Tagged: X-Men

Marc Alan Fishman: Avengers Vs. Dark Knight Rises – The Battle for the Multiplex

This past week on my podcast (which you’re not listening to, but totally should), a debate sparked that was left largely unresolved. Since I have this digital soapbox, might as well use it to bring said debate to you.

In a few weeks, the mega-multiplexes of America will be screening the culmination of years of work by the House funded by the Mouse. The Avengers will see the fruition of Iron Man, The Incredible Hulk, Iron Man 2, Thor, and Captain America: The First Avenger in one massively multiplayer action adventure flick. About a month or so later, Warner Bros. unleashes the end to Christopher Nolan’s bat-child, The Dark Knight Rises. There’s no doubt in my mind that both of these movies will be amazingly profitable. But the debate is this: which will bank more bucks? Which will be a better movie? Let’s look at the tail of the tape.

First up? Marvel’s Mightiest Heroes. Behind the scenes, we have the consummate king of the nerds… Joss Whedon as director. His writer team? Well… Whedon wrote with Zak Penn. Penn you’ll note wrote the successes such as The Incredible Hulk and X2, and the failures such as X-Men: The Last Stand and Electra. On the screen itself, the cast is of course a veritable galaxy of stars. Samuel L. Jackson, Robert Downey Jr., Chris Evans, Chris Hemsworth, Scartlet Johansson, and Gwyneth Paltrow will all be in the film. Unlike any other franchise in history, The Avengers will coalesce four franchises into a single picture. From here? It’s all but a given that the there will be a sequel, as corresponding sub-sequels for all the individual characters. Can you hear that? It’s the sound of money growing on trees. Trees that became paper. Paper that became comic books.

The Dark Knight Rises, as previously mentioned, is helmed by Christopher Nolan. Nolan’s career has been nothing short of a meteoric ascent to directorial gold. Nolan also helped pen this end to his triptych with his brother Jonathan, and David S. Goyer – who, as you will recall, helped pen Batman Begins and Blade 2. And Ghost Rider: Spirit of Bad Acting. But you can’t win them all, can you?

Under the cape and cowl will once again be Christian Bale, joined by series stalwarts Michael Caine, and Morgan Freeman. The villain this go-around will be played by Tom Hardy. You’ll recognize Hardy as the mildly funny Brit in Inception. While not as big in scope as Marvel’s upcoming blockbuster, The Dark Knight Rises is the follow up to the single most profitable comic book inspired movie of all time. For those who don’t recall, The Dark Knight did so well in the movie theaters, comic retailers reported sales of The Watchmen had gone up in response (which is nothing short of amazing, if you ask any retailer these days). With TDKR, Nolan puts his series to an end. Speculation on the plot, and how things will resolve has most everyone around in a tizzy.

The question then to ask: Which movie will make more money? Needless to say, both will bank boku bucks. For the sake of this argument, I’ll remove revenue from merchandise. Why? Because face it: Nolan’s Bat-Flicks haven’t spawned successful lines of toys; Marvel’s has. Specifically speaking on ticket sales? This is quite the toss up, is it not? On one hand you have the obvious ultimate popcorn movie in The Avengers. From the trailers we can safely assume there’s going to be wall to wall action, explosions, the Hulk, fighting, one liners, and boobs. Opposing that mentality, Nolan will nab those looking for a bit more substance. Whereas Marvel’s flicks were squarely targeting tweens and teens (with a side of general comic nerds and action geeks to boot…), DC’s Bat-Franchise has been nothing if adult in its complexity.

Gun to my head… if you asked me to choose, I’d end up with the nod to the Avengers making more moolah at the end of the day. The Dark Knight had the death of Heath Ledger, on top of the oscar buzz for his performance, on top of previous audience gained from Batman Begins. But TDKR features a villain most people aren’t familiar with (Bane ain’t exactly a household name now, is he?), and a star whose potential is only just now being noticed. And if other comic book trilogies are to be looked at (Spider-Man, X-Men, and previous Bat-Incarnations), the end of an era does not always translate into positive earnings. With The Avengers, we simply have too many stars to not draw an amazing crowd. Fans of any of those feeder movies no doubt want to see a team up. It’s the whole reason books like The Avengers and Justice League always sell so well!

