Category: Columns

Joe Corallo: The Right Way

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This past weekend was Emerald City Comic Con. It’s one of the up-and-coming cons that seems to be getting exponentially bigger and more important to the industry every year. I have yet to have the pleasure and privilege to attend ECCC, but it’s on my bucket list.

ECCC has increased in importance to the point where some major announcements in the comic world are now made there. One of the biggest, if not the biggest, announcement made was from DC Comics. They announced a new DC imprint headed by Gerard Way titled Young Animal. The flagship title of this new imprint will be Doom Patrol; the first issue of which will be hitting the shelves in September of this year. I know he’ll be writing or otherwise involved in all the titles Young Animal is putting out including Shade, The Changing Girl, Cave Carson Has A Cybernetic Eye, and Mother Panic, but today I’m focusing on Doom Patrol.

doom-patrol-1107bGerard Way has stated the plans for Doom Patrol will be to pay homage to all the previous iterations while creating a unique story. In this interview, it’s discussed how Way has read every run of Doom Patrol and that there are great elements in all of them (that may be overly generous, but that’s not the point) which this run will make nods to.

In particular, it looks like this run will be heavily influenced by Grant Morrison’s run considering Flex Mentallo is one of the characters who appears to be in the preview art. And keeping in the tradition of the other runs, Robotman appears prominently as well. Gerard Way continued to reveal more on Twitter. Way tweeted that there are “special plans” for Dr. Caulder, which seems to reinforce the idea that Grant’s run having made Caulder a more complicated character will continue.

The most interesting thing about Doom Patrol that was revealed on Twitter (and I’m incredibly biased here) is how much Gerard Way loves Rachel Pollack’s run on the series. Way even specifically mentioned love for Coagula in an exchange. You can read that here. At least one other person I saw tweeted at him about Rachel’s run too which was nice to see. Though it’s not explicitly mentioned that Way would bring back Coagula, this is certainly the most positive statement in regards to the notion that’s been made since Rachel Pollack’s run came to an end.

I won’t delve too deeply into Coagula as that was what I dedicated my second column on here to. Please feel free to read it if you haven’t. In short, she’s DC’s first and only trans superhero. Not that they haven’t had trans characters in comics that aren’t superheroes, or that they haven’t printed other books with powerful trans characters, but they weren’t DC properties (Grant Morrison’s Invisibles is creator-owned for example).

Coagula, and Rachel Pollack herself, are important parts of history at DC Comics. I’m not going to say we need Coagula now more than ever. We’ve needed her ever since she came into existence. What I will say is that it’s not too late to make things right.

I understand how many people might not realize how big this is, but this is a big deal. In the decades since Rachel’s run, multiple failed attempts to revive the series have taken place. All of which got cancelled sooner than Rachel’s run and all of which have tried treating the Doom Patrol as a superhero team. That’s a mistake. They aren’t. Arnold Drake and Murray Boltinoff with Bruno Premiani created this team and set the groundwork for things to come. Grant Morrison with Richard Case understood that groundwork. Rachel Pollack with Linda Medley and Ted McKeever understood that too. No one else has understood that in the same way for decades until now.

I had the opportunity to talk to Rachel Pollack after my brief Twitter exchange with Gerard Way. “Wow! Times have changed.” she said. She went on to say that she’s a fan of Gerard Way’s Umbrella Academy. Who knew?

I’ll be honest, I was skeptical at first when I heard DC was bringing back Doom Patrol. Not because I doubted Gerard Way’s ability to write or craft a story, but was it going to be done right? Obviously right in this context is subjective. Like the feeling I get whenever I meet a Doctor Who fan and they tell me that their favorite Doctors aren’t either Patrick Troughton, Jon Pertwee, or Peter Davison. Sure, they may like Doctor Who, they may have a great reason for liking the Doctor they like, but it’s not my Doctor Who.

When you’re a big fan of a work, your strong attachment to it tends to be linked to aspects of that work. For me with Doom Patrol, it’s the weirdness, it’s the absurdity, but it’s also the heart. It’s not just revealing a contradiction to defeat the Scissormen (thanks Glenn!), or stopping the men from N.O.W.H.E.R.E. from exterminating eccentricity, but it’s Robotman risking life and mechanical limb to save Crazy Jane by going into her mind and riding with the Conductor to find her. It’s Robotman learning about Coagula and discovering more about himself through his initial bigotry to become a better man than he was before. It’s about heart, love, and acceptance. It’s about life and its power to take away from you and how sometimes it can feel like everything has been taken away, but sometimes you crawl from the wreckage, get back on your feet and slide in the wreckage and before you realize it you’re shining through the wreckage of your life.

