Tagged: Neil Gaiman

Is the world ready for a female Doctor (Who)?

As far back as when Tom Baker announced he was leaving the title role of Doctor Who, and at every period of transference since, tabloids would float the “rumor” (a word which here means “collection of words concocted out of thin air”) that the new Doctor might be a woman.  And with it would come the requisite shaking of heads and rending of garments, not to mention the follow-up news articles with headlines that all circled around “Nurse Who?” and the like.  People associated with the show, if ever actually asked, would rarely deny such stories, because as soon as you do that, the publicity train stops, and who wants that?  So we get an infuriating round of winks and “You never know”s and another cycle of articles from people on both sides explaining why either it could or should never happen, or that not only should it happen, but the time is right.

It’s a question that couldn’t be rationally asked about almost any other fictional character.  You can swap stars and characters out of a show – the longer a show goes, the easier it becomes.  M*A*S*H, CSI, the list goes on. You can even re-cast main characters; James Bond has gone through a half-dozen changes already. But to suddenly turn a well-known male character for a female (or vice-versa) would normally be ridiculous.  But in the world of science-fiction, anything can happen.

One of the sublime wonders of The Doctor is his ability to regenerate – to completely change his form, his personality, and most importantly, the actor playing him.  It’s what’s allowed the show to continue for going on fifty years, changing tone and direction with each change of main actor.  And with each change, a growing part of the audience asks the question that Chris Claremont used to ask so often when creating comic characters; “Is there any reason this character can’t be a woman?”

The simple answer is no.  When Matt Smith took the role, as the Doctor did a quick anatomical inventory, he felt his long hair and thought for a moment he’d regenerated into a female.  A couple years later, Neil Gaiman set the concept in stone – he created The Corsair, another renegade Time Lord whom The Doctor knew very well.  He described him as a “A good man… a couple of times a good woman”. So there it is, a Time Lord can change their gender during regeneration. You gonna argue with Neil Gaiman, cause I’m not.

The current Doctor, Matt Smith, while assuring us that’s he’s not going anywhere anytime soon (and quite right too, IMHO) has gone on record that he thinks there’s any number of actresses who would make a fine Doctor.  In an interview with The Mary Sue, he named Charlize Theron specifically.  Late last year, Helen Mirren famously announced that she’d love to play the role as well.

Some people forget that showrunner and Twitter-bailer Steven Moffat has ALREADY brought us a female Doctor.  In his Comic Relief story The Curse of Fatal Death, after burning through a staggering number of regenerations, The Doctor finally stands as Joanna Lumley, co-star of Absolutely Fabulous (and for those of us who care to show their age, Sapphire and Steel and The New Avengers). Yes, it was a comedy adventure, and out of continuity (I assume), but the moon did not fall from the sky when it happened.

So we’ve got the “can” out of the way.  We now advance to the more complicated question…should he? The show has been amazingly good about representing same-sex relationships.  From the beginning of the new series we’ve seen numerous characters in various “non-traditional” pairings, all portrayed as being spectacularly unimportant to the plot.  The underlying message, if one had to spell it out is “There are a lot of the people in the universe, and some of the like men, and some of them like women, and it doesn’t make them any more good or bad as people.”  So surely making the main character a woman would make that message even more powerful – it doesn’t matter if you’re a man or a woman, you can still make an amazing difference in the world.

Of the people who argue against such a change, the arguments tend to circle around a small number of talking points.

YOU’RE JUST TRYING TO MAKE A STATEMENT Sadly, no matter how good an actress they would find, no matter how good the stories, there would absolutely be a part of the audience who would insist that the only reason the change was done for some socially-motivated reason, likely involving the phrase “Political Correctness.”  It’s the same argument made in comics when a character is brought back as a new gender, ethnicity, lifestyle, etc.  The argument seems to rule out the idea that the new/changed character could possibly be good, based on that ulterior motive.  Any storyline or even dramatic moment that involves something unique about being that type of person is quickly pointed at as “proof” that the character exists solely to further the various agandae of that group, and any other group they can associate them to.

There’s an inherent issue with this argument, in that it suggests an attempt to diversify the types of characters out there must by definition be based on “cramming them down our throats” and not simply an attempt to show that there are more types of people out there, some bumpier than others. It can be tempting to make those characters ciphers for getting a writer’s pet viewpoints across, yes, and when proselytizing takes precedence over entertainment, the show can suffer. But considering how well the show has already brought alternate partnerships in with no massive shift in tone, I suspect this issue would not be a problem.

THAT’S NOT WHO HE IS The character has been a man for almost five decades – he sees himself as male, his friends, the universe in general see him as such.  For him to become female is too large and fundamental change to the character, one that the characters in the narrative world, and certain the ones in the real world, could not accept.  This is more an argument based on tradition than anything else, a general sense of what the character “is”, and an attempt to change that is more than they wish to stand.

It’s rather like “New Coke Syndrome” – when the soda chose to change its recipe, they experienced a pushback from the public far more than they’d expected.  It wasn’t a problem with the taste – indeed the new formula tested better than the original.  It was a basic resistance to a change to something people knew, and simply expected to be there.  People who hadn’t drunk Coke in years were coming out against it.  They realized it wasn’t the soda people were coming out for, but the memory of it, the way it affected their lives.