Now, I would give The Dark Knight Rises the edge ultimately in terms of potential film quality. Not a knock on The Avengers mind you… I think from what we’ve seen, Whedon will deliver the goods. But The Avengers has more chance to pratfall than ascend to nerdvana. With so many stars on screen, there’s a real chance too much time will be spent assembling, mocking, and joking. And we can tell much of the movie will be dealing with a Loki-lead invasion fight scene. And just how much CGI action can we effectively sit through? Given the spectacle (and disappointment) of the last Matrix movie, suffice to say I’m fretful.

With Batman, Nolan seems to have been methodically building a dramatic arc. Bruce Wayne by way of Batman Begins and The Dark Knight has been an evolving force of nature. But Nolan’s best job has been grounding that force in reality. He’s delivered where so many others have failed: comic book movies without heroic quips and a knowing wink to the camera. When that theme of the dissonant chords let us know the Joker was at work, it was truly chilling. To think that Nolan is ending this series, one must postulate he’s had an ending in mind since the start. On that knowledge, I give the edge over to DC. Simply put, I’m more excited for their flick because I genuinely do not know what will happen.

In The Avengers? I’m almost certain we’ll have the following: Loki attacks. Avengers assemble by way of initial in-fighting. Disaster. True assembling. Fighting. Explosions. Boobs. Victory. Open ending for more sequels. Not that it’s a bad formula… but it’s just that: a formula.

So, plenty of points to discuss. Flame me, Internet, for I have opinions. Will Bats take more money? Will Avengers be the Return of the King for Comic Book movies? Discuss!

SUNDAY: John Ostrander


DENNIS O’NEIL: Springtime For Superheroes

DENNIS O’NEIL: Springtime For Superheroes

So how’s the resurrecting going in your neighborhood? Despite a very warm March, it’s pretty much on schedule here in Rockland County. Oh, most of the trees are still barren, but here and there, some of them are getting beleaved; the dogwood in the front yard is growing buds and wow! – the forsythia bush in the back is covered with bright yellow flowers. So fecundity is returning to southern New York and I guess Gaia will make it through another growing season.

I’m thinking of death and resurrection partly because I’m typing this the day after Easter – a real holiday, this, because it acknowledges and celebrates something real and vital, the aforementioned fecundity. The proof, I guess, is that it – the return of the fecund – is reflected in a lot of myth/religion, the area in which we humans often attend to stuff like this. Give a quick Google to Persephone, Osiris, Adonis if you doubt. (Am I leaving a name off that list? An obvious name? Ummmm….) And don’t forget that the word itself – “Easter” – is derived from the name of a pagan goddess of fertility, Eostre.

For a while now, I’ve had an unparsed and maybe dunderheaded notion that the history of comics recapitulates the history of religion (the way ontogeny is supposed to recapitulate phylogeny?) Maybe I’ll someday do something with the idea, maybe not, but for our present purposes I’m happy to remind you that resurrection is not a stranger to comic books, though sometimes it has been more reincarnation than resurrection. I have (he said, thrusting out his chest) personally presided over the demise of Jason Todd, a.k.a. Robin The Second and, editing Marvel’s Daredevil when Frank Miller was doing the title, the very thorough scragging of Elektra and behold! – both characters are back in business, seemingly unharmed by their stays in the afterlife.

