Doc’s Guide to Montreal ComicCon 2019

Here we are again my friends! Another year another wonderful Montreal ComicCon. Now, since I’m sure some of you are new to this so sit back, relax and take notes because I’ve got you covered. If you’re a seasoned Comic-con adventurer you may have been to Montreal ComicCon, or Fan Expo in Toronto, BlerDCon in DC, heck maybe even NYCC convention in the fall or for the geekiest of us all…maybe even San Diego ComicCon (widely considered the “BIG SHOW” to most geeks). One thing that stands true through all these conventions is that they get crowded. The following is a guide on how to explore, shop and get the the best out of your ComicCon experience.

Scheduling: The first thing you should do is to find out which guests are attending and what day. Most conventions have their biggest guests come on the Saturday, giving them the chance to try and draw in as many attendees as possible (within safety limits) with their biggest names. Check the schedule, look up panels, check out the vendor list and make your own personalized schedule. You might have some conflicts once things get moved around, but that’s half the fun of Comiccon; you can only plan so much, sometimes you have to let the con guide you. For example, Tom Welling and Michael Rosenbaum of Smallville fame, were both expected at Montreal ComicCon this year, but due to both their schedules, they had to pull out (not before announcing they would be at Fanexpo with costar Kristin Kreuk though). If you bought tickets with plans to see them, you’ll still have Dean Cain, Robert Sheehan and Elijah Wood. Don’t let that discourage you though, it just means you get different stars.

Know the layout: Possibly one of the most important things to note. Knowing the layout of the convention isn’t only important for your safety, it can make getting around a breeze. Take advantage of the Montreal Comiccon site and all the links, because if you explore the site, you can find the layout for the convention before they release the official one in the swag bags (hint: it’s in the exhibitor section under Floor Plan). Once you find it, you can use the Exhibition Hall list and start marking off your main points of interest. Use landmarks like The Ecto-1 from GGhostbustersor the big Dreamhack Gaming Zone booth. Once on the convention floor, it is easy to get turned around.

Montreal Comiccon Q&A

Shopping: If you’ve ever been to a ComicCon you may have noticed that the prices for some items can be… inflated. It happens partially because the vendors are trying to make back the money they spent on their tables. Tables at Cons can get pretty expensive, so the vendors work hard to at least breaking even. Your job as an attendee is to be informed: if you have a specific comic you want to pick up, maybe a figure from your favourite game or even a shield, know your prices going in. With a couple thousand fans walking around the convention hall, service can sometimes be slow. If you’re negotiating a price on a limited edition Star Wars figure, for instance, you want to know 1) how much it should cost? and 2) how much you’re willing to spend to add it to your collection? The game has changed with the internet, so take advantage and get informed before someone takes advantage of your wallet. Plus, there is always the Sunday Fire Sale. When the convention is coming to an end on the last day, many vendors would rather not have to lug everything back to their stores or storage lockers. This can really work in your favour, especially on TPBs (trade paperbacks), mystery boxes, and clothing.

Food & Water: This one is short and to the point: pack some snacks! If you are going to be moving around a lot, whether it be from panel to panel or game room to convention floor, you will need to recharge those batteries, so have some food. There are usually food counters at the con, but again, those prices can be inflated and if you’re like me, you want to save your money for autographs and action figures, packing a bottle of water, and a couple granola bars can mean the difference between two Marvel Legends figures or one.

Health: This may seem like a weird one, but “Con-Cold” or “ComiCough” are real things. With that many people touching and checking out all this cool and interesting stuff at the convention, not everyone is cleaning their hands before they touch the merch. You don’t have to wear gloves, but you should do your best to clean your hands often and sneeze or cough into your elbow. Vampire routine still works folks, it isn’t just for kids.

All this to say, Comiccon can be an amazing time, especially if you go in with a plan. More info on the programming of the weekend-long convention can be found here, and for info on the early badge pick-up (expected Thursday July 4th) here. Happy planning, and have a merry ComicCon!

