Tagged: superhero

Review: ‘Heroes’ Season 3 Premiere

Those of you who left [[[Heroes]]] after the debauchery that was season two may want to make a return to the show for this season, because if the first two episodes were any indicator, this season is going to be exactly what comic book and TV fans alike have been waiting for.

Where we left off

The virus from the second season was contained by the heroes. Adam (the immortal man) was taken away by Hiro, while Nathan, Peter, and Matt decided that it’s time to tell the world exactly who they are. Right before Nathan’s big “outing”, he was shot by a mysterious man and presumed dead. Sylar escaped the clutches of Elle and the company, only to realize that his powers were coming back. Nikki went on a quest to save her cousin Monica from evil drug dealers when she was trapped in a building when it exploded. Finally reaching Suresh, Maya, the girl with the power to kill people when she cries, begs him to help her get rid of her powers. All this while Noah (HRG) is captured and put into custody by the Company, and Claire is safe in Texas, for now.

What’s changed

Between the backlash that the show received online from the fans, and the untimely writers’ strike, this show went through quite a few last minute changes, cutting the season in half with only 11 episodes. Originally, the plan was to have Sylar off the series for a while, while actor Zachary Quinto worked on J.J. Abrams’ [[[Star Trek]]], but due to the episode cut, they were able to work around his schedule, and have Sylar back in full swing for this season. Many other things were changed due to the negative response the show runners got from the fans.  One big change for this season was a lack of superfluous characters. The “Spanish wonder twins”  —   Maya and her dead brother — were a big problem for the online community, and Maya’s role will take a whole new — and far less whiney —  turn this season. Also, Nikki’s cousin Monica, who had the ability to mimic any action she saw on TV (much like any 11 year old boy) will be completely gone this year, and whether she’s even mentioned in dialogue or not is still unknown (ie. “Boy, things have been quiet here ever since Monica left to fight crime in Ireland”). Along with those changes came new character arcs, which may or may not fall in line with the consistency of the show. For instance; the “my two dads” storyline in which Suresh and Parkman took care of the child Molly, will be abolished. In fact, Suresh goes through a whole new metamorphosis this season, both physically and emotionally.

Finally, the biggest change in the show, and the best element of the two-part premiere; the pacing and revelation of the plot. A major problem with the series in the past was that it took six episodes for anything noteworthy to actually happen. In the first two hours, we get more questions answered and action-packed moments than you could ask for. Of course there will still be bigger questions to be revealed at a later episode, but you can thank the formula of modern hour-dramas for that.

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Batman’s Comedy of Eros, by Dennis O’Neil

Batman’s Comedy of Eros, by Dennis O’Neil

  • News
  • September 16, 2008

Way back in the late 80s, or maybe early 90s, an inker working on one of DC’s superhero comics rendered a female form rather more like the Lord made female forms than the mores of the time allowed. The editor dealt with the problem by putting a color hold – a purple one, I think – over what some would have deemed offensive nudity.  Sex always wins. The lady’s charms shone clearly though the purple haze and a fuss ensued.

I remembered this anecdote when I saw, in the New York Times, an item about a Batman comic describing “a two page action sequence that is filled with foul language…uttered by (a) heroine…

“A black bar covered the blue words, but it was too transparent and allowed the text to be read.” Sex always wins and maybe “foul language” at least doesn’t fight fair.

According to the Times, the print run was destroyed. Having made more than my share of blunders when I sat in an editor’s chair, I know how easily goofs like this can occur and I hope the ensuing fuss doesn’t devolve on the editor, whoever he or she may be. As a certain Secretary of Defense said, stuff happens.

But I’m curious.  Did the creative folk always intend the offensive language to be covered? Surely not. Why go to the bother and expense of lettering copy that no one will read? Easier, one imagines, to simply do the black bars in the first place, though as a storytelling strategy, that would be questionable; why pull the reader out of the story while they puzzle over the meaning of the black bars?

Okay, the copy was meant to be seen? Didn’t somebody wonder if such language could cause trouble and…I dunno – ask around?

Maybe someone saw it as a free speech issue. If so, I’d demur.

