Oh shit, Ree wants to get into Boostle/comics? I will send you every comic that I have, it’s just a question of where to start you. I think I’ll defer this question to Jess who probably has a better idea of entry points than me (and also i will be linking just about all her fics because obviously).
A good place to at least get a taste for the characters would be Batman: the Brave and Bold episode Menace of the Madniks because even if there’s some differences in their (ted’s, mostly) attitudes, the total boyfriendness is still there (just ignore batman’s part in it). Also you’ll already be conditioned to the fact that Ted is dead (and the heartache that comes with it).
DID SOMEONE ASK HOW TO GET INTO BOOSTLE COMICS???
Okay, so Delkios is absolutely right that the “Menace of the Madniks” episode is a good, easy-to-find primer that at least gives you the character basis and the sweet, sweet tragedy that is everything post-Ted’s death. I also recommend the Justice League Unlimited episode “The Greatest Story Never Told” which delivers Booster’s ridiculous over-the-top self-aggrandizing and his genuinely sweet heart in a neat little 22-minute package. (Ted didn’t appear on the show because his broadcast rights were tied up in a terrible 1940s radio show. Comics are weird.)
I’m not sure how familiar you already are with the characters so forgive me if you already know this, but short version: Ted and Booster met in the late 80s when they both joined the Justice League International, which they remained in in some form or another until the mid-90s. About 10 years later they were reunited, along with other members of the team and the original JLI creators, in a miniseries called Formerly Known as the Justice League, which was followed by a sequel, I Can’t Believe It’s Not the Justice League. The latter was bittersweet because while it was publishing Ted was killed off in another book (actually, a few characters were dead/dying/evil by the time ICBINTJL finished publishing). These two miniseries are usually lumped together as “Superbuddies,” which was the tongue-in-cheek name of the reunited team.
SO. My suggestion for reading order is to start with Formerly Known as… It’s the first thing I read with these characters, so you don’t need more than a vague sense of their history, and it’s only six issues so if you’re not into it you can move on with your life.
THEN, jump in Booster’s time sphere and travel back to the 80s to read Justice League International! Cold War intrigue, Star Trek jokes, Ted and Booster on a date at the Eiffel Tower! So good. The first 25 issues are a good starting chunk - after that the team splits off into an American branch and a European branch and gets a little confusing to follow.
From there, the road diverges into three possible paths:
1. Continue with JLI (now called JLA and JLE) through issue #65, when the original writers leave and the quality goes precipitously downhill.
2. Read Booster’s (first) solo series! Meet his robot buddy Skeets and see him play future football in a belly shirt for some reason!
3. Read Ted’s solo series! Burn your retinas with his horrible fashion sense and even worse business acumen!
You can read all of those in any order, but then come back to JLA, which is NOT GOOD ANYMORE, BUT - it is WAY SHIPPIER. Would you like to see Booster sitting vigil by Ted’s bedside while he’s in a coma? Would you like to see then stripped down to their underwear and tied to each other while Ted requests to be sexily tortured? Would you like to see Ted weeping on his knees while Booster flatlines? (He gets better.) COME ON DOWN!
And now, with Tora’s death, you are ready for I Can’t Believe It’s Not the Justice League, and all the gutwrenching tragicomedy it provides.
But perhaps you were not tired of extremely slashy 90s comics? Then, my friend, consider Extreme Justice, the Justice League spinoff Ted and Booster join in 1994, in which they become so married they send joint birthday cards and squabble over the remote. This is an extremely (ha!) important series because Ted becomes friends with a male underwear model and Booster becomes ragingly jealous so he gets a demonic makeover (basically), and then Ted hugs Booster’s almost-naked body, and that is 100% canon.
Now you are ready for Countdown to Infinite Crisis. It is a very, very bad comic, but the 14 writers attached to it were all in agreement that Ted loves Booster very very much, so at least his (almost) last thoughts are of his best buddy/husband.
And finally, Booster’s second solo series! Quality here is all over the place, but we are not here for quality; we are here for 49 issues of Booster weepingly telling us how much he misses Ted, Ted was so great, Ted was his best friend, Ted completes him, here let me travel back in time to watch myself cry on his coffin again, here let me play weird bondage games with his zombie, here let me time travel some more to hang out with him and be so in love an alien assumes we’re married even though Ted is currently a chipmunk, Ted Ted Ted Ted Teeeeeeeeeeeeed.
And that is my suggested reading order.