The people who make this point would likely be as against the idea of making The Doctor an American, or if they chose to change the look of the TARDIS.  It’s BEEN that particular thing for so long, that to suggest it be changed is simply unthinkable.

IT’D CHANGE TOO MUCH Smith very cogently pointed out in the aforementioned interview that a female Doctor would result in a dynamic change in how he (she) interacts with the world.  “It would change the role,” he explains, “because she would be a woman so when you put her in a room full of men, it’s a different scenario than if you put a man in a room full of men, because she’s a different sex.”  This is not, I believe, necessarily a bad thing.  It could very definitely challenge the writers to find ways to combat that mindset with the people she meets, or result in creating a character so strong and forceful that she just takes control of a room so quickly, the question of “who the heck are you?” tends to get forgotten. Indeed, that’s exactly how the character works now.

BOYS DON’T WATCH SHOWS WITH GIRLS IN It’s an old chestnut, but it’s been stated as gospel since time immemorial, and no matter how many examples disprove it (where my bronies at?) it’s seen as an inarguable fact by marketing and programming executives alike. The idea is that young boys (the primary audience of the series) will “only” watch a show with a male lead, in the same way girls “only” watch shows with a girl lead, preferably wearing a tutu, and with a talking lhasa apso as a sidekick.  Of course the problem is, Doctor Who is a show with very strong female characters, sometimes stronger than the male ones, and it doesn’t seem to have affected the audience much at all.

From a narrative and social point of view, there’s very little that seems to be stopping such a move.  Sadly, the real reason we likely won’t see such a change is based simply in money.  Change is risky, and the larger the change, the greater the risk.  Switching to a female lead would be quite risky indeed.  No matter how questionably valid each of the above arguments are, they are all held by some people, and likely Auntie Beeb have a better idea of how many than anyone outside of Television centre ever could.  And they likely have good estimates on what sort of an effect such a change could have on the audience, and until their research shows it’ll have almost no negative effect at al, we’ll not see such a dramatic move made.

Odds are it’ll happen someday, if the show stays on long enough.  And odds are there will be a hue and cry, and everyone will tune in, just to see what happens.  And in a perfect world, they’ll be so impressed that they’ll be back the next week.  And who knows, someday we might be reading articles on whether or not it’ll make sense to to switch back to a male character.

Mindy Newell: Ruminations, Ramblings and Rumblings

So what’s in Mindy’s head today?

I haven’t been to a convention in a long, long time, but reading about some of the ComicMix crew’s sojourn to Baltimore (here and here) lit up my temporal lobe – that’s the part of the brain responsible for memory, for you non-biology majors out there. James Doohan (Chief Engineer Montgomery “Captain, the engines canna take it” Scott of the U.S.S. Enterprise NCC-1701) in the “green room” at ICON spilling his coffee all over my new outfit and his gentlemanly response as he went to wipe my chest and then blushed, stopping himself just in time. London in 1986 – walking through London with Archie Goodwin, Mark Gruenwald, Louise and Walter Simonson. Meeting Neil Gaiman and John Wagner. Forgetting that I met John Higgins and then marrying him 17 years later. The British Museum. The Tower of London. Breakfast with Mike Grell and Tom DeFalco. Toronto: sitting on a panel with Chris Claremont. Chicago: Meeting Kim Yale and John Ostrander and Joyce Brabner and Harvey Pekar. Michael Davis in the audience lending support and trying to fluster me (“Number Nine. Number Nine.”) during the Women In Comics panel. Hanging out at the pool with a bunch of comics pros and getting such a great tan that my coworkers back home thought I had gone to the Caribbean for the weekend. Sitting next to Julie Schwartz at the DC booth. Being followed into the bathroom by a fan wanting an autograph.

Over at The League Of Women Bloggers on Facebook, I found out about a troll who has been sexually harassing and threatening women pros and their families on the net. As I said there, “I would like to know why it took Ron Marz and Mark Millar (and kudos to them for doing so) to take the asshole on. Having never been subjected to the troll’s attacks, I was ignorant until I read about it here. However, I will say that if I had been attacked like this, I would not have stayed quiet. (Anyone who knows me should not be surprised.) I would have taken him on, language for language, and if it had continued, I would have contacted the authorities. So, girlfriends, I do have to say…why didn’t anyone who was being attacked by this asshole not take him on? My graduate paper for school was ‘Horizontal, Lateral and Vertical Violence in Nursing.’ It’s a worldwide phenomenon in the field. What this trolling ogre has been doing is the same thing (and it occurs on the net in nursing, too.) And every peer review paper I read, every person I interviewed, said the same thing – those who are attacked in this manner must come forward. It’s the only way to stop it.”        

Reading comics as a kid taught me the meaning of “invulnerable” and that the sun is 93,000, 000 miles from Earth. (Thanks for the editor’s notes, Julie!) It opened my mind to the infinite possibilities of “life out there” and the wonders of the universe. It taught me that guns are bad and life is precious. It taught me to love reading. I mentioned this to daughter Alix’s husband, Jeff, who is a professor in the City University of New York system and teaches remedial English, suggesting that he use comics as part of his syllabus. He’s looking into it.  If he can get into his office. The key the administration doesn’t open the door. Ah, CUNY.