Superman is probably comics’ best known resurrectee. His fans know that, in a long, much-crossed-over storyline that appeared in the early 90s, our favorite Man of Steel was put down by the villainous Doomsday and later revived by a visit to the regeneration matrix in his Fortress of Solitude. (Should I have prefaced that last sentence with a spoiler alert? Sorry…)

Superman may be the numero uno returner-to-life in the DC Comics universe, but there are others, including Green Arrow, the Flash, Donna Troy, Elongated Man, Green Lantern…You might want to complete the list yourself.

Across town, in Marvel’s universe, the death of Jean Gray, known as Dark Phoenix, was a big deal in the X-Men saga and generated some pretty a deluge of fan mail from – brace for it! – die hard fans. I’ve already told you about Elektra. Again, the list can undoubtedly be amplified.

There are pros and cons to this reviving the dead and they might be worth a longer discussion. Maybe later. For now…get your nose out of the damn comic book and look out the window. The dogwood’s blooming!

RECOMMENDED READING: The Superman stories mentioned above are available in book collections that your comics shop or online book purveyor will be happy to sell.

FRIDAY: Martha Thomases Takes Us From To Kill a Mockingbird to Mein Kampf

 

MARTHA THOMASES: Superman Red… or Blue?

My last two columns generated a certain amount of off-topic political discussion, which is 1) exciting and 2) frightening. The fright stems from the fact that political discussions got us kicked off this site four years ago.

The excitement comes from proving something I have always believed. Feminists claim the personal is political. I think the arts are political, too. You may have a different opinion. It depends in your definition of art. I think art is something created by an artist that makes you see the world in a new way.

Forty years ago I had surgery, and was lying on my parents’ couch zonked on major pain killers. I was reading Dune, watching the Olympics and the political conventions. I couldn’t tell which was which. Maybe that’s because Dune is a mind-blowing book. The sequels never moved me as much. Perhaps it was the drugs, or maybe they need world-class diving in the background.

Different people with different perspectives can find enjoyment in the same entertainment. The Hunger Games, which seemed to me to be a reasonably populist and feminist fable, has made over $200 million as I write this, and I doubt all those ticket-buyers are part of the Occupy Wall Street crowd.

Comic books would seem to be an All-American form of entertainment. Especially superhero comics. Truth, justice and the American Way. Upholders of the law who best criminals and ne’er do wells. And yet, those of us who consider ourselves rebels and/or leftists have found plenty that resonates.

Superman is an undocumented alien. The X-Men are scorned because they are a minority, born different from the rest of us. The Legion of Super-Heroes imagines a future in which we not only survive, but learn to use science to live in peace. Mostly.

Often it is the sensibility of the writer that makes a story resonate politically. Twenty years ago, when Bill Clinton was running for his first term, Louise Simonson and Jon Bogdanove supported his candidacy. Dan Jurgens did not. If you were reading Superman comics then (when one storyline ran through four different titles, each published a different week of the month), you might have been able to pick out their different points of view.

There are people who share my political beliefs whose work I don’t like, and people with whom I disagrees whose work I read avidly. There are writers like Jamie Delano, who I mostly love but whose work I like less the more I agree with him.

We have an election ahead of us this year, and I hope that, as a nation, we can debate issues on their merits, and not descend into the kind of lies and distortions that frequently foul our discussions. And I hope comics do their part, presenting different issues and different perspectives through the prism of graphic fiction.

I think Superman is a Democrat. How about you?

SATURDAY: Marc Alan Fishman Goes To The Big Show

Marvel Leak Supports Theory of the 617

  • News
  • April 1, 2012

With X-Men vs. Avengers hitting the shelves this past week, fans are speculating just what the “shattering conclusion” hinted at in several teasers will be. Well, if the ramblings of a former Marvel graphic designer are to be believed, we’re in for something.

Mike Rifchin, an associate letterer was recently let go as part of Disney’s forced scaling back of staff, blogged major plot points coming up at the tail end of the summer blockbuster.

In his “…and a big F%#! You to Mickey” post dated March 29th, Mike let loose the following potential spoilers:

(SPOILER ALERT!)

