Tagged: Iron Man

John Ostrander: Listing To One Side

gal-gadotGeek Culture Rules!

We all know that Geek Culture has taken over our American civilization. Young’uns may not realize there was a time when the Geek was looked down on and sneered at and frequently beaten up for their lunch money… which is embarrassing when you’re 24. Now, superheroes have taken over the movie box office and can be found in one version or another all over television.

Further proof: the current issue of Entertainment Weekly not only has Benedict Cumberbatch on the cover as Doctor Strange, the majority of the double-sized issue is taken up with a listing of the Fifty Most Powerful Superheroes. How much more geeky can you get? The very quintessence of geekdom is arguing about which superhero icon is better.

EW set up a rating system and asked staffers to rank the superheroes accordingly. The nine categories were Cultural Impact, Bankability, Design, Modern relevance, Mythology, Nemesis, Originality, Personality, and Powers. They could get up to ten points in each category except for Cultural Impact which was worth up to 20. Total: 100 Pts. The emphasis, I think, was weighted towards superheroes who have appeared in movies; witness bankability. Given it’s EW, that makes sense; they, like the movies, are trying to appeal to the broadest audience.

Their #1 is Wonder Woman. This might surprise more hard-core comic geeks. Given the rise of the awareness of women and Gal Gadot’s appearance as Diana in Batman V Superman, perhaps not so surprising and not unwarranted.

entertainment-weekly#2 for EW was Spider-Man, followed by Batman and Superman with Wolverine rounding out their top 5.

For myself, I would have made Superman at the top of the list by virtue of the fact that none of the others exist without him. Superman was the first and set the standard – the colorful costume, the secret identity, the larger than life exploits – every hero or heroine that followed used that template is some fashion. Bankability? It was the huge financial success of the Last Survivor of Krypton that spurred the other publishers (not to mention Superman’s publisher) to get more of the same out there on the newsstands.

Look, I know that there were other superhero types before Supes or around the same time such as the Phantom and the Spirit or, over in the pulps, the Shadow. In comics, however, it was Superman who set the standard. In feature-length movies as well; the first Superman movie debuted in 1978. The first Batman film followed more than a decade later. As good as they are, none of the other superheroes has had the same cultural impact as the Man of Steel.

Don’t get me wrong; I’d also place Wonder Woman high up on the list. I think Batman is my #2 but WW would never be lower than #3. Spider-Man? Yeah, he’s important enough to be #4 but I think I would make Iron Man my #5 given the fact that the film launched the Marvel Cinema Universe, sometimes known as the Might Marvel Money Making Juggernaut. Iron Man and Robert Downey Jr are its cornerstone; if it had flopped (and some thought it would), it would have been tough to make the others… fly.

But that’s what makes this issue of EW so geeky. Listing the heroes according to some criteria is at the very heart of geek culture. Since every list is subjective, there is no one list that is right and final and definitive, no matter how much some geeks might insist that their own list is all that. I know my list isn’t the final word on the subject; it’s just my opinion. Your mileage may vary.

The very fact that EW’s list exists, that they devoted so much time and space and attention to what is essentially a very geeky enterprise, shows that Geekdom has conquered the world.

So – who is stronger? The Hulk or The Thing?

John Ostrander: Run, Squad, Run!

ew-suicide-squadAs I write this (Friday), the Suicide Squad movie has grossed $318, 779,276 domestically and $413,000,000 internationally for a total worldwide gross of $731,779,276. It’s been playing since the start of August and, in the U.S., it’s still on the top ten list.

It has now out-grossed the first Iron Man film. It has also out-grossed Iron Man 2, Captain America: The Winter Soldier, Thor: The Dark World, Thor, Ant-Man, Captain America: The First Avenger, and The Incredible Hulk. It has also out-grossed all of the X-Men films, the Wolverine films, and The Amazing Spider-Man films.

And Suicide Squad did not access to the #2 market in the world, China. (Why won’t the Chinese let it in? Beats me.)

It means that not only a lot of people have seen the movie, but many have seen it more than once. (I’ve seen it three times so far but you’d probably guessed that I would.) I know it’s still in at least one movie theater in my remote vicinity.

This is for a film that rates a 26% on Rotten Tomatoes.

I still don’t understand. Did these disapproving critics and fans see the same film I saw? That all these other people saw? Yes, I know it’s not the Citizen Kane of superhero flicks; I know it’s flawed and I could recite some of those flaws. But, as I said before, I’d give it a good solid B. It’s a fun summer popcorn entertainment and it’s just different enough from other superhero films to deserve the attention it gets.

