We've talked about a lot of non-hero comics and writers who don't fit into the mold of traditional super-hero writers, but I think I should make something clear.
I LIKE super heroes.
In fact, one of the things that I like so much about DC (most people accuse me of being much more vested in DC than in Marvel) is that it has such a rich and fleshed out history. I've commented on a number of occasions in this blog about my admiration for the big guns of the Justice League, but today I spent some time remembering why it is that the Justice League means so much; it's a legacy.
I'm going to run a little bit off track here and talk about the time I spent (while sick) lying on my couch watching Absolute Justice. For those of you who don't watch Smallville, the last couple of seasons have been full of introductions of characters from the DCU. We've met Cyborg (Teen Titan), Impulse (also a Titan), Aquaman (JLA), Black Canary (JLA), The Martian Manhunter (JLA), Zatanna (JLA), Green Arrow (JLA) and members of the Legion of Super-Heroes (a personal favorite of mine.) I've probably even forgotten a couple of the characters we've been introduced to.
In Absolute Justice though, the writers remind us of the rich history of DC. They take us back to the fifties (in this it smacks a little bit more like the eighties) and remind us that there were masked mystery men long before our merry band of heroes start to come out of the shadows to stand beside Clark Kent. In Absolute Justice they tell the story of the Justice Society of America, and their fall from grace in America. It isn't the same story that is used in comics, but then not much of what takes place on Smallville is.
What I liked:
Hawkman - Not necessarily the actor, and certainly not the effects they used to make him fly, but rather that they used him instead of Hawkgirl. It bugs the piss out of me that he was passed over in favor of Shayera in the animated series.I know, its the modern day and they have to give some spots to everyone, but Hawkman is iconic.
Nabu - In this tale they make it clear that Kent Nelson is driven mad by the voices and visions granted him by the powerful mystic relic The Helm of Nabu. While that weakens the Nelson character of JSA fame, it fits the story they're telling magnificently and is a perfectly reasonable explanation for his absence all these years. What is more, the Helm is very well down. In a show where so many of the costumes and effects were poor enough that they could have been a part of the Adam West Batman show, the Helm itself is excellent. One day maybe they'll figure out how to make costumes look less.....I don't know.....fake. I also like the way in which they show Fate's magic. Simple yet effective.
J'ohnn J'onzz - The guy they picked for this role is perfect. I really like the casting. I did find the use of a green shirt and a series of criss crossing red gun holsters cheesy, but lots of things about this episode were cheesy.
Checkmate - If you don't follow DC closely, you have no clue who Checkmate are. That's fine. All you need to understand is that they are a covert operation under the auspices of the United Nations Security Council (although in the series I assume they will be completely American.) We meet Amanda Waller who reveals that she works for Checkmate, and we also get our first reference to the Suicide Squad. Its an 'in the know' moment for comic fans that would be worthless to non-comic fans. It was a fun touch.
DCU History - Assuming you can set aside the enormous amount of cheese this episode is served with, the writing of a backstory into the universe of Smallville is tremendous and long overdue. Soon enough Tom Welling will get tired of doing this show and move on. A backstory and fleshing out the DC world will open doors for other series which have a chance to surpass Smallville in their scope and impact. That said, hearing the names of men like Wildcast, Green Lantern, Flash, Hawkman and yes, even The Star Spangled Kid was fun. It pulled at my sense of nostalgia for the legacy that exists in the DCU. Would I have preferred to see Green Lantern in action? Or to watch Jay Garrick run? Or see The Spectre (whom they don't speak of, but they do show in the painting of the JSA hanging in the brownstone?) Sure. But this taste was engaging enough, and it opens a lot of doors that they can use in the future if they want to. It was corny and cheesy and yet at moments it was awesome. The scene where Clark peels back the drop sheets and reveals the showcases and meeting table of the JSA was terrific. Even seeing Hawkman's gear (before he put it on and it got lame) was cool.
What I didn't like:
The Cheese - Too much of it. Was it really necessary? Is writing for television really still that weak? Is the only way to explain backstory or try and solicit a response from the audience to go with cheese? Very disappointing.
Amanda Waller - She wasn't fat enough. Seriously. Waller is a big, fat woman. In this she's just big boned. I also didn't like her. She didn't seem tough enough. Waller once tried to stand down Batman. The woman's hardcore.
Tess Mercer - She works for Checkmate? I don't think so. Checkmate would never have let her unleash Zod on Earth. This is a revisionist moment, and it stinks.
The Cosmic Rod - Starman is one of my faves. So having the Cosmic Rod in the hands of the Star Spangled Kid, and never once referencing Starman bugged me. I'm sure there's a reason for that, but I didn't like it. Also, they didn't show any of the rod's wicked power. It was kind of lame actually.
The Villain - Fate killed by The Icicle (or his son.) Really? Ummmmm......raise your hand if you know that Fate is a Lord of Order. True, he's tempered by the broken mind of the human host, but come on. An Ice spear kills him?
I would like to use a VETO.
In any event, this is what I often find missing from my time with Marvel books. I don't feel like there is a real legacy to be admired and a generational story taking place. Sure, Cap fought in World War II with the Invaders, but they are such an afterthought to the Marvel Universe that they might not even exist. And yes, there are a couple of future teams that exist. But as a whole I feel like that universe lacks the sense of historic depth that DC offers me (in great stories no less) on a regular basis.
Friday, February 26, 2010
Wednesday, February 24, 2010
Invisible Jets, the first real EVENT series, and 15 years without a Supergirl
I was asked recently by a reader of this blog why Wonder Woman has an Invisible Jet if she can fly.
The answer is that she could not always fly. As happens with so many characters as time goes by, writers (usually under the direction or in collaboration with their editors) update and revamp characters in order to help them fit in more effectively in the modern comic world. Despite being one of the 'trinity' that makes DC Comics such a powerhouse, Wonder Woman has not been excluded from this process. Under her original design, she did indeed require her Invisible Jet to get around. Later she developed the ability to ride air currents, although that didn't help her fly, but rather float short controlled distances. Flight didn't get added to her list of powers until the eighties, when she was revamped as a result of Crisis On Infinite Earths. After that, the struggle became explaining why she had the jet.
Better question: How does she find it?
Now, that got me thinking about Crisis.
Crisis On Infinite Earths was, for me, the first truly epic story arc. It was the first time in my life that I read a company spanning story which would forever change the characters that I dearly knew and loved. It was born out of an effort to clean up a very muddled and convoluted series of histories and rewrites, and in the end I really felt like they had not only accomplished that, but that they had advanced some major changes into the DCU. Barry Allen, which you will recognize as the ONE TRUE FLASH, died to save the Universe. Supergirl also was killed in the battle with the Anti-Monitor. Even the golden age Superman left the universe for good.
Since then, writers have introduced a couple of versions of each of the departed characters, attempting to fill the void left behind by the loss of Kara Zor-El and Barry Allen. Barry's came first, since he had a natural successor already lined up. Wally West stepped out of the Teen Titans and took on his mentor's role as The Flash. His series was good until about Issue #62, which is when it became GREAT. The next eight years of that book defined Wally West and redefined The Flash's preeminent role in DC.
Supergirl's return wasn't nearly as smooth, because editors at DC had decided that Superman was to be the only surviving Kryptonian. It took some time, but Supergirl did eventually find her way back into the DCU, only when she appeared she wasn't a Kryptonian. In fact she was a man-made life form known as Matrix, who assumed the guise of Supergirl.In 1996 a new Supergirl series was launched by Peter David (a darn good writer) and another revamp took place, with Matrix being merged with a human girl to create an all new Supergirl. In this version of her revamp, Supergirl was actually described as an Earth-born Angel, and many of the elements that David used in the story would later show up in his creator owned series Fallen Angel. The series eventually went to cancellation, leaving the DCU without a Supergirl once more.
Until 2004 when we the rules changed and we once more met Kara Zor-El. For 18 years there was no "real" Supergirl in DC. Did that take guts, making the call to kill off the character and stay away from her real identity in any revamps? Or was it weakness not to have the stones to bring her back sooner? I'm not sure where I come out on this one, but I will say this; at least the deaths in Crisis weren't undone in less than a year (*cough*Bendis killing Hawkeye*cough*!)
And isn't that all you really want in the end?
To read EPIC events that actually have EPIC fallout?
The answer is that she could not always fly. As happens with so many characters as time goes by, writers (usually under the direction or in collaboration with their editors) update and revamp characters in order to help them fit in more effectively in the modern comic world. Despite being one of the 'trinity' that makes DC Comics such a powerhouse, Wonder Woman has not been excluded from this process. Under her original design, she did indeed require her Invisible Jet to get around. Later she developed the ability to ride air currents, although that didn't help her fly, but rather float short controlled distances. Flight didn't get added to her list of powers until the eighties, when she was revamped as a result of Crisis On Infinite Earths. After that, the struggle became explaining why she had the jet.
Better question: How does she find it?
Now, that got me thinking about Crisis.
Crisis On Infinite Earths was, for me, the first truly epic story arc. It was the first time in my life that I read a company spanning story which would forever change the characters that I dearly knew and loved. It was born out of an effort to clean up a very muddled and convoluted series of histories and rewrites, and in the end I really felt like they had not only accomplished that, but that they had advanced some major changes into the DCU. Barry Allen, which you will recognize as the ONE TRUE FLASH, died to save the Universe. Supergirl also was killed in the battle with the Anti-Monitor. Even the golden age Superman left the universe for good.
Since then, writers have introduced a couple of versions of each of the departed characters, attempting to fill the void left behind by the loss of Kara Zor-El and Barry Allen. Barry's came first, since he had a natural successor already lined up. Wally West stepped out of the Teen Titans and took on his mentor's role as The Flash. His series was good until about Issue #62, which is when it became GREAT. The next eight years of that book defined Wally West and redefined The Flash's preeminent role in DC.
Supergirl's return wasn't nearly as smooth, because editors at DC had decided that Superman was to be the only surviving Kryptonian. It took some time, but Supergirl did eventually find her way back into the DCU, only when she appeared she wasn't a Kryptonian. In fact she was a man-made life form known as Matrix, who assumed the guise of Supergirl.In 1996 a new Supergirl series was launched by Peter David (a darn good writer) and another revamp took place, with Matrix being merged with a human girl to create an all new Supergirl. In this version of her revamp, Supergirl was actually described as an Earth-born Angel, and many of the elements that David used in the story would later show up in his creator owned series Fallen Angel. The series eventually went to cancellation, leaving the DCU without a Supergirl once more.
Until 2004 when we the rules changed and we once more met Kara Zor-El. For 18 years there was no "real" Supergirl in DC. Did that take guts, making the call to kill off the character and stay away from her real identity in any revamps? Or was it weakness not to have the stones to bring her back sooner? I'm not sure where I come out on this one, but I will say this; at least the deaths in Crisis weren't undone in less than a year (*cough*Bendis killing Hawkeye*cough*!)
And isn't that all you really want in the end?
To read EPIC events that actually have EPIC fallout?
Tuesday, February 23, 2010
What's with the spandex?
I get Superman.
I just thought I should get that out of the way before we begin. I mean, he's Superman. He flies around wearing a big, bright suit and as a result he inspires people to do better. To be better. Maybe I can even understand the situation for Captain America, who is a designated national symbol.
But everybody else?
Why do the Fantastic Four, who are essentially an adventuring family, wear matching uniforms? Why don't people laugh at them and make fun of them? I mean aside from the whole, that guy turns into fire and if you piss him off... My point is that despite the idea that super-heroes were created in an era when we could only envision them as gaudily clad mystery men and women, why haven't we evolved? As writers, and artists, why haven't we figured out that running around in what loosely passes for a Halloween costume is infantile and a desperate cry for attention?
Is it simply tradition?
If that's the answer, then what was Bendis' excuse when he brought together Marvel's Ultimate line, in which they reinvented marvel with a crisper, more modern interpretation of everyone's origin story? Did Spider-Man really need to dress up as a red and blue (seriously?!?! what spider is red and blue?) spider in order to fulfill his potential? With great power comes great responsibility, but apparently no sense of discretion or style. Batman would make more sense without a uniform as well. The idea that he shows up and instantly people are like 'Oh, crap! It's Batman' is a little bit scary. The idea that he is a master of disguise and he could be anyone, at any time? That is waaaaaay scarier. A man in his line of work would be best served with a more clandestine approach to combating crime, as the mythology he creates is almost as effective as his actual presence. So why then does he wear tights (and yes, I know they aren't actually spandex, but I think you're missing the point.)
Green Arrow and Hawkeye are both superior marksmen. What's with the bows, and why the Robin Hood complex? Ignore for a moment that Ollie is way cooler than Clint, and set aside the rejoicing you did when Bendis first killed Hawkeye (a moment he 'corrected' much to my disappointment) and just consider for a moment who these guys are. We see Arrow standing on a room overlooking an alley in Star City, but do we ever ask, 'how the hell did he get on that roof without somebody asking why he was dressed like an idiot?' Wouldn't it be easier for him to go everywhere incognito and carry some form of weapon that he could use to greater effectiveness than a bow? How that guy ever ended up in the JLA is beyond me. And Hawkeye as an Avenger? Please. Next thing you know they'll have some guy who can shrink and talk to ants.
I'll give Wonder Woman a pass for her costume, because she's the hottest woman alive. Same goes for any of the Asgardians, because they are culturally motivated. But not the X-Men. Their presence has served only to fuel the very fires of racism that they are struggling to extinguish, and every time they act overtly, it tends to backfire. Their field leader (normally Cyclops) is clearly a slow learner who took fifteen years to get out of Grade ten english, if he hasn't figure that out by now. Maybe less overt action would equal less mass hysteria and hatred of the X-Men? Just a thought. Spandex only draws attention, and isn't the whole point to save lives? Does that require that you make sure all eyes are on you?
Heroes at least have some defenses to this. They're heroes. They wear a uniform as a means of being identified by the public, and giving them something to look up to. What defense do villains have?
Victor Von Doom is the ruler of a sovereign nation. Do you think maybe he can afford a nice custom tailored business suit for his next trip to the U.N.? I think walking into the room dressed in the attire of a killing machine is probably not appropriate. Also, how do the b-grade villains like Bane (who is in a downward spiral that I don't understand in terms of his status) or Whiplash (really? As the second Iron Man movie's villain? WRONG CHOICE!) even consider walking around in ridiculous costumes? When Whiplash walks into a bank in an effort to rob it, wouldn't it be smarter to slip in discreetly? Kind of hard to do when you wear a costume.
Plus these guys have all been arrested. They have no secret identity to protect, so why the ornate regalia? I feel like every villain should almost certainly fail an IQ test.
Question 1:
You are intending to break into the United Nations and hold its members hostage. In order to gain entry without alerting a superior power like, say, Thor, do you:
a) Arrive at the main entrance in full costumed splendor and announce your presence like a raging idiot?
b) Unnecessarily harm security guards who are no threat to you, just to prove your machismo, before waiting for Thor to show up and make you look like his girlfriend Nancy?
c) Decide that you're tired of always getting your ass kicked, and go in civvies today. Gain entry to the building using expensive but effective false identification, and carefully position yourself to take everyone by surprise, thereby increasing the chances of your success by three thousand percent?
I feel like no villain has ever chosen c), and none of them ever will.
Ultimately, I know I'm going on about something that isn't going to change. We're never going to see a comic series by Marvel about a group of six super-powered mutants who go out for a nice dinner on the town, and when they stumble on a villain realize that they didn't bring any spandex with them. Somehow nobody leaves home without it. Don't they get hot running around with spandex under their clothes? Doesn't it put a crimp on any impromptu romantic interludes?