  • Wolverine will betray his school for the Avengers, citing “I’m the best I am at what I do, but I know when it’s time to stick to the winning side.”
  • Cain Marko will resurface to claim his Cytorak gem. Red Hulk tosses it to him after defeating Colossus in the middle of Times Square. “Here you go kid, go make trouble for someone somewhere else.”
  • Cyclops will face off against Captain America as expected, but don’t expect a lengthy battle. Panels into their big blowup, Cyclops pulls off his visor, and releases a “Four page optic blast.” Steve Rogers isn’t seen after that.

And the biggest spoiler of them all: After Hope decides to keep the Phoenix Force within her, Uatu leaves his post as a Watcher. “Hope is lost.”

And with it, so does the 616 universe. Uatu reveals his possession over the forgotten cosmic cube. What follows is a yet-to-be announced Flashpoint-esque universal reset. Due to the increased sales from DC’s relaunch back in August of 2011, Disney ordered the House of Ideas to match the success. According to Rifchin, the plans have been in place to reset things a bit. “Face it, with all the crap going on in Spider-Man, and all the different X-teams, and no real rise in sales over the last year? It doesn’t surprise me they’re playing the same weaksauce DC did – LAME!”

Rifchin’s blog has since been shut down by Disney and their team of mouseketeer lawyers.

MIKE GOLD: The Only Thing To Fear Is…

I just read the penultimate issue of Marvel’s Fear Itself miniseries. This means that next month, April, should maybe possibly mark the end of their big 2011 crossover event, also titled Fear Itself. It started a year ago. Longer, if you add the event implants.

The Fear Itself storyline has several epilogues – the Shattered Heroes books, sundry miniseries as well as this particular 12 part miniseries. It ends next month, right in time for the Avengers vs. X-Men event. In total, if you wanted to read the whole thing, you’d be reading something in the neighborhood of 135 separate comic book issues.

All this leaves me with one question: does anybody give a damn?

Like the overwhelming majority of big event crossover series, Fear Itself was pretty lightweight. Yeah, yeah, death, resurrection, worlds shattered, nothing will ever be the same again, and Ben Ulrich updates his résumé. Blah blah blah. If you haven’t read any of this and you are undaunted after considering this task, let me make two suggestions.

One: You do not pile all these books up on your lap. Particularly the hardcover editions. They will crush you, physically and spiritually.

Two: You might want to consider reading the Esperanto edition of James Joyce’s Ulysses instead. You only have so much time in life; go for the gusto.

O.K. I’ve been railing against endless phony dull event stunts for over a decade, but even if Fear Itself was among the best, it went on far too long. We have entered the era of the never-ending event, where one seamlessly segues into the next. Not only are these stories trivial and redundant (Norman Osborn’s back? Really? Next you’ll tell me they didn’t kill off Captain America or the Human Torch!), they no longer deserve the honorific “story.” A story has a beginning, a middle, and an end. A story has at least one climax, and a payoff that justifies your participation. These are qualities that are now lacking in mainstream event comics.

More fool I. As I’ve stated, I’ve been bitching about this for a long time. Yet most of these never-ending tales start off quite well and I get sucked in. Probably the best part of DC’s New 52 is that it wipes out or ignores most of their previous events. Probably the worst part of DC’s New 52 is that, eventually, they’ll do their own big event series – undoubtedly under the pretense of explaining everything that they “decided” not to explain in the individual 52 titles.

If history is any guide, in this they will fail miserably. I’m not knocking the abilities of the writers, artists, editors and editorial directors involved: the odds are overwhelmingly against them. It’s like writing a completely original episode of The Simpsons: after 500+ episodes, good luck with that. However, I am knocking the abilities of the publishers and the marketing executives who take such a short-term view of their bottom line.

I’ve said it before, and unfortunately I’ll have to say it again: What do you say, guys? Let’s try going back to simply producing great stories! You know, it just might work!

