Tagged: Suicide Squad

John Ostrander’s Big Coming Attractions

Spectre

Having written last week about the movies I saw this last summer and really enjoyed, I might as well this week talk about what’s coming up in the movie theaters between now and the end of the year. Which ones look interesting and which ones I’m really looking forward to.

The latter is the easiest to identify – Star Wars Episode VII, The Force Awakens – and the next entry in the James Bond saga, Spectre.

Star Wars is a gimme. I’ve been a Star Wars fans for a loooooong time and I labored in George Lucas’s vineyard for about ten years, doing a passel of comics. Yes, those are now in the process of being taken out of continuity but, OTOH, they were never A Canon, which meant Lucas could disregard them at any moment.

The Force Awakens is going to do what I really wanted after Episode VI came out – it’s going to tell me what happened next. When I really like a story, that’s always what I want – what happened next. GL decided to go back and do a prequel about how we got to the start of Star Wars. Okay, that’s what interested him but not me so much.

Oh, and he dicked around with the whole “Did Han shoot first?” question. It was never a question until Lucas dicked around with it: Han shot first. Why he needed to dick around with that, I don’t know. His first answer was the correct one. However, I’m wandering off topic.

How interested I will continue to be with the Star Wars franchise will depend on this next movie, but there is no question I’m going to see Episode VII.

The other big film in the fall season is the next James Bond movie, Spectre. I’ve become a big fan of Daniel Craig as Bond; in fact, I will go so far as to speak heresy and say he is now my favorite Bond. (I hereby apologize to my buddy, Kevin Hatch, but there it is.) The last Bond film, Skyfall, cemented that for me. The director on that, Sam Mendes, is back with Craig for Spectre which evokes the organization that was Bond’s usual Big Bad. This might be Craig’s last outing as Bond and, if so, will make it all bittersweet but also something I absolutely must see.

There are other films that have attracted my attention for one reason or another. None of them are anticipated with quite the same fervor for me of the Star Wars and the Bond entries but they have caught my eye. The ads for The Intern look interesting. Anne Hathaway with Robert De Niro as a widower/retiree who becomes her intern on her company. The two seem to play together well and it looks entertaining.

Black Mass looks as if Johnny Depp has remembered he can act instead of just messing around and that interests me. The Martian has Ridley Scott doing sci/fi again with Matt Damon as his lead. That’s a combination I find attractive. Likewise, Bridge Of Spies has Steven Spielberg directing Tom Hanks in a spy story. I could go for that.

Carol, with Todd Haynes directing Cate Blanchett and Rooney Mare, in a 1950s piece by Patricia Highsmith about a lesbian romance. Doesn’t sound like my usual cup of tea but the combination of story and artists makes it intriguing. I wish I could say I was chomping at the bit to see The Hunger Games: Mockingjay – Part 2 but I haven’t seen Part 1 yet so it’s not high on my must-see list. Trumbo, on the other hand, is about the famed screenwriter blacklisted in the 50s for (allegedly) being a Communist sympathizer and that one I do want to see. There’s also a version of Frankenstein coming out with James McEvoy and Daniel Radcliffe that seems to be calling to me. Maybe. I want to see some reviews first.

Tina Fey and Amy Poehler are doing Sisters and the title and those two actresses are enough to catch my attention. Oliver Stone is directing Jason Gordon-Levitt in Snowden, the story of the NSA whistleblower Edward Snowden. Could be interesting.

And that brings us to the end of the year and the dawn of 2016 and the film I really want to see next year is, of course, Suicide Squad. However, I’ll try not to get ahead of myself.

There may be other films that I discover as we go along. Some I won’t need to see on the big screen; some will work just as well on my TV. Some will be disappointments, some will be surprises. And your list may vary.

In the meantime, I’m popping the popcorn.

 

John Ostrander: Savaging Barbara Gordon

Barbara Gordon

Warners has announced that they are making an animated feature of Batman: The Killing Joke, the 1988 one-shot by Alan Moore and Brian Bolland. Central to the storyline is The Joker shooting Barbara Gordon at point blank range with a large caliber handgun, then savaging her (she is later seen with welts and bruises all over her face), ripping off her clothes, possibly raping her, and photographing her. Some consider it a classic. Others are asking how they can make an animated feature that’s true to the story and more are asking why they are doing it.

The “why,” I think, is pretty obvious – the book made money, evidently continues to do well on the backlist, and the powers that be are presuming it will sell well as an animated feature. They are probably not wrong.

I’ve read many comments on the idea online including female members of the comics community and all the comments I’ve read are disgusted with the idea of the comic as well as the announced animated feature.

At the time that Batman: The Killing Joke was released, I was co-writing Suicide Squad with my late wife, Kimberly Yale. Don’t get me wrong; I was and I remain a big fan of both Alan Moore and Brian Bolland. Individually and together they have done stunning work. Moore is one of the giants of the comic book industry. He is, IMO, a better writer than I am and I don’t say that about many other writers (I have a very healthy ego and opinion of my own work, thank you very much). That doesn’t mean he can’t go wrong and I think that Batman: The Killing Joke went wrong.

In the controversial scene, there is the ring of a doorbell at the apartment of Commissioner Gordon. Barbara, all smiles and virtually going “tee hee,” goes to answer it. I should mention there is no chain on the door, no peephole to check who is in the corridor. There is evidently no policeman on guard duty in the hall. This is Gotham City, home of costumed psychopaths, and needs a vigilante dressed up as a bat to control the criminal population. James Gordon is the Commissioner of the Police and there are no safety measures where he lives?