2019 Will Eisner Comic Industry Award Nominees

Best Short Story
  • “Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burell, in Get Naked (Image)
  • “The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)
  • “Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)
  • “Life During Interesting Times,” by Mike Dawson (The Nib),
  • “Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)
  • “The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Best Single Issue/One-Shot
  • Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)
  • Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)
  • No Better Words, by Carolyn Nowak (Silver Sprocket)
  • Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)
  • The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

Best Continuing Series
  • Batman, by Tom King et al. (DC)
  • Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)
  • Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)
  • Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)
  • The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)
  • Runaways, by Rainbow Rowell and Kris Anka (Marvel)

Best Limited Series
  • Batman: White Knight, by Sean Murphy (DC)
  • Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)
  • Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)
  • Mister Miracle, by Tom King and Mitch Gerads (DC)
  • X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

Best New Series
  • Bitter Root, by David Walker, Chuck Brown, and Sanford Greene (Image)
  • Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)
  • Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)
  • Isola, by Brenden Fletcher and Karl Kerschl (Image)
  • Man-Eaters, by Chelsea Cain, Lia Miternique and Kate Niemczyk (Image)
  • Skyward, by Joe Henderson and Lee Garbett (Image)

Best Publication for Early Readers (up to age 8)
  • Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)
  • Petals, by Gustavo Borges (KaBOOM!)
  • Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)
  • This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)
  • Tiger Vs. Nightmare, by Emily Tetri (First Second)

Best Publication for Kids (ages 9–12)
  • Aquicorn Cove, by Katie O’Neill (Oni)
  • Be Prepared, by Vera Brosgol (First Second)
  • The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)
  • Crush, by Svetlana Chmakova (JY/Yen Press)
  • The Divided Earth, by Faith Erin Hicks (First Second)

Best Publication for Teens (ages 13–17)
  • All Summer Long, by Hope Larson (Farrar Straus Giroux)
  • Gumballs, by Erin Nations (Top Shelf/IDW)
  • Middlewest, by Skottie Young and Jorge Corona (Image)
  • Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)
  • The Prince and the Dressmaker, by Jen Wang (First Second)
  • Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)

Best Humor Publication
  • Get Naked, by Steven T. Seagle et al. (Image)
  • Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)
  • MAD magazine, edited by Bill Morrison (DC)
  • A Perfect Failure: Fante Bukowski 3, by Noah Van Sciver (Fantagraphics)
  • Woman World, by Aminder Dhaliwal (Drawn & Quarterly)

Best Anthology
  • Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)
  • Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)
  • Twisted Romance, edited by Alex de Campi (Image)
  • Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)

Best Reality-Based Work
  • All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)
  • All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)
  • Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)
  • Monk! by Youssef Daoudi (First Second)
  • One Dirty Tree, by Noah Van Sciver (Uncivilized Books)

Best Graphic Album—New
  • Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)
  • Come Again, by Nate Powell (Top Shelf/IDW)
  • Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)
  • Homunculus, by Joe Sparrow (ShortBox)
  • My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)
  • Sabrina, by Nick Drnaso (Drawn & Quarterly)

Best Graphic Album—Reprint
  • Berlin, by Jason Lutes (Drawn & Quarterly)
  • Girl Town, by Carolyn Nowak (Top Shelf/IDW)
  • Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)
  • The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)
  • Young Frances, by Hartley Lin (AdHouse Books)

Best Adaptation from Another Medium
  • Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)
  • “Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)
  • Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)
  • Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)
  • To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)

Best U.S. Edition of International Material
  • About Betty’s Boobby Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)
  • Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu, translated by Montana Kane (First Second)
  • Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)
  • Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)
  • A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)

Best U.S. Edition of International Material—Asia
  • Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)
  • Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)
  • Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)
  • My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)
  • Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)

Best Archival Collection/Project—Strips
  • Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)
  • Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)
  • Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)
  • The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books
  • Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project—Comic Books
  • Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)
  • Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)
  • Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)
  • Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)
  • Terry Moore’s Strangers in Paradise Gallery Edition, edited by Bob Chapman, Joseph Melchior, and Terry Moore (Abstract Studio/Graphitti Designs)
  • Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)

Best Writer
  • Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
  • Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)
  • Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)
  • Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)
  • Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)
  • Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Best Writer/Artist
  • Sophie Campbell, Wet Moon (Oni)
  • Nick Drnaso, Sabrina (Drawn & Quarterly)
  • David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)
  • Nate Powell, Come Again (Top Shelf/IDW)
  • Tony Sandoval, Watersnakes (Magnetic/Lion Forge)
  • Jen Wang, The Prince and the Dressmaker (First Second)

