directed by women, EP Melissa Rosenberg says at her @transformhwood panel. @tallgirlmel #TH7

— Mo Ryan (@moryan) October 22, 2016

The Netflix series has already added another woman to its creative team with Raelle Tucker (“The Returned”) joining as a writer and executive producer. Rosenberg’s comments also speak to Marvel’s continuing efforts to bring in more female voices (Marvel Studios is on the hunt for a female director for “Captain Marvel” sta,rring Brie Larson.)

RELATED: “Marvel’s Jessica Jones” Wins Creative Arts Emmy

Although we likely won’t see another season of “Jessica Jones” until 2018 given the current Marvel schedule, Rosenberg has opened up about what fans might be able to look forward to, including more of Jess and Trish’s relationship, the fallout from Kilgrave, and multiple new antagonists.

Of course, considering that Season Two will most likely take place after “The Defenders,” which brings together Daredevil, Jessica Jones, Luke Cage and Iron Fist, it’s likely episodes will touch upon issues from that crossover, and possibly open up an entire new universe of players into Jessica’s world.

(via Screen Rant)

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Andrea Towers
via Comic Book Resources

Latest KISS #1 Tries To Be Different, But Doesn’t Succeed Like Past Comics

Dynamite Entertainment is the latest publisher to give fans their first kiss, as the newest comic to feature the frightening foursome has hit the stands in the form of Amy Chu and Kewber Baal’s intriguing but somewhat lackluster “KISS” #1.

These same fans have had to wait a few years to see their favorite band get the four-color treatment after IDW Publishing wrapped up their licensing stint with the group about three years ago, and this issue serves as the launch point for first of several series planned by the new publisher. While the new era of KISS comics has begun, readers still need to wait for the quartet to appear, though, as Chu and Baal’s introductory issue feature a plethora of references to the band’s music, but not the bandmembers themselves, save for a group vignette on the first and final pages.

Chu takes a serious approach to the franchise, but the post-apocalyptic backdrop of her story immediately comes across as well-worn and stale. A “Great War” centuries ago has devastated the environment and left the planet surface uninhabitable, so remnants of Earth’s population have settled in the underground patchwork city known as Blackwell. The story centers around four teens who begin to question the way of their claustrophobic existence, and the beginning of their quest to find out more about the world around, and above, the only one they’ve known.

There’s no harm in telling another story featuring a war-ravaged world, or its survivors establishing a haven from it, or its children experiencing a curious wanderlust, but there’s little to supplement Chu’s story to make it unique or more interesting. Clearly published for KISS Army enlistees, fans picking up this comic could probably weather either the absence of their rock heroes or any real storyline of substance, but not both. The setting is unique, but only for a KISS comic, and while there are multiple references to the band’s lyrics and some nicely rendered scenery incorporating the band’s iconic caricatures, it’s not enough to offset some weary worldbuilding. The introduction reads more like a crossover between KISS and any number of everyday sci-fi stories, rather than one intended to showcase the personas of the group.

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If readers are expecting the four young lead characters to somehow each be associated with The Demon, Starchild, Spaceman, and The Cat, it doesn’t happen, at least yet, nor is there any indication that it will. The flat characters with equally lifeless dialogue aren’t enough to satisfy readers who want leads as dynamic as their favorite band. And Baal’s art, despite some cool designs, is static and has little in the way of flair save for the allusions to the band’s imagery.

Anyone less than a diehard KISS fan might find this issue lacking; Chu takes the admittedly bold step of using source material solely from what’s largely considered by the band’s fans to be their most hated release: 1981’s “Music From The Elder,” an atypical concept album released during a transitional time for KISS in the midst of their rapid decline in popularity. While a single from the album, “A World Without Heroes,” was moderately successful and its lyrics are used to open this issue’s story, casual fans who were less than enamored with that release won’t be left with much of a first impression. Even stranger, the concept here doesn’t seem to align with that of the album, although that could be clarified in future issues.

Past series at least had some kind of hook; Image Comics’ “KISS: Psycho Circus” from the late 90’s was a cosmic, celestial delight that was the “Sandman” of KISS comics, Dark Horse Comics’ subsequent series was a fun, straightforward superhero-like affair, and IDW’s “KISS Kids” was an all-ages treat. Chu creates something that’s indeed different from those comics, but it doesn’t succeed because her ingredients of otherwise tired concepts combined with puzzling source material don’t gel into anything that comic fans, let alone KISS comic fans, need, or would even want.

“KISS” #1 isn’t a hack job; it makes an effort and doesn’t try to copy previous KISS comic stories, but unlike its predecessors, it just doesn’t work. There’s room for the remainder of the series to adjust, but it requires readers to buy into a premise that this issue just doesn’t sell.

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Jim Johnson
via Comic Book Resources