Monarch of Manhattan #1
Visionary Comics (2025)
“The Arrival book 1: Enter The Hero”
WRITER/CREATOR: C. Edward Sellner
PENCILER/LAYOUT: José Avilés
INKER: Rudi Sucipto
COLORIST: Paul Little
COVER ART: Azim Akberali
LETTERER: Jacob Bascle
Monarch of Manhattan #1
Visionary Comics (2025)
“The Arrival book 1: Enter The Hero”
WRITER/CREATOR: C. Edward Sellner
PENCILER/LAYOUT: José Avilés
INKER: Rudi Sucipto
COLORIST: Paul Little
COVER ART: Azim Akberali
LETTERER: Jacob Bascle
Catch more from Disparu on YouTube

Well, looks like everything that’s been going on this month finally got me. I just couldn’t put together an article for tonight. We’ll try to keep the rest of the week going, I still have to write one more comic review, and the daily videos are all set. Tonight putting something up wasn’t an option for me. Sorry, but priorities exist above the site right now, and I used up all my buffers.
It did show me that the “evergreen topic” buffers are a great idea, and I’m going to have to try to build them up again, with commentaries and article series that aren’t controlled by current events, and like the old filler comics or filler episodes I can have a bit of clearance to put out better content.
Hopefully we’ll do the commentary/review thing tomorrow.
Catch more Trick Theory on YouTube

I come from a time where Godzilla being one of the good guys was nothing new. The movies primarily produced in the “showa” era of Japan’s history owes a bit to business decisions. Kids really enjoy giant monsters smashing buildings and fighting each other. So that’s what Toho gave them, using their most popular monster to do so. However, they reasoned Godzilla should become a good guy, a guardian monster for the kids to cheer on, as definite good and evil forces were created, usually aliens from space and one undersea kingdom. And one terror group we never seem to remember because their monster was a giant crab.
A lot of newer Godzilla fans hate this. “Godzilla should be the bad guy, the threat to Japan inspired by the atomic and now nuclear explosives or payback for Japan’s sins.” Well, Godzilla was a threat but not necessarily evil. With a few exceptions in later continuities, Godzilla’s biggest issue was that he didn’t like walking around things, joined by his willingness to fight to retain his “king of the monsters” title. He didn’t hate humans so much as he didn’t care unless they started shooting at him or using his dead relatives as giant robots. Then he hated them.
Just for some interesting filler I wanted to put together a full list of the showa period guardian monsters. I don’t think they necessarily formed a battleline outside of their battles with Ghidorah, not a lot of team-ups. Still, when it came to protecting the earth from space monsters and robots from a black hole, these were the kaiju you called.
Disney’s “Man Problem” Isn’t DEI, It’s SEECA
With the distractions I’ve had this month, I’m late to the game in discussing the recent Variety article that made the rounds, “Disney’s Boy Trouble: Studio Seeks Original IP to Win Back Gen-Z Men Amid Marvel, Lucasfilm Struggles“. (The continued belief that younger audiences have all the money and none of the sense.) Of course, everybody who’s anybody has already dissected this article and it’s questionable statements. Some came from the culture war conspiracy angle, others from a more creative or business perspective, but there’s one think they all agree on: Bob Iger’s people done screwed up, son.
Of course it’s easy to blame the Diversity, Inclusion, & Equity crowd for the failings to hold onto male audiences. While this primarily means the straight white males, it also includes males of color who see more about themselves than what crayon God colored them with, gay males who don’t attach the totality of their identity to whom they love/sleep with, and even the women they claimed to be going after who also have more going on in their lives than the militant feminists who attack femininity and actually like being women. I just complained about them, and this isn’t even a culture war blog, but the activists have forced their way into conversations about making cupcakes by this point. “Why are the black cupcakes ‘devil’s food’ and the white ones ‘angel cake’?” Even a lousy ad for pants or the usual corporate logo nonsense are touch points in the culture war, and sadly before this article is over I will have to delve into that.
On the other hand, while everyone in my circles are up in arms about DEI, ESG, BRIDGE, and every other far left acronym out there, I’d like to propose a new one at the risk of being part of the problem: SEECA. As Disney was seeking a brand to attract male audiences, they sought to take over Marvel and Star Wars. First, let’s be honest. While Disney is primarily known for Mickey Mouse and company as well as princesses, it’s not like they never made anything that targeted boys. Pete’s Dragon, The Black Hole, Gargoyles, a good chunk of The Disney Afternoon‘s lineup, and Toy Story featuring more boys toys are good examples. There are also stories that tried to give both genders a good showing so they could watch together, and most of Disney’s productions in the 20th century were made for families, not just kids. We could easily separate Disney’s properties pre-Iger alone, including TV movies only I remember existed. (You can keep Jack Sparrow; I’d rather see Black Jack Savage again.) However, “girls brand” is how Disney is perceived and why they went after Marvel and Lucasfilm…and then proceeded to make them girl brands for girls who aren’t interested in the original product because entertaining the women who already liked it would mean still catering to boys.
So what does this SEECA acronym stand for? Let’s go over it one letter at a time, and if you’ve been here long enough you may already figure out where I’m going the moment you see the name.
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Posted by ShadowWing Tronix on August 28, 2025 in Movie Spotlight, Streaming Spotlight, Television Spotlight and tagged commentary, Disney, Hollywood, SEECA.
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