Best Penciller/Inker or Penciller/Inker Team
  • Matías BergaraCoda (BOOM!)
  • Mitch Gerads, Mister Miracle (DC)
  • Karl Kerschl, Isola (Image)
  • Sonny Liew, Eternity Girl (Vertigo/DC)
  • Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)
  • Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Best Painter/Multimedia Artist (interior art)
  • Lee Bermejo, Batman: Damned (DC)
  • Carita Lupatelli, Izuna Book 2 (Humanoids)
  • Dustin Nguyen, Descender (Image)
  • Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)
  • Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Best Cover Artist (for multiple covers)
  • Jen Bartel, Blackbird (Image); Submerged (Vault)
  • Nick Derington, Mister Miracle (DC)
  • Karl Kerschl, Isola (Image)
  • Joshua Middleton, Batgirl and Aquaman variants (DC)
  • Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)

Best Coloring
  • Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)
  • Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)
  • Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)
  • Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)
  • Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

Best Lettering
  • David Aja, Seeds (Berger Books/Dark Horse)
  • Jim Campbell, BreathlessCalexit, Gravetrancers, Snap Flash Hustle, Survival FetishThe Wilds (Black Mask); AbbottAlice: Dream to Dream, Black Badge, CluelessCodaFenceFireflyGiant DaysGrass Kings, Lumberjanes: The Infernal CompassLow Road WestSparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)
  • Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
  • Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)
  • Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)

Best Comics-Related Periodical/Journalism
  • Back Issue, edited by Michael Eury (TwoMorrows)
  • The Columbus Scribbler, edited by Brian Canini, Jack Wallace, Steve Steiner, and Derek Baxter
  • Comicosityedited by Aaron Long and Matt Santori,
  • LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)
  • PanelxPanel magazine, edited by Hassan Otsmane-Elhaou,

Best Comics-Related Book
  • Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)
  • Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)
  • The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)
  • Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)
  • Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)

Best Academic/Scholarly Work
  • Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)
  • Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)
  • The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)
  • Incorrigibles and Innocents, Constructing Childhood and Citizenship in Progressive Era Comics, by Lara Saguisag (Rutgers University Press)
  • Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)

Best Publication Design
  • A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)
  • The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)
  • The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)
  • Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC, (Abstract Studio/Graphitti Designs)
  • Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Best Webcomic

Marvel Hip-Hop Variant Collector’s Edition Vinyl Reissues via Universal Music Enterprises

You read that title correctly, Marvel and Universal Music Enterprises are joining forces to reissue vinyls of three hip hop albums with their Marvel equivalent artwork.

The first releases in this joint series, out December 7, are Iron Man standing behind cracked glass for 50 Cent’s incendiary 2003 debut, Get Rich Or Die Tryin’; the Punisher replicating LL Cool J’s famous stance on the cover of his 1990 album Mama Said Knock You Out; and Iron Man dueling Maestro, mirroring the cover of GZA’s second studio album, Liquid Swords.

Fans can pre-order the first three scheduled for release in December.

50 Cent Get Rich Or Die Tryin’:

Released in 2003 by Shady/Aftermath/Interscope, 50 Cent’s debut, Get Rich Or Die Tryin’, was the year’s bestselling album worldwide. It stormed to No. 1 on the Billboard 200 albums chart with more than 872,000 copies sold during its first week of release. Featuring the acclaimed No. 1 Billboard Hot 100 singles “In da Club” and “21 Questions,” and the Top 5 “P.I.M.P.,” the album is six-times platinum-certified by the RIAA. The exclusive hip-hop variant cover inspired by this album was originally drawn and colored by Brian Stelfreeze for Invincible Iron Man #1 in 2015.

LL Cool J Mama Said Knock You Out:

LL Cool J’s fourth studio album, Mama Said Knock You Out, drew praise from critics worldwide, lauding the album’s hard-hitting, soulful jams. Released in 1990 by Def Jam, the multi-platinum album’s chart-topping and GRAMMY®-winning title track is an iconic hip-hop staple. The exclusive hip-hop variant cover inspired by this album was originally drawn and colored by Tim Bradstreet for Punisher #1 in 2016.