I saw at last one online poster sniff that, yes, it has had a lot of customers but, then, so does McDonalds. I’d hasten to point out that there are food critics who have praised McDonalds french fries. The fact that something is popular does not mean it isn’t good. (Ook. Two negatives in one sentence. Ah well.)

There are things that are different in the Squad film – I heard one millennial cite the coloring, the use of music, the pacing, and the central idea of bad guys being made to do “good” (“good” being a relative term). It is something different.

It’s something that the younger generation seems to be hooking into. The ad calls them the Worst. Heroes. Ever. – and they are. You wind up rooting for them anyway. As twisted as it is, the central romance in the film is Jared Leto’s Joker and Margot Robbie’s Harley Quinn. The film is a different take on the superhero genre.

Look, I’m not going to try and tell people that their opinion of the film is wrong. They react according to who they are and how the film strikes them. I might suggest, however, that they might want to give it another chance. Sure, I’m biased and, yes, I have a (tiny) vested interest in the Squad’s success but I think the movie might be better than some people give it credit for.

So get a ticket, grab some popcorn, and meet me at the Cineplex while the Suicide Squad is still playing. I’m ready to go see it again.

John Ostrander: For What It’s Worth

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 “Nobody’s right if everybody’s wrong.” – For What It’s Worth, 1967, written by Stephen Stills, performed by Buffalo Springfield

SPOILERS! Warning! Danger! I’m going to discuss some questions raised in Captain America: Civil War, which means some plot points will get spilled. If you haven’t yet seen the film – it’s just out on Blu-Ray – you may not want to proceed.

There are a lot of things I enjoyed about Captain America: Civil War but what I liked best was the question that was at the center of the narrative. During an action in Legos involving Cap and some members of the Avengers, there is a mistake and an explosion and innocent bystanders get killed. This, coupled with the human collateral damage witnessed in previous Marvel films, causes members of the United Nations to create The Slovenia Accords – named after the site of the massive destruction in Avengers: Age of Ultron. Now the Avengers must submit to an oversight panel. If they don’t, they will be disbanded.

This creates a split within the Avengers themselves. Tony Stark (Iron Man) believes they must accept the accords and some restrictions on how they use their powers or they would be no better than the foes they oppose. Steve Rogers (Captain America) does not, cannot, and will not agree. This compromises their freedom including the freedom to act when they see a situation calling for it. They can’t wait for bureaucratic paper rustling. Lives are in the balance. The Avengers split into Team Cap and Team Iron Man (along with some guest stars) and they will, of course, fight it out.

So… which team do we, the audience, ally with? The film is clever in that neither side is set to be absolutely right or absolutely wrong. There are arguments for both but the question at the center of the film is – can society allow masked, super-powered individuals to act without some check?

There is no right answer. Oh, my inclinations is to go with Cap; I’m a stinkin’ leftist liberal progressive pinko commie after all. FreeeeeeeDOM!

Except. . .

All these superheroes are basically vigilantes. They operate outside of the law; for the most part, the heroes are not deputized by any government or law enforcement organization (Green Lantern is an exception but that was a lousy movie). They don’t really have any authority to do what they are doing.

I do take exception to one trope in the movie. “Thunderbolt” Ross from The Incredible Hulk film returns, now as the U.S. Secretary of State and evidently liaison to the Avengers from the U.N. He cites all the collateral destruction suffered by society in both Avengers films and the previous Captain America film. He lays the blame for this on the Avengers, noting that there are others in society that feel the same way.

Except. . .

Neither Cap nor the Avengers initiated the situations in those films. Because of their actions, humanity was not enslaved or outright destroyed as would have been the case otherwise. I would have liked to have that mentioned in the film by the heroes.

However, that doesn’t change the root question in Captain America: Civil War. Can any society allow such masked, perhaps super-powered, individuals to act unilaterally? Some of them are masked and the authorities don’t know their true names. Can a society of law survive in such circumstances? It is not a simple question and, to its credit, I don’t think Captain America: Civil War presents it that way.

buffalo-springfieldMy heart remains with Cap but I think my brain may agree more with Iron Man. I think I have my own civil war, one that most of us have at one time or another – heart versus head. I don’t think that one is going to be resolved any time soon.

At the start of the column, I quoted a line from Buffalo Springfield’s song “For What It’s Worth.” Despite being fifty years old, the piece is remarkably suited for today. Check it out on YouTube or some such place for yourself and see.