Barbara opens the door. Barbara has been Batgirl and faced some of the costumed psychos inhabiting Gotham. She’s a grown woman who, in her own continuity, had been a congresswoman for at least one term. And yet she just flings the door wide open like a silly ninny.

There stands The Joker and he has a large caliber handgun. He shoots Barbara somewhere below the middle. From the angle, Kim and I thought it was the spine although others think he actually shot her in the uterus. He then rips off her clothes, beats her, takes pictures of her (while her father, off panel, is held motionless by The Joker’s henchmen), and possibly rapes her. Kim and I felt that was strongly implied but, to be fair, it was not directly shown.

I know women who have been assaulted. I know women who have been raped. That’s heinous enough but can you imagine what it would be like to have been shot, to have your spine broken, and then to be sexually assaulted? The pain, the horror – I can’t dwell on it too long.

Kim and I discussed it. To have been shot at the close range, to have your spine shot out, should have killed Barbara. If not, Kim thought severe sepsis would have set in and Barbara would not have survived. However, in the story, she does. That’s a given.

I should point out that the cover has a close-up of the Joker aiming a camera at the reader and saying, “Smile.” In that context, the only possible interpretation I can conceive is that the reader, the viewer, is Barbara as she lay on the floor, after she had been shot, presumably after she had been violated.

How does that feel?

The Bat office was done with Batgirl at that point. Barbara no longer fit into their plans. Kim and I asked if we could have her and we were told that. So we re-created her as Oracle. To us, it was important that the act have consequence. We didn’t want Barbara to magically recover. Given the violence she had endured, we felt she would be paralyzed from the waist down and in a wheelchair. However, we felt she could still be a hero.

It was a given in Barbara’s continuity that she was also a computer wiz. I mean first class. So we gave her banks of computers and made her the info wizard of the DC Universe. It started in Suicide Squad with her advising Amanda Waller, although we didn’t reveal Oracle’s true identity at the beginning. We left clues and, eventually, we showed it was Barbara.

Kim and I felt that, if we did the job well, Oracle could become an important part of the DCU. It solved writing problems for other writers; how did their protagonist learn a necessary plot point? They went to Oracle. She went on to become a valued member of the Justice League and led the Birds of Prey in their own book.

The last story that Kim and I worked on together before she died was Oracle Year One, drawn by the wonderful Brian Stelfreeze. We showed that year as Barbara made the transition from broken hero to dynamic Oracle. She became a strong and much loved icon for the disabled community. In making her a hero again, Oracle allowed others to heal with her. The reader healed with her.

Eventually, DC returned Babs to Batgirl status. Her spine was healed. Gail Simone was offered the job and she took it; she knew they were going to restore Barbara whether she wrote the series or not. She could, and did, make the events of the Killing Joke and Oracle a part of Barbara’s backstory; it wasn’t just forgotten.

It has been suggested that someone else could become Oracle but, to my mind, that wouldn’t work. You can’t just put anyone else into that role. It was the fact that she had been Batgirl, that she was Jim Gordon’s daughter, that she had her own long history, that she suffered the events of The Killing Joke – however heinous – all contributed to who she was. I don’t think anyone else but Barbara could be Oracle for the character to have any meaning.

I don’t know how all that gets fitted into an animated feature. I’m also not sure what parental response will be. It’s Batman, it’s Joker, it’s a cartoon. Great for the kiddies, right? Except this sure won’t be Frozen. If they change what happens to Barbara, I’m not sure it will be The Killing Joke either. If it’s not, why bother?

Oh, right. It’ll make money.

 

 

Marc Alan Fishman: Marvel – Make Em’ Laugh. Make Em’ Laugh!

Ant-Man

Howdy ya’ll. I’m back from Nashville. And you know what they say about Music City: What happens in Music City, stays in Music Ci… wait, no, they don’t say that. Feh!

It was a day-job convention. It was exhausting. It was very much not about comics, pop culture, or anything fun. But since ya’ll wanted to know, I saw Barbara Mandrell’s mansion and it was everything I expected it to be. Isn’t this cool, kiddos? I’m not even one paragraph in, and I already need to utter ComicMix’s favorite catchphrase, stolen directly from Peter David… But I digress.

So this past weekend I was able to enjoy Marvel’s latest movie, Ant-Man. And I emphasize how much I enjoyed it. Amidst a well-balanced story that juggled the motifs of loss, fathers and daughters, mentorship, and morality, there was an underlying current of pure joy that rooted the near-two hour run time with positivity. This spat in the face of the pre-movie trailer roll, which included Fantastic Four, as well as both the teaser and full trailer Batman v. Superman: Dawn of Justice: Brow Furrowing: I Hope You Bleed: Don’t You See How Much I Care? It leaves me dumbfounded and baffled to ask this – have Warner Bros and Fox simply not paid any attention to Marvel Studios for the past seven years?

Ant-Man, much akin to nearly every other movie in the Marvel Movieverse, ensured that laughter permeated the periphery of nearly every scene. When wonderful things happened, a quip wasn’t far behind. When things got awkward, Paul Rudd’s Paul-Ruddyness broke the tension. And when the world needed to be saved, grimaces were grimaced, long enough to solve the problem. And then, on with the yuck-yucks. This is as it was in Iron Man, Guardians of the Galaxy, and Avengers (1 more than 2). By the time Thomas the Tank Engine was ramrodding YellowJacket in the mush, I’d realized I’d not frowned once. My usual resting bitch face ached from the corners of an upturned mouth – a feat only last realized when Captain America: Winter Soldier was on free cable while I was in Nashville.