Gerard Way gets Doom Patrol. It’s been decades since someone has gotten it quite like this. More than any other comic coming out this year from the big two, I am looking forward to this one the most. I’ll be buying multiple copies of issue #1, giving them to people who will take it, and spreading the good word. Doom Patrol means something to me. Maybe it’ll mean something to you too. And DC might have finally got it right again.

I’m looking forward to the ride. I’m thrilled that we’re being led by someone as talented as Gerard Way who understand this property so well and is a genuine fan of the series. And I’ll gladly follow Way’s run on Doom Patrol to the gates of hell, which in all likelihood is probably already on the team’s agenda. Maybe this will help finally get Rachel Pollack’s run reprinted too. Because honestly, who doesn’t love Coagula?

Mindy Newell: It’s Really Cool!

Batman beanieThe other day at work I met a young man who is a surgical technician. Since I’m an operating room nurse, that’s an everyday occurrence. But what caught my eye was his scrub hat, which was a pattern of Batman’s insignia. So of course I immediately said, (duh) “So I’m guessing you’re into Batman.” And everything else was forgotten for a little while as he and I shared tales of our membership in Club Geek.

I bring this up because this Batman – that’s his actual nickname at work – absolutely loved Batman Vs. Superman: Dawn of Justice. He has seen it three times, he told me, and wouldn’t mind going back for a fourth viewing. Being that this was the first time I was meeting him, I was polite and didn’t scoff or tell him that he’s an idiot. I did say that I hadn’t seen it yet, that I hate what Zack Snyder had done to the Man of Steel (pun intended) and that speaking I’m not a Snyder fan, that people I know with whom I work with and respect here at ComicMix have seen it pretty much hated it (see Mike Gold and Marc Alan Fishman’s columns, as well as Arthur Tebbel’s (review), and that I had decided to wait until the movie hits the streaming and cable markets.

“And I especially don’t like the idea of Batman using a gun. He’s not the Punisher,” I said. “The whole thing with Batman is that he operates, he lives, on that line between justice and vigilantism. It’s a tightrope between good and evil.”

Well, scrub tech Batman explained to me that Robin’s death (“by the Joker,” I interceded, to which he said, “Yeah, but the movie doesn’t show that,” to which I said, “Well, we know about it because of Dark Knight, but from what I understand his killing rampage comes out of nowhere, and don’t you think it should have at least mentioned the Joker for those not in the know?”) has driven Batman over the edge and that it makes perfect sense. “And it’s cool,” he said. “It’s really cool.”

Which got me to thinking later on – I didn’t ask scrub tech Batman how old he is, but he’s definitely a Millennial, and that’s the generation that’s come to adulthood in a world in which “death by bullet” is an everyday occurrence; in a world in which “guilt” and “innocence” doesn’t mean a thing; in a world in which fucked up wing-nuts use AK-47’s to settle arguments; in a world where police kill kids and beat up drivers for not signaling a lane switch; in a world where campaign rallies become Nazi Beer Hall Putsches; and in a world where Islamic fundamentalists fly passenger jets into buildings, kidnap and behead reporters, and burn enemies alive – all brought to them in living color courtesy of the news and the Internet.

So it’s not really all that surprising, if you think about it, that scrub tech Batman accepts the new paradigm of brutality, ugliness, rage, and “gangsta-ism” in their fictional heroes.

Anyway, it’s a theory.

 

Ed Catto: Valiant Efforts

wizard7The creative process has two cruel extremes. On the one hand, you might be involved with something big and exciting, like a Hollywood movie or a Broadway show, but everyone involved has to work closely with so many other people. Your creative vision, even for the director, may seem like an endless battle of compromises.

On the other end of the spectrum, if you’re creating something where there are no collaborators to work with, like a page of an artist’s sketchbook, you don’t have those concerns. You can do whatever you want. Of course, there won’t be any marketing budget or distribution plan in place. It’s likely that not as many people will be exposed to your work.