I think the First Amendment is the crown jewel of the Constitution, and, personally, I can be a potty mouth. Much of my choirboy vocabulary was left on an aircraft carrier and much of whatever was left in the gutters of the East Village, pre-gentrification. But I think the way things are marketed creates expectations, and it’s not playing fair with the customers to thwart those expectations. Anything – and I do mean anything – should be allowed in the public arena, but if one buys a book bylined Henry James, one should not be subjected to a story by Mickey Spillane.

Comics have come a considerable distance in the few years since I left editing. Hell and damn, once verboten seem okay both in comics and on TV, and a few gamier locutions are beginning to pop up. But I don’t believe the medium – comics – has evolved to the point where authentic street lingo is expected.

A final consideration: The question in matters like this is always a simple one. Does it help the narrative? Is the vocabulary the writer is using his way of showing off, or does it serve a larger purpose? Any vocabulary that tells the story is almost certainly the right vocabulary, though I’d expect to get argument on this. In the case of the Batman comic we’ve been discussing, I don’t know, and probably never will.

RECOMMENDED READING: Redemolished, by Alfred Bester

Dennis O’Neil is an award-winning editor and writer of Batman, The Question, Iron Man, Green Lantern, Green Arrow, and The Shadow– among others – as well as many novels, stories and articles. The Question: Epitaph For A Hero, reprinting the third six issues of his classic series with artists Denys Cowan and Rick Magyar, will be on sale in September, and his novelization of the movie The Dark Knight is on sale right now. He’ll be taking another shot at the ol’ Bat in an upcoming story-arc, too. 

Review: ‘Zot! 1987-1991’ by Scott McCloud

Review: ‘Zot! 1987-1991’ by Scott McCloud

Zot! The Complete Black and White Collection: 1987-1991
By Scott McCloud
HarperCollins, July 2008, $24.95

There are those of us – only a few now, I bet – who keep hoping that Scott McCloud will finally get the comics-about-comics thing out of his system and go back to fictional comics. (1998’s [[[The New Adventures of Abraham Lincoln]]] is generally skipped over in these laments, as it is in all other discussions of McCloud’s career, including the one in this book.) Oh, sure, [[[Understanding Comics]]] was one of the great graphic novels of the early ‘90s, and a major roadmark towards the modern comics field, and [[[Reinventing Comics]]] and [[[Making Comics]]] have their strong points as well, but, we keep wondering, what about [[[Zot!]]]?

We were heartened when Kitchen Sink Press reprinted three-quarters of McCloud’s Zot! run in three nice trade paperbacks in 1997-98, and then disheartened again when KSP went under before finishing up with the fourth volume to collect “Earth Stories,” generally considered McCloud’s best stories. And since then, we’ve mostly just been waiting and hoping, living on crumbs like “Hearts and Minds” and McCloud’s other webcomics.

But now Zot! is back, in something like a definitive form, from one of those real big-time bookstore publishers that the comics field is so in awe of. HarperCollins has been McCloud’s trade publisher as far back as Understanding Comics, so their imprint on this book implies a lot about their commitment to comics, and to McCloud.

But maybe I need to back up a bit, for those of you who weren’t around for the days of Eclipse in the late ‘80s. Zot! was McCloud’s comics debut, starting with a ten-issue storyline in full color in 1984-85 and continuing with twenty-six more issues in black and white starting in 1987. Those color comics are now only available in the first, long-out-of-print, Kitchen Sink trade paperback collection of Zot! from ten years ago, though this book hints that they may be reprinted if Zot! 1987-1991 is successful enough. (And maybe then we’ll get Chuck Austen’s art from two “fill-in” issues from the time of McCloud’s wedding, plus all of Matt Feazell’s “Dimension 10½ “ back-up strips.)

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Etch-A-Sketch Comic Art

  • News
  • August 19, 2008

Earlier this year I discovered the blog of the Etch-A-Sketchist. An artist whose medium is incredibly complex and heartbreakingly temporary: the Etch-A-Sketch. The child’s toy that is simple to learn but next to impossible to master. The Etch-A-Sketchist’s topics are heavily pop-culture influenced but breathtaking in their detail.