GZA Liquid Swords:

Released in 1995 by Geffen, GZA’s second solo studio album, Liquid Swords, peaked at No. 2 on Billboard‘s Top R&B/Hip-Hop Albums chart and at No. 9 on the Billboard 200 albums chart. The platinum-certified album is critically acclaimed, recognized as one of the best hip-hop albums of all time and as a particularly strong solo release by a member of the Wu-Tang Clan. The exclusive hip-hop variant cover inspired by this album was originally drawn by Denys Cowan and Bill Sienkiewicz and colored by Chris Sotomayor for Contest of Champions #1 in 2015.

Source: Universal Music Enterprises & Marvel Comics Collaborate For New Album Series Of Hip-Hop Variant Covers For Collector’s Edition Vinyl Reissues

NO. Thanos Was Not Right, You Psychopath

‘How Low Can You Go’ was once a lyric about one’s ability to limbo. Next, it was a song about one’s ability to twerk while squatting (ask Ludacris). Now, let the declaration be made here, it’s about one’s ability to empathize with the depth of character of a well written and sympathetic movie villain. How do we know that society has corrupted itself beyond all reason? Antiheroes are the new superheroes. Antagonists are the new protagonists.

I started to worry when the #KilmongerWasRIght Team started making serious waves of consensus. If you’re not familiar with this brand of think-piece activism, it’s a general sentiment that in the Marvel film Black Panther, a vengeful homicidal man with countless scars for murder trophies is so endearing in his convictions that he and his nefarious plans upstage the character that we should be rooting for.

Erik Killmonger, whose very name is half war-waging and half murderous, that it couldn’t be any more literal in spelling out the inherent evil of its sake. In a movie about protecting resources from the wrong hands, and a lesson in how misplaced power can corrupt, he’s the secret hero? The distant relative with a malicious chip on his shoulder and a heart full of hatred is the real star because his origin story is just that tragic? The one who wants to liberate his people by weaponizing the disenfranchised instead of supporting them with asylum, finances, education or anything that they can actually use long-term and collectively? Give our people weapons because it worked so well when the government did it, amirite?!

But Black Panther was so six-months ago. Now we want to give a daughter-killing, alien invading, universal-scale genocide committing thief the crown of ethics because he’s portrayed as a semi-sympathetic protagonist on film. We serious? Yes, apparently so.

As far as Marvel’s Avengers: Infinity War is concerned, the fanboys agree with its super-villain Thanos and his perspective that the universe’s resources are too finite for the destructive parasites we humans are, when it comes to the safety of our planet and the threat of overpopulation. Armed with this argument alone, Thanos’ destructive exploits are, according to his followers online, tantamount to having the moral high ground.

But hey, why stop there? Let’s get Team Breaking Bad in on this with #HeinsenbergWasRight. After all, the teacher turned Kingpin only alienated himself from his family and murdered his way up to lead a criminal enterprise. He had cancer and was shamed and disgraced out of his career prospects, so we’ll just have to forgive the drug dealing, money laundering, people poisoning and other felonies.

Dexter Morgan was also right! His parents were killed in front of him as a child – have some sympathy for the guy, despite the killing spree he’s been on since. Never mind him being a vigilante terrorist that infiltrated a police force between serial murders, we get to see him work on his social behaviour and grieve his wife’s murder. The poor, misunderstood social outcast who brings donuts to his office mates – cut him some slack!

X-Men’s Magneto too! A WWII survivor with the supernatural power to turn his grief into wrath upon his enemies is, you guessed it, RIGHT! To say otherwise would make you politically insensitive, especially since the X-Men franchise is already a metaphor for discrimination.

Sarcastic rantings aside, the takeaway should be that all goals, intentions, and purposes that are grounded or founded in hatred or negative ideologies are WRONG, but this seems to be lost on everyone entering and exiting the movie theater, or even their own Netflix queues. This is a shame, and not a sad one, but a scary one for our not-so-distant future.

Glorifying villains is not only a slippery slope, it’s a slimy one. Now that it’s trending and arguably the key to the superhero film genre’s success, shouldn’t we be a little more careful about how movies can contaminate our moral compass? Do we even have one left?


AvX: Consequences Vol 1 #2 Page 12 (Note: This does eventually happen in Wolverine & The X-Men Vol 1 #21)

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Piece edited by Mobs Goodness