Since dedicating myself to getting into “superhero shape,” several articles regarding my weight have been brought to my attention. Claims have been made that I’ve been on a strict workout routine regulated by co-stars, whipped into shape by trainers I’ve never met, eating sprouted grains I can’t pronounce and ultimately losing 14 pounds off my 5’3” frame. Losing 14 pounds out of necessity in order to live a healthier life is a huge victory. I’m a petite person to begin with, so the idea of my losing this amount of weight is utter lunacy. If I were to lose 14 pounds, I’d have to part with both arms. And a foot. I’m frustrated with the irresponsibility of tabloid media who sell the public ideas about what we should look like and how we should get there.

Scarlett Johansson for the Huffington Post [x]

More of her brilliant articles can be found here.

(via theshadowsinthesun)

Captain Marvel can punch through a fucking planet. The challenge is to put her in situations she can’t solve by punching.

Kelly Sue DeConnick on the Nerdist Writer’s Panel, giving great advice on adding build complex conflicts for your characters. Play to their flaws. Make sure the answer is never easy, either physically or emotionally. You build characters by forcing them to grow or adapt in order to succeed, or show how their failure to do so holds them back. (via briangefrich)

It’s a pretty labor-intensive medium, and it looks easy. So you put in a lot more time than you’d think, often for much less money than you’d think, and the rates are so low that you’re often skirting financial disaster as a result. So the next time you read a comic — particularly a creator-owned comic — and you want to call someone lazy or complain about it, whether because it didn’t come out on schedule or it looks rushed or something like that, consider that the guy/gal who made that is probably stretched to the breaking point and is still so committed to this thing he/she loves that he/she did it to the best of his/her ability. There’s plenty of stuff that doesn’t appeal to me, but the folks doing that work are still working long, long hours with very little reward except the actual story they’ve told, and they deserve respect and admiration for that level of dedication, regardless of their level of skill.

Matthew Southworth, qui clôt ainsi un long article de Multiversity Comics sur les conditions de vie des dessinateurs de comics.

Plusieurs d’entre eux, tels que Declan Shalvey ou Sean Murphy, abordent en détail la façon dont ils organisent leur temps, se débrouillent pour vivre de leur activité, essaient de trouver le meilleur compromis entre un résultat de qualité et le respect de l’échéance etc.

Une lecture intéressante pour comprendre la différence qui existe entre le fait de travailler pour Marvel/DC ou faire du creator-owned, outre le fait de travailler sur ses propres créations : les revenus mais aussi les risques pris, notamment.

Something we’re doing… well, I’m pretty sure we’re going to be doing this. You know, shops do their own covers occasionally, and we have got a few shops interested in this. And one of the covers is that Matt took the existing cover, and did a very different treatment on it. And we thought “What if we got some other colourists to do this?” Jordie Bellaire’s doing one, for example. So our alternate covers for these different retailers, which we can also put online as a kind of gallery, will basically be a bit of a statement about how colourists are important, and what colourists can bring to the page, and how they do things differently. And I think in the current state of the industry, that felt like… well, firstly a bit of a giggle, but also a pointed thing to do? And the same goes for putting Clayton’s name on the cover. It’s this egalitarian thing, and the fact that we can do these things means we will do these things.

Okay – I’m pulling a second quote out of  the Panel Beats interview, as it’s something I want to highlight. This is important.

Respect colourist. Respect letterers.

(via kierongillen)

I’m a big fan of variety — trying new stuff out, whether it’s in my work or as a reader or in any way in life really. I never understood the desire to write or read one type of thing, comics or otherwise. I’ve never understood people who only like Marvel books or DC books or just Fantagraphics or just manga or just whatever. What appeals to me so much with comics is that the potential is infinite. You can do or read anything, in just about any genre, in this amazing fusion of words and pictures any other medium just pales in comparison on.

Joe Keatinge (Shutter, Strange Visitor dans Adventures of Superman etc.)

We wanted her to have powers that were interesting to look at on the page and that were sort of unexpected for a female character. It’s most often male characters that get the dramatic growing, shrinking, stretching powers, because those aren’t pretty powers.
The more we thought about this character, the more we thought that making her a polymorph might nicely parallel, in a metaphorical sense, a lot of her struggles in her non-super hero life. Shape-shifters in comics are most often cast as villains; characters like Mystique and Morph. We’re naturally suspicious of people with fluid identities. We assume they must be hiding something.

G. Willow Wilson, à propos de Ms. Marvel

What if you invited everyone in the world to your party, and only a whole country came?
The ultimate realisation that the problem is you, and that what makes you great and what makes people respond to you also traps you in a box you’d never escape, and then you’re sitting in Hollywood for the next forty years, waiting for your Whatever Happened To BabyDoll Dress?
Uh, yeah.
That.

Le tragique ne résulte pas seulement des traits démesurés d’un être, mais encore, à tout moment, de la disproportion qui existe entre un homme et son destin. Il se manifeste lorsqu’un surhomme, un héros, un génie, entre en conflit avec le monde environnant, trop hostile, trop étroit pour la tâche que le destin lui a assignée, tel Napoléon étouffant dans le minuscule carré de Sainte-Hélène, ou Beethoven emprisonné dans sa surdité, et d’une façon générale, chez toute grande figure qui ne trouve pas sa mesure et son exutoire. Mais le tragique existe aussi quand une nature moyenne, sinon faible, est liée à un destin formidable, à des responsabilités personnelles qui l’écrasent et la broient, et cette forme ici me paraît même plus poignante du point de vue humain. (…)
Pendant ses trente premières années, sur les trente-huit qu’elle a vécues, [Marie-Antoinette] suit une voie médiocre, bien que dans un milieu élevé ; jamais elle ne dépasse la mesure commune ni en bien ni en mal : une âme tiède, une nature ordinaire, et au début, du point de vue historique, rien qu’une figurante. (…)
Mais si le destin a porté cette femme aux plus hauts sommets du bonheur avec rapidité, il ne l’en laisse ensuite retomber qu’avec plus de lenteur et une cruauté plus raffinée. (…) Inexorable comme l’artiste qui ne lui arrache pas sa matière avant de lui avoir arraché ses derniers effets, sa suprême possibilité, le malheur ne cesse pas de marteler l’âme molle et faible de Marie-Antoinette avant d’en avoir obtenu la fermeté et la dignité, et fait surgir toute la grandeur ancestrale ensevelie dans ses profondeurs. Cette femme éprouvée, qui n’a jamais eu la curiosité d’elle-même, s’aperçoit enfin avec effroi, au milieu de ses tourments, de la transformation qui s’opère juste au moment où son pouvoir royal prend fin : elle sent naître en elle quelque chose de grand et de nouveau, qui n’eût pas été concevable sans cette épreuve. « C’est dans le malheur qu’on sent davantage ce qu’on est », ces mots fiers et émus jaillissent soudain de sa bouche et étonnent ; un pressentiment lui dit que c’est justement par la souffrance que sa pauvre vie restera en exemple à la postérité. Et grâce à cette conscience d’un devoir supérieur à remplir, son caractère grandit au-delà de lui-même. Peu avant que la forme humaine ne se brise, le chef-d’œuvre impérissable est achevé, car à la dernière heure de sa vie, à la toute dernière heure, Marie-Antoinette, nature moyenne, atteint au tragique et devient égale à son destin.

Stefan Zweig, extrait de la préface de Marie-Antoinette (traduction d’Alzir Hella).