It begs me to ask: who here caught themselves smiling during Man of Steel? Who caught those sneak peaks of Batman v. Superman or Suicide Squad, and rocked back and forth in their chair with glee (save perhaps for our own John Ostrander, who is given a pass while The Wall is given quality screen time and played by a wonderful actress)? The only time we may have had the slightest guffaw might have been when Lex “Not the Facebook Guy” Luthor cackled that “the red capes are coming.” Suicide Squad‘s trailer did elicit a chuckle from me – but only when I was snarkily grimmacing at Will Smith’s Men In Wild Wild West Robot Independence Day impression of himself. And the less I say about the dark nightmare that Fantastic Four is to be the better.

In all of these cases I simply can’t understand the logic, or the lack there of. Marvel has been killing the box office with each outing. Paired with a ton of licensing deals for merch, streaming contracts, and cable air-play, it’s literally the cash cow they can’t stop milking. Every new movie could spin-off a trilogy. And with Agents of SHIELD and Agent Carter making dub-smash videos showcasing that even on TV Marvel can’t stop having fun… it’s starting to become ludicrous to me that the others in the same space seem to think that the polar opposite must be the key to hidden treasure.

Forgive me if I get a bit philosophical before I wrap this up. More often than not, we turned to the funny books with the capes and cowls because they were fun. And while the industry at large grew darker over time – at the core, the fun remained.

And now, even amidst massive hits like the Walking Dead or Crossed (which is about as bleak as they can get), you can’t shake a stick without hitting brilliant explorations of innocence and joy. Beneath any layers of dread, angst, or fear, our pulp roots cling hard to the light in the world. Superman is, was, and will always be a symbol of hope. To yoke that with the sadness and pain of reality – and then double down with a dour and fighty Batman – is to celebrate those things that simply get in the way of how we want to feel when our heroes are given the opportunity to become that much more real.

If DC (and Fox) can’t see the forest for the trees… all they have to do is lighten up. Forgive me: Someone get those Pepsi-drinkers a god-damned Coke, and let them really taste the difference. There’s a reason why 7-Up ain’t even in third place, kiddos.

 

John Ostrander: Stripping Down

Suicide Squad Viola Davis

Okay, I saw the Suicide Squad trailer that was “leaked” from SDCC and then the HD version a day or so later. I loved what I saw – particularly Amanda Waller. Viola Davis has the look, the sound, and most important, the attitude. Much of what she says at the start of the trailer sounds like it was taken from my proposal or one of my scripts. Yeah, I’m very happy.

As for the rest of the Squad, I can’t really say yet but if the whole thing mirrors their use of Waller, I think we’re going to get as close to the comic version of the Squad as a movie can get.

Mind you, I’m anticipating there will be changes. Comics and movies are different media with different needs and demands and so they will interpret the material differently. My main question for the Squad and any other comic book movie is will they get the essentials right?

When I say “essentials,” what do I mean? It’s not necessarily the costume or even the powers. It’s what defines them, what makes them different from other characters. When Tom Mandrake and I took on DC’s Martian Manhunter, we had to determine what made him different from Superman. They shared many of the same powers; in fact J’onn J’onnz had a few that Kal-El was missing. What was the essential difference? Tom and I determined it was that Kal-El came to earth as a baby and was raised in Kansas; he was raised human. J’onn was raised among his own kind on Mars and came to Earth as an adult. He is an alien from an alien culture. That was a fundamental difference in the two characters; something that was essential.

And something unique.

Stan Lee was recently asked about whether or not Peter Parker could be gay or if some minority could become Spider-Man. “There’s no reason not to,” he replied. “The only thing I don’t like doing is changing the characters we already have. For example, I’d like Spider-Man to stay as he is, but I have no problem creating a superhero who’s homosexual.” That, I think, is a reasonable answer. When Static was created, Milestone had their own Peter Parker who was not at all Peter Parker. Just as good but different, yet in the same mold.

What about the Green Lantern Corps? How are they unique? Everyone has the same ring, roughly the same uniform, and all take orders from the same little blue men. Again, it’s not the weapon or the uniform that makes someone unique. It is essentially who they are. It’s like a good war movie; they are all soldiers but each member of the squad is different. That’s their essence.

We’ve seen a lot of shuffled identities lately. Sam Wilson is now Captain America and not Steve Rogers. Before that, Bucky Barnes was Captain America instead of Steve Rogers. I think that’s a mistake. It’s not the uniform and the shield that define Captain America; it’s who Steve Rogers is. It’s who he is that makes Captain America and that’s what the films have gotten. Steve Rogers is the essence of Captain America.

I’m not saying never create new versions of old characters. I’ve done it. But the characters were moribund or dead. When Tom and I created a new version of Mister Terrific, we kept very close to the origin of he first Mister Terrific. We were true to the myth.

As Tom and I work on Kros: Hallowed Ground, we’re dealing with vampires and what we are exploring is what is essential to a good vampire story. Our basic take – they’re monsters. Not misunderstood gothic romantic figures or a different species just trying to co-exist on the planet. They’re monsters. So also might be our protagonist – Kros.

Sometimes you have to strip away the barnacles and crap that’s built up and get back to the essence of a character or a concept. That’s my approach when I’m given a character to write – what is their essence, why do we want to read about this character as opposed to another?