"Hey, you're hot!"
"Sorry beautiful, not tonight. I'm wearing spandex."
And on that note...........I'm out.
I just thought I should get that out of the way before we begin. I mean, he's Superman. He flies around wearing a big, bright suit and as a result he inspires people to do better. To be better. Maybe I can even understand the situation for Captain America, who is a designated national symbol.
But everybody else?
Why do the Fantastic Four, who are essentially an adventuring family, wear matching uniforms? Why don't people laugh at them and make fun of them? I mean aside from the whole, that guy turns into fire and if you piss him off... My point is that despite the idea that super-heroes were created in an era when we could only envision them as gaudily clad mystery men and women, why haven't we evolved? As writers, and artists, why haven't we figured out that running around in what loosely passes for a Halloween costume is infantile and a desperate cry for attention?
Is it simply tradition?
If that's the answer, then what was Bendis' excuse when he brought together Marvel's Ultimate line, in which they reinvented marvel with a crisper, more modern interpretation of everyone's origin story? Did Spider-Man really need to dress up as a red and blue (seriously?!?! what spider is red and blue?) spider in order to fulfill his potential? With great power comes great responsibility, but apparently no sense of discretion or style. Batman would make more sense without a uniform as well. The idea that he shows up and instantly people are like 'Oh, crap! It's Batman' is a little bit scary. The idea that he is a master of disguise and he could be anyone, at any time? That is waaaaaay scarier. A man in his line of work would be best served with a more clandestine approach to combating crime, as the mythology he creates is almost as effective as his actual presence. So why then does he wear tights (and yes, I know they aren't actually spandex, but I think you're missing the point.)
Green Arrow and Hawkeye are both superior marksmen. What's with the bows, and why the Robin Hood complex? Ignore for a moment that Ollie is way cooler than Clint, and set aside the rejoicing you did when Bendis first killed Hawkeye (a moment he 'corrected' much to my disappointment) and just consider for a moment who these guys are. We see Arrow standing on a room overlooking an alley in Star City, but do we ever ask, 'how the hell did he get on that roof without somebody asking why he was dressed like an idiot?' Wouldn't it be easier for him to go everywhere incognito and carry some form of weapon that he could use to greater effectiveness than a bow? How that guy ever ended up in the JLA is beyond me. And Hawkeye as an Avenger? Please. Next thing you know they'll have some guy who can shrink and talk to ants.
I'll give Wonder Woman a pass for her costume, because she's the hottest woman alive. Same goes for any of the Asgardians, because they are culturally motivated. But not the X-Men. Their presence has served only to fuel the very fires of racism that they are struggling to extinguish, and every time they act overtly, it tends to backfire. Their field leader (normally Cyclops) is clearly a slow learner who took fifteen years to get out of Grade ten english, if he hasn't figure that out by now. Maybe less overt action would equal less mass hysteria and hatred of the X-Men? Just a thought. Spandex only draws attention, and isn't the whole point to save lives? Does that require that you make sure all eyes are on you?
Heroes at least have some defenses to this. They're heroes. They wear a uniform as a means of being identified by the public, and giving them something to look up to. What defense do villains have?
Victor Von Doom is the ruler of a sovereign nation. Do you think maybe he can afford a nice custom tailored business suit for his next trip to the U.N.? I think walking into the room dressed in the attire of a killing machine is probably not appropriate. Also, how do the b-grade villains like Bane (who is in a downward spiral that I don't understand in terms of his status) or Whiplash (really? As the second Iron Man movie's villain? WRONG CHOICE!) even consider walking around in ridiculous costumes? When Whiplash walks into a bank in an effort to rob it, wouldn't it be smarter to slip in discreetly? Kind of hard to do when you wear a costume.
Plus these guys have all been arrested. They have no secret identity to protect, so why the ornate regalia? I feel like every villain should almost certainly fail an IQ test.
Question 1:
You are intending to break into the United Nations and hold its members hostage. In order to gain entry without alerting a superior power like, say, Thor, do you:
a) Arrive at the main entrance in full costumed splendor and announce your presence like a raging idiot?
b) Unnecessarily harm security guards who are no threat to you, just to prove your machismo, before waiting for Thor to show up and make you look like his girlfriend Nancy?
c) Decide that you're tired of always getting your ass kicked, and go in civvies today. Gain entry to the building using expensive but effective false identification, and carefully position yourself to take everyone by surprise, thereby increasing the chances of your success by three thousand percent?
I feel like no villain has ever chosen c), and none of them ever will.
Ultimately, I know I'm going on about something that isn't going to change. We're never going to see a comic series by Marvel about a group of six super-powered mutants who go out for a nice dinner on the town, and when they stumble on a villain realize that they didn't bring any spandex with them. Somehow nobody leaves home without it. Don't they get hot running around with spandex under their clothes? Doesn't it put a crimp on any impromptu romantic interludes?
"Hey, you're hot!"
"Sorry beautiful, not tonight. I'm wearing spandex."
And on that note...........I'm out.
Monday, February 22, 2010
Which books have I forgotten?
I decided that one of the forgotten places to look for series that need to be included in our discussion of best comic series ever is my box of autographed comics (all waiting for their turn to take a rotation spot in my glass display cases or on the wall in my basement!)
Here are some terrific things I found:
1. Barry Allen: The Life Story of The Flash
2. Crimson
3. Next Men & 2112
4. Marvels
5. Mutant X
Barry Allen: The Life Story Of The Flash
If ever you needed a primer in The Flash, this is the book you would start with. It begins, pretty much, at the beginning and talks about the life and times of Barry Allen, who for those of you who don't know, is the one true Flash. I'm not knocking Wally West, who really grew into the role and certainly took a quantum leap forward because he was written by Mark Waid and Geoff Johns. His issues were some of the greatest Flash issues I've ever read. But history just has to mean something, and in the case of the lineage of The Flash, it means that Barry Allen is THE man. The book, at the time it was written, gave us an intricate look into Barry's history and taunted us with the idea that there were more stories to come. Then, just this past year, he ran back out of the speed force during Final Crisis. This is an excellent blend of prose and comics.
Crimson
Before the world of tweens went nuts for Vampires who glitter in the sun, Brian Augustyn and Humberto Ramos did two years of a series about a young teen bitten by a Vampire and saved by a seemingly immortal survivor of the race God created before mankind. Alex Elder is the Chosen One, according to Ekimus, and his role will save all of humanity. This is an interesting and fun glimpse into the crossing of the horror genre with many elements of Judeo-Christian beliefs tied into it. Over the course of the series we find out about races we never knew existed, and we see the day that Dragons return to claim the earth, and through it all Ekimus shepherds Alex towards his destiny. It's a good fun read, and for me was a very original story.
Next Men & 2112
2112 is the graphic novel that serves as a prequel to John Byrne's exceptional spin on mutants from Dark Horse Comics. After 2112 sets the stage, and lets us know what we're dealing with, we step into Next Men and come face to face with a government conspiracy to create super soldiers in a contained environment. Imagine that one day your friends simply faded out of existence, and then a moment later your entire perception of reality changed when you woke up to find them standing over you, complete with a cybernetic suit that keeps you all in a state of unconsciousness while your minds remain stimulated and active in a virtual reality. Set loose in the real world, what would you do? Would you save the world......or doom it? These questions barely scratch the surface of what John did on this book before low sales and finances put an end to it. A terrific read.
Marvels
Before there was Astro City or Kingdome Come, Kurt Busiek and Alex Ross teamed up to give us this beautiful four issue series that examines the emergence of the super-humans into the Marvel Universe from the eyes of an ordinary person named Phil Sheldon. It is the change of perspective which makes this a truly interesting and unique project that everyone should really get a look at at least once. Too often in comics it becomes difficult to consider or even think about the impact that super humans have on the world around them in a real sense. Marvels does that, and it happens at some of the most famous moments in Marvel history. Truly fantastic.
Mutant X
Long before the television show rights lead them to cancel this series it had started to lose some of its steam for me. But at its inception, I was engaged and intrigued by the idea of Alex Summers waking up on a parallel world where he leads The Six. Everything about the world seems wrong though, including the methods of his teammates. In truth he is on a world where Reed Richards and Nick Fury are the villains and Doctor Doom and Apocalypse are the heroes. Howard Mackie crafts an interesting 'alternate universe' story with this premise and takes us on some unexpected twists and turns as he steers us towards the series ultimate conclusion. As I said, by the time the book finished it had become heavy with time traveling, alternate world interference in the story and omnipotent powers that had to be dealt with. It got tired and formulaic by the end, but in the beginning, it was fun to read a different version of world history, and what the X-Men might have looked like. Probably doesn't make the top 10 debate, but it deserves a look.
Here are some terrific things I found:
1. Barry Allen: The Life Story of The Flash
2. Crimson
3. Next Men & 2112
4. Marvels
5. Mutant X
Barry Allen: The Life Story Of The Flash
If ever you needed a primer in The Flash, this is the book you would start with. It begins, pretty much, at the beginning and talks about the life and times of Barry Allen, who for those of you who don't know, is the one true Flash. I'm not knocking Wally West, who really grew into the role and certainly took a quantum leap forward because he was written by Mark Waid and Geoff Johns. His issues were some of the greatest Flash issues I've ever read. But history just has to mean something, and in the case of the lineage of The Flash, it means that Barry Allen is THE man. The book, at the time it was written, gave us an intricate look into Barry's history and taunted us with the idea that there were more stories to come. Then, just this past year, he ran back out of the speed force during Final Crisis. This is an excellent blend of prose and comics.
Crimson
Before the world of tweens went nuts for Vampires who glitter in the sun, Brian Augustyn and Humberto Ramos did two years of a series about a young teen bitten by a Vampire and saved by a seemingly immortal survivor of the race God created before mankind. Alex Elder is the Chosen One, according to Ekimus, and his role will save all of humanity. This is an interesting and fun glimpse into the crossing of the horror genre with many elements of Judeo-Christian beliefs tied into it. Over the course of the series we find out about races we never knew existed, and we see the day that Dragons return to claim the earth, and through it all Ekimus shepherds Alex towards his destiny. It's a good fun read, and for me was a very original story.
Next Men & 2112
2112 is the graphic novel that serves as a prequel to John Byrne's exceptional spin on mutants from Dark Horse Comics. After 2112 sets the stage, and lets us know what we're dealing with, we step into Next Men and come face to face with a government conspiracy to create super soldiers in a contained environment. Imagine that one day your friends simply faded out of existence, and then a moment later your entire perception of reality changed when you woke up to find them standing over you, complete with a cybernetic suit that keeps you all in a state of unconsciousness while your minds remain stimulated and active in a virtual reality. Set loose in the real world, what would you do? Would you save the world......or doom it? These questions barely scratch the surface of what John did on this book before low sales and finances put an end to it. A terrific read.
Marvels
Before there was Astro City or Kingdome Come, Kurt Busiek and Alex Ross teamed up to give us this beautiful four issue series that examines the emergence of the super-humans into the Marvel Universe from the eyes of an ordinary person named Phil Sheldon. It is the change of perspective which makes this a truly interesting and unique project that everyone should really get a look at at least once. Too often in comics it becomes difficult to consider or even think about the impact that super humans have on the world around them in a real sense. Marvels does that, and it happens at some of the most famous moments in Marvel history. Truly fantastic.
Mutant X
Long before the television show rights lead them to cancel this series it had started to lose some of its steam for me. But at its inception, I was engaged and intrigued by the idea of Alex Summers waking up on a parallel world where he leads The Six. Everything about the world seems wrong though, including the methods of his teammates. In truth he is on a world where Reed Richards and Nick Fury are the villains and Doctor Doom and Apocalypse are the heroes. Howard Mackie crafts an interesting 'alternate universe' story with this premise and takes us on some unexpected twists and turns as he steers us towards the series ultimate conclusion. As I said, by the time the book finished it had become heavy with time traveling, alternate world interference in the story and omnipotent powers that had to be dealt with. It got tired and formulaic by the end, but in the beginning, it was fun to read a different version of world history, and what the X-Men might have looked like. Probably doesn't make the top 10 debate, but it deserves a look.
Sunday, February 21, 2010
Rewriting, Missing Comics, A Basement Full Of Comic Boxes & The Pride Of Baghdad
*sigh*
Nothing is more frustrating than writing something out, and clicking the 'publish' button, only to have the system advise you that the post has not been uploaded, but has in fact been lost.
Let's try this again...
This weekend I had a visit from a friend who now resides in Ohio. On Friday night we had a terrific steak (slightly overcooked.....my fault I admit) and some garlic mashed potatoes before inviting another friend over to join us (as well as one of my sons) for an evening of cards and a couple adult beverages. My friend decided to stay the night, before getting up late in the morning to prepare himself for a day at his mother's for her 65th birthday (Happy Birthday mom!) Just as he was heading out the door, I recalled that there was something I really had been meaning to ask him.
Did you bring my comics with you?
My comic orders are shipped to Ohio because it costs too much to have them shipped to Canada, and then Jason brings them with him when he comes up for work or for visit (in the summer I'll retrieve them myself! Road trips...) Unfortunately, the answer this time was 'no.' Jason had put the comic box on the floor by his bed, with the thinking being that he would have to trip on them in order to leave the room, and would be unable to forget them. Turns out he was wrong about that last part.
Do I have to tell anyone how disappointing it is to think that you're about to see your first batch of new comic books in over thirty days, and then find out that it isn't going to happen?
The situation did lead me to spend some time carving through the racks and racks of comic boxes that are organized in my basement. Normally I only get into the racks when I am going to spend some time in a car on a road trip, or I'm traveling and not expecting to be out on the town at night while I'm doing business in some lame city (like Sault Ste Marie.) The need to find something to read in the absence of new books though drove me to do it and I'm kind of glad that I did.
I never fail to stumble across something that I haven't read in a good long time, and yet my memories of it always seem to be that it is one of my favorite tales. This time was no different and I think I've uncovered a couple of gems that will be in consideration for the Top 10 list I'm going to be compiling as I work my way through the collection and draw out my favorite stories of all time.
This time I quickly came across The Pride Of Baghdad, a graphic novel penned by Ohio's own Brian K Vaughan (of fame for Ex-Machina and Y: The Last man, both of which I enjoyed.) The novel is unique, in my opinion, because it is loosely based on real events that took place during the American invasion of Baghdad, and is told completely from the perspective of a pride of lions which escaped from the zoo during the bombing of the city. There is some very engaging about the way in which the story is told, and as always I love to read things which seem to have their own unique place in storytelling.
Have any of you read it?
Nothing is more frustrating than writing something out, and clicking the 'publish' button, only to have the system advise you that the post has not been uploaded, but has in fact been lost.
Let's try this again...
This weekend I had a visit from a friend who now resides in Ohio. On Friday night we had a terrific steak (slightly overcooked.....my fault I admit) and some garlic mashed potatoes before inviting another friend over to join us (as well as one of my sons) for an evening of cards and a couple adult beverages. My friend decided to stay the night, before getting up late in the morning to prepare himself for a day at his mother's for her 65th birthday (Happy Birthday mom!) Just as he was heading out the door, I recalled that there was something I really had been meaning to ask him.
Did you bring my comics with you?
My comic orders are shipped to Ohio because it costs too much to have them shipped to Canada, and then Jason brings them with him when he comes up for work or for visit (in the summer I'll retrieve them myself! Road trips...) Unfortunately, the answer this time was 'no.' Jason had put the comic box on the floor by his bed, with the thinking being that he would have to trip on them in order to leave the room, and would be unable to forget them. Turns out he was wrong about that last part.
Do I have to tell anyone how disappointing it is to think that you're about to see your first batch of new comic books in over thirty days, and then find out that it isn't going to happen?
