tag:blogger.com,1999:blog-4885210312043715299.post4317357694216487799..comments2024-01-16T03:54:50.384-05:00Comments on With Great Power: Review: X-Men: God Loves, Man KillsMarchttp://www.blogger.com/profile/10558378521891430225noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-4885210312043715299.post-57787334921938022442014-01-28T00:59:19.652-05:002014-01-28T00:59:19.652-05:00I'm confused as to why Rupert Murdoch's FO...I'm confused as to why Rupert Murdoch's FOX studios would make X-MEN movies... It goes against FOX networks bias.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-4885210312043715299.post-79843967552329590322013-09-15T08:54:51.801-04:002013-09-15T08:54:51.801-04:00I think that it's a case of the lowest common ...I think that it's a case of the lowest common denominator, low hanging fruit. No one wants controversy unless they manufacture it themselves. Creatives were less concerned with career longevity than they were with making a statement, even within the framework of mainstream entertainment (comics, movies, music, etc). The most mainstream movie of the early '70s had more edge than many so-called "indie" Fox Searchlight films do today. <br /><br />You are correct about the conservative vibe of the '80s. Cars became WAY more conservative in terms of design, even. Look at a 1983 Camaro vs. a 1976 Camaro. The edges and aggressive styling were sawed off. Music also became homogenized, while anything with any sense of adventure was split off and ghettoized (in terms of mainstream acceptance) into subgenres (Heavy Metal, Punk Rock, the emerging College Rock of the day). While music fans today consider it a badge of honor to like something "underground", real underground music of the '60s and '70s had a chance of making a statement to the masses. That was dangerous to the powers that be. Music today is innocuous. The boldest band stands little chance of any mass success because the structure is so firmly in place. Sadly, I do not believe that we will ever go back to artistic yet accessible mainstream entertainment. The fact that everything is corporate controlled certainly doesn't help...Kris Shawhttps://www.blogger.com/profile/07459412655631882698noreply@blogger.comtag:blogger.com,1999:blog-4885210312043715299.post-24342591825367337972013-09-14T17:52:38.997-04:002013-09-14T17:52:38.997-04:00Thanks, Kris. The most recent edition of this book...Thanks, Kris. The most recent edition of this book includes the work Adams completed before leaving the project, and it's beautiful!<br /><br />It really is interesting to see Claremont's emerging social consciousness here, sans the melodrama that had a tendency to bog down some of his longer story arcs in <i>Uncanny</i>. Exceptions like Claremont aside, though, it's possible to draw a pretty direct line between the conservative shift in late-'70s narrative art and the hollowness of so many of today's most popular narratives (both in comics and in other media). Things could always change, of course, but there's definitely a reason you don't see many mainstream comics mentioned in the industry's annual awards announcements.Marchttps://www.blogger.com/profile/10558378521891430225noreply@blogger.comtag:blogger.com,1999:blog-4885210312043715299.post-2436352036925559722013-09-14T16:18:32.589-04:002013-09-14T16:18:32.589-04:00Wow, great review! I would LOVE to see all of the ...Wow, great review! I would LOVE to see all of the Neal Adams pages. Claremont was really striving to do something more at this time, even in the core title. By the time that Paul Smith was on the title the characters served as a strong gay metaphor for the day, i.e. you are hated and feared, you are only safe with your own kind, why do they hate us, so on and so forth. <br />You know what's REALLY sad? That comics are more about crossovers and 3-D covers these days than they are about telling compelling, though provoking superhero stories. Kris Shawhttps://www.blogger.com/profile/07459412655631882698noreply@blogger.com