Conspiracy moment: It might be my writer’s brain, but can’t help having a suspicion that the release of The Innocence Of Muslims (the video that launched horrific demonstrations against the U.S., Israel, and the Western world all over the Middle East, Indonesia, and Malaysia, and resulted in the deaths of our Libyan ambassador and three others) was an act of Al Quada, especially as it occurred on September 11, and especially as Ayman al-Zawahiri, who took over as head of the terrorist organization, released a message on the net calling for an uprising. Laugh if you must, scoff if you will, but I won’t be surprised if the New York Times reports that a link was found by our intelligence agencies.

The Giants lost their opening game. They deserved to lose. They looked horrible. Their offensive line is non-existent. For this I missed Bill Clinton’s speech at the Democratic Convention?

Martha Thomases’ fashion police column last week made me want to see a spread featuring the very fashion-forward women of comics. Hey! New York Times! How ‘bout it?

La Shonah Tova, everybody! That’s a big Happy New Year to all of you!

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

 

Martha Thomases: Fashion Police

Perhaps you are not a follower of mens fashions. Perhaps you don’t care. The relative width of a jacket’s lapels is not as hot a topic as the relative length of a woman’s skirt. In New York, however, it’s a big business. We have a Fashion District, which is not a place where models live, but rather where designers and manufacturers have their offices. We have a segment of our calendar devoted to various seasonal Fashion Weeks. The trends are part of our regular media coverage.

Foremost among these is Fashions of The Times, recently refurbished as T. This supplement to The New York Times occasionally augments the Sunday magazine section. The women’s issue is thick and glossy, full of teenage models wearing outfits that cost more than my first car, and jewelry that cost more than my apartment. The men’s issue may be just as unrealistic, but I can enjoy it more because it’s not aimed at me. And the models are cute guys who are there to be stared at.

Anyway, this is a long and roundabout way to explain why, last Sunday morning, I was paging through the men’s fall fashion issue of T when I was flabbergasted to see Jamie Hewlett, one of the creators of Tank Girl, in an ad for Alfred Dunhill, the posh menswear company. It was a two-page ad. The glorious John Hurt was on the other side.

It’s a full-on campaign. Here he is on YouTube, in a beautifully photographed interview about his creative process. It’s in elegant black-and-white, as if to emphasize what a serious artist he is, an important cultural touchstone. While I was on YouTube, I discovered that Jamie had previously been previously interviewed for Absolut Vodka.

When did this happen? I mean, I love Tank Girl and the Gorillaz idea is really fun. I think Jamie is adorable. I own some of his art. But a fashionista? Someone with a look other men should strive to emulate?

I guess I shouldn’t complain. When I worked at DC in the 1990s I tried to establish our talent as artists of interest, to be taken as seriously as novelists or filmmakers. I hired my friend, Stephanie Chernikkowski, a noted rock photographer whose work has been shown in the Museum of Modern Art and around the world, to take pictures (you can see her pics of Neil Gaiman, Grant Morrison, and Kyle Baker at the above link, and she also shot Garth Ennis, Paul Pope and Peter Milligan before I ran out of budget).

At no time did I make any suggestions as to their wardrobe. The photographs were commissions for promotional purposes, but we were promoting the work, not the style. It would never occur to me that anyone would want to dress like a comic book pro.

Paul Pope, maybe. He’s designed clothes for a few major fashion companies. And he’s really really cute. He looks like a model.

It’s another step on the road to Nerd Cultural Domination. I eagerly await the Azzedine Alaia collection starring Gail Simone.

SATURDAY: Marc Alan Fishman and the Baltimore Bliss

Watch the video that got the Hugo Awards live stream shut down and interrupted Neil Gaiman

Back in March, I was asked to put together video clips for this year’s Hugo Awards ceremony, which took place during Worldcon in Chicago on Sunday. Simple assignment— find short clips of the nominated works to introduce them to the audience.

Well, it didn’t quite happen that smoothly. As you may have heard by now, in the middle of the Hugo Awards ceremony at Worldcon, with thousands of people tuned into via video streaming service Ustream, from the people in the overflow room at the convention to people viewing it live at DragonCon to people all over the world, the feed cut off just as Neil Gaiman was giving his acceptance speech for his Doctor Who script, “The Doctor’s Wife”, replaced with the words, “Worldcon banned due to copyright infringement.”

Here’s the video in question, the clip reel for Best Dramatic Presentation, Short Form:

[youtube]http://www.youtube.com/watch?v=nYFLWQstRfw[/youtube]

Do you see anything in there that violates Fair Use? Of course not. But then, you’re not an automated copyright violation monitoring service, which is what UStream is blaming the problem on. (You’ll note that this video is currently hosted on YouTube, and they don’t seem to be having any problems with it.) I happen to strongly disagree: this service worked almost exactly as UStream intended it to, with the exception that they couldn’t do anything when it was discovered that, whoopsie! The automated service has no intelligence and no off switch, and we’ve just pissed off people with millions of twitter followers. I also note that UStream has been taking down comments on their own site, which of course has not stopped people from commenting on Slashdot, TechCrunch, io9, and CNN stories.

I’m also marveling at the irony of cutting of Neil in mid-speech, as Neil is one of the foremost anti-censorship people in the comics industry, as a board member and major backer of the Comic Book Legal Defense Fund and a supporter of anti-censorship actions on the web going back to the 90s.