When I was in marketing for Oreo cookies, I thought I’d be more like the creative visionary moving the brand forward, but the job actually had much more in common with the Hollywood or Broadway creative process.

eternal-warrior39-coverAs a brand manager on Oreo cookies, the crown jewel of Nabisco, it seemed that everyone at all levels was very involved in every marketing effort. Advertising, promotions, line extensions – so many different layers of management were involved. Collaboration was the name of the game. A marketer with an entrepreneurial streak often had to subjugate those urges in lieu of corporate diplomacy for the greater good.

But a few times I got the opportunity to express my creative vision practically unencumbered.

There was a big Disneyland tie-in partnership I was leading. There were many parts to this program, including a grand prize of trip to Disneyland and a commercial with Keri Russell. In addition, Disney Adventures Magazine offered Oreo six ad pages. We didn’t have any current print ads then, and the ad agency wasn’t interested in creating new creative. But as Disney Adventures Magazine was very comics focused, you know I had an idea or two for these ads.

bs14I reached out to some of my new friends at that time – the then-fledging publisher Valiant Comics. They were the new kids on the block, and for early 90s fandom, they were white-hot for collectors (and speculators). I worked with Seymour Miles and Don Perlin to develop comic pages to promote Oreo. We featured a family called The Dunkin’s who would dunk their Oreos into milk. It was great fun and very well received.

For me, one fantastic side effect of this program was getting to know the entrepreneurial folks of Valiant Comics. It was a place of excitement and optimism, and as a lifelong comics fan, it was a treat to have a ringside seat during this publisher’s growth spurt.

There’s been a lot written about those early days, but for me it was all very positive. I got to know Jim Shooter, Jim Massarsky and Fred Pierce.

During that time, longtime comics artist Don Perlin was enjoying a wonderful second act. All of sudden, with comics like Bloodshot debuting, he was a sought-after artist at conventions and fans would wait in long lines for his autograph. It couldn’t have happened to a nicer fella.

armaleNow it’s years later, and Valiant has been reborn as a new Valiant. It’s run by people with a big vision and big hearts. And Fred Pierce is back again for his second tour of duty as Valiant’s publisher.

Valiant re-debuted almost five years ago, and soon their output will surpass the original. I thought it was time to sit down with them and find out just exactly what they’re trying to do, why they are working so hard, and what to expect in the future.

Next week, I’ll let you know what they said. And in the meantime, treat yourself to an Oreo or two.

Marc Alan Fishman: Dear DC Entertainment…

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Dear DC Entertainment,

I quit. I’m out. I’m done. This past week I’ve paid actual money I earned to view Batman v. Superman, as well as Justice League: War (on Netflix. And yes, I know that’s not new, but it’s still new enough to count). I freely admit my expectations were low. Lower than low in fact. I was hoping for some decent visual effects, maybe a few more jokes since the last time, and I prayed for some semblance of lessons learned from Marvel.

I got none of it.

Instead, you produced 2 ½ hours of angst, rain, punching, and death. And then you took your New52 Justice League comic series and ran it through the wringer in order to produce it as an animated adventure designed solely to appeal to 13-year old bitter tweens. You’ve sullied both mediums so egregiously that I’m honestly having trouble concocting any legitimate snark for these abortions given birth in motion. Alas, I honest-to-Rao can’t do it. My eyebrow is not cocked high. No smirk remains emerging from the corner of my mouth. I sit here in a bent-over stupor wondering who specifically allowed for either of these films clearance to see the light of day. Especially given that Marvel hasn’t made a single misstep in their recent releases… and Age of Ultron wasn’t even half the quality of its predecessor.

It’s not a shame. It’s not sad. It’s not depressing. It is soul-crushing.

You clearly couldn’t have missed the tidal wave of the zeitgeist in the aftermath of Man of Steel. Nary a stone was left unturned where the public did not denote in every feasible outlet in print and online that Snyder’s Big Blue Boy Scout was a banal shell of his former celluloid self. In the wake of every Marvel movie, it was clear what you needed to do, DC. A little humor and life-saving could go a long way. But you never wanted that for us, did you? You couldn’t deal with a little humility in the face of your financial defeat.

(And before the DC flamers decide to load their Trump cards of the current box office numbers of BvS, let’s just make this abundantly clear: Marvel’s movie profits since Iron Man utterly decimate DC’s by billions. With a ‘B’. If you need me to show you the math on it… e-mail me at info at box office mojo dot com.)