Editor’s Note: A somewhat less subtle version was recorded by Ozzy Osbourne about 10 years ago.

Marc Alan Fishman: Super Civic Pride

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Marvel recently announced a set of variant covers for its newly launching U.S. Avengers series. As with most listicle-ized ideas in modern comic bookery, it wasn’t much of a shock to me as a stunt. It will provide local comic shops something cool to order to entice collectors with, and for the super serious collectors, there will be a future market to Pokemon Go! and just go ahead and collect ‘em all. It’s a novelty, sure, but there’s been worse ones.

What it really does, though, is cause fans to curiously align themselves to a particular hero — as jocks will take to their geographically-proximate sports-ball-teams. With that, comes that nearly indescribable urge to gain a soft-spot for a particular character… and of course then talk smack at other hero/state pairings in an effort to show one’s newfound super civic pride.

For my home-sweet-home in the south suburbs of Chicago, Illinois, comes Dr. Hank McCoy. Beast, if you’re naughty. The choice, for those in the know, isn’t too surprising. McCoy hails from the suburbs of Chicago himself (or so sayeth Wikipedia, Chicago’s Time Out edition, and countless other sources). Hence, the blue beast was chosen as the surrogate super son of Illinois.

I’ll be honest. Prior to seeing the cover and assignment, I wasn’t a fan of Beast. I don’t hate the fur ball, mind you… but even amongst various X teams and Avengers teams, he’d be nowhere close to a personal favorite. Funny enough though, seeing the cover with Hank leaping stoically off the Illinois map made me reconsider my personal feelings. Whereas California got the glitz and glamour choice of Iron Man and New York nabbed native son Luke Cage, Illinois got what I’d certainly say was a deep cut. We are home to the third largest city in the nation, and the best we muster is a guy who proclaims “Oh my stars and garters!”? In true Chicagoan spirit, my answer to that very question was a resounding “F*ck right he is!”

Beast is strong, fast, flexible, ambidextrous with four limbs, and a genius. He cured the legacy virus. He’s fluent in nine languages. He can hold up his end of the conversation with Reed Richards, Steven Strange, and Tony Stark… all while hanging upside down and teaching a class of X-babies. You see? And he’s my home state hero. It’s like we got Spider-Man and Mr. Fantastic all in one guy! And he’s the same color as our beloved Chicago Bears. Hell, he could play quarterback if he wanted!

See how quickly my opinion changed? The second they aligned my home to Hank, an affinity arose. Because he was offered as ours, suddenly there became an emotional edge to my opinion. Now when I open up my Marvel Contest of Champions mobile app, I’m more apt to hope I open up a crystal with the periwinkle protector to add to my cadre of combatants. And should people hold up their state-assigned hero as a better (“Indiana has the friggen’ Winter Solder, brah!”)? Well, I’ll be happy to scoff as I rattle off 17 ways my Dundee-native doctor can whup their candy ass twelve ways from Sunday. Curse you Marvel. What did you do to me?

It’s a cherry idea, I give them that. To turn a cash-grab novelty to in a buzzfeedesque game of proclivity is an instant hit in my book. Same way I felt when the Initiative post Civil War gave us the “Illinois Space Knights.” Same way I felt when I found out my broader home soil was home to such characters as Maria Hill, the Question (well, sort of… ask Mike Gold or Denny O’Neil), Ghost Rider, and Savage Dragon. To know that a fictional character shares the same air as you… may love a good Italian Beef — dipped, of course — and occasionally knock back an Old Style in a tallboy? Well, nothing makes me quicker to warm my icy Illinois heart.

So, it begs the question of you: What lilly-licking punk hero did your silly state get?

GO BEAST!

Marc Alan Fishman: When Page Does Not Translate To Screen

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The battle lines are drawn each time a leaked picture hits the web. The tattooed Joker. The dark-costumed Superman. The old-school-but-with-new-web-shooters Spider-Man. The Flash — the TV one or the movie one? Aquaman, a.k.a. the WWE’s Roman Reigns. Starlord by way of Han Solo. And whatever the hell Lex Luthor was doing with wardrobe from the porn parody of The Social Network. It sets the nerds on fire in heated debates and discussions. At their core, no true fan of a character can draw peaceful breath while their favorite character is reinterpreted by Hollywood costumers and art directors who totally do not even know what comics are!