We’re still waiting for the full awards ceremony to be rebroadcast. In the meantime, we hope that you were following our Twitter feed, as we were covering the awards live. Universal Geek has posted audio of Neil Gaiman’s Hugo acceptance speech. And here is the clip reel for the Best Dramatic Presentation, Short Form:

[youtube]http://www.youtube.com/watch?v=cO_Umi29iYM[/youtube]

Congratulations to all the winners. We hope the rest of the world will be able to see your victories shortly.

UPDATE: Yes, irony of ironies, the video is currently offline at YouTube due to a copyright claim from the BBC. Yes, we’re disputing it.

Neil Gaiman Hugoed For Doctor Who, Lets Cat Out Of The Bag

At this weekend’s 2012 World Science Fiction Convention in Chicago (a.k.a. Chicon 7), Neil Gaiman was awarded the coveted Hugo for Best Dramatic Presentation (Short Form). It seems he wrote an episode of Doctor Who last season you might have heard about – “The Doctor’s Wife.”

In his acceptance speech, the Britisher-turned-Minnesotan let slip the fact that if just so happens he’s writing another episode of Doctor Who for the latter half of this season, to be broadcast sometime in 2013; presumably well before the 50th anniversary celebrations.

Well, one good turn deserves another. And congratulations, Neil, on the Hugo!

(Thanks and a tip of the Golddome to RedEye Chicago, to our pals at Bleeding Cool for the pic, and to our own Glenn Hauman for being at the festivities.)

 

Emily S. Whitten: Hello, My Name Is Entitled Fan. You Ruined My Fandom. Prepare to Die!

I haven’t talked about Deadpool around here for, oh, say, two whole minutes, right? Time to rectify that!

You know why Deadpool’s my favorite character in the whole wide world of comics? Well, actually, there are several reasons, but one of them is that no matter how dark the character gets, there is also levity there. And call me grandiose, comparing the adventures of a wisecracking merc to the daily toil of Real Life, but really – that can be a true reflection of what we experience. In the depths of disaster sometimes we just have to laugh (possibly inappropriately), and in the midst of our merriment, suddenly one little sentence may bring the room down. That’s life – a perfectly imperfect mix of random ups and downs.

What’s important about the often unexpected comical moments is that they remind us that it’s not all doom and gloom out there, even when sometimes it’s been feeling like it is. And if we don’t get enough laughter in our lives, I fear some of us might turn into this guy. As I’m sure everyone knows, Joe Kubert passed away a few days ago. I didn’t know Joe personally, but I know and like some of his work; and I had a nice chat with one of his sons at a con; and I know several artist friends who have gone to his school (in my home state of New Jersey, no less, which makes it extra-cool). All in all, I’ve never had a bad thought about him, and admire him as much as I do any of the other Greats in comics (yes, he most certainly was one of the Greats, with a capital G). But even if for some reason I hadn’t been a fan, or even if I hated his art (which I don’t), I’d never, ever, have posted something like what that supposed fan of comics said; and then failed at properly apologizing for such insensitive and offensive comments.

The comparison that was made is just inexcusable, and Mike Romo has a good discussion of that at the iFanboy link, so I will not rehash it all here. But I will say that as a fan, I am continuously disappointed in other fans who turn their dislike of a piece of creative work into a giant, seething, pulsating ball of wrath and disgust, to be lobbed at creators and fandom and the internet so we can all experience the pus and bile of some fan’s misplaced sense of entitlement as it oozes down our screens.

Okay, that metaphor was disgusting. But then, I feel disgusted when I read shit like that. And it really does all boil down to entitlement – fans who think that their hateful view of whatever-it-is is more important than the fact that they are throwing vile words or accusations at a Real, Live Person who most likely doesn’t deserve them. A person whom they might even have admired at some point (or still do admire). Likening an upstanding and recently deceased comics creator who worked on a comic you don’t think should have been made (Before Watchmen) to a man who failed to report child sexual abuse is an extreme example, of course, but still; this isn’t anywhere near the first time I’ve seen this kind of disproportionate hatred towards someone whose only fault was making a creative work someone else didn’t enjoy.

Look, I’m not saying we can’t critique what we don’t like. I’m a true believer in the importance of free speech and discussion. But that also means that if you’re being an asshole on the internet or in fandom, I have a free speech right to call you out for being an asshole. And calling hardworking people who make their living making comics “known hacks” or “scab artists” because you don’t like their work or work choices is being an asshole. [See also: anyone who’s ever said so-and-so “raped their childhood.” Because using the word “rape” in that context is another form of entitlement; in which the user assumes it is more important to dramatically emphasize their disappointment in Prometheus than to not casually throw around a word that has terrible connotations for over 17.7 million women and 2.78 million men in America alone. Plus, I just hate that phrase.]

But I digress. Neil Gaiman once wrote a fantastic journal entry on entitlement issues which I think every fan ought to read and re-read. In fact, if someone ever wrote a computer program in which that entry popped up every time some entitled asshole was about to hit “post” on a needlessly vitriolic diatribe about creative works and people they hate, I’d be ecstatic. (Seriously, hackers – stop making useless pop-up viruses and get on that.)* But since that’s not the case as yet, I’d also be happier if we all just read that entry, and tried to remember before hitting post that creators are real people with real feelings and families and needs to put food on the table and all of that. And that it’s probably not necessary to wear a t-shirt saying a real person sucks just because you didn’t like a movie about aliens.