(Also this is tangential but you should read Jaime Reyes’ Blue Beetle series, which came after Ted’s death, because it is a 100% perfect comic.)
this is beautiful, just so damn beautiful….
Maybe people wouldn’t be so annoyed with Milo Manara’s “Spider-Woman” #1 variant cover if every series got overtly sexy variant covers—not just the ones with female leads.
This is a world I want to live in.
Yes, my reaction to this was basically “Hellooooooo Spider-man!” Mmmm.
star trek brooklyn 99 j
star trek 99
discussing the sexism in media is not equivalent to hating it. if I hated everything that was sexist, I’d literally never be able to watch tv or a movie or read comics or leave my house, basically.
do you ever read a fic that is so much better than the actual canon that you get angry
[Speaking on behalf of myself and not Cracked-at-Large, the policies and shape of which are not under my sole jurisdiction.]
I’m not talking/thinking about every sub-faction of feminism and every misguided protest or action that has resulted from a misinterpretation OF feminism, because feminism is such a huge thing and, as Soren pointed out, not everyone is going to be getting it right, all the time. There will be feminist spin-off groups that don’t quite grasp the message, there will be groups that pervert and distort it for their own agenda, and there will be groups that go overboard and so on, but that is true of literally every movement (civil rights-related, political, religious or otherwise) in the history of time.
I’m by no means an expert, which is why I’m trying to learn, but what I think about when I talk about feminism is what I remember being articulated to me by my sisters-in-law and what I saw/see embodied by my Mom’s example (and my Dad’s, for that matter), and it’s a really simple and clear message to me: Equal political, economic and social rights for men and women. There are smaller and more specific aspects of this broader conversation that are a particular focus of mine (representation in fiction/pop culture, educating people to help make an America where a woman can walk down the street at night feeling exactly as safe as I do, every night of my freaking life [which is to say, very]), but the core remains the same: Equality where it doesn’t currently exist.
So, when you talk about “taking sides,” my knee-jerk response is, uh, what’s your side? I’m not trying to be glib here. I could be wrong but, according to my slow, caveman brain, if my side is equality for men and women then the other side must be inequality, right? And if that’s the case, then, no, I don’t feel any responsibility to give the other side representation in my writing. There’s the potential that in doing so I’ll be alienating readers that either want men to have more rights than women or women to have more rights than men, but that’s a risk I’m absolutely fine with.
So we’ve discussed why you need an agent (if you want to publish traditionally) and how not to get an agent. But now I want to talk about picking the right agent for you.
So here’s the thing about literary agents: the legit ones are all publishing savvy, business-minded, all around nice people who just really love books. Or at least, the ones I’ve come in contact with are. Every agent (like every person) has their own set of strengths and weaknesses, which often dictate what genres they do and don’t represent. And knowing those strengths and weaknesses is just a teensie bit important to know before you query.
That’s right. You need to research agents before you start querying. Why? The answer’s simple, really—not every agent is the right agent for you.
Some agents are editorial, some agents are not. Some agents represent a huge range of genres, some are much more focused on a couple genres and categories. Some agents have been in the business for over a decade, others are much newer to the publishing game.
I’ve already blogged about where to go to research agents (see that link above? Click it), so I’m not going to delve into that again. What I want to focus on instead, is what you need to be looking for when deciding what agents to query.
There are a couple questions you should be asking yourself while researching agents:
- Does this agent represent my genre? This is the basic filter—the very first requirement is to make sure the agent you’re considering querying represents the genre and category your manuscript falls under. If they don’t, don’t query them. No exceptions.
No, it doesn’t matter if you think they might make an exception for your manuscript (they shouldn’t and they won’t). No, it doesn’t matter if you really like that agent (that doesn’t change the fact that your MS is not a genre they represent). No, it doesn’t matter if your manuscript is supposedly unlike others in its genre or category (if you think that’s the case, are you sure you know that genre as well as you think you do?)—if they don’t represent your genre, do not query them. You’ll get an insta-reject, and you’ll only be wasting your time and theirs.
Note: if you’re not sure what genre your manuscript falls under, check out this post.
- Does this agent represent other genres I want to (or already do) write in? This is important, because you’re not just looking for representation for the manuscript you’re querying—you’re looking for representation for your whole career. Ideally, you’ll have the same agent throughout your career (though that isn’t always the case, which is okay). If your manuscript is a Historical Fantasy and you know going in that you also love writing Sci-Fi, make sure the agents you query represent both Historical Fantasies and Sci-Fi’s.
