Tag Archive: Marguerite Bennett


A few months ago Marvel made big news by announcing a new Avengers title written by and starring all women.

A couple of weeks ago, The New Yorker published this. Many were, rightly, upset by the dismissive and shaming tone of the article, but I couldn’t quite put into words what bothered me so about it, so I stayed quiet and let those with more to say handle the matter, eventually including one of the writers, G. Willow Wilson.

Yesterday A-Force was released and, curious, I went back and reread Lepore’s article to see if it made any more sense in context. The result was a two-hour twitter rant that, to my surprise, articulated my frustration with the piece and just kept growing.

I honestly expected this to be a short twitter rant but it effectively became a blog post I wrote nearly on autopilot. Twitter isn’t really the best place for such things, but I actually was happy with how it turned out, as well as with the positive response it received, so, for the sake of reader convenience, below you can find an adapted and clarified version of my rant. Continue reading

The New Year’s 52: Vixen

In the course of talking to comic creators this year, I started to think about their unique talents and what I think they would be best suited to. Inspired by all kinds of wonderful ideas I’ve seen online and heard from creators, I’ve put together my New 52. These are the 52 books I would publish if DC’s offerings were up to me and, as my friends and I have had a good time discussing them, I thought I would share them with you.

I tried to consider the actual feasibility of these titles, not only in the sense of immediate sales but in their ability to expand DC’s brand long-term. I also recognize that this is a dramatically simplified version of what DC actually has to do. As such, I made a couple of rules for myself.

First, as I don’t have the same knowledge of the creators’ availability and timeliness as an actual editor, I decided that I would allow myself access to any writer currently working in comics, but that I could only assign a creator to one book. Second, I tried not to put a writer on the same book that they’ve already worked on, though some were moved to similar concepts or allowed to expand short work they’ve already done. Finally, while an actual relaunch might do well to include some new books, I limited myself to preexisting titles and IPs for this project.

I’d love to hear your thoughts, on why I’m right, why I clearly screwed up, who should be illustrating the series, etc. But, regardless, I hope you enjoy.

The first major heroine of color for DC, Vixen’s road to mainstream acceptance has been a long and bumpy one. Despite big plans for her in the late 80s (including quite possibly the best/worst comics tagline of all time), financial trouble, and the regressive nature of the industry means that Vixen has never held an ongoing series. While some might argue that the success of characters like Animal Man and Beast Boy decreases her individuality, I’d say that it only proves the value of the model and highlights what sets her apart and makes her worth supporting.

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Women of DC Entertainment

New York Comic Con was, to my knowledge, a vastly improved convention in regards to its treatment of women. The addition of an explicit non-harassment policy, the presence of Geek Girl HQ, frequent reminders about consent, and a general tone of increased sensitivity showed that the convention was making an active effort. Nonetheless, comics remain an undeniably unfriendly field for female fans and creators alike and likely will until the companies themselves make gender equality the industry norm.

In a promising step, NYCC 2014 marked the first convention where DC and Marvel both held panels focused on the role of women in comics. DC was first, assembling a table of talented writers and artists.

“This is our world,” said moderator Amanda Salmons. Salmons, the owner of Muse Comics and Games, said that the women in comics panels always held tremendous potential in her eyes, but tended to encourage panelists to put words in others’ mouths and focus purely on the negative. Instead she opted to give fans a chance to hear from female creators, the way they always have from men in the industry.

The panel was composed of Shelly Bond, executive editor of DC’s Vertigo imprint; Caitlin Kittredge, novelist and writer of Vertigo’s Coffin Hill; Batgirl of Burnside artist, Babs Tarr; Meredith Finch, the soon-to-be writer of Wonder Woman; co-writer of Gotham Academy, Becky Cloonan; feminist icon and writer of the upcoming Secret Six series, Gail Simone; Marguerite Bennett, writer for DC’s Earth-2 and Earth-2: World’s End; Harley Quinn co-writer, Amanda Conner; and Bobbi Chase, DC’s editorial director. Continue reading

NYCC Report: Women of Marvel

Women of Marvel

In regards to its treatment of women, Marvel has oscillated between praiseworthy acts and deeply disheartening lapses of late. Ms. Marvel continues to dominate the sales charts but the choice of artist on the new Spider-Woman series left many women skeptical, all the more so when a variant cover by Milo Manara was announced.