Offering us up a fight between your biggest two licenses sounds good on paper, until you forget within two and a half hours to develop any other plot or characterization to build a universe with. Instead of that, you chose to celebrate murder, nightmares, thievery, matricide, patricide, and wanton destruction. Spare the death from that aforementioned list and replace it with snarky one liners? You get Justice League: War. In both pieces action trumped all else. And because of it, we your once loyal fans leave exhausted but not sated.

In contrast, lesser sequels at Marvel – like Iron Man 3 or Thor 2 – upped their action ante but kept the bigger picture in mind. Tony Stark was a PTSD-suffering futurist thinking about macro-metahuman issues. Thor contends with having to grow up and be the demi-god he was meant to be… all while the cosmic conundrum (building toward Infinity War) leaves Earth in the center of the battlefield. While both films were shadows of their original counterparts, neither left me in a punch-drunk stupor; wondering how a 20-year veteran of crime fighting suddenly dropped his guard over the coincidental nature of matriarchal nomenclature. A bit too complex a thought, I know. I digress.

DC Entertainment… I am ashamed of you. You hold in your possession the world’s most recognizable licensed properties in super-hero-dom. With the financial backing by the same financiers of the multi-billion dollar Harry Potter franchise writing the checks. With all the potential you’d ever need to level the playing field by the competition now nearly a decade ahead of you in world building. You’re akin to Ohio’s Governor when it comes to wanting the throne with literally no path save for chaos in order to achieve it. Look upon the world left in ruin. The smoldering ashes of fan’s hope left glowing hot by hours of endless, needless violence. All you’ve left to show for it are a pile of Martha and Step Brothers memes. You can lie to yourself with your international box office ticket sales. But you can’t lie to your fans anymore.

Now lay in the coffin you put in the ground and pray your rewrites and reshoots for Suicide Squad right your ship. That being said… I’m not holding my breath for it.

 

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #384

583334captainamerica6Sorry I’ve been absent the past couple of weeks. Blame it on the taxing business of prepping for the taxing business. Now I’m back. Not back with a vengeance – I’m not the Punisher – back with a comic book to write about: Captain America: Sam Wilson #6 .

I’ve been writing about the adventures of Samtain America, the portmanteau of Sam Wilson and Captain America I created, quite a bit. There’s a good reason for that, Serpent Solutions. As it’s been a couple of weeks since I wrote my last column, let me recap. (Oh, and DC take note. This is what a recap looks like.)

Serpent Solutions is a “legitimate” business made up of the villainous snake-motifed artists formerly known as the Serpent Society. It hired itself out to major corporations to do the dirty work said corporations couldn’t do. Although said operations were well within the corporations’ budgets, they were, well, outside the law. So the corporations hired Serpent Solutions. Serpent Solutions did the dirty work, then sold the results of their illegal operations back to the corporations which needed those illegal things to be done.

Serpent Solutions’ shareholder reports were a little vague on the services it provided for its clients. Fortunately, Captain America: Sam Wilson was more forthcoming. Serpent Solutions developed new patents for major pharmaceutical companies by kidnaping undocumented Mexican immigrants and having Dr. Karlin Malus use those kidnap victims in illegal genetic cross-breeding experiments. Dr. Malus developed new, hybrid species that Serpent Solutions patented those species and sold the patents to big pharma for obscene profits. Big pharma, in turn, planned to turn the new patents into obscener profits.

As sinister schemes go, this one was straight out of The Island of Doctor Moreau. Unfortunately, it was the Marlon Brando version, because this scheme, like that Brando movie, was monumentally stupid. Before I explain why, let me digress into some more of that endangered species, the recap.

One Dr. Malus’s subjects was Joaquin Torres. Dr. Malus cross-bred Torres with Samtain America’s pet falcon, Redwing turning Torres into a winged avenger. (“Eee-urp!”)  Torres escaped and scientists of the non-mad variety tried to undo the hybridizing. Unfortunately, back in All-New Captain America# 5, the Nazi vampire Baron Blood bit Redwing so Redwing had a vampiric healing factor, which got gene-spliced into Joaquin. Joaquin’s body healed all attempt to reverse the hybridizing, so his wings are permanent. (If it sounds like I’m making that up as I go along; I’m not. Cap’s writers are.)

The fact that Joaquin escaped and teamed up with Samtain America made Viper, head of Serpent Solutions, none too happy. It also made him quite loquacious. (Okay, the fact that Viper was a former Madison Avenue advertising agency executive turned super villain made him loquacious. Verbosity was in his both his job descriptions.)