When I first discovered his site, I wrote him and asked if he ever did any comic book based images. He wrote back that he only had done a black costume Spider-Man, but I should check back at the end of the summer after all the superhero movies were released.

I made a note on my calendar program and, sure enough, there are lots to see now. I’ve posted a few after the jump.

Enjoy…. but don’t shake your screen.

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Wildstorm’s “World’s End” Relaunch Examined

Wildstorm’s “World’s End” Relaunch Examined

  • News
  • August 18, 2008

Over at io9, the website’s resident comics expert Graeme McMillan has put together a nice analysis of the events leading up to the current "World’s End" relaunch of DC’s Wildstorm line. I was pleasantly surprised by the recent issues #1 of Wildcats and The Authority — mainly because I’ve been a fan of both these series for quite a while and been both terribly excited and subsequently disappointed by prior attempts at re-establishing the universe around each series.

The new Wildstorm status quo places its superheroes in a world ravaged by events that they share much of the blame for, and this dynamic provides the opportunity for stories that have always been relegated to one-shot or "What If?" status elsewhere. So, I guess you can color me intrigued.

Here, McMillan provides a quick assessment of recent Wildstorm history:

This isn’t the first time that the Wildstorm line has gone all out for change; in 2003, their Coup D’Tat series had the Authority depose the US Government and set themselves up as dictators of the United States, before they realized that they couldn’t be bothered with all the paperwork. But with fans still hurting about 2006’s failed Worldstorm relaunch (which died when Grant Morrison’s core two series Wildcats and The Authority disappeared after one and two issues, respectively), will even the end of the world get them interested in checking out the series again?

Like McMillan, I’m impressed with the decision to change the Wildstorm Universe so dramatically — and I’m also hoping there isn’t a deus ex machina in the works at this point. For more on the new Wildstorm U and some thoughts from creators on why it was necessary, head over to io9.

Review: ‘Astro City: Dark Age’ by Kurt Busiek

Kurt Busiek’s brain is about average-sized, I assume. And yet it contains this entire city, detailed down to every last resident’s personality and scrap of trash in the street.

His mastery of [[[Astro City]]] is on full display in the latest collection of the WildStorm series, The Dark Age ($29.99). Busiek ventures back to the not-so-pleasant past to tell the story of two brothers who go on very different paths amidst the chaos of superheroes and villains.

We’ve seen plenty of examples of superhero stories told in a down-to-earth way, or viewed from the average man’s perspective, maybe most notably in Busiek’s acclaimed [[[Marvels]]] with Alex Ross (who provides the killer cover at right). Neither of those elements is what sets Astro City apart, though they fuel its success.

Rather, its the depth to which Busiek explores the brothers’ lives (and those of everyone else). Charles and Royal Williams go through childhood tragedy and end up on opposite ends of the law.

Each is plagued in his own way by the super-powered element, with the bombastic battles tearing Astro City apart.

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ComicMix Quick Picks: 8/11/08

The weekend window-closing wrap-up:

11 Superheroes That Look Like Supervillains: No. When one of them is called "Evil Ernie" and is, from your own article, "tasked with killing all of humanity" I don’t think he qualifies as a superhero.

From FailBlog: well, think of it as a strange kind of crossover.

Colleen Doran provides the most useful post of the day: how freelancers can get health insurance, complete with links and her own insurance stories. Just because you haven’t got an exclusive deal with one of the big publishers, you don’t have an excuse. Now if someone would take the time and do a similar post on freelancers and life insurance…

Wanted: pre-1965 money for time travel. So if the market is suddenly glutted with mint condition early Marvels, you’ll know why.

Via John Cole: One of the largest and most photographed arches in Arches National Park has collapsed. Wall Arch collapsed sometime late Monday or early Tuesday. The arch is along Devils Garden Trail, one of the most popular in the park. For years, the arch has been a favorite stopping point for photographers.

Before:

After:

 
Not pictured: the coyote at the bottom of the ravine with the defective Acme product.
Stan Lee and Hioryuki Takei’s “ULTIMO” Manga

Stan Lee and Hioryuki Takei’s “ULTIMO” Manga

  • News
  • August 6, 2008

Attention, true believers! Next month’s issue of manga magazine Shonen Jump will feature the premiere of Stan Lee and Hioryuki Takei’s Ultimo, which was announced back in April during New York Comic Con.