Maybe we could also just run a little test in our heads, similar to the one I wish misogynists would use before speaking (“How would you feel if someone said or did that to your mom/sister/favorite female person in the whole world? Or to you?”) in which we think about how we’d feel if someone likened, say, our dad or our best friend to a guy who ignored reports of child molestation. I’m pretty sure for most of us, that would make us remember that it’s not all about us, and hit the delete key before doing something asinine. So maybe we can all give that some thought before posting something so unwarrantedly hostile about what is, as Romo said, “just comics” (and other pop culture).

Or, as the LOLcats would say: we can fan moar better; and then maybe instead of encountering so much petty bitching, we will instead be rewarded with more things that remind us that life is not all doom and gloom – like this and this. (You’re welcome.)

So until next time, Servo Lectio!

* Disclaimer: I am not actually encouraging anyone to hack anything. Please do not go and do this and then say it’s all my fault, hackers. Thank you.

TUESDAY AFTERNOON: Michael Davis’ Milestones, part two

WEDNESDAY MORNING: Mike Gold, Who Do That VooDoo?

 

Emily S. Whitten: Heroism and Bravery

Some people think that comics are a kid thing – the bright colors; the often cartoony style of art; the people parading around with their underwear on the outside – and they are for kids. But they’re also for teens, and adults, and all of us. They are a medium of storytelling that can be just as beautiful and terrible and effective as any other. If done right, the stories within a comic can bring joy, and can hurt, and inspire, and educate, and much more.

It’s funny when I try to talk about comics to someone who doesn’t read them, like my dad. His first response is “We didn’t have those in my house growing up. Some of the other kids did, I guess.” You know – because it’s a kid thing. Don’t get me wrong. He’s not criticizing my love of comics; he just hasn’t read many, and might not be aware that they can contain nuanced and complex storytelling, both for kids and adults. But I’m a well-read adult, and comics engage me, they bring me joy, they make me laugh, and yes, sometimes, they even make me cry. I know I’m not the only one.

In today’s hyper-connected society full of Internet news and forums and blogs, we know, more than we might have in the “old days, that there are tons of us adult comics fans out there, and that, indeed, at least in media like movies, comics have gone mainstream – people who’ve never read a paper comic have watched movies about Superman and Spider-Man and the X-Men and The Avengers and Batman and all the rest. Parents of children who are themselves adults have gone to see these movies. These days, as pointed out in John Cheese’s article, if you don’t get excited about the newest comics movie, or aren’t planning to see it, people might even think you’re out of the loop. Everyone now has exposure to comics, and all of us adult fans know we are not alone.

We also know that even though comics are a pretty big thing these days, there are still going to be people that think they’re only for kids, and/or don’t see the value within. There are also going to be people who look at art of Spider-Man in mid-fight and only see people beating up on each other. And they’re going to be concerned (maybe for the kids, or maybe because of the violence in general) and think that comics don’t hold much value, or that they are a bad influence. But Spider-Man landing a punch is only part of the story.

In the wake of the horrible and senseless Dark Knight Rises shooting tragedy, I know people are already questioning whether comics (and their affiliate media, such as movies) were responsible for the violence, and how violence in comics is affecting people, including children. I also know that comics creators and fans are trying to understand how a man who was presumably at least some sort of a fan could have done such a terrible thing. I certainly don’t know, except that quite probably, he is mentally ill.

Having studied media in culture way back in the dark ages of college (was it really so long ago??) I know that we don’t know, and probably won’t ever know, exactly how much influence violence in media has on people, although we do know that there can definitely be a correlation. But by the same token, we also know that two people being exposed to the same violent media can have completely different reactions, and for some people, there may be no correlation at all. For the majority of society, seeing a violent movie, or reading a violent comic, doesn’t directly cause violence; otherwise we’d have a lot more tragedies like this recent one.

I don’t believe we will ever be able to definitively answer the “effects of violence in media” question. Does that mean we should just shrug our shoulders and give up on our studies of this issue? Of course not. But at least at this point in our cultural learning, we don’t know what exact factors may have caused a man to methodically plan to shoot into a crowded theater. And although the news is reporting that the man said he was the Joker and had dyed red hair (presumably to emulate the Joker in the hospital nurse scene of The Dark Knight), I don’t think that necessarily means that Batman comics or movies caused him to do what he did. They may have narrowed his focus of where to attack people, and that is awful; but if The Dark Knight Rises hadn’t been there for this man to focus on, I’m guessing he would have found some other place to focus his violent acts.

I also think that as long as any kind of popular media, including comics, exists (which it always will) there are going to be some stories that may need to include violence in order to make their point, and there are going to be people out there who will miss the point of all of the complex and nuanced storytelling we can possibly include, and only see the violence; whether it be a concerned parent, or a politician, or a news reporter, or tragically, a man who thinks violence against random people in a theater is okay. But that isn’t a reason to censor necessary elements of storytelling.