For me, that’s the job.

 

John Ostrander: Paving The Way

Kevin KellerFriday was a landmark day for this country. The Supreme Court effectively said that same sex marriage was legal in all 50 states. In doing that, they reflected the views of American citizens: 63% of us have said they think same sex marriage should be legal. It’s been a majority opinion since 2010 when a CNN poll first reported it.

This would have been unthinkable just a few years before that. Part of the change is due to our own pop culture. Depictions of LGBT individuals have proliferated over the years. Think of the uproar when Ellen DeGeneres came out as a lesbian back in 1997 with her character on her sit-com, Ellen, also coming out a short time later. The uproar that followed!

Contrast that with her talk show that started seven years later. She has also hosted the Academy Awards, the Grammys, and the Primetime Emmys. She’s been a hugely successful stand up comedienne. She was the voice of Dory in Finding Nemo. She’s beloved today.

And she changed peoples’ perceptions of LGBT. She was in peoples’ homes, in their living rooms, on the TV. TV is a member of the family in most households and, by extension, so are the people who are on it. She wasn’t alien; she was human and she made us recognize that.

In 1998, Will and Grace premiered on NBC starring Eric McCormack and Debra Messing as a gay man and his straight female friend. (McCormack, it should be noted, is not gay; that’s why they call it acting, folks.) It was hugely successful during its eight seasons. And it dealt with many LGBT issues, dramatizing them for the American audience. It made people aware of LGBT people and the fact that they were people. The sexual orientation might be different but so many other concerns and likes mirrored everyone else.

In 2003, Queer Eye (for the Straight Guy) debuted in which five gay men would do a make-over of a straight man, including where he lived, what he wore, what he ate, how he looked, and even how he acted. Some felt the Fab Five (as Ted Allen, Kyan Douglas, Thom Filicia, Carson Kressley and Jai Rodriguez were collectively known) were stereotypes and it’s true that the show never got into the Fab Five other than their on-air personalities. Nor did we see them with significant others.

I think that misses a big point. Queer Eye, like the other two shows, was welcomed into the general public’s living room. So many people didn’t know anyone who was gay (or didn’t know that they knew someone who was gay) suddenly knew a few. And liked them. And weren’t threatened by them.

They – as well as Ellen and Will and Grace – also gave to other LGBT, including young ones, people to admire and look up to. Someone to identify with. They were no longer alone.

There have been gay and lesbian characters in comics, though not as prevalent as other media. I worked in some gay issues and characters in both The Spectre and Suicide Squad. In the latter, a mechanic in the support team for the Squad (Mitch Sekofsky) was a gay father.

There have been LGBT characters at different companies. Marvel has had Northstar, Wildstorm/DC has Midnight and Apollo, Batwoman, Rene Montoya, and many others. Archie Comics (Archie Comics?!) famously introduced an openly gay character in Kevin Keller in his own mini-series and digests and the issue where he got married to his boyfriend sold hugely. The Buffy comic series, following up on the very popular TV series has several lesbian characters. Buffy herself experimented in a one-night stand with another woman.

There have also been any number of open LGBT creators, artists, and writers in comics. Some, like Howard Cruise, have openly explored gay themes in their work. Others simply work in comics and write all kinds of characters with all kinds of themes. Their life experience, who they are, informs their work, as my life experience informs mine. That’s called being human.

Pop culture has had a significant role in changing public perceptions of LGBT. Not perfectly. Pop culture more often reflects public perception rather than shapes it. However, it can open eyes, not by confronting but rather by showing us that LGBT people are, well, people like you and me.

 

John Ostrander’s Story Behind the Story

Suicide Squad

There’s a lot of attention focused on the Suicide Squad, what with the movie being filmed right now and coming out next year, and, yes, it’s based on the version of the Squad that I created back in the 80s and, yes, I should see some money for the use of Amanda Waller (not the Squad per se since it already existed in another form in the DCU) and that’s all pretty cool. Might as well tell my version of how this all started and give some credit where credit is due. You may have heard/read some of this before but I’m at the age where repeating stories is de rigeur so let’s do this.

My first shout out goes to Robert (“Bobby”) Greenberger who was our first editor on the Squad. I had met Bob at several conventions and while waiting in airports afterwards for our respective planes. I was working only for First Comics at that point; I hadn’t yet moved up to the major publishers. Bob and I got along really well and he broached the idea of my doing some work for DC. I was perfectly amenable and we started talking what I might do.

I loved the title “Challengers of the Unknown” which was lying fallow at the time. I considered, then and now, that this was one of the great titles in comics. All by itself, it conjured up possibilities. Really cool.

Unfortunately, someone else had already grabbed it for development so it was off the table. Then Bob suggested “How about Suicide Squad? It only appeared for five issues of Showcase a million years ago and nothing is being done with it.”

My first reaction? What a stupid name! Who in their right minds would belong to a group that called itself Suicide Squad? And just as I was dismissing the whole thing, an answer struck me: the only ones who would join would be those who had no other choice. Who doesn’t have any other choice? Folks in prison. Supervillains who’ve been caught. How do they get out of prison so fast? The Squad.

I thought about the Dirty Dozen and Mission: Impossible and The Secret Society of Supervillains, a DC title that teamed up loads of supervillains. I loved that. So the idea was to have a team of supervillains, rogues, enrolled by the government to take on secret missions deemed in the U.S. national interests. If caught they could be disavowed easily; they’re bad guys running around doing what bad guys do. If they die, who cares? They were bad guys. If they succeeded and got back alive, they would have time shaved off their sentences or outright freed.