And then the stories themselves! What good is Batman v. Superman when it seems like the writer’s room and director are hell-bent on cramming eight major stories into a single bloated cry-fest? Or what of Marvel basically rewriting the same script over and over, but changing the lead character to whatever name is on the title page, to fill in a roster spot for the next massive crossover planned in 2021?

And of course, the studios get their fair share of the blame. How many more retreads of the Fantastic Four will we have to sludge through until the owners of the license finally figure out they can’t make work? Who will tell DC that it’s not a great idea to take the notes on your universally not-loved picture and just apply them willy-nilly to the next movie in line? And I haven’t even scratched the surface on some of the indie debacles we’ve seen that utterly miss the point of their source material.

For every amazing adaptation like Sin City, Hellboy, Deadpool, and Iron Man, we are made to suffer through the muck of Ghost Rider, Catwoman, and Green Lantern. And in all of those cases, it’s seemingly impossible for the nerd masses to unite in love. And even sometimes when the creators totally get it right — Scott Pilgrim, American Splendor, or Ghost World — it doesn’t always spell mind-blowing blockbuster. Which in turn causes the studios to intervene and hire writers and directors to apply their “Hollywood Magic,” and thus we get Batsad v. SuperSerious: Dawn of RainFights or the recently released Batman: The Killing Joke of Barbara Gordon Having Sex With Batman, WTF!

So, how do we deal? Well, I’d say you take a page right out of John Ostrander’s book. No, please don’t tear up the man’s comics! John’s review of Suicide Squad was the best review of the film a fan could ask for. Why? Because John proved that one can love the source material separated from the film is winds up inspiring. What a novel idea! Taken without the source material in mind, Suicide Squad is a loud-brash-loud-angry-loud-bright-loud action flick. A decent one, in fact. Is it Hamlet? No. But it’s a good popcorn flick where things go boom, and the one-liners make you giggle. Are there better comic book adaptations? Yup. Plenty. But taken for what it is — an action movie that will tie-in to future action movies — it was a nifty romp.

This, of course, leads to my unanswered question of the week. How can we, the nerdiest of the nerds, separate ourselves from the horded minutiae of the pulpy roots we commit to memory that now morph into multiple new media? I am truly of two minds on the subject. I think immediately of an adolescent girl who sees Suicide Squad without any knowledge of the source material. I think how she walks away loving Harley Quinn. And I bristle at the thought. “How could you like that vapid one-liner spouting Hot Topic walking advertisement!” I chortle in my mind. But then, the counterpoint seeps in creepily behind the bluster. “If she truly loves the character, she might seek out more information, with which she might partake of Mad Love, or several other better interpretations of the character and come to love Harley more wholly!” And that my friends may end up being the grey answer out of our world of black and white.

We simply can’t blame Hollywood for attempting (and failing) to stick closely to the roots of any license they gobble up. They are in it to make money. That means casting Will Smith and writing Deadshot less like John Ostrander did and more in line with what puts butts in seats instead of eyes at the local comic shoppe. At the end of the day, the character is able to live in infinite iterations. The cream will always rise to the top. Lest we forget: Harley Quinn was made for a cartoon long before she was comic cannon. Starlord as a wise-cracking anthropologist with a love for scoundrels just looks and feels cooler than an uptight space-Nazi.

In a world where every comic has potential to become a great TV show or movie, we are actually allowed to have our cake and eat it too… so long as what makes it to screen is treated with depth, clarity, and care.

Marc Alan Fishman: Gazing Beyond the Gender Gap

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By the time this column posts, I will have seen the new Ghostbusters flick from the Freaks and Geeks guru Paul Feig. I have chosen to see the film based not on any lingering love of the first two incarnations of the franchise (but put a pin in that until next week). I am not seeing it because of any particular love of the paranormal. And I’m especially not seeing it because a who’s-who of amazingly funny women are starring in it.

I’m seeing it because it looks like a fun flick to shut my chattering brain off for a couple of hours. Maybe giggle and marvel at some special effects in the process.

Meanwhile I also saw this week that Iron Man will be played by a black woman in some upcoming issues of the series. I’ve literally no doubt that the move isn’t permanent. I’m chalking it up to Marvel’s occasional jones to do the unexpected. It’s a great marketing plot to enrage Old School fanboys, while making millennials have hope for the future. It’s the battle-cry of the embittered old farts of fandom… “It’s not my Iron Man / Ghostbusters / Peanuts / Voltron / Power Rangers!”

Ahh, but that’s where you’re wrong, Grandpa. It’s merely a horse of a different color.