THURSDAY: Dennis O’Neil

 

MARC ALAN FISHMAN: Animation Domination – Marvel Universe vs. DC Nation

Friends, we are at the dawn of a new and great age. The mighty Marvel Universe and the dynamic DC Nation each will have a block of programming on cable television. On Saturday mornings. Set those DVR’s to stun, kiddos.

Sure, both the House of Mouse and the Brothers of Warner have each ventured into the cartoon cavalcade before, and they were glorious times indeed. As I recall at their heyday, Spider-Man and the X-Men were in full force. Batman’s animated adventures become a power hour with the addition of Superman. And throughout the late 90s and early aughts we’d be privy to all sorts of spin-offs, short lived series, and some toons we may all wish had never seen the light of day. Don’t fret… I’ll have a whole column to dedicate to them soon enough.

The DC Nation block leads off with Green Lantern’s new CG series. Kids ken to the Clone Wars will find fast friends in Kilowog and Hal Jordan as they romp around space helping protect innocents from the wrath of the deadly red lanterns. Following the emerald knights is Young Justice – the continuing tale of a modified DCnU with a team of sidekicks turned proto-titans.

On the Marvel side of the coin, we’ll get the new Ultimate Spider-Man cartoon and the continuing saga of Earth’s Mightiest Heroes with … well… The Avengers: Earth’s Mightiest Heroes. Both blocks will feature fanboy-service by way of interstitial shorts, special segments, and probably a few bonus promotions. DC Nation shows on Cartoon Network, and Marvel Universe will show up on Disney XD. Thus far, DC is ahead of the curve with their block of programming having debuted two weeks ago. Marvel is launching in early April. I can safely report that DC came out of the gate very strong.

I admit I was very nervous about the Green Lantern series when the trailer debuted back in the summer. The Bruce Timm-meets-Clone Wars styling didn’t immediately strike me as being indicative of the quality of previous animated incarnations of DC property. But, like the true emerald enthusiast that I am, I gave the pilot a shot. I was quite impressed. While the character models are a bit too stylized for my personal taste, the writing is high quality. Hal comes across bountifully cocky. Kilowog as the buddy in this buddy-cop-cartoon works surprisingly well. The Red Lanterns are even given a bit of depth out of the gate, quelling most of my fears by the end of the first episode. If there’s any complaint I have thus far, is my fear of the series not exploring the true expanse of cosmic characters. and focusing too much on the Red Lanterns. Simply put, by the end of the season I want Larfleeze, damnit.

Young Justice has been a quietly rising star in DC’s animated belt. The “made cool for the preteen crowd” style keeps me coming back to soak up the fresh redesigns. And their treatment of Aqualad has done more for the character than Geoff Johns did in all of Brightest Day. While their treatment of Conner Kent is a skosh too angsty for my taste… they balance it out superbly with Wally West. The show has taken some time to get its sea legs firmly planted, but a slow burn of serialization paid off at the tail of their first season. Not every story they’ve done has been a complete winner, but the action sequences and cameos from adult league members has always kept things moving. Suffice to say, have it anchor the DC Nation shows their commitment to find new life after the Bruce Timm era-of-awesome.

Over at Marvel, I have to say I’ve never been this excited for a block of their programming. In the mid-nineties, they produced an Iron Man / Fantastic Four block that started strong and staggered stupendously. Their Spider-Man cartoons have always been solid. The X-Men cartoon tackled an amazing amount of comic milestones, but ended sloppily. With their Avengers cartoon though, they have achieved something I honestly did not think I’d see: a comic-inspired take on their quintessential team, done in a manner that is both accessible to new fans and a wink and nudge to their old base. With top-notch voice acting and a fearless plummet into a cadre of villains, the series has been nothing short of brilliant. Every team member has been given time to shine. Suffice to say it not only tows the line for Mickey… it makes me forgive them for releasing the Avengers cartoon from 1999. Wait. Scratch that. Nothing will make me forgive them for that. Seriously? Ant-Man as team leader!? But I digress…

Last, but not least, is ole’ Web Head. Ultimate Spider-Man appears to take its cue from the Brian Michael Bendis penned series, with a bit of a comedic bend to it. With a supporting “and his amazing friends” cast including Nova, Power Man, Iron Fist, and White Tiger… who among serious comic fans are salivating just a little bit? I suggest you check out the trailer, and get ready for the return to quality toonage from our pals over on the Disney float.