It would also give us a chance to see the villains as competent and even deadly in their own right. Make them dangerous. For the missions, I’d comb newspaper and magazines for real world ideas. In fact, our first issue had a super-powered terrorist group attacking an airport while Air Force One was landing. I doubt I could get away with that today.

Bob suggested we also have some superheroes in it as well; not A list or maybe even B list. I was resistant at first; I wanted it to be all bad guys. Bob was insistent and it turned out he was right.

I wanted B-listers because I wanted to be free to kill any of them off. I wanted the missions to be dangerous; in all other comics, you knew the heroes were coming back alive because they had to be there for the next issue. Not with the Squad. We could kill them off with impunity. And we did. Always added to the suspense of the story – you never knew who was coming back alive.

To run the group I created Amanda Waller, a.k.a. The Wall. Tough as nails, heavy set, middle aged, bad attitude, African American woman. Why? Because there had never been anyone like her in comics before (and there hasn’t been since). Actually, she was based on my paternal grandmother who scared the bejabbers out of me when I was a kid. One glare and that was it; whatever I was doing, I stopped, even if I wasn’t really doing anything.

Bob also brought in Luke McDonnell as our artist; Luke had just finished some Justice League and was looking for another gig. Luke had (and has) great storytelling and real good character skills. Not flashy but that suited the stories we were telling. Bob also added Karl Kesel as our initial inker. Karl was a hoot; he was brimming with ideas and I’d get what I would call “Kesel Epistles” where he would share his notions. I used some but always encouraged the participation; I figured that was the best way to make a good team. Let everyone have a say if they wanted it.

We picked our members and I wanted the ones that no one else wanted. Deadshot had a cool name, a really stupid costume when he first appeared that Marshall Rogers later revamped and made really cool, and only a few background facts. He was technically a Batman villain but the Bat office said they didn’t want him so I was free to give him a backstory and a bit more of a character.

Captain Boomerang was a Flash character but the Flash had also just been revamped as a result of Crisis on Infinite Earths and, at that point, the Flash office was no longer using the rogues. Bob suggested we use him and, at first, my reaction was, “What a stupid character.” (I really needed to learn not to do that.) However, I decided to make him like the character Flashman in the Flashman series of historical novels by George McDonald Fraser. Boomerang was an asshole but he knew what he was and liked it. Every time you thought he could sink no lower, he’d find a new level. He quickly became one of my favorites.

Bob also got us an issue of Secret Origins for the same month as our first issue so we could use background material; and reference the original Squad(s).

This is when Mike Gold stepped in, Mike is an old old old friend, my former editor at First Comics, and the one who gave me my first shot as a comic book writer. (Yes, it’s all his fault – unless you like my stuff in which case it’s all due to me.) He had gone over to DC and was intent on taking some others with him, including me. Mike got me a shot at plotting the first company wide crossover since Crisis, which we called Legends. Mike felt it would be a good idea to include the Squad in it for their first appearance since lots of attention would be drawn to the series. Among other things, John Byrne would be drawing it – his first work at DC after leaving Marvel.

Of course, I wasn’t sure. (Notice a pattern here?) I didn’t want the Squad getting lost in the shuffle. They weren’t, and we had a great launch.

At some point into the Squad’s run I brought in my wife, Kim Yale, as co-writer. Kim was a very good writer in her own right and she complimented and completed my work with the Squad. To say it wouldn’t have been the same book without her seems obvious and trite but it is also true.

Bob eventually moved on to other work at DC and new editors took his spot although none could take his place. His love of the Squad and his enthusiasm for it shaped the book from the beginning and it would not have existed without him, or Mike, or Luke, or Karl, or Kim. Did it change comics? Beats me but we told some damn good stories and now they’re making a movie out of it.

Not bad for a series with such a damn stupid title.

 

John Ostrander: It’s always Halloween at the Con

Before I was a professional comic book writer, I was a fan. I still am. I was going to comic cons long before I turned pro. Some are good, some are not so good, and some are the San Diego Comic Con which is too large to fit into any category. For me these days, cons are mostly working weekends where I meet with fans and fellow pros, sign some autographs, maybe sell a few of my trade paperbacks.

Last weekend, I and My Mary were at the Motor City Comic Con in Novi, Michigan, and we had a great time. It’s close enough to where we live so that we could just drive there and the Con gave us a hotel room so we didn’t have to drive back and forth. The cats weren’t pleased that we were gone but they survived and, once we fed them, forgave us our absence.

Last time I had been to Motor City was maybe a decade ago and it has really grown. My understanding is that they had over 50K attendance over the three days this year. It was large but not too large and, while it had a nice selection of media guests, it was still a con focused on comics.

I managed to make contact with some old friends such as Jim Calafiore (we worked on Magnus, Robot Fighter together) and current ones such as Chris Scalf (we have a new project we’re working on). I also met Mike McCone, with whom I had done one of my favorite Batman stories (a three-parter in Detective) but whom I had never actually met. (Comics are often like that; you work with someone but you may not actually meet them in the process.) Arvell Jones was at the table next to mine along with his family; really nice folks and a pleasure to meet them.

One of the media guests was Michael Rowe, who played Deadshot on Arrow when the Suicide Squad appeared there. I thought it would be interesting to go up to his table, introduce myself, tell him I had defined Floyd Lawton in the comic. Surprise! He showed up at my table first. He knew exactly who I was and told me he had read everything I had written on Deadshot and used that as the basis for the character he played.