The situation did lead me to spend some time carving through the racks and racks of comic boxes that are organized in my basement. Normally I only get into the racks when I am going to spend some time in a car on a road trip, or I'm traveling and not expecting to be out on the town at night while I'm doing business in some lame city (like Sault Ste Marie.) The need to find something to read in the absence of new books though drove me to do it and I'm kind of glad that I did.
I never fail to stumble across something that I haven't read in a good long time, and yet my memories of it always seem to be that it is one of my favorite tales. This time was no different and I think I've uncovered a couple of gems that will be in consideration for the Top 10 list I'm going to be compiling as I work my way through the collection and draw out my favorite stories of all time.
This time I quickly came across The Pride Of Baghdad, a graphic novel penned by Ohio's own Brian K Vaughan (of fame for Ex-Machina and Y: The Last man, both of which I enjoyed.) The novel is unique, in my opinion, because it is loosely based on real events that took place during the American invasion of Baghdad, and is told completely from the perspective of a pride of lions which escaped from the zoo during the bombing of the city. There is some very engaging about the way in which the story is told, and as always I love to read things which seem to have their own unique place in storytelling.
Have any of you read it?
Wednesday, February 17, 2010
Who is The Griffin, and why V For Vendetta is better than Watchmen!
I don't think I unveiled anything yesterday that would have opened anyone's eyes to an unknown series. Today will be largely more of the same, as the authors of these series are widely recognized and lauded for their works on a regular basis. Still, I think I may have one or two things in here that don't show up on everyone else's standard reading list. Let's find out.
The Authority - Issues #1 - #12
The entire first year of the original Authority arc was magnificent, although if you pressed me to narrow it down I would probably identify the very first story arc as my favorite. What Ellis and Hitch do on this is paint us a picture of a pragmatic team of the highest powers who set out to make the world a better place, and nations and governments be damned. As you can imagine, not everyone sees their actions as 'right', but then there are always people who are wrong. How else could I possibly have as many arguments as I do? The Authority draws a line in the sand and simply says 'no more.' They don't negotiate, and they don't capitulate, and they really, really don't bargain with terrorists. It wasn't the first time we have seen an authoritarian super human solution, but this might be the best we've ever seen it. Plus, Superman and Batman archetypes that are homosexual, just to make sure that Ellis rocks the boat. Genius.
Batman: The Dark Knight Returns - Issues #1 - 4
I know. Not a surprise to anyone, and everyone has already read it. Frank Miller's mid-eighties classic that broke new ground in viewing Batman as a soldier in a war that would never end. The grim, gritty vision of the future was magnificent from the very start, and may be the greatest Batman story ever told. Miller's artwork seems to fit right into the image he is painting of a world that is on the verge of war, and the city that represents the world's fight in a microcosm. Not good enough? How about Miller's ground breaking revelation that Superman and Batman didn't like each other? No. That's not fair. Superman tries his best to like everyone. It is Bruce who doesn't like Clark, and resents his wasting his power. Their confrontation is only one of the pinnacle confrontations that tale place in this series. A must read.
Sandman - Issues #21 - 28
A Season of Mists. For many people there are bigger or more impressive stories written by Neil Gaiman regarding the Vertigo character that really put that imprint on the map. Neil's work was awe inspiring throughout the run, and Sandman is a series that could have been measured as a whole, in much the same way that I chose to measure Starman and Platenary. For me though, this tale about Lucifer's choice to abdicate the throne of hell was part of a young spiritual awakening that changed the way I considered many things. I read this book when I was in my late teens, and I was dazzled by the very idea that Lucifer might not want to be The Prince of Darkness. Handing the keys to Morpheus, he has his revenge on the Lord of Dream (see earlier stories) when he puts in his care the decision of who will now rule Hell. Brilliant from start to finish, it is a thought provoking and engaging story.
Watchmen - Issues #1 - 12
Is there anything left to be said about Alan Moore's epic masterpiece? With the awards and attention that have been heaped upon this work, I think it has all probably been said better than I can hope to say it. For me this story might as well have been the foundation of Kingdom Come. A world that once had heroes who very much reminded me of the Justice Society of America (in that they truly seemed to possess the mystery man ideal of the wartime) wakes up to find itself without heroes and on the verge of nuclear annihilation. What unfolds is in equal parts madness and hope. This was an easy pick, and I think everyone expects that it will make the final list. We'll see.
V For Vendetta - Issue #1 - 10
It became a major motion picture like Watchmen, but it didn't capture the same spirit and essence that the books did. Too many people have passed this over in pursuit of Moore's other classics (like Watchmen & From Hell) and I think they have all missed his greatest work. For me, the absence of a super-hero culture makes this fascist future for Britain all the more frightening and makes it strike all that more closely to home. Freedoms have been given up in pursuit of safety and security, and the result has become a very Orwellian destiny for England. The movie did this tale no justice, and I saw no reason in it why its people should rebel. The book leaves no such confusion, which is why I absolutely love this series.
Griffin - #1 - 6
Scratching your head yet? Who the hell is The Griffin, and how on earth does this series manage to land on a list with such well known and impressive authors? Let me steal from the graphic novel description over at the Slave Labour Graphics site (www.slgcomic.com) "The Griffin tells the tale of Matt Williams, a teenager who leaves his family and planet behind to become a warrior for a mysterious alien race in exchange for super-powers. After a 20-year absence, what happens when he tries to go home again? Family issues are the least of his problems when the aliens come after him and he must defend his planet against his former masters." I own the prestige format books published by DC and they are beautiful. I like a lot of things about this book, including its ability to keep me entertained with great concepts, humor and political ideology. It isn't as deep as Moore's work, or as powerful as Ellis' but it is a lot of fun, and that has to count for something!
Alright, tomorrow we'll take a break from the consideration for the top ten while we talk about some of the newest issues I've gotten and what I liked or didn't like about them. Unless something else comes to mind, and then I'll just write whatever the hell I want.
Because I can.
The entire first year of the original Authority arc was magnificent, although if you pressed me to narrow it down I would probably identify the very first story arc as my favorite. What Ellis and Hitch do on this is paint us a picture of a pragmatic team of the highest powers who set out to make the world a better place, and nations and governments be damned. As you can imagine, not everyone sees their actions as 'right', but then there are always people who are wrong. How else could I possibly have as many arguments as I do? The Authority draws a line in the sand and simply says 'no more.' They don't negotiate, and they don't capitulate, and they really, really don't bargain with terrorists. It wasn't the first time we have seen an authoritarian super human solution, but this might be the best we've ever seen it. Plus, Superman and Batman archetypes that are homosexual, just to make sure that Ellis rocks the boat. Genius.
I know. Not a surprise to anyone, and everyone has already read it. Frank Miller's mid-eighties classic that broke new ground in viewing Batman as a soldier in a war that would never end. The grim, gritty vision of the future was magnificent from the very start, and may be the greatest Batman story ever told. Miller's artwork seems to fit right into the image he is painting of a world that is on the verge of war, and the city that represents the world's fight in a microcosm. Not good enough? How about Miller's ground breaking revelation that Superman and Batman didn't like each other? No. That's not fair. Superman tries his best to like everyone. It is Bruce who doesn't like Clark, and resents his wasting his power. Their confrontation is only one of the pinnacle confrontations that tale place in this series. A must read.
A Season of Mists. For many people there are bigger or more impressive stories written by Neil Gaiman regarding the Vertigo character that really put that imprint on the map. Neil's work was awe inspiring throughout the run, and Sandman is a series that could have been measured as a whole, in much the same way that I chose to measure Starman and Platenary. For me though, this tale about Lucifer's choice to abdicate the throne of hell was part of a young spiritual awakening that changed the way I considered many things. I read this book when I was in my late teens, and I was dazzled by the very idea that Lucifer might not want to be The Prince of Darkness. Handing the keys to Morpheus, he has his revenge on the Lord of Dream (see earlier stories) when he puts in his care the decision of who will now rule Hell. Brilliant from start to finish, it is a thought provoking and engaging story.
Is there anything left to be said about Alan Moore's epic masterpiece? With the awards and attention that have been heaped upon this work, I think it has all probably been said better than I can hope to say it. For me this story might as well have been the foundation of Kingdom Come. A world that once had heroes who very much reminded me of the Justice Society of America (in that they truly seemed to possess the mystery man ideal of the wartime) wakes up to find itself without heroes and on the verge of nuclear annihilation. What unfolds is in equal parts madness and hope. This was an easy pick, and I think everyone expects that it will make the final list. We'll see.
It became a major motion picture like Watchmen, but it didn't capture the same spirit and essence that the books did. Too many people have passed this over in pursuit of Moore's other classics (like Watchmen & From Hell) and I think they have all missed his greatest work. For me, the absence of a super-hero culture makes this fascist future for Britain all the more frightening and makes it strike all that more closely to home. Freedoms have been given up in pursuit of safety and security, and the result has become a very Orwellian destiny for England. The movie did this tale no justice, and I saw no reason in it why its people should rebel. The book leaves no such confusion, which is why I absolutely love this series.
Scratching your head yet? Who the hell is The Griffin, and how on earth does this series manage to land on a list with such well known and impressive authors? Let me steal from the graphic novel description over at the Slave Labour Graphics site (www.slgcomic.com) "The Griffin tells the tale of Matt Williams, a teenager who leaves his family and planet behind to become a warrior for a mysterious alien race in exchange for super-powers. After a 20-year absence, what happens when he tries to go home again? Family issues are the least of his problems when the aliens come after him and he must defend his planet against his former masters." I own the prestige format books published by DC and they are beautiful. I like a lot of things about this book, including its ability to keep me entertained with great concepts, humor and political ideology. It isn't as deep as Moore's work, or as powerful as Ellis' but it is a lot of fun, and that has to count for something!
Alright, tomorrow we'll take a break from the consideration for the top ten while we talk about some of the newest issues I've gotten and what I liked or didn't like about them. Unless something else comes to mind, and then I'll just write whatever the hell I want.
Because I can.
Tuesday, February 16, 2010
Some of the Top 10 contenders...
Some early front runners in my search to identify my ten favorite comic book stories ever jump immediately to mind.
Planetary - #1 to 27
Twenty seven issues long, and every single one of them is as interesting and compelling as the others. The mantra of the Planetary organization is: "It's a strange world...let's keep it that way." This book was pitched to me as an adventure book in the vein of the original Fantastic Four, with X-Files type elements that would slowly peel back layer after layer of the secret history of the world. I was intrigued, and the book rapidly rose to become one of my very favorites. Definitely in consideration for a spot in the top ten.
Kingdom Come - #1 - 4
Mark Waid writes and Alex Ross handles the art in what was one of the most eye opening limited series I have ever read. What became of the world that in the future the Justice League is no more, and mankind doesn't look up to superhumans, but rather resents and fears them? What of the elderly pastor who sees the approaching of Armageddon? What role will Superman play, and can his reemergence into the world stem the tide of doom? There are too many underlying messages in this to simply sum it up to any simple theme, but it is hard not to be impressed by Mark's synergy with Alex, and the gripping tale that they unfold for you. I'll be shocked if this doesn't make the top five.
Starman - #0 - 81
I've told everyone who would listen, over and over again, that this is simply the smartest and most inspired super-hero series ever written, and to this day I stand by that. To write to the quality that Robinson did, for the amount of time that he did, and keep everything as fresh and interesting from start to finish was an amazing accomplishment. What's more, I love that he was able to make this series transcend the titular hero as an identity and become the tale of a legacy that spans thousands of years. I like his revival of The Shade as well. This will get a lot of consideration because of the scope of the work!
Kick Ass #1 - 7
Soon to be a major motion picture, this book from Marvel was published outside its regular continuity and features a young high school outcast who decides to make himself a super-hero for real. This is probably every puritan parent's worst nightmare come to life, that their children will read tales of fantasy like a comic book and then try and act them out. I remember the terror of Dungeons and Dragons in the eighties when certain religious groups were certain that their children would go insane playing such a game, and become devil worshipers, and this premise loosely reflects that thought. Things go about how you would expect for our hero, and it gets really messed up before its all over. A quality read that gets a lot of points for the originality of the storyline.
speaking of originality...
Preacher #1 - 66
Like Starman and Planetary before it, Preacher is a work that cannot be taken in segments in my opinion. True, you could engage in reading just a piece of the story and find it very enjoyable, but I don't think its the kind of thing that you put down once you're engaged in it. One of the few stories to span that kind of time and remain offensive and fun throughout, Preacher was truly an 'on the edge' book when it was launched and I think it probably finds its way (as a whole) into the top ten before all is said and done.
Now, before I take off for the night, here are some other series I'll be thinking about before tomorrow's blog:
The Authority (volume one, issues #1 - 12)
Batman: The Dark Knight Returns (issues #1 - 4)
Sandman (issues #21 - 28)
Watchmen (issues #1 - 12)
V For Vendetta (issues #1 - 10)
Griffin (issues #1 - 6)
Twenty seven issues long, and every single one of them is as interesting and compelling as the others. The mantra of the Planetary organization is: "It's a strange world...let's keep it that way." This book was pitched to me as an adventure book in the vein of the original Fantastic Four, with X-Files type elements that would slowly peel back layer after layer of the secret history of the world. I was intrigued, and the book rapidly rose to become one of my very favorites. Definitely in consideration for a spot in the top ten.
Mark Waid writes and Alex Ross handles the art in what was one of the most eye opening limited series I have ever read. What became of the world that in the future the Justice League is no more, and mankind doesn't look up to superhumans, but rather resents and fears them? What of the elderly pastor who sees the approaching of Armageddon? What role will Superman play, and can his reemergence into the world stem the tide of doom? There are too many underlying messages in this to simply sum it up to any simple theme, but it is hard not to be impressed by Mark's synergy with Alex, and the gripping tale that they unfold for you. I'll be shocked if this doesn't make the top five.
I've told everyone who would listen, over and over again, that this is simply the smartest and most inspired super-hero series ever written, and to this day I stand by that. To write to the quality that Robinson did, for the amount of time that he did, and keep everything as fresh and interesting from start to finish was an amazing accomplishment. What's more, I love that he was able to make this series transcend the titular hero as an identity and become the tale of a legacy that spans thousands of years. I like his revival of The Shade as well. This will get a lot of consideration because of the scope of the work!
Soon to be a major motion picture, this book from Marvel was published outside its regular continuity and features a young high school outcast who decides to make himself a super-hero for real. This is probably every puritan parent's worst nightmare come to life, that their children will read tales of fantasy like a comic book and then try and act them out. I remember the terror of Dungeons and Dragons in the eighties when certain religious groups were certain that their children would go insane playing such a game, and become devil worshipers, and this premise loosely reflects that thought. Things go about how you would expect for our hero, and it gets really messed up before its all over. A quality read that gets a lot of points for the originality of the storyline.
speaking of originality...
Like Starman and Planetary before it, Preacher is a work that cannot be taken in segments in my opinion. True, you could engage in reading just a piece of the story and find it very enjoyable, but I don't think its the kind of thing that you put down once you're engaged in it. One of the few stories to span that kind of time and remain offensive and fun throughout, Preacher was truly an 'on the edge' book when it was launched and I think it probably finds its way (as a whole) into the top ten before all is said and done.
Now, before I take off for the night, here are some other series I'll be thinking about before tomorrow's blog:
The Authority (volume one, issues #1 - 12)
Batman: The Dark Knight Returns (issues #1 - 4)
Sandman (issues #21 - 28)
Watchmen (issues #1 - 12)
V For Vendetta (issues #1 - 10)
Griffin (issues #1 - 6)
Monday, February 15, 2010
Squish the fish
What does the world have against fish?