I’m personally mollified by the continual degradation of our pop culture society’s abandoning the shades of grey that better fit our worlds of fiction. To take a hard line stance over the casting of a female in what was once a male role, a black person in what was once a white role, or even a CGI character where hand-drawn animation once stood is just lunacy to me. At the end of the day, I don’t care who. I care what, why, and how.

While the 2003 Daredevil film will be fondly remembered as dreck, I actually liked it quite a bit. Sure it was muddied by Collin Farrell clearly ingesting a bit too much coke before filming. Sure it introduced the Greek ninja goddess Elektra as a supremely white chick. But you know what? It also gave us Michael Clark Duncan owning the Wilson Fisk role. I recall some sects of fans going banana-sandwiches over the darkening of the character.  And then I recall seeing the film, and basking in the depiction. Duncan was strong, stoic, and the apex of scene-eating-villainous. It never mattered once that he was black. Nor did he speak in jive, or really reference his ethnicity at all.

And yes: Vincent D’Onofrio’s Fisk is a million times better… but you’re taking a slow burn performance in a carefully built show vs. a blockbuster built to bank bucks in the short term. But I digress.

In the last decade or so, specifically in comics, we’ve seen a veritable gold rush of diversity. To quote Vox: “[Marvel] has already given us a black Captain America, a female Thor, a Muslim American Ms. Marvel, and a black-Latino Spider-Man. That push has been met with applause from fans who want to be included, praise and recognition from critics, and prickly criticism from comic purists who believe their beloved titles have been shunted aside for gimmicks and stunts.” And while those purists poo-poo the notion of such hypocrisy, I’ve been able to enjoy hearing about new readers coming to comics because they now had a character to relate to. Comic books (and I’d go far as to say science-fiction and fantasy) have long been the secret playground for those with a better vision of society. Where the world is color and gender blind. Where the story above all else determines the validity of a character.

Maybe I’m just that liberal a person; I don’t balk at any casting of any character in any fiction for any reason with regards to sexual orientation, gender, creed, religion, or pizza topping preference. It will always be about the character in context to the plot around them. If Riri Williams dons the red and gold armor to do battle with nefarious ne’er-do-wells, so be it. So long as she provides depth and clarity to the book; giving me, a long time reader, something new to respond to. If the Ghostbusters of 2016 are women? That’s fantastic. More so, if they provide a new take on the classic model of snarky comedians waging war on special effects. Regardless of erogenous zone paraphernalia… plot overpowers all.

And at the end of the day, if you want to call it a marketing gimmick, so be it. Because if the final piece of fiction is good enough, then you’ll swallow your ignorance with a smile and a changed mind.

Box Office Democracy: “Captain America: Civil War”

Captain America vs. Iron Man by Alex Ross after Jack Kirby from Tales of Suspense #58

I hesitate a little sitting down to write a rave review of Captain America: Civil War because a year ago I wrote a rave review for Avengers: Age of Ultron, and when I rewatched that to make sure I was all set for this new installment I found it rather tedious. Are these, perhaps, movies that trick us into liking them with their big action scenes, clever dialogue, and sweeping scores— but only really play in a big theater with a bucket of popcorn? Are there no legs to these films? Will we be as embarrassed of them in 20 years as we are of Batman Returns now? The correct answer to these questions is a resounding “who cares?” It doesn’t matter if these are immortal treasures, the Casablancas or French Connections of our time, only that they’re fun to watch now and they are, perhaps the most fun this side of Fast & Furious, and we should cherish and celebrate them even if they might be a bit fleeting.

I was the perfect age to be completely enamored with the Civil War comic book series. I was finishing up my junior year of college and I could not get enough of any super hero comic book with a political allegory thrown in. If you wanted to have someone talk your ear off about how Margaret Thatcher influenced British comics in the 80s with not even a whiff of proper context I was your guy. Civil War the comic felt timely and provocative while Civil War the movie feels decidedly less so. We seem less concerned these days about government surveillance and intrusion in to our lives. There was probably a good pivot to be made to police militarization and violence, especially when Captain America learns that the order is to kill Bucky on sight, but there’s seemingly no interest in exploring this and it’s hard to blame them when Marvel is interested in making a billion dollars, not in being provocative.