I knew there was a reason I liked his version.

He was really nice and actually had me sign some of his comics. That can make your head spin around. I remembered the movie Stranger Than Fiction in which a writer discovers a character she is writing is real and they meet face to face. I’m not sure I would want to do that, given what I’ve done to a lot of my characters – especially Deadshot – so meeting Michael was a little surreal but very pleasant. He didn’t hurt me at all!

There were a couple of things that really struck me about the Con. One was not only the number of cosplayers present but the overall quality of their costumes. I know some folks are not all that keen on cosplayers at cons; some actually want them banned. For me, I really like what they add visually to a convention. It becomes like a great Halloween party.

The 501st Legion was well in evidence and they always have great costumes. I got to meet and chat with Thomas John Spanos who I first met when he was cosplaying Ganner Krieg, an Imperial Knight that Jan Duursema and I had created for Star Wars: Legacy. This time out Thomas was in his Clone Emperor incarnation. Really nice guy. I’ve been struck by his artistry and talent and attention to detail, something I find in all of the 501st members and the cosplayers in general that I saw last weekend. For example, I saw a really well done Groot posing for pictures, especially with kids who were thrilled.

Which brings me to another thing that really struck me about the Con – the number of kids I saw there, from very small to teens. About ten years ago, I saw a drop in kids at Cons and that worried me. It seemed they were all going to video games. I felt that wasn’t good for the Comics Industry. The kids are where the next generation of readers would come from and I was afraid we had lost them. I personally think that unless you start reading comics by a certain age as a kid, you don’t get into them and they’re never going to be a part of your life.

What’s changing that? Less the comics themselves with all their relaunches, new directions, and crossover events than the movies and TV shows based on comics. (They may also be more coherent and accessible than the comics.) In any case, there were a lot more kids at the show than in the past and it’s amazing how many of them were cosplaying as well.

One last thing about a Con the size of Motor City; while I was pretty busy autographing books and doing interviews, I still had time to chat with those who came to my table and I really like that. I managed to tell a lot them about the new project Tom Mandrake and I are getting ready to launch and don’t worry, I’ll be telling all of you as well when the time comes. The fans and I talked about what I’ve done in the past and hope to do in the future. I am so appreciative of the support that the fans have given me and my work over the years. Thank you.

So it was a good time and more than just a “working weekend.” I hope to do more Cons in the future and, if I do, come by and say “hi.” I give good blather, I think you’ll find.

 

John Ostrander: We Eat Our Own

A recent Internet brouhaha occurred when some feminists attacked Joss Whedon after the opening of Avengers: Age of Ultron claiming he was a misogynist, etc, for his portrayal of Black Widow in the movie. I haven’t seen the movie yet – I may be one of a handful in the world who hasn’t – so I can’t comment on it although given Whedon’s track record, I am skeptical.

When Whedon closed his Twitter account, the Internet went crazy and charged he was chased off by “militant feminists.” Again, I was skeptical. Whedon himself later stated “I just thought, Wait a minute, if I’m going to start writing again, I have to go to the quiet place, and this is the least quiet place I’ve ever been in my life.” That’s true of the Internet in general, by the way. A great tool but also a great temptation for wasting time.

This practice of attacking our own is not new. Will Smith playing Deadshot in the upcoming Suicide Squad movie, has been attacked by some as being too lightweight for such a stoic badass character. This ignores the work he did in such films as The Pursuit of Happyness or the minor role he had playing the devil in Winter’s Tale. Serious characters, well played.

Ben Affleck as Batman/Bruce Wayne in the upcoming Superman vs. Batman: Dawn of Justice? According to sections of fandom, heresy! They said the same thing about Michael Keaton waaaay back before his first Batman film. When I was writing GrimJack at First Comics, we got a letter from someone who said I should leave the book and let other writers do the character because I wasn’t up to this letterhack’s standards. That may explain a certain lack of sympathy I have for these type of fans.

It’s not everyone in fandom. They can, however, be a vocal segment of fandom. Often an angry and strident voice in fandom. They seem to have (or think they have) a Fan Early Warning system (or F.E.W.s), a sort of Spidey-Sense that starts tingling when they sense something wrong (especially in casting) in an upcoming project, especially film. There is a certainty that they are right, a vitriol that accompanies the attack, and an unwillingness to hear any other point of view. It isn’t what they wanted, it isn’t how they would do it, it’s not how they see it and so it is wrong. No debate, end of story.

Does it matter? It is a small minority, after all. A small, strident minority that can be heard over the din of the crowd. That’s part of the problem with this country today – minority voices stridently decrying what they think is wrong and refusing to listen to any other opinion because, you know, that would be compromising their principles. You can’t just agree with them; you have to agree wholeheartedly and for the right reasons. You have to share the same religion; you have to drink the same flavor of Kool-Aid.

Everyone has a right to their own opinion but it is often formed without actually seeing the work. The dissident fans haven’t seen any footage of Will Smith as Deadshot, yet they already know he is wrong. Their proof that Ben Affleck will suck as Batman? His performance in Daredevil. (He has also performed in other films since then, including a fine turn as George Reeve in Hollywoodland .)

Negative comments can create a negative image of a given work, especially movies, before it’s seen. The “buzz” can affect how a film is perceived and received. It can affect the box office. That, in Hollywood, is serious.

It’s not hard to be heard these days. Is it too much to ask to consider what is being said? To think before you speak?