Namor and Aquaman remain two of the characters that neither DC nor Marvel ever seem to be able to keep functional as a mainstream book, and I don't get it. Admittedly I've always been fascinated by the idea of a lost civilization, and Atlantis was one of my favorite myths when I was a young boy, so it isn't hard to understand why I see such vast and untapped potential in both of these characters. They represent some of my favorite story telling elements; outcasts, royalty, lost civilizations. Yet time and again they are launched into the comic world as supporting characters, or as lead characters who have to be melded to feel as though they belong amongst the surface dwellers.
I think most of the writers (and editors) have it all wrong.
In Namor's case I do find some level of interest in his arrogant contempt for Reed Richards, and his unabashed pursuit of Susan Storm. In that area at least he tends to reflect the kingly qualities of old, not all of which were admirable. In Marvel's universe Namor is considered to have been the first mutant, a role which should carry with it special consideration. Then again, I think I recall them suggesting that that is no longer the case, as one of the thousands of X-Men villains turned out to have been around since the time of the pharaohs I think. In any event, Namor was an ally of Captain America in the Second World War, and is often believed to have had a close relationship with Steve Rogers. Too often though the tales which include him have, in my experience, focused on what he does in the world of men, with his kingdom and its roles in Earthly affairs playing out in the background as a minor plot.
I don't know for sure that a great Namor tale could be told, but I would certainly like to see somebody try. Here is this mutant of sensational power and strength, who is always brought into the enclaves of the powerful (Avengers Illuminati & Osborne's Dark Council) out of respect for his role historically to Marvel, and yet when the time comes for him to either stand as a villain or rise as a hero he seems to take a back seat to others (Cap, Doom, the FF.) When will Namor be either THE villain or THE hero? I don't mind the fact that he has waffled back and forth as has suited the writer's fancy, because I see him in the same way that I see Doom, or T'Challa. Namor is a foreign dignitary who must always consider the best interests of his kingdom before all else. But it is time for him to stop playing second fiddle. Is Cap really more impressive than Namor? He doesn't rule the largest nation on Earth. He isn't the world's first mutant. And the suggestion he's a more potent hero might even be debatable.
Yet Namor remains a periphery character for Marvel.
Over in DC we have seen a much more concerted effort to elevate the status of Aquaman on more than one occasion, and when the editors decided that Grant Morrison's relaunch of JLA would include the BIG GUNS, that included Aquaman. He is considered a force in the DCU, although he seldom gets to elevate himself to that status in major stories. But that isn't where I want to start talking about the disrespect that continues to be heaped on this character. I want to start.........with his name.
Aquaman is a name that, in my opinion, the press would have called him; not something his friends or family should be calling him. It borders on racist. The man is a king. His name when he was raised on land was Arthur Curry (and I doubt it is a coincidence that he was destined to become King Arthur) and that translates, I suppose, to his Atlantean name of Orin. Nobility should be above being referred to as Aquaman. It would be like calling the Blob Fatguy, or calling Two Face Ugly Bastard. I understand the roots and heritage of the character's naming, and I appreciate the importance of the continuity of such things. I'm not advocating changing the character's name, but I would like to see his writers treat him with enough respect to realize that he would have put a stop to that name a long, long time ago. He's a king. He doesn't need a 'secret identity' which means he doesn't need a code name.
DC has, at times, put more effort into grounding Orin's books in the culture and political intrigue of Atlantis, placing the major focus of their stories in his under water kingdom. I like the efforts that were made on Peter David's run on the book, but the stories I really liked were just as that series was being cancelled, when Dan Jurgens took over the book and did an arc. It's a very interesting and engaging interpretation of a kingdom under the water, ruled by a lord who has gained an almost legendary status amongst his people. It had a real 'high fantasy' feel about it that I really enjoyed, but unfortunately it was a very short story arc and then it was gone. I'd like to see more of that.
I also don't think that enough is made of just how powerful these two men really are. They're insanely strong under the water, at depths that we would be crushed at. Consider how strong that should make them above the water, and how dense their bodies should be (making them very hard to hurt.) Namor can fly (which is stupid) and Orin has the ability to communicate with all forms of sea life (a low level telepath who, it was revealed in David's run, hadn't done nearly enough to hone or train that skill but had instead taken it for granted....an interesting point!)
I did enjoy Morrison's take on Orin in his graphic novel Earth 2, in which the JLA is recruited to go to the anti-matter universe to try and put an end to the Crime Syndicate (evil JLA) and their rule of that world. The Martian Manhunter and Orin stay behind to defend Earth, and man oh man is it cool when they unload on the Crime Syndicate. Check it out, it's an interesting read in which good and evil are examined under the question of nature versus nurture.
So, now that I've shaken off the wrist pain and gotten back at this, I'm going to be spending some time considering what are the greatest ten comic stories I've ever read. When I start to pull them into some kind of order, I'll start sharing them with you. I encourage you to jump in and tell me which ones you think should be considered, and which ones you've read and loved the best.
Until then...
Namor and Aquaman remain two of the characters that neither DC nor Marvel ever seem to be able to keep functional as a mainstream book, and I don't get it. Admittedly I've always been fascinated by the idea of a lost civilization, and Atlantis was one of my favorite myths when I was a young boy, so it isn't hard to understand why I see such vast and untapped potential in both of these characters. They represent some of my favorite story telling elements; outcasts, royalty, lost civilizations. Yet time and again they are launched into the comic world as supporting characters, or as lead characters who have to be melded to feel as though they belong amongst the surface dwellers.
I think most of the writers (and editors) have it all wrong.
In Namor's case I do find some level of interest in his arrogant contempt for Reed Richards, and his unabashed pursuit of Susan Storm. In that area at least he tends to reflect the kingly qualities of old, not all of which were admirable. In Marvel's universe Namor is considered to have been the first mutant, a role which should carry with it special consideration. Then again, I think I recall them suggesting that that is no longer the case, as one of the thousands of X-Men villains turned out to have been around since the time of the pharaohs I think. In any event, Namor was an ally of Captain America in the Second World War, and is often believed to have had a close relationship with Steve Rogers. Too often though the tales which include him have, in my experience, focused on what he does in the world of men, with his kingdom and its roles in Earthly affairs playing out in the background as a minor plot.
I don't know for sure that a great Namor tale could be told, but I would certainly like to see somebody try. Here is this mutant of sensational power and strength, who is always brought into the enclaves of the powerful (Avengers Illuminati & Osborne's Dark Council) out of respect for his role historically to Marvel, and yet when the time comes for him to either stand as a villain or rise as a hero he seems to take a back seat to others (Cap, Doom, the FF.) When will Namor be either THE villain or THE hero? I don't mind the fact that he has waffled back and forth as has suited the writer's fancy, because I see him in the same way that I see Doom, or T'Challa. Namor is a foreign dignitary who must always consider the best interests of his kingdom before all else. But it is time for him to stop playing second fiddle. Is Cap really more impressive than Namor? He doesn't rule the largest nation on Earth. He isn't the world's first mutant. And the suggestion he's a more potent hero might even be debatable.
Yet Namor remains a periphery character for Marvel.
Over in DC we have seen a much more concerted effort to elevate the status of Aquaman on more than one occasion, and when the editors decided that Grant Morrison's relaunch of JLA would include the BIG GUNS, that included Aquaman. He is considered a force in the DCU, although he seldom gets to elevate himself to that status in major stories. But that isn't where I want to start talking about the disrespect that continues to be heaped on this character. I want to start.........with his name.
Aquaman is a name that, in my opinion, the press would have called him; not something his friends or family should be calling him. It borders on racist. The man is a king. His name when he was raised on land was Arthur Curry (and I doubt it is a coincidence that he was destined to become King Arthur) and that translates, I suppose, to his Atlantean name of Orin. Nobility should be above being referred to as Aquaman. It would be like calling the Blob Fatguy, or calling Two Face Ugly Bastard. I understand the roots and heritage of the character's naming, and I appreciate the importance of the continuity of such things. I'm not advocating changing the character's name, but I would like to see his writers treat him with enough respect to realize that he would have put a stop to that name a long, long time ago. He's a king. He doesn't need a 'secret identity' which means he doesn't need a code name.
DC has, at times, put more effort into grounding Orin's books in the culture and political intrigue of Atlantis, placing the major focus of their stories in his under water kingdom. I like the efforts that were made on Peter David's run on the book, but the stories I really liked were just as that series was being cancelled, when Dan Jurgens took over the book and did an arc. It's a very interesting and engaging interpretation of a kingdom under the water, ruled by a lord who has gained an almost legendary status amongst his people. It had a real 'high fantasy' feel about it that I really enjoyed, but unfortunately it was a very short story arc and then it was gone. I'd like to see more of that.
I also don't think that enough is made of just how powerful these two men really are. They're insanely strong under the water, at depths that we would be crushed at. Consider how strong that should make them above the water, and how dense their bodies should be (making them very hard to hurt.) Namor can fly (which is stupid) and Orin has the ability to communicate with all forms of sea life (a low level telepath who, it was revealed in David's run, hadn't done nearly enough to hone or train that skill but had instead taken it for granted....an interesting point!)
I did enjoy Morrison's take on Orin in his graphic novel Earth 2, in which the JLA is recruited to go to the anti-matter universe to try and put an end to the Crime Syndicate (evil JLA) and their rule of that world. The Martian Manhunter and Orin stay behind to defend Earth, and man oh man is it cool when they unload on the Crime Syndicate. Check it out, it's an interesting read in which good and evil are examined under the question of nature versus nurture.
So, now that I've shaken off the wrist pain and gotten back at this, I'm going to be spending some time considering what are the greatest ten comic stories I've ever read. When I start to pull them into some kind of order, I'll start sharing them with you. I encourage you to jump in and tell me which ones you think should be considered, and which ones you've read and loved the best.
Until then...
Thursday, February 11, 2010
Powers, Supergod & why Joker isn't a villain
I read the newest issue of Powers last night. I know from talking to some friends that not everyone thinks that Powers is still the solid book it was in its heyday. Some people think that Bendis lost the fresh edge and take on Powers that he had years ago, and that now the book doesn't read the same. I'm not sure that I feel the same way. I still enjoy Powers for its slightly more realistic take on how the US might respond to the open existence of super powers. The fact that they are generally outlaws and that there is a special division in the police department assigned to specifically deal with them remains a setting that I enjoy. The book, for me, remains a mixture of the super-hero genre with the crime noire genre, and is accented by what I think is great dialogue.
I read this issue and I don't see why anyone would ignore what is clearly a very unique super-hero book. This new series seems to be setting the stage for us to learn a whole lot more about the primary character, and just how long he's been around as a Power. We see that he was young and active in the World War, which has now brought Nazis into the story, and we already saw that he was involved in the mob scene back when Las Vegas was really starting to come into its own. How far back does the story of Christian Walker go? Could he be the original Power? Just some speculating. I don't really have any insights to tell me that Bendis is heading in that direction, but I am intrigued by where he is heading.
I think this is a post-hype success. Some people got off of it when it got too popular, citing a failure to continue to deliver its pre-hype success, but I disagree.
Moving away from Bendis and back to Ellis, I also read the second issue of his five part series Supergod. The tale is a hardline condemnation of human research into genetic engineering laid over top of a series of cultural observations about how certain nations might envision the idea of creating their own super being / deity. The result, as we see the story through the eyes of a narrator in Britain who has more than his share of good laughs at the Americans (Ellis seems to do this a lot I think) appears to be Armageddon. We are seeing/hearing the stories that lead to the final days of mankind on Earth, and what we are privy to is a complex series of experiments as countries like Russia, England, India and Iran engage in the most lethal and insane arms races ever conceived.
Its too early for me to tell you if I like the story or not. Right now it is reading a lot like Warren expounding his political views on other nations, and not enough like a story. That said, I'm going to read it through until the end, because Ellis has earned that much respect from me.
Before I go for today (it's short, but I've got the flu) I need to clear something up; The Joker is not a villain.
Obviously he gets a lot of press as the man most people believe to be Batman's arch-enemy (they're wrong) and as such is widely regarded as a villain. He isn't. Sure, in some stories he comes across as as scheming, manipulative bad guy, but he only really rings true when people get that at his core he is quite simply......insane. The man is evil manifested in the form of a man who has completely lost his touch with reality and is incapable of perceiving the world as it actually is. This removes him from any dialogue about him being a great villain, because all great villains have a single trait in common; they think they're good guys.
Lex Luthor believes himself to be the pinnacle of human genius, and that Superman is a threat to the world.
Ra's Al Ghul (who IS Batman's arch-enemy) believes that he is destined to save the world from mankind.
even Victor Von Doom believes that he is the rightful ruler of his people, and that the American super-heroes are pursuing a vendetta against him.
The Joker? All he thinks about are whether or not Cheerios should be sqaure, and why Batman doesn't love him. He's frickin' nuts. He may be the most psychotic character ever. He could argue for a place in the upper echelon of evil. But as villains go, he lacks, I think, the cognitive recognition of purpose to be a great villain.
Brettell out!
I read this issue and I don't see why anyone would ignore what is clearly a very unique super-hero book. This new series seems to be setting the stage for us to learn a whole lot more about the primary character, and just how long he's been around as a Power. We see that he was young and active in the World War, which has now brought Nazis into the story, and we already saw that he was involved in the mob scene back when Las Vegas was really starting to come into its own. How far back does the story of Christian Walker go? Could he be the original Power? Just some speculating. I don't really have any insights to tell me that Bendis is heading in that direction, but I am intrigued by where he is heading.
I think this is a post-hype success. Some people got off of it when it got too popular, citing a failure to continue to deliver its pre-hype success, but I disagree.
Moving away from Bendis and back to Ellis, I also read the second issue of his five part series Supergod. The tale is a hardline condemnation of human research into genetic engineering laid over top of a series of cultural observations about how certain nations might envision the idea of creating their own super being / deity. The result, as we see the story through the eyes of a narrator in Britain who has more than his share of good laughs at the Americans (Ellis seems to do this a lot I think) appears to be Armageddon. We are seeing/hearing the stories that lead to the final days of mankind on Earth, and what we are privy to is a complex series of experiments as countries like Russia, England, India and Iran engage in the most lethal and insane arms races ever conceived.
Its too early for me to tell you if I like the story or not. Right now it is reading a lot like Warren expounding his political views on other nations, and not enough like a story. That said, I'm going to read it through until the end, because Ellis has earned that much respect from me.
Before I go for today (it's short, but I've got the flu) I need to clear something up; The Joker is not a villain.
Obviously he gets a lot of press as the man most people believe to be Batman's arch-enemy (they're wrong) and as such is widely regarded as a villain. He isn't. Sure, in some stories he comes across as as scheming, manipulative bad guy, but he only really rings true when people get that at his core he is quite simply......insane. The man is evil manifested in the form of a man who has completely lost his touch with reality and is incapable of perceiving the world as it actually is. This removes him from any dialogue about him being a great villain, because all great villains have a single trait in common; they think they're good guys.
Lex Luthor believes himself to be the pinnacle of human genius, and that Superman is a threat to the world.
Ra's Al Ghul (who IS Batman's arch-enemy) believes that he is destined to save the world from mankind.
even Victor Von Doom believes that he is the rightful ruler of his people, and that the American super-heroes are pursuing a vendetta against him.
The Joker? All he thinks about are whether or not Cheerios should be sqaure, and why Batman doesn't love him. He's frickin' nuts. He may be the most psychotic character ever. He could argue for a place in the upper echelon of evil. But as villains go, he lacks, I think, the cognitive recognition of purpose to be a great villain.
Brettell out!
Wednesday, February 10, 2010
Doom in a landslide
So the debate is already over.