They’re going to earn that billion dollars, too. Civil War is a crisp, effective, action movie that provides ample fan service without feeling overdone. Early in the film I thought I was completely worn out by super hero action sequences, and then they get to the big signature set piece where all the heroes fight each other and I was completely riveted. It helps that their big dramatic fight scene has a brand-new wisecracking Spider-Man and a welcome returning Ant-Man to keep things light and glib and just the utter opposite of Snyder-esque. The final fight scene has that overwrought gritty feeling creeping in, but by that point the stakes have been jacked up so many times that I was willing to forgive it. It’s a dark violent fight but it’s so well directed and the cramped environment makes it feel immediate, imposing, and fresh. Civil War has some fantastic character moments but it needs to live and die by its action sequences, and with the exception of one that felt lifted from The Bourne Identity it consistently hit the mark.

I’m beginning to wonder if the Marvel Cinematic Universe is starting to strain under the weight of its own continuity. The scenes between Vision and Scarlet Witch were generally charming but they mostly felt like they were setting things up for future movies rather than relating directly to the action at hand. Similarly, I was thrilled to see Chadwick Boseman debut as Black Panther and while he’s a riveting presence (and an A+ costume) it felt like they were saving all the good bits for his solo movie, and while I’m excited to see it that movie comes out in two years, I paid for this ticket now. I understand that this is bigger than any one movie, but I want these events to feel important and self-contained and not just part of some endless march to Thanos or whatever the endgame after that is. Comic book movies should be evocative of their source material, but should avoid the more glaring pitfalls of sequential storytelling with excessive continuity when they can.

I like so much of what they put on the screen in Captain America: Civil War and most of my complaints seem to be about the things they didn’t do or problems outside the scope of a movie like this, and while I do think a more timely, more self-contained film would have been more enjoyable it doesn’t take away from how good it is now. We are looking down the barrel of a rough summer when it comes to standard-fare action movies, and when I’m sitting through Teenage Mutant Ninja Turtles: Out of the Shadows I’m not going to be thinking about how Civil War dropped too many hints— I’m going to miss how it could stage a compelling grandiose action scene and how none of the characters looked like expressionless CGI blobs. Civil War is as good as superhero action films get, or at least as good as they get with no Hulk.

Seriously, I feel Hulk-starved at this point.

Mike Gold: Marvel, You’re Murdering Us!

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Holy crap! I can’t believe this! Marvel’s next big event series is going to be a sequel to their hit event series Civil War. It’s called … wait for it … Civil War II!

You’d think there was a big budget movie or something coming out. Well, you’d be wrong. Civil War II comes out several weeks after Captain America: Civil War. It’s just a coincidence, kids!

Rocky & BullwinkleEven more astonishing, if that’s at all possible, is the announcement that Marvel is going to actually kill off one of their characters in this series!

I can’t believe it. Such courage! Such originality! Such redundancy! The House of Idea polished off that one idea once again, slathered on another coat of lipstick, bought it a tuxedo for the red carpet interviews and proudly informed The New York Daily News that “A mysterious new Marvel character comes to the attention of the world, one who has the power to calculate the outcome of future events with a high degree of accuracy … This predictive power divides the Marvel heroes on how best to capitalize on this aggregated information, with Captain Marvel leading the charge to profile future crimes and attacks before they occur, and Iron Man adopting the position that the punishment cannot come before the crime.”

Hey, this time Iron Man is on the side of the angels! Well, that’s different, but only when compared to the original 2007 Civil War event.

I wonder if Marvel is going to kill off a character they haven’t killed off before. I wonder if that’s even possible. Hmmm … do you think it might be a character whose movie rights are controlled by 20th Century Fox?

When it comes to marketing and public relations, often there’s a fine line between being forthcoming and being cynical. As Marvel publisher Dan Buckley informed the Daily News “The death is the marketing hook … The thing that’s really compelling is whether or not there’s a story afterwards that’s going to connect with readers and sustain it.”

This is true, but it would help if you gave us something new, Dan.

Major character deaths have become more common to comic books than staples … and a lot less permanent. Do you know what was really cool during Marvel’s first couple of decades? They shook up the moribund American comics market with tits-to-the-wind power and a long ongoing blast of creativity and originality the likes of which had never been seen in the medium previously.

Do you know what Marvel’s latest high-energy attempt at creativity and originality is?

They bought a new Xerox® machine.

Marc Alan Fishman: Iron Batman v. Super Captain America

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In the not too distant future we’ll be privy to both Batman v. Superman: Dawn of Overly Long Titles and Captain America: Civility and Zombies. Seemingly, both will deal with complimentary issues pertaining to the culpability of collateral damage surrounding the super-inhabited world. In lesser terms, it’s pretty clear when you level a city (or level half of one, and almost use another as a projectile) someone has to pay. And no, I don’t mean asking Tony or Bruce-Bruce for a spare billion to cover the insurance.