While the series is old news for readers in Japan (the issue has already been out for a few months over there), North American readers will get their chance to pick up a copy of the debut story in September.

Here’s what to expect from the series, according to the press release (which is posted after the jump):

High above Farmless City, citizens are stunned by the sudden appearance of two floating figures. Are they human boys, monolithic robots, or something much more strange? As the battle ensues between them, destruction and devastation falls on the hapless city. One figure is Vice, and seems to be as evil as his name implies. The other is Ultimo, intent on trying to stop Vice from wreaking more havoc. But who are Vice and Ultimo really? Where did they come from? A new mystery begins with the fate of the world possibly hanging in the balance!

My favorite part of the PR? The quote from Stan Lee about the project that is so very, well… Stan Lee. Check it out:

“Wow! This is just what I’ve been waiting for!” says an excited Stan Lee. “For the very first time I’m able to create superheroes in the fantastic Japanese manga style thanks to my lucky partnership with the great Hiroyuki Takei. What a kick it’ll be to join Hiroyuki-san in offering brand new, action packed stories to an army of readers in both the Eastern and Western worlds!”

Can’t you just hear him saying it in your head? Keep an eye out for the September 2008 issue of Shonen Jump for the first chapter of Ultimo.

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Review: Will Smith in ‘Hancock’

Review: Will Smith in ‘Hancock’

With comic franchises pouring from Hollywood’s every orifice this year, something like [[[Hancock]]] would normally be considered a breath of fresh, creative air. This can be said for the film on paper, but it fails to deliver in the latter half of the film. That said, Hancock is still good fun in a theater, and delivers with all the things we wanted to see Superman Returns do time and time again, but never came through.

The plot follows an unruly asshole (not being vulgar, this term is important to the character) of a superhero who resides in downtown Los Angeles, attempts to keep people safe from the ever-rising crime rate, but ends up causing more damage than he prevents. This makes Hancock (Will Smith) the ultimate antihero, being hated by just about everybody in the world (or at least L.A.) He crosses paths with an up-and-coming Public Relations guru (Jason Bateman) who thinks Hancock can become the hero that the world needs, but with a little bit of help.

[EDITOR’S NOTE: The text of this review posted after the jump contains descriptions of significant plot points, so consider this your official SPOILER ALERT. -RM]

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Review: ‘Superpowers’ by David J. Schwartz

Review: ‘Superpowers’ by David J. Schwartz

Superpowers: A Novel
By David J. Schwartz
Crown, June 2008, $14.95

There are two kinds of superhero novels, with very different rules. The more common – but less respected – kind of superhero novel takes characters and situations we already know from an existing comics universe and tells a story using that furniture. Those books can be amazing, like Elliott S. Maggin’s two Superman novels, Last Son of Krypton and Miracle Monday, or they can be mediocre, like…fill in your own example here. But they all hit the ground running, since they work from our knowledge of those universes. Who would read a Spider-Man novel if he’d never heard of [[[Spider-Man]]]?

The other kind of superhero novel tends to come from people outside the comics field, and usually reinvents the wheel in its vision of superheroics. (Like everything else, sometimes doing it elegantly and sometimes producing an oval object that doesn’t even work as a wheel.) Some of the better examples of that type of superhero novel are Michael Bishop’s Count Geiger’s Blues and the recent Soon I Will Be Invincible by Austin Grossman. Those books often have aggressively obvious titles – [[[Superfolks]]], [[[Hero]]], that kind of thing – to immediately signal to the audience that they’re novels about superheroes.

[[[Superpowers]]] is one of the latter kind of novels, down to the title. The British cover (see the continuation) even has line drawings of the characters in costume (by Norm Breyfogle, a name we who read comics will nod knowingly at), much in the style of last year’s [[[Soon I Will Be Invincible]]]. And the set-up is quite typical of an outsider superhero novel: five undergraduates at the University of Wisconsin (Madison) develop individual superpowers after an evening of drinking homemade beer. (One of the endearing things about Superpowers is that Schwartz doesn’t even try to explain their origin – something unexpected happened, and they now have powers. Period.)

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