Nobody really chimed in, which is so disappointing that I won't even comment on it beyond this, but I just finished reading Straczynski's run on Thor, which picks up with Kieron Gillen's run, and in case you didn't already know this....Doctor Doom is the greatest villain ever created. It actually makes sense too, because you kind of have to be bad-ass when you're created to go one on four with The Fantastic Four (who as a group are underrated these days.)
In Stracz's Thor run, which is solid by the way and actually spend more of its time focusing on his role amongst the Asgardians rather than his impact on the super-hero community (which I liked), Doom aligns himself with Loki in a major stratagem designed to impart him with power capable of rivaling Odin. It is bold. It is audacious. It has a certain arrogance that could only come from Victor Von Doom (who for those of you in the know is almost half as cool as Straud Von Chaos.) Seeing Doom make a play for divine power in the form of a super-charged version of the Destroyer armor was pretty cool. All in all it brings Doom back into focus around Marvel as THE bad guy.
That isn't where it stops though. Doom also took aim at Wakanda in the recent story arcs of Black Panther, showing a political agenda that suggests that he is preparing for a massive military move to conquer the technologically advanced nation. With a limited series coming soon it would appear that he is going to succeed, and that will change the power dynamic of Marvel for some time to come.
Still not convinced? His role in Dark Reign shouldn't be ignored. Nor the fact that twenty something years ago he stole The Beyonder's powers. His hubris alone should earn him a spot at the top of the argument.
Who could stand against him? Luthor? I like Luthor, but Doom is equally as smart, equally as cunning, but he wears waaaaay better armor and he's a dangerous mage. Luthor gets his ass handed to him. Ra's Al Ghul? I give that guy more credit than most people do. He has built an empire of power that has spanned for centuries and only a certain detective has ever been in a position to thwart him. He's ruthless, and he isn't above using magic and science to further his agendas. His cunning is easily Doom's equal, and his adversary may actually be more dangerous that super-genius Reed Richards. So why give the nod to Doom? Two things. Battle armor. Doom has the corner on the market. Also, Doom rules a nation, and wields the authority with open disdain for his opponents. Ra's moves behind the scenes, which makes him more lethal and scary, but not necessarily more dangerous. Doom brings world law into play every now and then, and its an element that few people consider when they think about how dangerous the bastard really is.
Who else could I consider?
Spidey's villains suck balls. Magneto might not even be a villain (if they would just make him STAY a racist prick, he'd be in the running.) The Red Skull? Please! Loki? There's something about proclaiming yourself the God of Lies & Mischief that takes the sting out of being a villain. Sinestro? Piss off. Zoom? Inverting your hero doesn't make a great villain.
No. I think it's Doom.
In a landslide.
Nobody really chimed in, which is so disappointing that I won't even comment on it beyond this, but I just finished reading Straczynski's run on Thor, which picks up with Kieron Gillen's run, and in case you didn't already know this....Doctor Doom is the greatest villain ever created. It actually makes sense too, because you kind of have to be bad-ass when you're created to go one on four with The Fantastic Four (who as a group are underrated these days.)
In Stracz's Thor run, which is solid by the way and actually spend more of its time focusing on his role amongst the Asgardians rather than his impact on the super-hero community (which I liked), Doom aligns himself with Loki in a major stratagem designed to impart him with power capable of rivaling Odin. It is bold. It is audacious. It has a certain arrogance that could only come from Victor Von Doom (who for those of you in the know is almost half as cool as Straud Von Chaos.) Seeing Doom make a play for divine power in the form of a super-charged version of the Destroyer armor was pretty cool. All in all it brings Doom back into focus around Marvel as THE bad guy.
That isn't where it stops though. Doom also took aim at Wakanda in the recent story arcs of Black Panther, showing a political agenda that suggests that he is preparing for a massive military move to conquer the technologically advanced nation. With a limited series coming soon it would appear that he is going to succeed, and that will change the power dynamic of Marvel for some time to come.
Still not convinced? His role in Dark Reign shouldn't be ignored. Nor the fact that twenty something years ago he stole The Beyonder's powers. His hubris alone should earn him a spot at the top of the argument.
Who could stand against him? Luthor? I like Luthor, but Doom is equally as smart, equally as cunning, but he wears waaaaay better armor and he's a dangerous mage. Luthor gets his ass handed to him. Ra's Al Ghul? I give that guy more credit than most people do. He has built an empire of power that has spanned for centuries and only a certain detective has ever been in a position to thwart him. He's ruthless, and he isn't above using magic and science to further his agendas. His cunning is easily Doom's equal, and his adversary may actually be more dangerous that super-genius Reed Richards. So why give the nod to Doom? Two things. Battle armor. Doom has the corner on the market. Also, Doom rules a nation, and wields the authority with open disdain for his opponents. Ra's moves behind the scenes, which makes him more lethal and scary, but not necessarily more dangerous. Doom brings world law into play every now and then, and its an element that few people consider when they think about how dangerous the bastard really is.
Who else could I consider?
Spidey's villains suck balls. Magneto might not even be a villain (if they would just make him STAY a racist prick, he'd be in the running.) The Red Skull? Please! Loki? There's something about proclaiming yourself the God of Lies & Mischief that takes the sting out of being a villain. Sinestro? Piss off. Zoom? Inverting your hero doesn't make a great villain.
No. I think it's Doom.
In a landslide.
Tuesday, February 09, 2010
It's order day...
Today was new order day, and as I placed my order I considered that maybe I would write about what I'm ordering right now and see who's reading it, and who thinks I'm really missing out on some key books. When I was done though (and the order grew by about $5 a week) I decided that I was more interested in talking about a hand full of books that I stopped ordering, and whether or not anyone thinks I may have made a mistake. Here goes...
Brave & The Bold
I'm not traditionally a fan of books that don't have a specific target story that they are advancing over the course of the year, and this book is no exception. I was lured in on the first twelve months by the fact that the series was being written by some of my favorite writers, and so I gave it a chance at a time when I didn't have a problem with the finances. When I got back into picking up books after finding a new source last fall, I cut this book. That cut came right on the even of J.Michael Straczynski taking over the book, and ever since then I have been wavering on picking it back up. Another month has passed, and once again I have refrained from getting involved with this book.
For me the lure and the argument against it are the same; the writer. Aside from Midnight Nation (which has HUGE movie potential) my experience with Straz is that his books start out full of potential and ripe with creative ideas that really engage my mind, but by the time they end, I am left feeling flat. The other problem is that I feel like he's left me hanging on a few too many projects, and that he lacks any genuine longterm commitment to a book. Rising Stars took forever and a day to come out, and by the time the finish came around, I almost didn't give a shit. I felt like his runs on Squadron Supreme were incomplete, and that the story was unfinished. It is a feeling that I have had when reading other works he has done.
With that said, Midnight Nation was sensational. If you haven't read it, it should go very high up on your list of things to read.
Punisher
As I have mentioned repeatedly, for me Punisher was redefined as a gritty, filthy book under Garth Ennis and I didn't envision enjoying anyone else's work on the book in his absence. Marvel went out and got a writer that intrigues me though when they signed Rick Remender to the book. I know Rick is taking it in very different directions than Garth did, and the book has a very distinct feel. It isn't even close to Garth's style, which makes the book different enough that I think I might be able to enjoy it.
Is anyone reading it? I'd love some feedback on whether or not Remender is doing the kind of job I should be interested in. I really like some of his past work.
Fall Of The Hulks
I have been on The Hulk for some time, but when I saw the multiple limited series that were being touted as a part of Fall Of The Hulks I got pissed off. I don't like that kind of marketing, and it rubs me the wrong way that I have been building to a big Hulk story, only to find Marvel trying to leverage me out of buying two books a month and into buying four or five. That said, I am interested in the resolution of the storyline, and seeing the secrets of the multiple hulks finally unfold before our eyes. Is it time to suck it up and go read this, or should I ignore it until it is brought together in some format that is more linear?
Any thoughts?
Invincible
I have dropped this book at least 12 times since it was first launched, and every time I do, I end up regretting it. The man's take on super-hero books is both fresh, a little bit irreverent and supremely creative. I dropped it again when I got back into books last fall because I felt like I was too far behind to even try and get back into it. Then I stumbled on a wicked sale and got mostly caught back up. Now I'm left to wonder if I can afford to pick it back up again. I really like the story, and they are angling towards a war against the homeworld of Mark's father (think Krypton full of assholes.) I think Kirkman is a solid, fun writer and his books often leave me smiling.
So why do I keep dropping them? What is it about them that leaves me thinking they're expendable, when the truth is that they are better written than some of the longtime staples I read?
God Complex
Michael Avon Oeming launched Powers with Brian Bendis, and every now and then he takes on a project taht appeals to me. This one caught my eye and I read issue #1, although I did not order any of the following issues. Is anyone following this book? It is centered around Apollo, the god, and his rejection of his immortal family in an effort to live out his days as a mortal. His father doesn't take it well, and the stage is set for Apollo to confront the rest of his Pantheon, bereft of his gift of immortality. I can't explain much more than that, unless I get back to reading it, which I admit that I am tempted to do for a little while longer.
What about you guys?
Does anyone see books that they're thinking about reading, and wonder if the rest of us have opinions on them? Anyone want to tell us about a book we're not talking about but should be?
I'm all ears (which, when you think about it, is a pretty gross idea!)
Brave & The Bold
I'm not traditionally a fan of books that don't have a specific target story that they are advancing over the course of the year, and this book is no exception. I was lured in on the first twelve months by the fact that the series was being written by some of my favorite writers, and so I gave it a chance at a time when I didn't have a problem with the finances. When I got back into picking up books after finding a new source last fall, I cut this book. That cut came right on the even of J.Michael Straczynski taking over the book, and ever since then I have been wavering on picking it back up. Another month has passed, and once again I have refrained from getting involved with this book.
For me the lure and the argument against it are the same; the writer. Aside from Midnight Nation (which has HUGE movie potential) my experience with Straz is that his books start out full of potential and ripe with creative ideas that really engage my mind, but by the time they end, I am left feeling flat. The other problem is that I feel like he's left me hanging on a few too many projects, and that he lacks any genuine longterm commitment to a book. Rising Stars took forever and a day to come out, and by the time the finish came around, I almost didn't give a shit. I felt like his runs on Squadron Supreme were incomplete, and that the story was unfinished. It is a feeling that I have had when reading other works he has done.
With that said, Midnight Nation was sensational. If you haven't read it, it should go very high up on your list of things to read.
Punisher
As I have mentioned repeatedly, for me Punisher was redefined as a gritty, filthy book under Garth Ennis and I didn't envision enjoying anyone else's work on the book in his absence. Marvel went out and got a writer that intrigues me though when they signed Rick Remender to the book. I know Rick is taking it in very different directions than Garth did, and the book has a very distinct feel. It isn't even close to Garth's style, which makes the book different enough that I think I might be able to enjoy it.
Is anyone reading it? I'd love some feedback on whether or not Remender is doing the kind of job I should be interested in. I really like some of his past work.
Fall Of The Hulks
I have been on The Hulk for some time, but when I saw the multiple limited series that were being touted as a part of Fall Of The Hulks I got pissed off. I don't like that kind of marketing, and it rubs me the wrong way that I have been building to a big Hulk story, only to find Marvel trying to leverage me out of buying two books a month and into buying four or five. That said, I am interested in the resolution of the storyline, and seeing the secrets of the multiple hulks finally unfold before our eyes. Is it time to suck it up and go read this, or should I ignore it until it is brought together in some format that is more linear?
Any thoughts?
Invincible
I have dropped this book at least 12 times since it was first launched, and every time I do, I end up regretting it. The man's take on super-hero books is both fresh, a little bit irreverent and supremely creative. I dropped it again when I got back into books last fall because I felt like I was too far behind to even try and get back into it. Then I stumbled on a wicked sale and got mostly caught back up. Now I'm left to wonder if I can afford to pick it back up again. I really like the story, and they are angling towards a war against the homeworld of Mark's father (think Krypton full of assholes.) I think Kirkman is a solid, fun writer and his books often leave me smiling.
So why do I keep dropping them? What is it about them that leaves me thinking they're expendable, when the truth is that they are better written than some of the longtime staples I read?
God Complex
Michael Avon Oeming launched Powers with Brian Bendis, and every now and then he takes on a project taht appeals to me. This one caught my eye and I read issue #1, although I did not order any of the following issues. Is anyone following this book? It is centered around Apollo, the god, and his rejection of his immortal family in an effort to live out his days as a mortal. His father doesn't take it well, and the stage is set for Apollo to confront the rest of his Pantheon, bereft of his gift of immortality. I can't explain much more than that, unless I get back to reading it, which I admit that I am tempted to do for a little while longer.
What about you guys?
Does anyone see books that they're thinking about reading, and wonder if the rest of us have opinions on them? Anyone want to tell us about a book we're not talking about but should be?
I'm all ears (which, when you think about it, is a pretty gross idea!)
Monday, February 08, 2010
Taking sides
Sometimes comics want us to take sides.
Being the opinionated prick that I am, allow me....
Civil War
Captain America was right, and Tony Stark was a raging douchebag who allowed the failures of numerous complicit government oversight committees to burden him with guilt for somebody else's actions. The scene in which the mother they use as the figure head of the movement to ban unlicensed super-heroes slaps him and blames him doesn't ring true at all. Assigning blame to Stark for the wildly negligent behavior of the New Warriors and the television executives who green lit their show was assenine. In fact it's so stupid that I now wonder if I'm remembering that sequence wrong and I need to go back and review it. Maybe.
In any event, the argument of Civil War comes down to Captain America (personal freedoms) against Iron Man (safety of the masses.) Well no matter how you look at it, both men are standing on a platform that has a strong foundation. But when you dig deeper into the very ideas I think the foundations start to tremble a little bit. Iron Man's is the weaker foundation for me, because surrendering civil liberties at the say-so of the government is how totalitarian regimes are built. They don't start out as dictatorships, and they don't become them over night. They are built in a slow, regulated process under which citizens give up their freedoms in the best interest of the "many." Is it ever in anyone's best interest to give up their personal freedoms?
Now I'm not American, but even I could see that Civil War was a commentary of sorts about the reaction to 911, and the changes that were made in terms of what the government was allowed to do in pursuit of national security. I don't know if they were right or wrong to do that, but I do know that Stark came off as the biggest douchebag ever in Civil War, and he was almost always on the morally untenable ground. The scene in which he tries to buddy up to Thor in Secret Invasion, only to have Thor put him in his place for what happened to Cap is gold.
Suck a nut Tony!
I've taken a side; Cap's the man, and I would have run with the Mighty Avengers.
Planet Hulk
Were The Illuminati right to shoot Bruce Banner into space for the greater safety of mankind? Do the ends justify the means? When Hulk comes back and he's angry enough to conquer the entire planet......is he in the 'moral right?' Is his revenge justified? Who was right?
The simple answer is nobody.
In a practical world I would side with the Illuminati out of necessity. Somebody needs to find a way to kill The Sentry too. That dude's mental and has the powers of a demi-god. He makes Thor look weak. Anyways, in the real world I don't think you have a lot of choice. Mankind cannot continue to endure the mindless Hulk when he shows up. But this is comic books, and heroes don't betray people. That's what villains do. On top of that, I just rallied for personal freedoms, so I can't very well justify launching the Hulk into space for the 'greater good' on the heels of that, can I?
Some of the smartest minds in the world met as a part of The Illuminati, and they decided that their course of action was acceptable. It wasn't. In betraying Banner, they also gave up that part of themselves which made them heroes even amongst the other members of the spandex set. We must hold men like Stark, Richard, Xavier, Namor and Bolt to a higher standard even than we hold their colleagues. These men are the visionaries and leaders of the heroes of Marvel, and if their vision is so incapable to see their own failing, the entire Marvel Universe is in dangerous hands.