In the big fight scene, Viper soliloquized more than if he’d been cross-bred with Hamlet, Macbeth, and Richard III. Viper monologued that Joaquin’s wings were Serpent Solutions’s property. The wings were the “result of [Serpent Solution’s] innovations and patents,” made for them under “a very strict work-for-hire” agreement. Which just proves super villains should be fight scened and not heard. Because nothing Viper said was even remotely correct.

See, kidnapping is illegal; even if the people being kidnapped are coming into the country illegally. Detaining them for the Border Patrol is fine. Kidnapping’s illegal.

Performing unauthorized gene splicing experiments on the people to turn them into people/animal hybrids is also illegal. As Dr. Malus’s medical manipulations happened in New York City, I’m going to go with NY Penal Law § 120.10, Assault in the First Degree. We have kidnapping and assault. There were probably more crimes, but these two are enough for our purposes. (Well, for my purposes, anyway, I’m too damned lazy to look up all the possible other crimes that may have been committed.)

Old court cases such as Riggs v. Palmer, have held that criminals can’t profit from their crimes. New cases do, too. For example, courts prevented convicted wife murderer Scott Peterson from receiving the proceeds of his wife’s life insurance policy. In addition, many states have some sort of Son of Sam law, which say that profits criminals earn from their criminal activities should be paid to the victims instead of the criminals. Under such laws, Joaquin, as the victim, could be entitled to the profits of Serpent Solutions’s crimes, his wings.

In addition, contract law says that a contract for an illegal purpose – such as kidnapping and criminal gene splicing – is not enforceable. So even if Dr. Malus was working under a strict work-for-hire contract, that contract wouldn’t be enforceable. Thus, the fruits of his experimentation would actually be his property, not Serpent Solutions’s. And as he conducted his experiments by way of kidnapping and assault, he wouldn’t be entitled to the profits of his experiments, either. (You were paying attention last paragraph, weren’t you?)

Ditto the big pharmas that hired Serpent Solutions. As aiders and abettors to the crimes, their claims to the patents are just as patently ridiculous, because their methods were patently illegal.

Any way you splice it, those wings belong to Joaquin. Which is a good thing because in Captain America: Sam Wilson #6, Joaquin became the New Falcon to Sam’s Cap. And a falcon without wings is just as bad as a criminal with profits.

Mindy Newell: DEATH OF A SUPERGIRL?

cbs-supergirl-death-of-superman-theory-729118I don’t know what the hell goes on in the minds of the CBS suits, or why the hell they are dragging their heels about Supergirl’s future.

But it doesn’t look good.

Monday night at 8:00 I turned the television on to CBS, only to see that Big Bang Theory was on for the entire hour.  This isn’t the first time the network has done this; so have other networks for other shows, and it’s almost always a sign that the show is struggling for life, that its ratings are not satisfactory enough for the suits to keep the show on the air. 

CBS is not a network noted for niche or cult programming, or a network geared towards the “coveted” 18-34 slice of the Nielsen ratings.  Their programming has been dominated by police procedurals (NCIS and its many spin-offs) and soapy dramas masquerading as law procedurals (The Good Wife, Madame Secretary), and reality shows (The Amazing Race, Survivor) with sitcoms eating up the rest of the airtime.  And the sitcoms are pretty standard fare; Big Bang is—im-not-so-ho—an outlier on their schedule.  I really don’t know how that series ended up on CBS, it’s so out of the box for them. 

Buffy, The X-Files, Twin Peaks, Star Trek, The Walking Dead, The Sopranos were all the “little shows that could.”  All started out incredibly low in the ratings—Buffy lost out to Seventh Heaven initially, and only showed up as a truncated mid-season replacement its first year—but slowly became powerhouses through word-of-mouth.  But the networks to which they belonged all gave them a chance.  It may have been because there was nothing to replace them with; it may have been, like Star Trek, because of massive fan letter campaigns in that pre-internet dark age which in 2016 would equal or surpass the number of e-mails on Hillary’s private server.  Or, and I think this is the most important reason these shows stuck around to gain fan-atic followings, it may have been because there was at least one executive who championed it, who really believed in it.  I just haven’t read or seen that happening at CBS.  Rather, I think they simply wanted to jump on the bandwagon of the CW’s Arrow and Flash, and ABC’s Marvel’s Agents of S.H.I.E.L.D.  There was no one who really loved Supergirl for herself and the show’s potential.