So as I’d said before… make sure to have those DVR’s at the ready. And for all you evil pirates, make sure the Torrent Bay is loaded. It’s a good day to be a comic book fan, cartoon lovers… Hop aboard the bandwagon before it takes off without you.

SUNDAY: John Ostrander

MINDY NEWELL: Character

What goes into making a memorable character for a story?

According to Lawrence Block, author of over one hundred novels and recipient of the Grand Master award from the Mystery Writers of America, they must be three things: plausible, sympathetic, and original.

I think that’s a damn good definition of what makes a character real. Except that I think Mr. Block used the wrong word. It’s not “sympathetic,” it’s “empathetic.” Now, sympathy and empathy are kissing cousins, but sympathy, I think, allows the individual to separate from the character just a bit, to feel for the character while still allowing for some separation – six degrees of separation, if you will. Empathy, on the other hand causes the individual to feel with the character– it’s the recognition of self in someone else.

Without that recognition, without that empathy, the character is in danger of falling flat, of eliciting a “who cares?” response. The great characters are empathetic – Scarlett O’Hara of Gone With The Wind, the Joad family (especially Tom and “Ma”) of The Grapes Of Wrath, Vito and Michael Coreleone of The Godfather, Caleb Trask of East Of Eden, Joe and Kirsten Clay of Days Of Wine And Roses, Norma Desmond in Sunset Boulevard, King George VI in The King’s Speech.

In comics there is Alan Moore’s Swamp Thing, Neil Gaiman’s Sandman and his sister, Death, the X-Men’s Max Eisenhardt/Erik Lensherr/Magneto and Jean Grey/Phoenix (Dark and “Light”), Peter Parker/Spider-Man and Mary Jane Watson, Selina Kyle/Catwoman, and Sue Storm/The Invisible Woman. Of course there are more; I just chose those characters that appeared at the top of my head as I write this. You will have your own characters that engender empathy.

Originality is hard.  The history of storytelling begins when our ancestors first sat down around the fire and told tales to ward off the dark night. The history of storytelling is ripe with heroes and villains, love and betrayal, valor and cowardice. Originality, I think, comprises the total picture. As Block says in his book Telling Lies For Fun And Profit, “it’s not the quirks that make an enduring character, but the essential personality which the quirks highlight.” In other words, and like I said, it’s the whole picture, the complete character or individual that makes him or her an original.

Norma Desmond’s quirk is her inability to adjust to age and talkies, to realize and accept that time, and Hollywood, has marched on. Tom Joad’s quirk is his inability to accept injustice, even if it causes him to murder, which he sees as no injustice. Vito Coreleone’s quirk is to see the world as an “us against them” scenario, to nurture the family while attacking the world. Michael Coreleone’s quirk is to talk of love and loyalty to the family while he destroys it.  Swamp Thing’s quirk is that he is a plant trying to be a man. And Death loves life, even as she takes it away.

Plausibility allows the reader to suspend his or her disbelief, to accept that the actions of the character are true and real and acceptable. Now in comics, of course, plausibility is a two-edged sword. Of course we know that nobody can fly; nobody is invulnerable or runs at supersonic speed; no one can turn invisible or survive the explosion of a gamma bomb (except Bruce Banner, of course!) But as readers of superhero comics, we willingly suspend our disbelief, the implausibility of the character, before we even open the book. Why? Well, I think it has something to do with the capturing of our imagination, the “what if?” factor that I wrote about several months ago. But I also think that the other factors mentioned above play a role in our acceptance of Superman or Rogue. Empathy: “I get it. I know what it’s like to be Rogue, to be unable to really touch someone, to really get close to someone.” Or “Yeah, sometimes I feel like Kal-El, a stranger in a strange land.”