What am I saying? This is the Internet. Of course it is.

IMO.

 

Ed Catto: Whose Brand Is It, Anyway?

On a recent Saturday morning, I treated myself to yet another TV comic book show. But unlike Flash, or S.H.I.E.L.D., or iZombie or Arrow, this was an old one. TCM is showing episodes of the 1943 Batman movie serial. I’m sure you know about these serials. Long ago, kids would make weekly pilgrimages to the theater for cliffhanger style chapters of an adventure serial. Often it was shoehorned between a cartoon, a newsreel, and the main feature. During my recent TCM viewing, I was disappointed that the host didn’t offer any of his usual insightful perceptions.

BatmanSerial5This serial is important in “geek mythology” for all sorts of reasons, including the debut of the Bat Cave. But then a peculiar childhood memory was triggered. And I mused about how this peculiar incident was just a pale precursor to a big branding issue that seems to dominate today’s entertainment world: the struggle to understand who really owns a brand.

As a quick background, I was one of those kids who was influenced brainwashed by the 1966 Batman TV show. After just a few episodes, my brain exploded and my worldview was set forever. But when I become a teenager, a strange thing happened. At that time, I was reading those moody Batman comics of the seventies. It was at that point where I realized that the 66 Batman was ‘camp’, and it wasn’t the version of Batman that I was then enjoying. I wanted my version of Batman, or The Batman, to be serious, dark, and un-silly. I was essentially rejecting that horse I rode in on. I was cherry-picking from the different entertainment offerings what I felt was best for this brand called Batman.

Batman Serial 1943 ComicMixAnd, back then, there were no Chris Nolan or Tim Burton visions of Batman for the world at large to see. Everyone who wasn’t reading the comics equated Batman with the silly fun of POW/ZLONK/BOFF! My vision of the brand was in conflict with the brand understanding of the world at large.

And that’s about the time that my dad introduced me to the 1943 Batman serial. It was actually edited versions on Super 8 film. We’d show these on our home movie projector. Even though they didn’t have sound, they were glorious! Batman was purposeful and focused, whether he was slugging gangsters or flirting with the female lead. It was full of zombies and radium guns and cliffhangers. The bad guy even fed his enemies to crocodiles. (Who knew that the fella who was playing an evil Japanese stereotype would soon be a big hit during the golden age of radio playing a comedic Italian stereotype?)

batmanfortythree2Oh sure, Robin looked a little goofy, those pesky capes got in the way of brawling, and Batman’s ears made him look like the devil…but that was the all fine. He was foreboding and mysterious. The opening credits were somber and menacing. To me, as a teenager, this is what I wanted “my Batman” to be. I was creating my personal brand vision of Batman by combing the comics of the day with vintage movies. And it was in complete conflict with most of the country thought of as Batman.

And that’s exactly what’s happening in the passionate pocket universe of Geek Culture right now. Engaged fans each have their own vision of what a character or brand should be like. They then analyze, anguish and appraise the interpretations fed back to them. Fans want their brands the way they want them. Despite the fact that most comics are created by publishing professionals, and that most TV Shows/Movies are made by filmmaking professionals, Geek fans don’t trust these folks to handle their brands in the correct way. Instead, fans judge and speculate to see if the brand they are being offered fits with the brand they each think is the true brand. They don’t only judge a book by its cover; they judge the book by the preview of the cover.

Does this happen with other brands?

BATMAN-1943-Douglas-Croft-and-Lewis-WilsonCan you imagine years ago, readers making demands for, or clearly laying out their expectations, for Hemingway’s next book? Or could you imagine 1950s western fans outlining their expectations for the third season of Maverick? Can you imagine Ian Fleming monitoring fan buzz before writing the third or fourth James Bond novel? Of course not. He probably graciously nodded to friends’ cocktail party accolades, was amused that JFK was a fan, and then worked with his editor as he brought his vision of the character to life for the next adventure.

You could argue that fans grab onto the brand ownership in sports. That’s so much of what sports radio is all about. Fantasy Football is also a way to assume total ownership of the brands, and essentially cut out the corporate owners, albeit in parallel universe.

But it doesn’t really happen with traditional brands. Generally, Oreo fans don’t get indignant when the Oreo packaging and logo change. A small percentage do (trust me) but they are just that: a small percentage. The grocery store retailers don’t get mad because they can’t predict the correct quantities to order based on the new “rebooted” packaging for a particular cookie.

Recently, we’ve been teased by trailers for big entertainment movies like the new Star Wars, Mad Max and Batman vs. Superman. Closer in, in the comics world, fans have been offered glimpses of what the Marvel and DC universes will look like after their big summer events. These efforts seem to be the creators, or corporations, saying, “we have a plan, and this is what we’re going to do with your entertainment brand”. And then fans collectively ponder, predict, and prognosticate. Edicts are issued and judgments are rendered. Predictably, the folks in charge of the brand, at least legally and financially, reveal a little more and the cycle continues.

Of course, this all is just further evidence of the combatively symbiotic relationship of brand ownership for entertainment properties. The creators put forth their vision, and then the consumers render their judgment.

But who’s really in charge? Is it those who take the risks? Those who enter the arena of public opinion? Or are the people in charge really those who willingly offer their hard-earned dollars to support the brand? Those who give up their precious time to see what’s being served up?