I admit, I was not all that happy with Supergirl when it first premiered.  (You can check out my initial complaints here.)  But followers of this column know that I have slowly been changing my mind, and I’m here to say—in-my-no-so-ho—that the second half of the series has really started to come into its own. 

For too long a time the supporting characters—Hank Henshaw/J’onn J’onzz, Alex Danvers, Cat Grant, even Max Lord, Winn Schott, Jimmy Olsen, and Lucy Lane—were developing and growing and becoming people we cared about.  Meanwhile Kara Zor-el/Kara Danvers/Supergirl was stuck in Barbie doll land—and then sometime around the

Episode 13, “For the Girl Who Has Everything,”—which I admit had some problems—the “doll” showed some cracks and wear and tear.  And with Episode 16, “Falling,” when her Freudian moral super-ego becoming subordinate to her darker and selfish id, Kara Zor-el was a Barbie no more; like Pinocchio, she was no longer moving to a puppet master’s strings, always dancing and singing and play-acting, but suddenly self-aware.  Was it ugly?  Sure, but it was human, and suddenly the audience could identify with her. 

As of April 4th, and with the success of the Supergirl/Flash crossover—which absolutely rocked!!!! (and which was a big flip of the bird to that other team-up currently gracing movie screens)—giving the show a much-needed ratings boost, the series is still in renewal limbo, although Les Moonves, CBS’s president, has said that “all freshman shows are likely to be renewed.”

Not much of an endorsement, is it?

Hey, Moonves, let the girl fly!

Martha Thomases: Black Panther Is Back And…

Black-Panther-1-Covers-by-Marvel-ComicsWhen I went to my local comic book shop on Wednesday morning, I did, as always, chat up my buddy on the other side of the counter. “Did you read Black Panther yet?” I asked him. “Is it any good?”

“Not yet,” he said.

“My editor wants me to write a review, and I’ve never read any other Black Panther comics,” I said.

“Don’t worry,” he said. “No one else has, either.”

Okay, I doubt that’s true. There have been comics with the Black Panther in them for five decades now. The character wouldn’t be used if he didn’t have a fan-base. That’s capitalism.

Speaking of, this new run of Black Panther has been getting tons of publicity. Marvel has done a terrific job, getting write-ups in The New York Times, The Washington Post, Wired, among others. That’s because the writer is Ta Nehisi Coates, the National Book Award winning author of Between the World and Me, a book that changed my life.

Black Panther 1v1Between the World and Me was not written for me. It was written for the author’s son and, more broadly, for other African-Americans. That was one element that I found so refreshing when I read it. I don’t think this new Black Panther series is written for me, either. The only white faces I saw were in ads for other Marvel comics.

The story opens as T’Challa, the Black Panther, returns to the country of Wakanda, where he is king. In his absence, the country has been attacked, invaded, upended. His sister, who ruled in his absence, has been killed. His own people attack him, no longer trusting him to take care of them.

I found this opening to be confusing, perhaps because I’m a new reader. In the letter page, Marvel offers a link to their website with more information but the link wouldn’t open for me, and I had to rely on the Wiki.

This issue sets up the elements for a complex story of family relationships, warring political factions, the burdens of leadership and the quest for freedom. So far, I’m not too sure who T’Challa is or why he can’t speak directly to his people. I don’t like his mother. I don’t like this guy named Tetu, who tells a woman that what she feels “… was the agony of labor, Zenzi. It had to be done. It was the agony of birthing a new nation.” Because really, we needed him to mansplain childbirth to us.

Black Panther 1v2I liked the two women who defy the law to be together and help people. I hope they have more to do in future issues, and that we see T’Challa interact with more characters who have names.

Brian Stelfreeze has done a glorious job with the artwork. He manages to create scenes that are moody and exuberant at the same time. Laura Martin’s color work amplifies and expands the atmosphere. Wakanda feels like its on another continent, maybe even another planet, a mix of ancient tribes and technological wonder.

Coates’ first script is remarkably solid. He doesn’t rely too much on captions or exposition, letting the artwork carry the story.

He might just have a future in this writing business.

Dennis O’Neil: Technology Always Precedes Art

 

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Let’s hop on back 40,000 years into the past and watch a fellow named Urg make marks on a cave wall with a piece of flint. We happen to know that Urg has only recently learned that he can make these marks and he is now in the process of finding a use for them. Hey, listen… he’s now making sounds. Could they be words? Can they give us a clue as what he thinks he’s doing?