As for Hulk's rampage upon his return? He's wrong too.
But that all comes out as the story winds down.
Anyways, I was thinking about moral dilemmas today, and these two came to mind. As did the ones in Crossed. I think that whenever you stop caring about and thinking about people as individuals, and use 'bigger pictures' to justify your actions, you are in danger of losing touch with your humanity.
In short.
Tony Stark is an asshole.
Being the opinionated prick that I am, allow me....
Civil War
Captain America was right, and Tony Stark was a raging douchebag who allowed the failures of numerous complicit government oversight committees to burden him with guilt for somebody else's actions. The scene in which the mother they use as the figure head of the movement to ban unlicensed super-heroes slaps him and blames him doesn't ring true at all. Assigning blame to Stark for the wildly negligent behavior of the New Warriors and the television executives who green lit their show was assenine. In fact it's so stupid that I now wonder if I'm remembering that sequence wrong and I need to go back and review it. Maybe.
In any event, the argument of Civil War comes down to Captain America (personal freedoms) against Iron Man (safety of the masses.) Well no matter how you look at it, both men are standing on a platform that has a strong foundation. But when you dig deeper into the very ideas I think the foundations start to tremble a little bit. Iron Man's is the weaker foundation for me, because surrendering civil liberties at the say-so of the government is how totalitarian regimes are built. They don't start out as dictatorships, and they don't become them over night. They are built in a slow, regulated process under which citizens give up their freedoms in the best interest of the "many." Is it ever in anyone's best interest to give up their personal freedoms?
Now I'm not American, but even I could see that Civil War was a commentary of sorts about the reaction to 911, and the changes that were made in terms of what the government was allowed to do in pursuit of national security. I don't know if they were right or wrong to do that, but I do know that Stark came off as the biggest douchebag ever in Civil War, and he was almost always on the morally untenable ground. The scene in which he tries to buddy up to Thor in Secret Invasion, only to have Thor put him in his place for what happened to Cap is gold.
Suck a nut Tony!
I've taken a side; Cap's the man, and I would have run with the Mighty Avengers.
Planet Hulk
Were The Illuminati right to shoot Bruce Banner into space for the greater safety of mankind? Do the ends justify the means? When Hulk comes back and he's angry enough to conquer the entire planet......is he in the 'moral right?' Is his revenge justified? Who was right?
The simple answer is nobody.
In a practical world I would side with the Illuminati out of necessity. Somebody needs to find a way to kill The Sentry too. That dude's mental and has the powers of a demi-god. He makes Thor look weak. Anyways, in the real world I don't think you have a lot of choice. Mankind cannot continue to endure the mindless Hulk when he shows up. But this is comic books, and heroes don't betray people. That's what villains do. On top of that, I just rallied for personal freedoms, so I can't very well justify launching the Hulk into space for the 'greater good' on the heels of that, can I?
Some of the smartest minds in the world met as a part of The Illuminati, and they decided that their course of action was acceptable. It wasn't. In betraying Banner, they also gave up that part of themselves which made them heroes even amongst the other members of the spandex set. We must hold men like Stark, Richard, Xavier, Namor and Bolt to a higher standard even than we hold their colleagues. These men are the visionaries and leaders of the heroes of Marvel, and if their vision is so incapable to see their own failing, the entire Marvel Universe is in dangerous hands.
As for Hulk's rampage upon his return? He's wrong too.
But that all comes out as the story winds down.
Anyways, I was thinking about moral dilemmas today, and these two came to mind. As did the ones in Crossed. I think that whenever you stop caring about and thinking about people as individuals, and use 'bigger pictures' to justify your actions, you are in danger of losing touch with your humanity.
In short.
Tony Stark is an asshole.
Sunday, February 07, 2010
Celtic Pride, Valiant, Crossgen & Mountain Dew....
Raise your hand if you ever watched Celtic Pride.
*looks around*
Okay, so maybe my hand is the only one up. Here’s the thing, in Celtic Pride there’s a moment when Akroyd and Stern identify one of the guys who they know from sporting events around Boston as ‘the bad luck guy.’ No sooner have they made their rather sketchy case for assigning this status to the guy than all of the rest of the fans in that area of the stands literally berate and jeer the man until he leaves the area. Why? Because nobody likes the ‘bad luck guy.’ He’s the guy who is the kiss of death for your team. He’s the guy who says, “Watch this guy get a hit and break up the no-hitter” right before that actually happens.
When it comes to comics, I’m the ‘bad luck’ guy.
It’s true. Case in point; I liked Valiant Comics. I was on board right from the start, and I enjoyed the revisiting of classic Gold Key characters from the fifties and sixties. The company effectively stabbed Jim Shooter in the back, outed him, and then floundered through mediocrity until it died. Acclaim took it over, did some rather good re imagining of some of the characters all over again, and then…..you guessed it…..died.
Not convinced?
How about Defiant? That was Jim Shooter’s next company. When Valiant forced him out of the company he helped to found, he went on to launch Defiant, working with a number of the other talents that helped get Valiant off the ground. He did some terrific work there, and created an entire universe around the concept of quantum reality. I liked Charlemagne, Warriors of Plasm and especially Dark Dominion, where Steve Ditko reigned supreme. The concepts were fresh and the story telling was timeless. There wasn’t anything repetitious about it, yet for some reason the company once again faltered and died. I can’t remember what the reason was, but I wouldn’t be surprised to find out that it had to do with a corporate battle with Marvel over somebody. Do you know how many times they have sued a small comic company?
You can’t possibly still think I’m NOT the ‘bad luck’ guy can you?
What about Broadway comics? I really enjoyed Broadway comics, and its very different ideas about femme fatale characters. I liked the story path that was being written for Fatale, Knights On Broadway and Star Seed, but this company too went away under the burdens of fighting law suits with corporate monsters like Marvel. It never had time to really round out its place in the market, and that is a damn shame.
On the off chance that you could still be a doubter, I have one final, sensational example.
Crossgen Comics.
I liked Crossgen. I did from the very start when I found out that Mark Waid had signed on to write a story for them about the lost civilization of Atlantis, and where it went and what that would mean to the rest of the universe hundreds of years in the future. I gave them a try with all of the titles they did, and while I liked some more than others, I loved that they spanned a full scope of titles with only one book taking place on Earth. Scion, The First, Meridian, Sojourn, Crux and others were all tremendous stories that were told in a wide array of genres, with terrific artwork that really complimented the stories. There was an underlying link between all seemingly dissociated books in the universe, that came in the form of a sigil which gave powers to the key characters of each series (except for one!) and yet all of the series could be read as stand-alone adventures.
Crossgen was a company that didn’t get enough love for the quality of the books that it put out.
For me the very best of the stories was called Negation, and it was written by Tony Bedard about a focal character who didn’t have any power, or a sigil. All he had was an ornery will to live, a military mind and terrific leadership skills. Lost in another universe he rallies unfamiliar people to his cause and sets out to overthrow, effectively, god (or Satan depending on the way you look at it.)
As with the other companies I mentioned, this one died before we could get to the climax of their first major cross-over event, which was to reveal the true origins of the universe to us. It was infuriating, especially considering how many people I had lured into buying the books and gotten hooked on them. All you have to do is ask around to find people who remember that time and you will find all the confirmation you need that I’m the comic ‘bad luck’ guy.
And all we’ve talked about is companies.
I should tell you about the series I have loved, and the way they have been cancelled!
As a side note……a cereal I loved was canceled (who cancels cereal?) I converted to buying almost all of my comic bags and boards from a specific manufacturer, which went under 2 months later. I thought that Surface had legs as a television series, and I’ll never understand why Mercy Reef & Global Frequency pilots are amongst the most downloaded things on the net, but they can’t get green lit for production.
And I liked Mountain Dew Code Red; no longer available locally.
BAD LUCK GUY = ME
Balls.
Saturday, February 06, 2010
Stop killing people!
DEATH
Clark Kent. Hal Jordan. Oliver Queen. Barry Allen. Steve Rogers. Bruce Wayne. Princess Diana (no not THAT one!)
The list of names who have been killed by a writer looking to effect a serious boost in sales for his book (or seeking to hit the note of a major storyline) has grown to almost unlimited proportions. The problem though is that nobody stays dead anymore. Barry Allen was dead for over twenty years. Twenty. His replacement had done the unthinkable and supplanted him in terms of comic sales and success as a character. There was no "need" to bring him back in the way that there was a very concerted need to bring back Clark Kent. Yet they brought him back anyways.
Recently, over in Marvel, Steve Rogers came back from the dead. I won't ruin the story for you if you're a fan of Cap, but I don't think I'm letting anything out of the bag by telling you that they're not leaving Steve dead. Which is the part that bothers me. As evidenced by Geoff Johns need to write Final Night over in DC (which you SHOULD read) as a way of explaining what he has come to term the revolving door of death in the DCU, it has become all too cheap a writing tactic to kill of a character that fans know you never intend to leave dead. Killing Bruce seemed to be the epic climax of Final Crisis, but nobody actually believed that they would leave him dead. Same for Cap, who's death took him out of the conflict with Iron Man (Stark was soooooooo wrong about that) over in Marvel.
Death has become nothing more than a cheap sales bump in comic companies, and I'm getting more than a little bit tired of it, because it strikes me as offensive to my intelligence that they think they've sold me on their "big story" when in actuality all they've done is piss me off. They need to stop killing characters they're not going to leave dead. I don't care what the reasons are. I've had enough.
DOOM
I've had an early vote for Doctor Doom as one of the all-time greatest villains, and I can't say he won't get some major consideration from me. Doom is one of those special cases where his villainy truly transcends the book he was created for. Heck Doom has moved out of the books of his protagonists and achieved books all his own. That's an impressive feat for a villain, although not quite as impressive as him figuring out how to steal the power of god from The Beyonder. Man, who doesn't miss the eighties!
Alright, that's it.
Just a short one tonight.
Clark Kent. Hal Jordan. Oliver Queen. Barry Allen. Steve Rogers. Bruce Wayne. Princess Diana (no not THAT one!)
The list of names who have been killed by a writer looking to effect a serious boost in sales for his book (or seeking to hit the note of a major storyline) has grown to almost unlimited proportions. The problem though is that nobody stays dead anymore. Barry Allen was dead for over twenty years. Twenty. His replacement had done the unthinkable and supplanted him in terms of comic sales and success as a character. There was no "need" to bring him back in the way that there was a very concerted need to bring back Clark Kent. Yet they brought him back anyways.
Recently, over in Marvel, Steve Rogers came back from the dead. I won't ruin the story for you if you're a fan of Cap, but I don't think I'm letting anything out of the bag by telling you that they're not leaving Steve dead. Which is the part that bothers me. As evidenced by Geoff Johns need to write Final Night over in DC (which you SHOULD read) as a way of explaining what he has come to term the revolving door of death in the DCU, it has become all too cheap a writing tactic to kill of a character that fans know you never intend to leave dead. Killing Bruce seemed to be the epic climax of Final Crisis, but nobody actually believed that they would leave him dead. Same for Cap, who's death took him out of the conflict with Iron Man (Stark was soooooooo wrong about that) over in Marvel.
Death has become nothing more than a cheap sales bump in comic companies, and I'm getting more than a little bit tired of it, because it strikes me as offensive to my intelligence that they think they've sold me on their "big story" when in actuality all they've done is piss me off. They need to stop killing characters they're not going to leave dead. I don't care what the reasons are. I've had enough.
DOOM
I've had an early vote for Doctor Doom as one of the all-time greatest villains, and I can't say he won't get some major consideration from me. Doom is one of those special cases where his villainy truly transcends the book he was created for. Heck Doom has moved out of the books of his protagonists and achieved books all his own. That's an impressive feat for a villain, although not quite as impressive as him figuring out how to steal the power of god from The Beyonder. Man, who doesn't miss the eighties!
Alright, that's it.
Just a short one tonight.
Friday, February 05, 2010
This, that & why a USA Today writer is an idiot.
My thoughts are a little bit scattered today.
I've had a couple of conversation that have stuck with me for a little while and I'm going to bounce around and touch on a few different topics as a result. As always, here's hoping that some of you will jump in and contribute to the discussion.
Superman
What's with all of the people who don't like this guy? First of all, he's the archetype for almost every iconic character who followed, and his comic is what paved the way for the industry to be born and to flourish. Assuming that you can get that through your thick heads, where does all of the loathing come from? Is it because he's so powerful? Most of the negative commentary that I hear focuses in some way on the fact that Kryptonite is his one big weakness (magic shold be listed there too, but most people don't think of that) and that the stories written for him can't be that interesting because he's...........well............SUPERMAN. As with so many things in the comic book world, it all comes down to writing though. A smart Superman writer exploits his weaknesses (and I don't mean the big K) and uses his emotions and human sentimentality against him. The entire point of a character of unparalleled physical power is that you draw them into situations in which the power doesn't solve their problems. If the stories you're reading don't do that, then the failing isn't in the character; it's in the writer.
As a final point on the contempt I hear thrown his way, the current storyline in Superman & Action Comics is actually very good. It has some of comic's best writers working on it, and it is very engaging. About a year ago Braniac was defeated and Superman rescued the bottled city of Kandor. Using some of Braniac's tech, he managed to return the city to its original size. Suddenly Earth had 100,000 Kryptonians on it, and the story became a clash of cultures as Earth's militaristic nature went into overdrive (and not without good reason) trapping Clark Kent in the middle. I think its been a good fun ride, and is worth a read for anyone who doesn't think good Superman stories happen.
Doc Oc
I've taken more than a little bit of flack for my unmerciful abuse of Doc Oc in an earlier blog. I have listened to the objections and I have given them some thought. In retrospect......I am absolutely right and you are absolutely wrong. He sucks balls.
If it makes you feel any better, I hate Spider-Man as well. Peter Parker need to be punched in the face. Preferably by Batman.
Justice League of America #40
After getting geeked to see Robinson unleash his writing on JLA, I am here to confess that I didn't like this issue at all. It might be the Blackest Night tie-in that is hurting it, but I found it to be a mediocre book telling a story I couldn't care less about (not Blackest Night which is cool, but the backstory of Vibe & Steel.) Let's hope he gets some free reign and can back to what he does best after this.
Incorruptible #1
Like the book that birthed it Incorruptible is Mark Waid's story of what happens to a world when the mightiest hero of them all breaks under the pressure of his job and becomes the world's greastest villain. In Incorruptible we see the world's foremost villain change sides. With his world rocked by the shock of Plutonian's insanity, readers are introduced to Max Damage - once the world's most notorious and most wanted, now perhaps the last best hope for defeating a mad god. This book poses questions relating to the challenge of changing everything you have ever stood for. How does a man who has only ever done things the wrong way, become a man who does everything the right way? What challenges does it pose, and can he handle it?
Read it. It's terrific.
Who Will Wield The Shield?
Did you know that Marvel published a battle for the shield between Steve Roger and Bucky Barnes before they published the end of Reborn, in which Steve Rogers returns to the Marvel Universe? It's my opinion that it is the EiC's job to make sure that kind of mess up doesn't happen. Worse still? They acknowledge it inside the book.....which means they knew they were messing up, and they did it anyways.
Somebody should be fired.
Fanboys
Read this: http://www.usatoday.com/life/movies/news/2007-07-24-fanboys_N.htm
It may be the stupidest article I've ever read on the subject of why some movies succeed and some don't. It wasn't a surprise to me when 300 scored big at the box office, and if it was a surprise to anyone in Hollywood then they shouldn't have a job. I often share this article with people because I find it staggering that an industry that can be so widely influenced by a particular sub-culture's feedback doesn't know how to properly tap in that subculture and exploit an ongoing relationship with it.