Yes, Batman as a character can be violent; but as my friend Cleolinda Jones said about The Dark Knight Rises, “The sad thing about this theater tragedy is, the major theme of the movie is about inspiring others to stay strong and do good, even in the face of tragedy.”

As comics creators, I think the best we can do regarding the “violence in media” issue is continue to create nuanced stories which frequently show the good in our characters, and hopefully inspire readers with messages like staying strong and doing good, or helping others; and in which any violence is included because it is necessary to the point of the story, and does not champion violence for the sake of violence or as something without consequences. As fans, I think it’s important to tell people about the parts of the stories that move us or inspire us to be better people.

In that vein, here are just a few snippets of stories that I think show the goodness, heroic sacrifice, and bravery that is almost always present in comics. (Caution: Potential random STORY SPOILERS BELOW.)

Spider-Man: During the Marvel Civil War storyline, after years of actively and carefully protecting his identity, Spider-man bravely unmasks on national television as a gesture of support for the Superhuman Registration Act, despite his discomfort with the idea and his fear for his loved ones (who he takes steps to protect first). He makes this choice because he thinks, like Iron Man, that the Registration Act is the best way to protect American citizens and the superhero community.

That in itself would be pretty brave, but later, after Spider-Man discovers the extreme and unjust measures that are being taken to capture and imprison “rogue” superheroes whose only wrongdoing, in many cases, was helping people without registering, he switches sides to fight against the Registration Act, even though he nearly dies because of it. That’s an admirable devotion to doing what’s right.

Richard Mayhew: In Neil Gaiman’s Neverwhere (adapted for comics, which is where I first became familiar with it), Richard Mayhew, a young businessman with a steady job, a flat, and a fiancee, stops to help what looks like a homeless woman who is lying injured in the street. Despite his fiancee’s protests, he takes the woman home (she insists he not take her to a hospital) and cleans her wounds. Unfortunately, helping this scruffy woman causes him to become invisible to regular Londoners, and visible only to the “London Below” of which the woman, Door, is a part. Naturally he panics at first, but then he stays with Door to help her escape the assassins who have killed her family and are hunting her down. There is a fair amount of violence and death in this story; but ultimately, it is about a hero’s journey, and helping others in need, and that is the part that stays with you.

Deadpool: Come on, you knew I’d include Deadpool. The ultimate screw-up most of the time, in Joe Kelly’s run, Deadpool is sought out as a predicted savior of the world. After a lot of scoffing, Deadpool finally believes that maybe, just maybe, he can be the hero he keeps trying to be, and throws himself into getting ready for his new role, where he is to destroy a monster who will arrive to stop the Mithras, a being who will supposedly bring good to all mankind.

As it turns out, what the Mithras brings is bliss in the form of a loss of free will; and after agonizing over the choice of giving mankind blissful but blank happiness, or protecting free will, Deadpool defeats the Mithras and saves the world. He is utterly broken by his choice – the fact that he had wanted so badly to be a hero, and yet had still, through his (heroic) choice, brought the continued pain and suffering that goes with free will to the whole world. But he did it anyway, because it was the right thing.

Barbara Gordon (Batgirl/Oracle): In her earlier years, Commissioner Gordon’s daughter trained herself as Batgirl so that she could fight crime like Batman, and she did so for awhile. However, by the time of Batman: The Killing Joke, she is semi-retired, and at home when the Joker comes to the door and shoots her, which causes her to be paralyzed. After spending some time in deep depression (as you would), Gordon rallies and decides to use her mental gifts (such as her intelligence and photographic memory) to help fight crime instead. She develops a complex computer system, uses her photographic memory to read dozens of news sources every day, and turns herself into an invaluable resource for Batman, the Birds of Prey, and other superheroes. She pushes past her own trauma to continue helping others.

Iron Man: During Marvel’s Dark Reign storyline, Norman Osborn (the Green Goblin) tricks the government into thinking he’s a reformed villain, and they replace Iron Man with Osborn as head of S.H.I.E.L.D. To keep the mentally unstable and untrustworthy Osborn from acquiring superheroes’ identities from the Registration Act database, Iron Man destroys all copies, but still has one remaining copy in his computer-like brain. To protect the information from Osborn, Stark, as a fugitive, goes tirelessly from one location to another, deleting the knowledge from his brain bit by bit. He knows this will also lead to the loss of his highly valued intelligence, and will eventually cause brain damage, but chooses to sacrifice himself to protect others. That’s heroic.

Batman: Since I’m not as big a reader of DC Comics, the live-action more immediately comes to mind, and naturally, right now, specifically the Christopher Nolan version – but there is so much to Batman generally, and in Christopher Nolan’s Batman movies, about sacrifice, and bravery, and doing what’s right, that if I threw a dart at the script (or the comic) I’d hit an example. Essentially, Batman’s whole story is about sacrifice – he’s not a superhero with superpowers, but rather just a rich dude who had a tragic thing happen to him. Yet he chooses to turn that experience, and his resources, into something that can constantly help others and his home city, by training his body and mind and developing and perfecting his gadgetry so that he can use both to fight crime. And in the movies, every time he chooses to protect his identity by turning his public self into something neither he nor others would respect; or takes a beating to foil a villain; or what-have-you; he’s showing that it doesn’t take superpowers to be a hero, or to protect and help people.