URG: Ar-chee! Jug-heed! Ann-tee-loop!

And now we fire up our time traveling whatsis and behold! – we find ourselves in the pages of a comic book. The panel we’re in shows those Riverdale High funsters Archie and Jughead strolling down a sunny street. Nearby, enjoying a snack of grass, is an antelope.

ARCHIE: Hey Jug! Isn’t that an antelope?

JUGHEAD: Sure looks like one. Wonder why the artist put that in!

Okay, half turn to the left or right, depending on your political preference, and we find ourselves in the real world – that is, the world we happen to inhabit. We’ve just snuck through a back door into this week’s topic (and yes, maybe I’m being generous in calling what follows a “topic.”) In one sentence, here we go:

Technology always precedes art.

That’s really all I have to say, but I’ll expend a bit more band width anyway.

Remember Urg? He found that he could put scratches on the cave wall and then discovered that these scratches could be pictures and suddenly he was an artist! Time rushed forward and Urg’s descendants put Urg-like scratches into clay tablets and then people had both pictures and writing and then later descendants of Urg invented paint and canvas and various kinds of printing inclluding high speed presses driven by steam and photography and radio and television and silicon chips and the bank width I’m expending…

Urg sure had a lot of descendants and a number of them, maybe without realizing exactly what they were doing, put gadgetry devised by someone else to expressing themselves and amusing their neighbors and pretty soon, there stood Disneyland. And much, much more.

That “much, much more” might be a problem, unless it isn’t. Cinematic technology can put spectacular images on the screen and if we have a toy, we humans will play with it. (I saw a planet explode just the other day.) And all those explosions and chases can serve the story that contains them, but on another level, they’re spectacle. What I fear is that the spectacle is overwhelming drama and theme and the other stuff that can be put on screens and so we’re collectively losing valuable gifts the ancients knew about, things like catharsis and empathy. Am I tilting at windmills? Maybe. Probably.

The exploding planet happened in Star Wars: The Force Awakens and I’ll certainly see the next episode in the Star Wars franchise.

Molly Jackson: Invading Reality

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Valiant announced that Vladmir Putin, also known as the real life leader of Russia, would be the villainous mastermind in Divinity II, their next series event. It was announced only a few days ago in an exclusive interview in the New York Daily News with the comics’ writer, Matt Kindt. In the story, our villain manipulates a ’60s-era cosmonaut who has returned to Earth from deep space with super powers and a desire to build a new Soviet empire.

We all know that this isn’t the first time a real life figure has popped up in a superhero story. Obama’s appearance in Spider-Man may have been the biggest one in my lifetime, but hundreds of politicians and celebrities have shown up as guest stars in comics or had comics done about them. However, the vast majority of the time, the real life person isn’t cast as a villain, and especially not without their permission.

The grand exception to this is of course the Nazi Reich and its leader, Adolf Hitler. The difference being those original Captain America comics were used as propaganda to help encourage and keep the American people invested in the war. While I won’t be the first to point it out, Putin has done some pretty mean stuff lately. The U.S. hasn’t been on the best of terms with Russia. But this comic does not sound like it brings the spirit of Captain America with it. Kindt did go on to say that he used Putin sparingly to not diminish his impact. He also pointed out that he never thought about if this was a good idea to piss Putin off in any way.

The thing that bothers me most of all is Kindt’s insistence that because the story is taking place in Russia, it must paint the leader of Russia as the villain. In an industry of constant make believe, this single fact cannot be changed! No matter how much of the story is complete fiction, it would undermine it to change the single fact of who is the Prime Minister of Russia. Stories based in reality can make that small shift from absolute reality. It’s not like we have superheroes with amazing powers in real life. Or do we and no one told me?! Sci-fi has laid the groundwork for a country leader swap in a story or having it be a never-before-heard-of higher up politician in the government. Stories have always had thinly veiled parodies of real world characters without calling them out by name.

I know, in the other hand is artistic license and freedom of expression. I support those freedoms. And yes, public figures are putting themselves in the limelight to be used by the creative element. If it is the only way Kindt could write the story, then I can accept that. But at the same time, people tend to forget that this is a global community and we need to act like it. Americans come off bratty in a lot of ways in the world.

So my question right now: is this one element crucial to the story? Or is this just the main element to Valiant’s marketing plan?

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