The Parker Legacy (Thanks for the memories, Pete!)

May's melancholy stinger delivered en route upstairs evokes Peter's similarly dramatic exit in Ditko's final ASM sequence.

Been returning to John Lennon/Plastic Ono Band lately, it's like an open wound in the best way.

But one school said, "We believe in a human-centered education and AI is at odds with that. Honor code rules about plagiarism cover AI but we also don't waste effort cracking down on it. Instead we make it clear that using it is cheating yourself out of the education you presumably signed up for"

The AI inevitability narrative is so crazy, especially when defaulted to by the institutions that could crush the case for it

There a smart phrasing of the question

The Demon 15 (873)

Black suit doodles

#SpiderMan
#MarvelComics

That goes for my trans adult friends too. When they come after you, they're coming after everyone who loves you.

The Invincible Iron Man, by Bob Layton with Gregory Wright, from 1988’s Marvel Fanfare #39.

Bob Layton’s Iron Man always feels thoroughly authentic to me. I catch sight of his work on the character and think, well, yes: that’s just what IM looks like.

in case you've never seen it, this is Roger Ebert on The Mummy

THEY VS. THEM

Night terrors battle giant ants!

And one the most inventive hypothetical crossovers to arrive at a pun I've ever heard.

I would watch that movie!

Such a 90s panel but why the little gun🤷

Love JR Jr's Cable

I was thrilled to be a guest on this one. We had a really fun talk about something I don't often talk about: a comic book. And a weird comic book at that.

If you're wondering why Marty adopted a minimalist penciling style with irregular line work in the mid 80s

Redemption is not character development. I mean in real life yes, but it’s not character development in art if the villain becomes less interesting and less complex and less challenging when they redeem themselves, than when they were bad. Imagine if Macbeth redeemed himself, it’d be a shitty play.

I might even go so far as to say the Raimi/Defoe Green Goblin is the best adaptation of a villain with a very specific arc. Like the way you get a compression of his story from ASM 14-ASM 122 without any loss is nothing short of brilliant.

The Stern/Jenkins Norman worked best as retroactively applied by Raimi. Like it wasnt worth the tradeoff of bringing him back but it recontextualizes Peter, Harry and Norman's dynamic nicely.

NWH's problem isn't Raimi's Norman, it's viewing him through the lens of Raimi's Otto Octavius arc. Suddenly Spidey is a quasi-religious savior instead of the guy who mocks assholes while taking them down a notch.

It's an expedited version of Norman's original arc where he starts out cold and calculating and ends up obsessed with Spider-Man and Peter Parker.

Well I never really saw Raimi's version as "good guy Norman" in the slightest, more like a fracturing of what he conceives he can and cant get away with publicly, which breaks down as the movie progresses (sweet potatoes lol).

When "Norman" directly addresses the Green Goblin in the mirror, it's not the Norman we've already seen, it's more Norman playacting his fear of what he is without the mask.

The thing about Norman's split personality is it's different in character than Connors, who is a fundamentally decent guy regressing to primal instincts. The Goblin is Norman's power fantasy.

I think of the Raimi version as an adaptation of Conway's Norman Osborn, which integrated the Ditko and Romita versions.

Norman is clearly a bad guy before the serum (hence "back to formula!") and it really just amplifies who he always was.

Raimi got Norman right, he's a severely damaged and abusive individual who cares for Harry but only in a warped way, as an extension of himself (and prefers Peter for that role).

I believe it goes back to the original Spider-Man and His Amazing Friends series from the 80s.

I did love how Raimi handled Norman in the movie, that was spot-on.

Jay Silverheels leaning around the corner of a rough adobe wall, wearing a fringed buckskin-style shirt and a thin headband across his forehead. His dark hair is combed back. He holds a revolver in his right hand while looking cautiously to the right. Behind him are stacked adobe bricks and a wooden doorway, creating a Western-style setting.

Jay Silverheels was a gifted Canadian lacrosse player who turned to acting.
While he gained fame as Tonto in The Lone Ranger, he disliked how the character was written.
So, he chose to use his fame to help other Indigenous actors in Hollywood.
This is his story.

🧵 1/12

Nova #17 Pg 11 by Wellinton Alves

Since yesterday was an original art commission, we will make a weekend of it by using Sundays for original comic book pages. I really like this one for the long cinematic panels and the facial expressions of Rich and his brother Robbie.
#Nova50thAnniversary 66/166

From 95-97 I would never have predicted X-Man would fade out like he did but it's definitely an "oh yeah that book" thing these days.