I would also really like somebody to explain to me the thought process behind changing 'dogma' regarding a property in its movie license. For instance, in the original Batman they changed the story so that it was The Joker who killed Bruce's parents. Why? It infuriated Batman fans, and non-fans didn't know any better anyways. Would it have ruined the movie for non-fans if they had stuck with the original story? Not at all. So what was gained, other than the potential alienation of fanboys? What was the upside?
I think too often Hollywood forgets that the only reason a property is big enough to merit being turned into a movie is because of its fans. Why then would you set out to alienate them? If they don't like the movie, who exactly is going to? And yes, I do understand that artistic license has to be allowed for the creative process to work. I get that not everything can be the same. But you don't mess with core canon. That's just stupid.
Alright, ranting over for tonight.
But if you're in the mood for discussions, let's start thinking about who is the greatest villain of all time. I want to blog about it, and I'd like to get some votes in before I do.
I've had a couple of conversation that have stuck with me for a little while and I'm going to bounce around and touch on a few different topics as a result. As always, here's hoping that some of you will jump in and contribute to the discussion.
Superman
What's with all of the people who don't like this guy? First of all, he's the archetype for almost every iconic character who followed, and his comic is what paved the way for the industry to be born and to flourish. Assuming that you can get that through your thick heads, where does all of the loathing come from? Is it because he's so powerful? Most of the negative commentary that I hear focuses in some way on the fact that Kryptonite is his one big weakness (magic shold be listed there too, but most people don't think of that) and that the stories written for him can't be that interesting because he's...........well............SUPERMAN. As with so many things in the comic book world, it all comes down to writing though. A smart Superman writer exploits his weaknesses (and I don't mean the big K) and uses his emotions and human sentimentality against him. The entire point of a character of unparalleled physical power is that you draw them into situations in which the power doesn't solve their problems. If the stories you're reading don't do that, then the failing isn't in the character; it's in the writer.
As a final point on the contempt I hear thrown his way, the current storyline in Superman & Action Comics is actually very good. It has some of comic's best writers working on it, and it is very engaging. About a year ago Braniac was defeated and Superman rescued the bottled city of Kandor. Using some of Braniac's tech, he managed to return the city to its original size. Suddenly Earth had 100,000 Kryptonians on it, and the story became a clash of cultures as Earth's militaristic nature went into overdrive (and not without good reason) trapping Clark Kent in the middle. I think its been a good fun ride, and is worth a read for anyone who doesn't think good Superman stories happen.
Doc Oc
I've taken more than a little bit of flack for my unmerciful abuse of Doc Oc in an earlier blog. I have listened to the objections and I have given them some thought. In retrospect......I am absolutely right and you are absolutely wrong. He sucks balls.
If it makes you feel any better, I hate Spider-Man as well. Peter Parker need to be punched in the face. Preferably by Batman.
Justice League of America #40
After getting geeked to see Robinson unleash his writing on JLA, I am here to confess that I didn't like this issue at all. It might be the Blackest Night tie-in that is hurting it, but I found it to be a mediocre book telling a story I couldn't care less about (not Blackest Night which is cool, but the backstory of Vibe & Steel.) Let's hope he gets some free reign and can back to what he does best after this.
Incorruptible #1
Like the book that birthed it Incorruptible is Mark Waid's story of what happens to a world when the mightiest hero of them all breaks under the pressure of his job and becomes the world's greastest villain. In Incorruptible we see the world's foremost villain change sides. With his world rocked by the shock of Plutonian's insanity, readers are introduced to Max Damage - once the world's most notorious and most wanted, now perhaps the last best hope for defeating a mad god. This book poses questions relating to the challenge of changing everything you have ever stood for. How does a man who has only ever done things the wrong way, become a man who does everything the right way? What challenges does it pose, and can he handle it?
Read it. It's terrific.
Who Will Wield The Shield?
Did you know that Marvel published a battle for the shield between Steve Roger and Bucky Barnes before they published the end of Reborn, in which Steve Rogers returns to the Marvel Universe? It's my opinion that it is the EiC's job to make sure that kind of mess up doesn't happen. Worse still? They acknowledge it inside the book.....which means they knew they were messing up, and they did it anyways.
Somebody should be fired.
Fanboys
Read this: http://www.usatoday.com/life/movies/news/2007-07-24-fanboys_N.htm
It may be the stupidest article I've ever read on the subject of why some movies succeed and some don't. It wasn't a surprise to me when 300 scored big at the box office, and if it was a surprise to anyone in Hollywood then they shouldn't have a job. I often share this article with people because I find it staggering that an industry that can be so widely influenced by a particular sub-culture's feedback doesn't know how to properly tap in that subculture and exploit an ongoing relationship with it.
I would also really like somebody to explain to me the thought process behind changing 'dogma' regarding a property in its movie license. For instance, in the original Batman they changed the story so that it was The Joker who killed Bruce's parents. Why? It infuriated Batman fans, and non-fans didn't know any better anyways. Would it have ruined the movie for non-fans if they had stuck with the original story? Not at all. So what was gained, other than the potential alienation of fanboys? What was the upside?
I think too often Hollywood forgets that the only reason a property is big enough to merit being turned into a movie is because of its fans. Why then would you set out to alienate them? If they don't like the movie, who exactly is going to? And yes, I do understand that artistic license has to be allowed for the creative process to work. I get that not everything can be the same. But you don't mess with core canon. That's just stupid.
Alright, ranting over for tonight.
But if you're in the mood for discussions, let's start thinking about who is the greatest villain of all time. I want to blog about it, and I'd like to get some votes in before I do.
Thursday, February 04, 2010
Online ordering, the death of small town stores, and what happened to kids?
Whatever happened to small town comic stores?
In the last ten years six small comic stores that I have frequented have gone out of business. One of them closed due to a decision by the owner to spend more of his time at home with his kids, and less time worrying about operating a high overhead operation. I understood the decision, but I also expected that the vacuum would be rapidly filled. It was, but the store that filled it lasted only a little over three years before it too was gone. The economic downturn hit it at exactly the wrong time, and there was no viable way for it to stay open and succeed during the downturn.
What's left?
The few comics that I still purchase (and honestly.....it may seem like a lot to you guys, but it seems like very few to me) I now buy online because the pricing is simply so much better. I'm afforded the luxury of ordering from a U.S. supply house because a good friend of mine now lives in the U.S. and is in Canada regularly enough to deliver the comic books to me. The difference, for me, is no tax (15% saved) excellent cover price discounting (average is about 38%) and no need to worry about a short shipment costing me my book (something I ran in to all too often as smaller stores got thinner and thinner on their ordering.) Against the almost 54% savings of this method I'm faced with one cost; shipping. It's a nominal amount for me because I have it shipped once a month, in the U.S.. It runs about $6.
There is no need for me to factor in the dollar differences, because they exist regardless of what currency I'm paying in. If I buy in Canada, the difference has already been factored in to the Canadian price, and usually it's nowhere close to the actual conversion rate. Somebody's making a few extra cents on every dollar (somebody always is!) when I buy in Canada. I suppose the only downside is that here in Canada almost every store supplies bags and boards with the books, which this company doesn't do. I've done the math though, and after I supply my own bags and boards I still save about 40% per book on average.
So that's how I get my books now. It's smart, fiscally responsible and prudent.
It also sucks balls.
Every store that is available to me is either a large (LARGE!) store with no personality at all, like shopping in the Wal-Mart of comic book stores, a chain store (the McDonald's of comic stores) or it's a small store in a high rent area that has nothing to offer me in terms of incentive to shop there (like being a Tommy Bahama fan....which I am.)
Whatever happened to the true small town comic book store? The place where I could drop in on comic day and grab my weekly pulls, and then sit around and shoot the shit for an hour or two with the owner, the counter clerk, a couple of other patrons and somebody's hot wife. Some weeks the conversations and anticipation of upcoming storylines were more impressive than the reading I got to do when I got home. I miss those times. Some days I literally crave those times (although I confess that my wife DOES NOT miss them.)
My best guess is that two things have changed significantly. The first is that there doesn't seem to be anywhere in a small town where you can get rent that isn't designed to make you go bankrupt in your first year. Building a small niche store requires cashflow and time, and the rents that I'm seeing people ask for these days makes that almost impossible. When I go looking at the basement location in a small, dingy strip plaza, I shouldn't be getting quotes that are four numbers long/month. I shouldn't be anywhere near that. With the housing bubble having burst in the U.S. last year, and the Canadian bubble probably going to adjust, if not burst, this year......why do landlords who own tenant properties think they can get $1500/month for a dump that will take $12k in renovations just to turn into a workable retail property? Who are they saving that space for? A lawyer's office? A mini Wal-Mart? Who's going to throw that kind of stupid money at them for their spaces?
The second problem is that despite the resurgence of comic characters in pop culture (a phenomenon that will not slow down as technology makes better movies and TV shows possible) there seems to be a general apathy towards the industry from younger people. When a small family run business opened up in Georgetown a few years ago, the comic book clientèle was almost exclusive over the age of thirty. You could count the number of regular comic buyers under the age of thirty on two hands. Despite the fact that the main street that it was on had a farmer's market every Saturday morning in the warm weather months, and kids were out walking the street all morning while their parents shopped for fruits and vegetables, there was no tangible increase in store sales (although traffic escalated.) Was it a failure to connect with the young patrons? I'd like to think that the couple in question did everything they could to foster an interest in comic reading in anyone and everyone who showed any interest.Still, they didn't make it. The store shut down about two years after it opened, and the biggest reason was that the finances just didn't work.
Why?
Overhead was too high, and sales were too low.
It's a real shame too, because while valuable cultural small businesses are closing everywhere I look, I can find an 'alternative lifestyles' shop in many small towns. So our kids can shop for bongs, but they can't shop for comics. Unless they go to Indigo, or into the city where some holdouts of the heyday of comics still remain. But it isn't the same for them as it was for me. At 14 I would sit in the ice cream place next to the comic store on Wednesday afternoons and drink a milkshake while I read the week's books. Does that sound hokey and straight out of Happy Days? Because I would give anything to spend my Wednesday afternoons that way now. And I feel for the kids who don't have that option.
Here's a scary thought; is the death of the small store a precursor to the death of the individual issue? Will we be blogging in 15 years about the times when they used to sell monthly issues instead of semi-annual graphic novels?
In the last ten years six small comic stores that I have frequented have gone out of business. One of them closed due to a decision by the owner to spend more of his time at home with his kids, and less time worrying about operating a high overhead operation. I understood the decision, but I also expected that the vacuum would be rapidly filled. It was, but the store that filled it lasted only a little over three years before it too was gone. The economic downturn hit it at exactly the wrong time, and there was no viable way for it to stay open and succeed during the downturn.
What's left?
The few comics that I still purchase (and honestly.....it may seem like a lot to you guys, but it seems like very few to me) I now buy online because the pricing is simply so much better. I'm afforded the luxury of ordering from a U.S. supply house because a good friend of mine now lives in the U.S. and is in Canada regularly enough to deliver the comic books to me. The difference, for me, is no tax (15% saved) excellent cover price discounting (average is about 38%) and no need to worry about a short shipment costing me my book (something I ran in to all too often as smaller stores got thinner and thinner on their ordering.) Against the almost 54% savings of this method I'm faced with one cost; shipping. It's a nominal amount for me because I have it shipped once a month, in the U.S.. It runs about $6.
There is no need for me to factor in the dollar differences, because they exist regardless of what currency I'm paying in. If I buy in Canada, the difference has already been factored in to the Canadian price, and usually it's nowhere close to the actual conversion rate. Somebody's making a few extra cents on every dollar (somebody always is!) when I buy in Canada. I suppose the only downside is that here in Canada almost every store supplies bags and boards with the books, which this company doesn't do. I've done the math though, and after I supply my own bags and boards I still save about 40% per book on average.
So that's how I get my books now. It's smart, fiscally responsible and prudent.
It also sucks balls.
Every store that is available to me is either a large (LARGE!) store with no personality at all, like shopping in the Wal-Mart of comic book stores, a chain store (the McDonald's of comic stores) or it's a small store in a high rent area that has nothing to offer me in terms of incentive to shop there (like being a Tommy Bahama fan....which I am.)
Whatever happened to the true small town comic book store? The place where I could drop in on comic day and grab my weekly pulls, and then sit around and shoot the shit for an hour or two with the owner, the counter clerk, a couple of other patrons and somebody's hot wife. Some weeks the conversations and anticipation of upcoming storylines were more impressive than the reading I got to do when I got home. I miss those times. Some days I literally crave those times (although I confess that my wife DOES NOT miss them.)
My best guess is that two things have changed significantly. The first is that there doesn't seem to be anywhere in a small town where you can get rent that isn't designed to make you go bankrupt in your first year. Building a small niche store requires cashflow and time, and the rents that I'm seeing people ask for these days makes that almost impossible. When I go looking at the basement location in a small, dingy strip plaza, I shouldn't be getting quotes that are four numbers long/month. I shouldn't be anywhere near that. With the housing bubble having burst in the U.S. last year, and the Canadian bubble probably going to adjust, if not burst, this year......why do landlords who own tenant properties think they can get $1500/month for a dump that will take $12k in renovations just to turn into a workable retail property? Who are they saving that space for? A lawyer's office? A mini Wal-Mart? Who's going to throw that kind of stupid money at them for their spaces?
The second problem is that despite the resurgence of comic characters in pop culture (a phenomenon that will not slow down as technology makes better movies and TV shows possible) there seems to be a general apathy towards the industry from younger people. When a small family run business opened up in Georgetown a few years ago, the comic book clientèle was almost exclusive over the age of thirty. You could count the number of regular comic buyers under the age of thirty on two hands. Despite the fact that the main street that it was on had a farmer's market every Saturday morning in the warm weather months, and kids were out walking the street all morning while their parents shopped for fruits and vegetables, there was no tangible increase in store sales (although traffic escalated.) Was it a failure to connect with the young patrons? I'd like to think that the couple in question did everything they could to foster an interest in comic reading in anyone and everyone who showed any interest.Still, they didn't make it. The store shut down about two years after it opened, and the biggest reason was that the finances just didn't work.
Why?
Overhead was too high, and sales were too low.
It's a real shame too, because while valuable cultural small businesses are closing everywhere I look, I can find an 'alternative lifestyles' shop in many small towns. So our kids can shop for bongs, but they can't shop for comics. Unless they go to Indigo, or into the city where some holdouts of the heyday of comics still remain. But it isn't the same for them as it was for me. At 14 I would sit in the ice cream place next to the comic store on Wednesday afternoons and drink a milkshake while I read the week's books. Does that sound hokey and straight out of Happy Days? Because I would give anything to spend my Wednesday afternoons that way now. And I feel for the kids who don't have that option.
Here's a scary thought; is the death of the small store a precursor to the death of the individual issue? Will we be blogging in 15 years about the times when they used to sell monthly issues instead of semi-annual graphic novels?
Wednesday, February 03, 2010
Does Garth Ennis hate Super-Heroes?
I got some good feedback from the look we did at Crossed (and I do wish that more of the feedback was being posted here to start some good discussions, but too many of the readers seem to prefer to contact me directly. I don't mind, but it would terrific to get some good discussions going here guys!) and as a part of one of those conversations Cameron and I started to discuss whether or not there were common threads that worked their way through the works of Garth Ennis and Warren Ellis. We even thought that we might challenge readers out there to do a brief review/study of some of the works the two men have put forth and then raise the issue as an open debate right here on the blog. So let's ask the questions:
1. Is anyone interested?
2. Does everyone know their works?
3. If we could only pick six things to review for each person, what would it be?
With the questions out there, I'll wait to see what kind of responses we get before I press on in that vein.