I watched Game Change on HBO. The movie is based on Game Change: Obama and the Clintons, McCain and Palin, and the Race of a Lifetime, by John Heilemann of New York magazine and Mark Halperin of Time. Both men are seasoned politically analysts, and their book, which was released on January 11, 2010, is an inside look at the Presidential campaign of 2008. The HBO movie focuses on Palin, played by Julianne Moore, from the moment the McCain campaign decides to ask her to be his running mate to Obama’s running mate.

The movie is riveting. Moore buries herself completely into the role, and I’m guaranteeing right now that she wins an Emmy for her performance. Sarah Palin is, without a doubt, love her or hate her, an original. She is empathetic – and sympathetic – as she works to maintain her sense of self and, love them or hate them, her own beliefs against the McCain and Republican political machinery.

But is she plausible? The movie shows that, as far as being capable of being “one heartbeat away from the Presidency,” Palin was an implausible candidate. But don’t tell that to the huge – and I mean huge – groundswell of love and support she engendered.

Yesterday afternoon I went to my local comic book store, Vector Comics, to pick up my haul. Joe and Tina, the terrific and wonderful owners of the shop, were busy with other customers, so I browsed through the stacks to see if anything not on my list that caught my interest. (Actually, almost everything piques my appetite, and if I allowed myself to buy everything I want, I couldn’t pay the rent!)

Know what I found? The Sarah Palin comic from Bluewater Comics.

What a character!

TUESDAY: Michael Davis

 

MARC ALAN FISHMAN: You Better Think

I don’t own a single Spider-Man comic. Wait, scratch that. I own some painted comic released in the mid-aughts… Secret War. Didn’t care for it.

That being said, I love Spider-Man. I loved his cartoon in the 90s. I loved the Sensational Spider-Man cartoon even more. I owned Maximum Carnage for the Super Nintendo. I played about 8000 hours worth of Spider-Man 2 for the original Xbox. So, with all the love I have for the character, why don’t I subscribe to a single web-headed book? Well, consider it a barrier to entry. Never found the right jumping on point.

Until now. Dan Slott’s upcoming in-book epic “Ends of the Earth” looks to be as good a point as ever to jump on. Given my recent love affair with the Fantastic Four… I figure why not roll the dice on the House of Mouse one more time. You see, deep down my love of the character stems from the fact that he’s generally been written to think his way out of problems – and that’s something I’m finding more and more keeps me reading comics.

“With great power comes great responsibility.” This we know. When I think of other classic (and current) comic book heroes… their books always come down to the best use of a super power. It’s akin to the ‘85 Bears victory in the Super Bowl: it’s all about brute strength. In Blackest Night? It was collection of rainbow raiders and a deus ex machina in the form of “It was Black Hand all along! Now shoot him!” In Fear Itself? Solved by a ton of punching, and Odin getting off his ass. Even in the non-epic books, I see too many stories solving their problems with mindless fighting, and sheer force-of yelling. Hell, Avengers Vs. X-Men is essentially based on that entire 13-year-old wet dream of a concept. And frankly… it’s really old hat.

When I was first getting into comics, no doubt it was all about the fighting, and punching, and super powers. A grand excuse for violence and gratuitous action sequences. And the books at that time gave in to the gluttony. Spawn was belched out of the machine that demanded insane amounts of gore, and detail, and splash pages… And the reason why his stock (and its four-barreled-thigh-pouch kin) sits somewhere a thimble above “wait, that’s still a thing?” is because the book never grasped for more than a climax built on banality.

