Travis Hedge Coke

The Business of Running the World Emma, Gunsmith Cats, and the Unbearable Politic of Others Serialized from 1990 to 2008, with a seven year break between the original run and continuation, Gunsmith Cats is a manga by collector of model guns and former Artmic character designer, Kenichi Sonoda.

Travis Hedge Coke Sometimes an Avengers comic, even an Avengers run, is an exercise in can not. Chuck Austen’s time on The Avengers with artists like Olivier Coipel and Scott Kolins is often summarized by a scene of Hank Pym and Janet Van Dyne having size-changing sex.

by Travis Hedge Coke A memorable scene from Skrull Kill Krew is the gag walking away from a burning church, a dozen alien Skrulls dead and scattered over the foreground, one of them jokingly asking, “D’you suppose we missed anybody?” We, the people, we love an excuse to be a little terrible. Not absolutely, not permanently, not even consistently, but to once in awhile, with all the flexibility that encourages, be just a little bit bad.

by Travis Hedge Coke The recent Star Trek series, Starfleet Academy was both not militaristic and full of familiar white characters enough and too queer and Black for a certain kind of person, some of whom used their websites not just fund by actually solicit on LinkedIn for haters.

Travis Hedge Coke This essay is brought to you by the vibes of comics’ own Mick Gray spinning Slim Gaillard’s Potato Chips in 2026. A number of readers of superhero comics, including many who never read it, will tell you that Marvel Boy, JG Jones and Grant Morrison’s Marvel Boy is not canon and did not take place anywhere that counts.

Three songs: Lady Vampire Audio playback is not supported on your browser. Please upgrade. The Three Minute Ballad in Gliph Audio playback is not supported on your browser. Please upgrade. Your Cousin Lewis Isn’t There Audio playback is not supported on your browser. Please upgrade. These were three “ironic” anti-romance haikus written for a contest which wanted a tenth of the prize money to enter and nah, no way. They can pay me. Now they’re three stanzas of a better poem.

Travis Hedge Coke “The broader, often implicit, distortion of maps to reflect the prejudices, priorities, or ethnocentrism of the cartographer.” — summation of persuasive cartography by the Google Gemini AI Generative AI is arguably the most novel of the aggressively promoted disinformation technologies today. It is, largely, the same sets of tools used in basic advertising, in political rabble-rousing, and in persuasive cartography, a category into which all maps ultimately will fall.

by Travis Hedge Coke I love a significant fraction of X-Men Legends, an anthology comic featuring stories by older writers and artists (in collaboration, sometimes, with their younger counterparts), taking place in the past, at different points during the continuity of the franchise. Advertised as “every favorite era,” Legends saw the return of Larry Hama, Chris Claremont, Laura Martin, Brett Booth and more.

[Republished from Comic Watch, Oct 11 2021. These take place while most of Marvel’s merry mutantdom were living on the island nation, Krakoa and are purely for parodic, satiric, and observational commentary purposes.] We all have scenes we would love to see, conversations we know in our hearts and headcanons would happen and why don’t the comics give them to us? Some are deep in our hearts, fulfilling the angst of decades of implied and anticipated story.

When the concept of “Omega Level” was introduced to the X-Men vernacular, much like the first invocations of “Onslaught,” it meant nothing specific, only an intimation of great things. Marvel Comics is usually the legal author of most of their comics, but they are, of course, made by people, and those people co-author, sometimes with little real collaboration or communication between.