Today though, I thought I would spend a little more time talking about one of my all-time favorite writers. Before I get into it though, I wanted to point out that I find myself most fascinated by non-traditional super-hero comics that are written by writers to have come out of the British Isles. Coincidence or is there something in the water? Ellis. Ennis. Gaiman. Moore. Millar.
Now, while I love a good super-hero tale as much as anyone, I'm also impressed by writers who can keep me interested in comics with other genres, and few people have done that better than Garth Ennis. A quick look through his bibliography on Wikipedia (http://en.wikipedia.org/wiki/Garth_Ennis_bibliography) will show you just how much time he has spent outside of the core market of comic books. Compared to most, you would be hard pressed to understand how exactly he has become such a success. The truth is that super-hero comics are what pays the bills, and those people who abstain from them with the regularity that Garth does foten cannot get a proper foothold in the industry.
Because his work with DC is probably his most extensive mainstream North American work, I thought I would take some time to walk those of you unfamiliar with it through the various books and demonstrate what I think is a pattern of avoiding traditional super-hero writing.
Let's start with his nearly four year run on Hellblazer, a book that is much darker and grittier than the Constantine movie that featured Neo. Four years on an occult book, writing some of the most inspired stories of a ruthless bastard magician who fights dirty and seems to have equal contempt for both God and Satan? That's a lot of time for anyone, and yet it's a magnificent run of storytelling, with black humor and deep, thought provoking storylines.
He also did a year and a half on The Demon, which was a character traditionally drawn into standard super-hero books, that never really seemed to belong. Ennis added an edge to the series, and wrote stories of Etrigan that were disturbing, without losing their place in the hero genre. For me this was a marginal hero genre book (Etrigan is NOT a hero) that didn't live up to the run on Hellblazer, but did give us one magnificent by-product; HITMAN.
In 1995 Ennis wrote a couple of vertigo titles which were deeply woven with religious tones. Goddess was an 8 issue limited series, that does make for a very good read, but picking between the two of them is easy for me; Preacher is the winner. Now before you go out and pick it up to read it, be aware that it is blasphemous, crude and vulgar to the extreme. As I have said before, at the time that it was released I believed that there was an excellent chance that it would be banned. Six years later the story ended, and not one bit of it was ever banned (at least not in Canada.) It is a twisted and dark look at religion and God, and while I do not endorse the subject matter, the storytelling is brilliant. Arseface alone is worth the series.
Shortly after the launch of Preacher, Garth brought a character he introduced in The Demon to the world in his own comic series. Hitman followed the exploits of Tommy Monaghan, a professional hitman who had been attacked by an alien parasite and had acquired limited short-range telepathy. Like Demon, I think this was one of those effort by Garth to be just on the fringe of the hero genre, without fulling entering into it, and unlike The Demon, I think that this one was a home run. It's twisted, funny and completely outrageous, and it doesn't miss a beat.....even when Tommy meets Batman. How the man makes retarded seem reasonable is beyond me. I think he was dropped on his head as a child.
Anyways, I could walk through numerous more titles, and continue to illistrate how little work Garth did for DC in the hero genre, but the pattern would remain the same. From time to time he would do some hero work, and when he did it it was often exceptional. But the breadth of his superior writing was often saved for other genres, and he has put together terrific character studies that are well worth the read. Even just a quick glance over his other work at DC gives you....
1. Bloody Mary
2. Heartland
3. Pride & Joy
4. Adventures In The Rifle Brigade (feels like Hitman)
5. Enemy Ace
6. War Story (multiple tales taken from wartime)
7. Unknown Soldier (a very grim take - I liked it)
Getting outside DC, he has two other books that I think are "big." The Boys & Punisher. Both appear at first glance to be hero genre books, but if you read a little bit deeper I think you'll see that neither of them really is. The Boys is, on many levels, an assassination of the super-hero genre, while his epic Punisher run was so far removed from the anti-hero with a gun feel of standard Punisher books that it got a mature rating and moved to a different imprint to distinguish it. I recommend both of those titles, and I suspect that once you read Garth's Punisher you'll have a hard time taking anyone else's as seriously.
Garth just seems to really like working on stories that give him a real chance to delve into people and their issues, and he appears to prefer to do it in less common genres. He's done terrific books in a variety of genres like war (Battlefields), the apocalypse (Just A Pilgrim), horror (Crossed), religion (Chronicles of Wormwood), science fiction (Dan Dare), western (Streets of Glory), mafia (Back To Brooklyn) and others, and he never fails to deliver.
But you have to wonder, given his industry and his surroundings.......
does he just not like super-heroes?
1. Is anyone interested?
2. Does everyone know their works?
3. If we could only pick six things to review for each person, what would it be?
With the questions out there, I'll wait to see what kind of responses we get before I press on in that vein.
Today though, I thought I would spend a little more time talking about one of my all-time favorite writers. Before I get into it though, I wanted to point out that I find myself most fascinated by non-traditional super-hero comics that are written by writers to have come out of the British Isles. Coincidence or is there something in the water? Ellis. Ennis. Gaiman. Moore. Millar.
Now, while I love a good super-hero tale as much as anyone, I'm also impressed by writers who can keep me interested in comics with other genres, and few people have done that better than Garth Ennis. A quick look through his bibliography on Wikipedia (http://en.wikipedia.org/wiki/Garth_Ennis_bibliography) will show you just how much time he has spent outside of the core market of comic books. Compared to most, you would be hard pressed to understand how exactly he has become such a success. The truth is that super-hero comics are what pays the bills, and those people who abstain from them with the regularity that Garth does foten cannot get a proper foothold in the industry.
Because his work with DC is probably his most extensive mainstream North American work, I thought I would take some time to walk those of you unfamiliar with it through the various books and demonstrate what I think is a pattern of avoiding traditional super-hero writing.
Anyways, I could walk through numerous more titles, and continue to illistrate how little work Garth did for DC in the hero genre, but the pattern would remain the same. From time to time he would do some hero work, and when he did it it was often exceptional. But the breadth of his superior writing was often saved for other genres, and he has put together terrific character studies that are well worth the read. Even just a quick glance over his other work at DC gives you....
1. Bloody Mary
2. Heartland
3. Pride & Joy
5. Enemy Ace
6. War Story (multiple tales taken from wartime)
7. Unknown Soldier (a very grim take - I liked it)
Getting outside DC, he has two other books that I think are "big." The Boys & Punisher. Both appear at first glance to be hero genre books, but if you read a little bit deeper I think you'll see that neither of them really is. The Boys is, on many levels, an assassination of the super-hero genre, while his epic Punisher run was so far removed from the anti-hero with a gun feel of standard Punisher books that it got a mature rating and moved to a different imprint to distinguish it. I recommend both of those titles, and I suspect that once you read Garth's Punisher you'll have a hard time taking anyone else's as seriously.
Garth just seems to really like working on stories that give him a real chance to delve into people and their issues, and he appears to prefer to do it in less common genres. He's done terrific books in a variety of genres like war (Battlefields), the apocalypse (Just A Pilgrim), horror (Crossed), religion (Chronicles of Wormwood), science fiction (Dan Dare), western (Streets of Glory), mafia (Back To Brooklyn) and others, and he never fails to deliver.
But you have to wonder, given his industry and his surroundings.......
does he just not like super-heroes?
Tuesday, February 02, 2010
Is Grant Morrison too smart for comics?
The comic world loves Grant Morrison.
It seems like an inescapable truth that the world of comic books has had a love affair with Grant Morrison since his reinvention of Animal Man for DC Comics back in the 1980's. I remember the run, and can tell you with some certainty that he turned an otherwise laughable character into an intriguing and creative title that was a must-read throughout his tenure on the book. (Makes me wonder if I was on to something with my argument about Blue Beetle & Booster Gold earlier!) He followed it up with many commercial successes, and even more critical successes. In a simplified chronology of what has garnered his greatest fame I present this to you:
1. Animal Man
2. Doom Patrol
3. Arkham Asylum
4. Kill Your Boyfriend
5. Aztek (*highly underrated!)
6. Justice League (the relaunch that might have the best Justice League story ever!)
7. The Invisibles
8. JLA: Earth 2
9. New X-Men
10. We3
11. Seven Soldiers Megaseries
12. All Star Superman
13. 52 (contributing writer)
14. Batman
15. Final Crisis
16. Batman & Robin
Why walk you through the seminal moments of his career? Easy. Because for me Grant Morrison is a strange mixture of must reads and over-thought frustrations.
Let's just get this out of the way really early on in the conversation; the man is smart. Sometimes I wonder if he isn't too smart to be writing comic books. He's smart like my friend the math genius, who makes me feel like that dumb bastard Affleck in Good Will Hunting. Why is that a problem? Because sometimes his stories are so smart that they lose me in their layers and levels, leaving me wondering if he's just wasted my time, instead of marveling at his brilliance and insightfulness.
A conversation with another one of this blog's followers brought about the same evaluation of Batman Rest In Peace. He found the story overdone to the point that much of its layered brilliance was lost on him. Does Morrison actually expect that enough of his audience is in tune with his goals that they appreciate his efforts to tie together aspects of every era of Batman story telling that has ever existed? And even if, with the light of reason targeted on it, you can follow the subtle details that make it all work.......does that give him an excuse for trying to write Bat-Mite into a story arc? Is there any excuse for that?
At its heart, the story was smart and the manner in which he drew upon pieces of Batman continuity long abandoned and tied it together to make it relevant once again showed a literary genius that will win him many, many awards. It might even win him some fans. But it will never, in my humble opinion, accomplish what he managed to achieve on other projects where he didn't beat his readers over the head with their own ignorance. What amongst his work did I like best? I was obviously very high on his Justice League relaunch, in which he was tasked with overhauling the team and bringing back the "big guns." The first four issues were tremendous, and the moment where Superman declared Batman the most dangerous man alive was epic.
I also loved his (now) lesser recognized tales, like Aztek (which he did with soon to be VERY famous Mark Millar - he of Kick Ass fame) and Kill Your Boyfriend. Animal Man was a personal favorite as well, but I have a soft spot, as you all know, for fringe characters who are given reworks by major writing talents. His newest work on Batman & Robin has also been very impressive, as he details the story that he set the stage for when he killed Bruce Wayne in Final Crisis (more on that shortly.) His pairing of Dick with Damien makes the book work, and brings a different style to the classic Dynamic Duo. Also, I did enjoy 52. A weekly book tying together a series of seemingly unrelated events, all culminating in Final Crisis? Good work.
Now Final Crisis was a different issue. It was really a story about the end of the Fourth World and the coming of the Fifth World. I was good with that part. But it also became so much more, and for me that was where the problems started. Sometimes I find Grant's stories a little bit too all-encompassing. The net result of which is that in tying up every loose end (which for continuity's sake many people like) I often find that I'm being distracted from the story I care about for the story that seems to just be added in for no reason. There were so many elements going on in Final Crisis, that it felt convoluted instead of smooth. Did I like the overall story of the conquest of Earth, and Darkseid's fall at the hands of "just a man." Yes. Did I need to have myself distracted with stories of renegade Monitors at the end of time, or virus' from parallel dimensions?
Absolutely not.
So this may just be personal taste.......and maybe it's because I'm just not that smart a guy.......but more Grant Morrison would be great (and guess who is writing Batman back into DC?).......but if he could just suffer some head trauma first?
That would be great.
Dumb it down a little Grant.
That's all I'm asking.
It seems like an inescapable truth that the world of comic books has had a love affair with Grant Morrison since his reinvention of Animal Man for DC Comics back in the 1980's. I remember the run, and can tell you with some certainty that he turned an otherwise laughable character into an intriguing and creative title that was a must-read throughout his tenure on the book. (Makes me wonder if I was on to something with my argument about Blue Beetle & Booster Gold earlier!) He followed it up with many commercial successes, and even more critical successes. In a simplified chronology of what has garnered his greatest fame I present this to you:
1. Animal Man
2. Doom Patrol
3. Arkham Asylum
4. Kill Your Boyfriend
5. Aztek (*highly underrated!)
6. Justice League (the relaunch that might have the best Justice League story ever!)
7. The Invisibles
8. JLA: Earth 2
9. New X-Men
10. We3
11. Seven Soldiers Megaseries
12. All Star Superman
13. 52 (contributing writer)
14. Batman
15. Final Crisis
16. Batman & Robin
Why walk you through the seminal moments of his career? Easy. Because for me Grant Morrison is a strange mixture of must reads and over-thought frustrations.
Let's just get this out of the way really early on in the conversation; the man is smart. Sometimes I wonder if he isn't too smart to be writing comic books. He's smart like my friend the math genius, who makes me feel like that dumb bastard Affleck in Good Will Hunting. Why is that a problem? Because sometimes his stories are so smart that they lose me in their layers and levels, leaving me wondering if he's just wasted my time, instead of marveling at his brilliance and insightfulness.
A conversation with another one of this blog's followers brought about the same evaluation of Batman Rest In Peace. He found the story overdone to the point that much of its layered brilliance was lost on him. Does Morrison actually expect that enough of his audience is in tune with his goals that they appreciate his efforts to tie together aspects of every era of Batman story telling that has ever existed? And even if, with the light of reason targeted on it, you can follow the subtle details that make it all work.......does that give him an excuse for trying to write Bat-Mite into a story arc? Is there any excuse for that?
At its heart, the story was smart and the manner in which he drew upon pieces of Batman continuity long abandoned and tied it together to make it relevant once again showed a literary genius that will win him many, many awards. It might even win him some fans. But it will never, in my humble opinion, accomplish what he managed to achieve on other projects where he didn't beat his readers over the head with their own ignorance. What amongst his work did I like best? I was obviously very high on his Justice League relaunch, in which he was tasked with overhauling the team and bringing back the "big guns." The first four issues were tremendous, and the moment where Superman declared Batman the most dangerous man alive was epic.
I also loved his (now) lesser recognized tales, like Aztek (which he did with soon to be VERY famous Mark Millar - he of Kick Ass fame) and Kill Your Boyfriend. Animal Man was a personal favorite as well, but I have a soft spot, as you all know, for fringe characters who are given reworks by major writing talents. His newest work on Batman & Robin has also been very impressive, as he details the story that he set the stage for when he killed Bruce Wayne in Final Crisis (more on that shortly.) His pairing of Dick with Damien makes the book work, and brings a different style to the classic Dynamic Duo. Also, I did enjoy 52. A weekly book tying together a series of seemingly unrelated events, all culminating in Final Crisis? Good work.
Now Final Crisis was a different issue. It was really a story about the end of the Fourth World and the coming of the Fifth World. I was good with that part. But it also became so much more, and for me that was where the problems started. Sometimes I find Grant's stories a little bit too all-encompassing. The net result of which is that in tying up every loose end (which for continuity's sake many people like) I often find that I'm being distracted from the story I care about for the story that seems to just be added in for no reason. There were so many elements going on in Final Crisis, that it felt convoluted instead of smooth. Did I like the overall story of the conquest of Earth, and Darkseid's fall at the hands of "just a man." Yes. Did I need to have myself distracted with stories of renegade Monitors at the end of time, or virus' from parallel dimensions?
Absolutely not.
So this may just be personal taste.......and maybe it's because I'm just not that smart a guy.......but more Grant Morrison would be great (and guess who is writing Batman back into DC?).......but if he could just suffer some head trauma first?
That would be great.
Dumb it down a little Grant.
That's all I'm asking.
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