Why? You want an agent who can potentially sell any manuscript you write, and if you write in multiple genres, you’ll want to make sure the agents you query represent all of them.
- Is this agent editorial? Is this important to me? As I’ve mentioned before, not all agents are editorial (meaning not all agents go through the extra process of revising and editing your work with you before going on submission). This is an extra job, and agents are not required to edit your work (remember: it’s your job to get your manuscripts as polished as possible before sending it to agents). If you know you want an agent who will help you with some of the revision and editorial process, then make sure you query agents who are editorial. (You can find this out through interviews and sites like Literary Rambles).
- What is this agent’s sales record? Do they have a lot of sales? A few things to remember with this one: not having a lot of sales doesn’t necessarily mean the agent is a bad agent. Some agents don’t report all of their sales, and some agents don’t have a lot of sales because they’re new agents, which is totally fine (and in that case, you’ll want to look at the sales for the agency they’re at, instead). But if an agent has been around for a couple of years, they should have some sales reported.
That being said, how much stock you put into the sales thing is up to you. When I was querying, I personally didn’t query anyone who didn’t list sales or their clients, but that’s just me.
- What is this agent’s reputation? What is the reputation of their agency like? Both of these are important to consider when researching agents. If the agent is established, what is their reputation like? If they’re new agents what is the reputation of their agency? (Note: it’s important to check on agency reputation for established agents, too). Check interviews, forums like Absolute Write Water Cooler and sites like Preditors & Editors as well as the aforementioned Literary Rambles to learn about agent and agency reputation.
- Does this agent seem like someone I would work well with? Granted, this is a little more difficult to determine online, but if the agent has a Twitter, follow them long before you start querying. Also, take the time to read every interview you can find—both of these sources can give you insights into the agent’s personality and what their work process is like. There are a couple agents, for example, that I decided I wouldn’t query based off things they said or the way they behaved on Twitter—after all, if your personalities clash, it’s going to make the relationship between you and you future agent more difficult.
Finally, two rules to remember while querying:
- Thou shalt not query every agent known to man. Use the criteria above to narrow down your list to agents that would work well for you and your manuscript. Consider every agent you query carefully. Think, if they offered representation, would I accept? If your answer is “no” then there’s little point in querying—you’re just wasting everyone’s time.
- A bad agent is worse than no agent. I’ve often heard of writers jumping to accept the first offer the get, just because they finally get an offer of representation. I understand this temptation, but the fact is, a bad agent will not help your career. Make sure you do plenty of research on every agent you query, and even more research on every agent who reads your full, and even more research on every agent who offers representation. Know what you’re getting into ahead of time to avoid unfortunate circumstances later on down the road.
What tips do you have for choosing the right agent?
context is for losers bye
Hannibal NBC Television ALS IceBucketChallenge OMG!
Tiny Hannibal accepts the ALS Ice bucket challenge and nominates nbchannibal!
Donate here: http://www.alsa.org/donate/
So once Deucalion is no longer blind/disabled he is automatically a good person. And he can be redeemed by doing absolutely nothing and showing no remorse for his actions. Meanwhile the only acceptable redemption for Jennifer is death.
world with no -isms
Jeff Davis is a gift
OMFG, like this was my worst-case scenario interpretation. But it’s real. OMG. What a douche.
Figured I should give this a source too, by the way. That way we all know this is legit
I FUCKING CALLED IT, I CALLED THAT HE WAS GONNA BE UNDISABLED AND THEN BE A GOOD DUDE
UGH I WANTED TO BE WRONG THOUGH
[image: Boyd & Erica standing in the Hale house, with the text “well your tacky and I hate you” stylized as “well ur tacky & i h8 u”]
I get that Jeff Davis was trying for a metaphor about Decualion’s original vision of peace being restored. But you can’t use a character’s literal vision as a metaphor for their metaphorical vision. (Well, I mean, you can, and he did, but look at what happened.)
When you put literal, real-life situations on the same plane as metaphorical philosophy, you have to be really careful or else you paint some really ugly literal pictures. In this case, that disabilities need to cured, that redemption=able-bodied and disabled=lesser being, and that being blind and then magically healed is a catch-all excuse for an extensive history of murder, torture, and all-around megalomania with no indication of remorse or intentions to change.
teen wolf this was one of the most vile messages the show has put out and there are a lot of them
THIS MAN IS A GIFT