At the core of both movies – and yes, I’m speculating – we’re dealing with the balance of proactive protection versus reactive process improvement. Regulating and regularly checking the populace for gifts is certainly one way to do it. It’s no different, one might postulate, than registering a weapon they own. Iron Man’s stance, as is Mr. Wayne’s, is cemented in fear of the unknown. How are we to protect the ones we love when the man down the street could be a psychopath with a gun or just Mr. Psycho? Forcing the population to divulge their hidden talents by way of polite force might be one way to hedge your bets. Because you don’t know when someone might grow up to be Speedball.

That being said, does creating such a registry or law become a civil liberty issue? In the comics, it’s the basis for Cap’s catharsis. Cry freedom, Mr. Rogers. And to Superman’s point: holding him in check when there’s literally nothing on Earth that can do that is just a waste of resources. The best you can do is trust that Big Blue will keep us safe. Being proactive effectively allows for the proliferation of some unforeseeable doomsday device built to destroy a hero gone wild. And if you build it? Well, it’s inviting someone to fire it – whether Kal-El is cuckoo or not. Better, I suppose, if you make plans to build it after the first building accidentally collapses due to super-fighting? I guess I’m unsure.

The topic is very real when we live in a nation that needs an executive order to help suppress out-of-control gun violence. Could you imagine the field day Fox News would have if New York was actually attacked by invading aliens? I can here the subsequent call of candidate Donald Trump to first “build a wall between dimensions… and make the Chitauri pay for it.” and then “…ban all super powered people from being in our country until we figure it all out”. If not Trump, perhaps a war mongering Chris “The Blob” Christy, Ted “Bomb Them Till They Glow Like Dr. Light” Cruz, or Dr. Ben “Sleepwalker” Carson would chime in with a retort that the destruction of Metropolis occurred not because newly freed political prisoners from the Phantom Zone were exacting revenge for their lost world… but because President Obama didn’t allow the NSA access to General Zod’s Facebook. But I digress.

The truth of the matter is that there’s no right answer. Batman and Iron Man have every right to want to be as informed as possible about the dangers of the world. They are tinkerers and toy-makers of the highest degree. A problem is built to be dismantled, and put back together better; be it your shrapnel-filled heart, or the world at large. So too though is Captain America and Superman’s right to say that our country was built on the ideology of freedom. That a man is innocent until proven guilty. For as much damage that befell Sokovia or Metropolis, there is no blame to be had towards those who tried to protect it. Ultron and Zod pulled the triggers. The heroes merely jumped in the line of fire. They couldn’t help the falling debris. The needs of the many outweighed the needs of the few. Wait, that was Star Trek!

So, whose side will you be on? For me, I’ll be on the side of being entertained. Because my bleeding liberal heart in the real world still longs for the day Scarlet Witch whispers “No more guns.”

Emily S. Whitten: SDCC 2015 Part I – On the Con Floor

GrootI just returned from the San Diego Comic-Con, and wow, am I beat. But that’s because there was just so much to see and do at the con – and of course, as always, I tried to see and do it all!

Sadly, there’s no way to actually experience everything (and I gave up on the FOMO some time ago), but I did manage to experience a ton of the stuff that was on offer. So much, in fact, that I think it’s going to take me about five posts to cover it all! So today, I’m sticking with the basics – the con floor and exhibits, some exclusives I scored (and coveted but missed out on!), free swag, cool cosplay, Artist Alley, and some of the stuff that goes on outside.

If you’ve been to SDCC before, you know just trying to see what you want to on the con floor and surrounding “activations” outside can be mega-challenging and exhausting. The hall is large, the activations spread out, and the crowd…well, let’s just say you aren’t going to be sprinting from booth to booth or buying any exclusives without a pretty big wait. Of course, that’s because there’s so much cool stuff to see and buy. So much, in fact, that it would take me forever to describe it, and so instead I put together this handy album of the stuff I stopped to take pictures of.

Favorite merchandise bits on the floor include this amazing Men In Black replica; upcoming collectible Marvel keychains from Monogram that will include Deadpool and X-Force Deadpool; and the Entertainment Earth booth’s many cool items, including this Boba Fett stool (there’s a whole set). Speaking of Entertainment Earth, while visiting their booth, I also got a chance to speak with Jason Lenzi, co-founder and co-owner of Bif Bang Pow!, which has partnered with Entertainment Earth to provide some cool products through their store. You can check out the interview here.