The above are just a few examples I happened to be thinking of. But comics are so full of examples that if you read almost any storyline you’ll find them in spades. And although as with many stories, sometimes reflections of real-world violence have a prominent place in the storylines, the violence is not the point of the story – the heroism and bravery of the protagonists is. Those things are the things that stay with most of us, and the things that make me and so many others love these stories.

I don’t know why a few of us miss the point, but I am saddened by it, and I am more saddened by this recent tragedy, and whatever connection it may have had to what is, for the most part, the wonderful world of comics. My heart goes out to all of the victims, and to everyone affected by it – which is all of us.

Until next time, Servo Lectio.

WEDNESDAY MORNING: Mike Gold

 

Mindy Newell: It’s All About The Image

The first thing that popped into my mind when I turned on MSNBC’s Way Too Early With Willie Geist – yes, I get up for work “way too early”– and saw, instead of Mr. Geist talking about the Presidential campaign or Jon Stewart’s latest and brilliant riff on the newest foolishness in this nation’s ongoing political foibles, a deployment of cop cars and ambulances flashing red, white, and blue – an ironic picture, actually, now that I think about it – in the parking lot of a movie theatre complex in Aurora, Colorado was, “Oh, shit, now what?”

Then, as I discovered that a mass shooting had taken place at the first showing of The Dark Knight Rises, my second thought was, “Wonder how soon it’ll be before they (the media) connect it to comics?”

Not long.

By the time I got to work, changed into scrubs, and was in the staff lounge sipping my tea and watching the television along with everyone else – which was 6:55 A.M. EDT – FOX News was already claiming that the alleged shooter, James Holmes, had stated that he had done it because “I am the Joker.”

*Note: Never saw or heard this supposed statement repeated on any other TV or radio news show. FOX News stopped running this bit of faux information, but also never retracted or apologized for it.  

“But Heath Ledger’s dead,” said a staff member.

“Oh, shit,“ I said to myself again.  Out loud I said, “The Joker’s not even in this one. Bane’s the villain.”

“Who’s Bane?” another staff member asked me.

“Stupid fucking comic book people,” said another. Then she looked at me and remembered that I had worked in comics and that I write this column. “Sorry,” she muttered.

I bring this up because of Mike’s column.

Yeah, San Diego got a lot of “mainstream” press, but how much of it was about comics? Not much. Most of it, even in Entertainment Weekly, covered movies and television. The stuff that was about comics was of the usual KA-POW! BAM! variety about the fans showing up in costumes. Except for the announcement of a new Sandman story by my friend Neil (Gaiman), which made the pages of the “old grey lady,” i.e., the New York Times.

It doesn’t surprise me that the Times got the story of the origin of comics publishers and creators’ rights wrong.  The paper also got it wrong when it did a story about Gail Simone being the first woman to write Wonder Woman.  Gail called me to apologize, saying that someone (I forget who) had told her “you’re not the first, Mindy Newell was.” She also told me that she tried to tell the reporter this, but that the reporter didn’t want to hear it.

“Of course,” I said. “Because if DC admits you weren’t the first woman to write Diana’s stories, then where’s the publicity for DC, and where’s story for the New York Times to print?”

The point is that the story about Image was a publicity thing, Mike. Their P.R. department did their work, and the New York Times picked up the story. And if – that’s a big if – the Times reporter did his due diligence, as a good reporter should, and discovered that ‘the creators’ rights movement on a publishing level started with Denis Kitchen and his fellow underground comix providers and that ‘the actual creators’ rights movement pretty much started…when folks like Will Eisner, Bob Kane, William Moulton Marston and Joe Simon and Jack Kirby negotiated their own deals with the existing publishers and retained certain rights and/or received cover billing and/or creator credit and/or royalties and that First, Eclipse, Comico, Now, Malibu, and the rest – took all that several steps further. Creators received certain ownership rights, cover billing, creator credit and royalties,’” and if that reporter took this information to his editor, and if his editor had given the go-ahead to write all this…

Well, then, where’s the story about Image?

Well, yeah, the story could have still been about Image, and about how it’s following in the steps of its predecessors, but that not what the P.R. department of Image started.

And also, imho, the Times would not have cared about Image’s twentieth anniversary except for two things: The Walking Dead being such a huge hit on AMC, and the award-winning (rightly so) Neil Gaiman’s much publicized lawsuit with Todd MacFarlane.

‘Cause it’s all about the image.

And just for the record (and this has absolutely nothing to do with Gail herself)…

That article about Gail being the first woman to write Wonder Woman?

It really pissed me off.

TUESDAY MORNING: Michael Davis

TUESDAY AFTERNOON: Emily S. Whitten

 

Six Most Important Comics Stories From San Diego Comic-Con

comicmixsix600-550x121-2506163

We’ve all had a chance to recover and step back a bit, and we can now look at what are the most important pure-comics stories out of San Diego Comic-Con. (No, not movies, or movies based on comics, or video games based on comics, those are all for other posts.) So what are the ComicMix Six Comic Stories from Comic-Con International?