I’m not sure if there’s an easy answer. I’m typically been on the side of the creators, but the entertainment world has changed since Ian Fleming was typing the James Bond thrillers. One thing I do know is that this all reinforces the notion of pop culture fans as important to branding conversations. Whether they are conversing about a recent reboot of DC’s Suicide Squad, or the new Dr. Pepper Avengers cans or upcoming shows on cable networks or the new Schick Hydro shaving cream, they have an opinion, have made themselves part of the conversation, and have a real ownership in all brands. And that makes it all more fun, doesn’t it

 

John Ostrander: Wonder(ful)Con 2015

Last weekend, while my column was here, I was not. I was an invited guest at WonderCon out in Anaheim, CA, and I had a great time. It reminded me of San Diego Comic Con (who owns WonderCon) back before SDCC got so huge and overwhelmed with media stuff. WonderCon was mostly about comics and that felt very cool.

My duties were pretty light – two panels and two hour-long autograph sessions and one video interview. I didn’t have a table (my own fault) so I had a chance to walk around unfettered and unsupervised and see what I wanted. I didn’t realize fellow ComicMix columnists Jen Ernst and the Tweeks were also in attendance or I would’ve made an effort to get together with them and say hello and exchange stories about Mike Gold.

One of the big impressions I had was the sheer amount and quality of cosplayers in attendance. Every corner of fandom was there – comics, Doctor Who, Star Trek, Star Wars, every sf movie or TV show you could think of. Some were mash-ups of different groups, such as Princess Merida (Brave) as a Jedi. I was dazzled.

What I initially thought was an interesting cosplayer turned out not to be a cosplayer at all. A guy with a bullhorn outside the security gates was haranguing everyone; turns out he was a Westboro Baptist-type preacher going on about sin and Jesus and the devil; I wasn’t listening very closely. Side observation: why do so many of these preacher types go on about the devil so much? They talk more about him than Jesus, it seems to me.

Anyway, his church also had some placards up with red letters against a yellow background with variations of “Jesus is Lord.” My second day there I saw one such sign inside the security barrier and wondered how they got past the guards. Then I realized it was being held by a Stormtrooper, probably from the 501st, and in red letters against a yellow background it said, “Vader is Lord.” Well played, 501st; well played.

I got to see some of my fellow professionals during the Con; my fellow Legends scribe Len Wein was there and we exchanged heart surgery notes. I had a triple bypass last October but Len had a quadruple bypass only six weeks before. (He’s so competitive.) I would not have been at the Con in his shoes and I hope all the fans really appreciated his being there. Len is one of the nicest guys in the biz and goes that extra mile for the fans.

Dan Jurgens stopped by while I was having breakfast on Friday ,which was nice. I later stopped by his table and we shot the shit about some of the old days at DC.

I also met up with Barbara Randal/Kesel/Kesel Randal/Randal Kesel/whatever. We ran into each other outside the Convention Hall and that is a very difficult trick to pull off. The odds against meeting anyone you know at one of these things is astronomical.

Barbara, I and my late wife Kim Yale were good friends back at DC when Kim worked there and it was still headquartered in NYC. Barbara has hardly changed at all and that should be illegal. I myself am old and weathered and show my years as any decent person should.

I went to a panel that Barbara was moderating called “What Does an Editor Do” which was fun, quick paced, and informative. A really good panel. During Q&A I asked her and her panelists who was an example of a good editor in the past. Barbara nailed it with her answer: “Archie Goodwin.” Boom! There it is. Great writer, great editor.

I also met some other professionals for the first time – Marc Andreyko and Tom King. Marc you may know from his version of Manhunter, which starred Kate Spencer. Kim and I had worked on a Mark Shaw Manhunter series so that gives us a bit in common.

We were both hanging around the Con booth for different reasons and I was trying to think of some way of introducing myself without sounding like a dweeb. Evidently, he was doing the same and we finally broke the ice and had a great conversation.

You may know Tom King from his current work on Grayson as well as his novels. He came up to say hello and introduce himself during one of my autograph sessions. A really nice guy and I enjoyed meeting him; he confessed he was a little nervous about meeting me. (I can give him names of people who can tell him how and why I am not so impressive.) I told him stories about how I dweebed out in meeting some of those pros I revered (Jack Kirby, John Broome, and Will Eisner). Tom and I got along fine after that.

Both Tom and Marc mentioned how my work on Suicide Squad really impacted them. That always surprises me when I hear that. These guys are hot, young and very good writers. All false modesty aside, I’m sometimes surprised that people remember what I did; I was just trying to do my best at the time. Like I always do.

The two autograph sessions went very well. Both lasted an hour each and I was busy right through each hour. I got to chat with some of the fans and see some of my old work which was sort of like seeing old friends. A couple of the fans had my very first work which was an eight page story in the back of the first issue of Warp, the first comic from First Comics.

The two panels were fun. One was my solo panel – all about me, a subject I know fairly well and can talk endlessly about. It was a relatively small crowd so I had them all move down to the front of the room and I sat on a chair in front of them and we just chatted. I told stories, held forth about writing, and everyone seemed to have a good time.

The other panel was about working on Star Wars and the room was packed. I shared the podium with several of my fellow workers and we fielded answers from the crowd. Towards the end, I asked the audience a question, one that I felt went to the very heart of Star Wars.

Did Han shoot first?

The answer was a deafening “Yes!”

Damn straight.

A good Con, all in all. I want to thank everyone connected with it and thank them for inviting me and taking really good care of me. I had such a good time I’m hoping to go back. If I have the money, I would pay my way.

And for those who know me, you know that’s a high compliment.

 

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