When a movie, a book, even a song reaches for the middle, our brains turn off. The reason why Karate Kid is better than Sidekicks (aside from the obvious….)? Because Danny Larusso defeats Johnny with his mind more than his body. Yes it was about perseverance, but I contest that it was that moment when he realized the crane kick could win him the match… we as an audience collectively feel like the win is earned. It’s the reason why Batman is always better than Superman. Because nine times out of ten, Batman saves the day because he figures a way out to do so. Superman, nine times out of ten, uses one of his 1,000,000 powers.

I recently reviewed Blue Beetle #6 over on MichaelDavisWorld. In said review I was elated by the book’s choice to have their azure-hued bug boy save the day not by commanding his alien armor to make a bigger-better-bug-zapper… but by out thinking his opponent. The whole reason I’m looking forward to this Sinister Six arc in Spider-Man is because my first thought is “in this modern take on Spidey, how is he going to think his way out of being pummeled by sextet of sinister sleeze-bags?” Don’t get me wrong, I want to see plenty of quips, punches, web-shooty-balls-of-justice, and kicks-to-the-mush – I just want the day to be saved by Peter Parker’s greatest power… his mind.

In comics, we build up an antagonist – an alien race, a long lost angry god, a crazy man with a gun and a diaper – and pit our titular heroes in combat with them. Whether the Avengers are fighting the Kree, the Skrulls, Ultron, Enron, or the X-Men… only those with a short attention span and a “most-posted” badge on a message board are truly salivating on just the outcome of a fight. As a reader, I genuinely feel like the best stories give us an arc that introduces us to something we didn’t think of in the first place. When the only thing that stands in the way of a happy ending is a well placed punch we end up with Michael Bay’s Transformers… pretty to look at, and not much else.

That being said, I’m going to go look at my script for the Samurnauts. My original page of notes for the climax literally says “use some mega-super move… lots of photoshoppery.” Looks like I better get thinking…

SUNDAY: John Ostrander 

 

Valiant’s Bloodshot Hollywood Bound

  • News
  • March 1, 2012

modern-bloodshot-300x225-8655094Valiant Entertainment has been stirring things up as they prepare to relaunch their moribund line of characters in May. Now word has hit that Jeff Wadlow has sold a spec script for a Bloodshot film to be produced by Columbia Pictures.

According to The Hollywood Reporter, Wadlow, best known for the film Prey, came up with the notion for the movie and tracked down the rights holders, Jason Kothari and Dinesh Shamdasani, convincing them he was the right man to tackle the property. The script has been kicking around Hollywood since 2008 and was even considered for the developing comic line although that appears to have been abandoned. In March 2010, X-Men First Class director Matthew Vaughn was attached to direct a version of Bloodshot that may or may not have included Wadlow’s script. Wadlow, though, has been paid $450,000 for the spec script and that could swell to $1 million should the movie actually go before the cameras.

Original Films will produce the film for Columbia with Neal H. Moritz set to executive produce. In the announcement, Hannah Minghella, Columbia president of production, said, “The Bloodshot character has been a fan favorite for nearly two decades, selling approximately 7 million comic books globally. Because there have been more than 1,500 pages of storylines published, there is a rich legacy to draw from as we develop the screenplay.  Neal is one of the best action producers working today and we know he is the right filmmaker to take on this potential franchise.”

Moritz is no stranger to comics and pop culture icons, having most recently worked on the remakes of 21 Jump Street and Total Recall for Columbia, and adapting Dark Horse Comics’ R.I.P.D. for Universal.

Meantime, Brett Ratner was announced to be directing an adaptation of Valiant’s Harbinger in 2008 as he sought a franchise he could call his own. Since then, there has been nary a peep from Valiant or Ratner on the property’s development.

Valiant, founded in 1989 by Jim Shooter, will return after a decade’s absence with X-O Man of War in May. Former Marvel editor Warren Simons has been carefully assembling creative teams with a slow roll out apparently mapped for 2012 and beyond.

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