Despite their uneven record, the House of Ideas spared no expense for their Women of Marvel panel. The panel was the single most massive that I’ve ever seen, with sixteen women sharing the stage.

Led by Kelly Sue DeConnick, the packed room and crowded stage constituted an all out assault on the erasure of female comic fans. Following a small giveaway to Captain Marvel and Ms. Marvel cosplayers, DeConnick called for all the women in the audience who read comics to raise their hands. Seeing the sea of hands, she casually declared the discussion of how to get girls to read comics over. “Girls have always read comics!” She then asked all the women looking to work in comics to stand up, calling upon them to look out for one another and to hunker down and do the work. “The only way out of the woods is through. Be brave, do it. We believe in you!” Continue reading

photo 1Following Marvel’s Next Big Thing, room 1E19 was turned over to a very different sort of panel. At once more important but less serious, Reimagining the Female Hero was my favorite panel at Special Edition: NYC and, judging from the reactions I’ve seen, I get the sense I wasn’t alone in that.

In a stark inversion of horror stories from previous conventions where feminist panels were trolled by attendees waiting out more traditional fare, I noticed many fans sticking around from The Next Big Thing. In fact, despite taking place in the same room as DC and Marvel’s offerings, the panel gave us reason to hope and easily held its own in terms of attendance.

Of course, it didn’t hurt that the panel had some pretty excellent creators. The line-up included Jenny Frison, a talented cover artist for series including Revival and Red Sonja; Emanuela Lupacchino, the artist on DC’s Supergirl and the Superman: Lois Lane one-shot; Marguerite Bennett, the writer of Superman: Lois Lane and Batgirl #25 and #30; Gail Simone, feminist icon and writer on Batgirl; and Amy Reeder, the artist behind Madame Xanadu and Rocket Girl, who arrived from her dedicated panel a short while into the discussion.

It’s also worth mentioning that the panel had an excellent moderator in the form of Professor Ben Saunders of the University of Oregon. While I hesitate to devote too much praise to the only man involved with the panel, Professor Saunders did an excellent job of keeping the focus on his panelists, encouraging their relevant digressions, and recognizing their celebrity while keeping the mood light yet respectful.

In short I left the room with a greater respect for everyone involved. Continue reading

Death-of-Wolverine-1-McNiven-Cover-49c4cThough I didn’t plan it this way, my final panel of C2E2 was Marvel’s Wolverine: 3 Months to Die. And while I regret not being able to see a couple of the later panels, I can’t say that it was a bad note to go out on. Full of interesting questions and big announcements, it was definitely one of the most exciting panels of the weekend. And so with that in mind, I’ve decided to skip ahead and write about it early.

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Seen here, on an average day.

Seen here, on an average day.

Marguerite Bennett is a relatively new name to the comics world, but in the few months that she’s been gracing the covers – and more – of your comic books, she’s accomplished a great deal. She’s written Batman, recreated Lobo, and even filled in on Batgirl for Gail Simone!

A recent graduate of Sarah Lawrence College’s graduate program, Bennett has proven to be a talented and distinguished voice within DC’s stable and has been rising like a rocket. Her fascinating entry into the world of comics and her even more fascinating talent for character work and psychological horror immediately made her a creator to pay attention to in my book and she’s been kind enough to speak with us.

In short, she’s clever, talented, and – I’m honored to say – here.

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Review: Batman Annual #2

Batman Annual 2

Batman Annual #2 takes a moment to stop and consider Gotham City’s most famous institution, Arkham Asylum. Though Scott Snyder is there in spirit and to help with the plotting, the writing falls to one of his students, Marguerite Bennett (should it concern us that the guy with an uncanny knack for writing Batman seems to be collecting younger protégés?).

While many of us (read: I) wish we could be in her shoes, writing an annual is a big responsibility – especially for DC’s biggest name. How does Bennett fare on her first step into madness? Read on to find out.

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