1. Neil Gaiman returns to write “Before Sandman”.

Neil Gaiman is returning to his most famous comics creation, The Sandman, one more time, for a prequel miniseries to be released next year to be drawn by J.H. Williams (Promethea, Batwoman). “When I finished writing THE SANDMAN, there was one tale still untold. The story of what had happened to Morpheus to allow him to be so easily captured in THE SANDMAN #1, and why he was returned from far away, exhausted beyond imagining, and dressed for war. It was a story that we discussed telling for SANDMAN’s 20th anniversary… but the time got away from us. And now, with SANDMAN’s 25th anniversary year coming up, I’m delighted, and nervous, that that story is finally going to be told,” said Gaiman.

Get More: MTV Shows

SDCC: CBLDF’s Comic-Con Welcome Party!

Kick off Comic-Con with the greatest stars in comics to celebrate 20 Years of Image Comics and the power of free expression at the Comic Book Legal Defense Fund’s Comic-Con Welcome Party! Starting at 8:00 PM on Thursday, July 12 at the Westgate Hotel, the CBLDF Comic-Con Welcome Party is jam-packed with amazing people and cool stuff! This party is sponsored by Image Comics, TFAW.Com, Black Phoenix Alchemy Lab, & Threadless!


Experience Creativity with Image Comics greats including:
Ales Kot, Amanda Conner, Ben McCool, Ben Templesmith, Brandon Seifert, Charles Soule, Chris Giarrusso, Cory Walker, Dan Brereton, Darick Robertson, Deborah Vankin, Dexter Weeks, Dirk Manning, Edwin Huang,Eric Shanower, Eric Stephenson, Erik Larsen, Gerry Duggan, Glen Brunswick, Jim Mahfood, Jim McCann, Jim Valentino, Jim Zub, Jimmy Palmiotti, Joe Keatinge, John Layman, Joshua Hale Fialkov, Joshua Williamson, Kody Chamberlain, Kurtis Wiebe, Mark Poulton,Matt Hawkins, Michael Moreci, Moritat, Nate Bellegarde, Nathan Edmondson, Phil Noto, Richard Starkings, Ron Marz, S. Steven Struble, Scott Tuft, Sina Grace, Steve Seeley, and many more!

revival-cover-low-res-195x300-1364256Get The Exclusive Goods: Free gift bag, featuring a CBLDF party exclusive edition of Revival #1 by Tim Seeley & Mike Norton from Image Comics, and other special thank yous from CBLDF supporters including Valiant and Threadless!

See The World Premiere of “The Day The Saucers Came:” Be the first to see the latest Comics-On Tees from Threadless featuring Neil Gaiman’s “The Day The Saucers Came,” featuring artwork by John Cassaday, Brandon Graham & Ben Templesmith at a special fashion show! Get your tees straight from the source at the party!

Smell Awesome At The Black Phoenix Alchemy Lab Trading Post: BPAL will make their only Comic-Con appearance at the party, setting up a one-night only display of fragrances, including the world premiere of new fragrances based on Neil Gaiman’s Coraline!

Check Out The Amazing Items In CBLDF’s Comic-Con Auction, sponsored by TFAW.Com & Valiant Comics:
Check out all the amazing original art up for grabs at Saturday’s CBLDF Comic-Con Auction live!

Come support Free Speech and experience the best of Comic-Con at the CBLDF Comic-Con Welcome Party Thursday at the Westgate Hotel, 1055 Second Avenue, San Diego, CA 92101 from 8 PM to 11 PM! This party is FREE for CBLDF Members. Non-Members, suggested $10 – $20 donation at the door, please.

ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.

ABOUT THREADLESS
We’re awesome people from all over the world who make mind-blowing art. Our process starts when a great idea is born in an artist’s mind. (That could be you, that could even be your grannie!) The artist submits their idea to our site, where our community of 1.5 million debates, discusses, and votes on that idea. If the idea gets a really good score, we make it into a tee, tote, hoody, or tube sock. (That last one isn’t true… yet.) Then, as long as folks keep buying that product, we keep rewarding that artist with loadsa money, prizes, and exposure. So people who buy from us support great artists and their great ideas. Neat, huh? Join us at Threadless.com. Threadless ~ Make Great Together.

ABOUT THINGS FROM ANOTHER WORLD
Founded in 1979, Things From Another World is the premier retailer of comics, toys, collectibles, and pop-culture geek goodness, both in Portland, Oregon and online at http://www.TFAW.com.

ABOUT BLACK PHOENIX ALCHEMY LAB
We specialize in formulating body and household blends with a dark, romantic Gothic tone. Our scents run the aesthetic gamut of magickal, pagan and mythological blends, Renaissance, Medieval and Victorian formulas, and horror / Gothic-themed scents. By utilizing our knowledge of homeopathy and aromatherapy, the conceptual theories of hermetic alchemy, and the aesthetic artistry of perfumery, we have mastered the art of encapsulating allegorical ideas into singular olfactory experiences. We are the first of our kind, and have over fifteen years of practical experience in the field. Our expertise shows.

We pride ourselves on the artistry of our products, and our skill in their creation. All of our products are hand-blended here in our laboratory. Integrity and dedication is vitally important to us, and we do our best to provide the best possible product and slavishly good service to all our clients.

ABOUT THE COMIC BOOK LEGAL DEFENSE FUND
Comic Book Legal Defense Fund is a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community of retailers, creators, publishers, librarians, and readers. The CBLDF provides legal referrals, representation, advice, assistance, and education in furtherance of these goals.