One thing any fan of miniatures, building sets, display sets, or the like really must check out is McFarlane Toys’ amazing building sets of The Walking Dead and Game of Thrones characters and scenes. They caught my eye for their small scale and detail, and after talking with the Prototype Development Director I learned that Todd McFarlane’s idea was to have the individual pieces and sets (for kids approximately 8+ to adult collectors) be able to all be put together (including the characters, which come in pieces to be put together or mixed-and-matched) into larger scenes according to preference, and to have the larger building blocks (e.g. buildings) work with other brands. The Walking Dead ones are available or becoming available now (including e.g. Daryl on the highway and the Winnebago, and the hospital doors, due out in October), and the Game of Thrones collection, Series 1, will be out in December 2015 to early 2016 (series 2, including e.g. The Wall with Jon Snow, is due out in January 2016). The amount of detail in this product is great – including things like barbed-wire-topped fences in The Walking Dead line that can be angled if, for instance, you want your walkers to be “pushing the fence down.” Everything looks to be of good quality, and doors open, wheels move, grass is flexible, and more. They have everything from blind bag minifigs to sets of 5 figures in case you want to, for instance, quickly build up your Walker army (and the blind bags are labeled W for Walkers or H for Humans so you can at least have some idea of what you’re going to get). I love it; and I also learned they have their eye on additional licenses for the future (and maybe even some Spawn stuff, like a build your own alleyway). Can’t wait to see what else they come up with.

Along with all the cool stuff to look at, I picked up some fun exclusives and swag. My absolute favorite (since I missed out on the Hasbro matchbox-sized Ant-Man, which sold out in a hot second) is the Avocados at Law tee from the Digital PIMP booth, although the Fogwell’s Gym and Agent Carter shirts from Marvel are hella sweet, too. I was also pleased with the Supernatural “Swan Song” car with army man from CineQuest.com, pretty much everything from Quantum Mechanix (lots of Firefly stuff, including a mini Serenity and Firefly playing cards complete with IOUs!), and my ridiculously large Espionage Cosmetics nail wraps purchase. In the free swag category, getting the Google Cardboard viewer was awesome, and I was also well-pleased with my exclusive Firefly poster from QMx, my Little Twin Stars fan from Sanrio, the Comic-Con Mad Libs from Penguin, and of course the Entertainment Weekly mag with Deadpool on the cover. Because Deadpool. I also swung by Dark Horse and picked up plenty to read, including Mind MGMT and Lady Killers, which I’m looking forward to.

Fun displays on the floor included LEGO Minions and a life-sized Hulkbuster Iron Man suit that I just had to pose with.

Outside in the surrounding areas, this Hand of God promotion was pretty freaky – and also pretty amusing when some of the ardent religious protesters who always appear near the convention center during Comic Con got mixed in. They were clearly confused, at first thinking they’d walked into a crowd of like-minded individuals – until they heard some of the slogans being chanted by the Ron Perlman look-alikes.

The activations included the Assassin’s Creed obstacle course, which a lot of people stopped to watch (increasing the crowd difficulty issue, but I get why they stopped – it was pretty damn cool!). Other outside stuff I was delighted to find included the Hello Kitty Cafe truck. I totally bought Hello Kitty macaroons and petit fours (tasty!).

But seeing exhibits and buying things isn’t all there is to do. There’s also a metric ton of great cosplay around, including favorites of mine like this epic Poison Ivy, this giant Groot, this somewhat Victorian female Captain America, this hilariously awesome Pikachu Deadpool, and the woman cosplaying my favorite Effie Trinket outfit. I love all the thought and work that people put into their cosplay, and how much joy they get out of it.

And of course, there’s also the entirety of Artist Alley to visit. I swung by to catch up with some favorite creators like Janet Lee, Reilly Brown, Sanford Greene, and Dustin Nguyen; and also visited Mark Wheatley‘s booth in the exhibits area. It’s always nice to take a few minutes to check out one of the main reasons SDCC even exists – i.e., the comics. And Artist Alley is a great place to do that.

Whew! I think that might just about cover the highlights of my con floor experience. Hope you enjoyed it! And fear not – there’s lots more to come. Stay tuned for coverage of convention panels, the Her Universe Fashion Show, Nerd HQ, and some of the fun party and nightlife stuff I checked out.

And until then, Servo Lectio!

 

 

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