The Valerian translation project (4)

So far I've been translating connaisseurs as experts, which is quite reasonable but I don't think it really gives them the kind of identity the context calls for, since it fails to convey any sense that this group is supposed to be mysterious and powerful. After consulting my thesaurus I decided that adepts might be more appropriate. It's still (just about) a valid translation but conveys an undertone of mysticism in english that seems to fit, however I just discovered that there is an excellent and comprehensive entry on Valerian in Wikipedia and the part about this volume calls these guys Authorities. Now I don't know what to call them.

Page 7.

Laureline: Tu peux enregistrer, c'est prêt!

You can record. It's ready.

Valerian: Bien! Salut les enfants! ici Valérian appariel XB982 parti le 23/9/2720 de Galaxity pour le système Syrtien...

Good! Hello children! Valérian here, XB982 left the Galaxity as of 23/9/2720 under way for the Syrtien system...

So it's Valérian after all. No accent on the book covers though. And "Hello children"? Is Valerian being facetious here or is there another possible translation of enfants?

V: Rapport oral numéro quatre. Nous sommes maintenant ā proximité de Syrte et avons récupéré les dernières sondes automatiques terriennes qui ont précédé notre exploration. Les enregistrements du langage syrtien nous ont permis d'apprendre la langue courante sous mémoriseur comme prévu. Nous nous préparons ā effectuer le dernier saut spatio-temporel pour débarquer sur l'astroport de Syrte. Rien de particulier ā signaler pour le moment _ Terminé.

Oral report number four. We are now in the vicinity of Syrte and have recovered the last of the advance probes. The recordings of the syrtian language have enabled us to learn the current language with the memoriser as planned. We are now preparing to make the final space-time jump to Syrte starport. Nothing special to report so far _ report ends.

L: Curieuse impression… Dire que nous allons entrer en contact avec la première grande civilisation dans laquelle la terre n’a joué aucun rôle! Crois-tu qu’il y ait vraiment du danger?

How strange... To think that we will come into contact with the first great civilization which had nothing to do with Earth! Do you believe that there is really danger?

V:Mmm… Je n’en sais trop rien, Laureline! Et puis nous ne sommes que de simples agents du service spatio-temporel. Ce qui compte c’est de savoir si Syrte est dangereuse pour la Terre, ou si elle peut le devenir...

Mmm... I don't know if there's anything to it, Laureline. But then we are only of simple agents of the spatio-temporal service. What counts is to find out if Syrte might pose a danger to Earth now or in the future.

L: Mais tout semble prouver que Syrte n’a pas découvert le saut dans l’espace-temps! Si cette civilisation n’a pas essaimé, c’est que la propulsion interplanétaire y reste classique. Impossible pour les syrtiens de sortir de leur système ā moins de voyager pendant des siècles.

But everything seems to prove that Syrte has not discovered the jump in the space-time! If this civilization has not expanded any further, it is because interplanetary propulsion remains [classique]there. Impossible for the syrtiens to leave their system has less to travel during centuries.

I'm stuck again. I think I can see what is meant here but the words are refusing to make sense. The sense of the line seems to be that if the Syrtians have never left their own system it must be because they only have interplanetary propulsion, but the reason it gives for this escapes me. I can't find a translation of classique here that works. And that last sentence just gives me a headache.

M: Je sais bien! Peut étre n’y a t il aucun risqué et c’est pour cela que nous devons étre discrets. Nous allons débarquer incognito et jouer les tourists…

I know well! It is a risk we cannot afford to take, and for that reason we must be discrete. We will land incognito and play tourists...

Parée pour le dernier saut?

Ready for the last jump?

Parée…

Ready...

Et, plongeant dans l’espace temps

And, plunging through space-time...

…l’appareil de Valerian et Laureline vient se matérialiser en un point isolé de l’astroport syrtien…

Valerian and Laureline's machine materializes at a point isolated from the syrtien starport...

Busy, busy

Sorry there hasn't been much in the way of deep philosophical essays on the meaning of Wonder Woman's earrings and general ranting but I've been so busy lately there don't seem enough hours in the day. Heck, I've had issue #4 of Polly & the Pirates for nearly a week now and I haven't got around to reading it yet.

Anyhow, what little spare time and brainpower I have I'm putting in to this Valerian translation because in some bizarre way it's fun, and I want to see what happens next. Normal service will be resumed as soon as we work out what is normal anyway.

The Valerian translation project (3)

Page 6.

Syrte, enfin c'est un immense astroport qui accueille, depuis que les voyages interplanétaires existent, des fusées venues de l'ensemble du système solaire.

Nulle douane, nulle surveilance... On vient sur Syrte-la-Magnifique sans contrainte, on la quitte librement...

Syrte, ultimately a giant starport which, since the coming of space flight, accomodates ships from throughout the entire solar system.

No customs, no surveilance... Anyone may enter Syrte-the-Magnificent without constraint, and leave as easily...

One of those that isn't too hard to make sense of, but which really needs a little tweaking to turn into readable english.

Et les lourds vaisseaux commerciaux, les embarcations légères font toujours paisiblement le trafic entre l'arrière-pays, la capital et l'astroport. poussés par leurs voiles solaires sur cette planète sans vent, les bateaux sont nombreux sur les canaux...

Heavy commercial vessels and the smaller craft traffic peacefully between the provences, their capital and the starport. Powered by solar sails on this planet without wind, the boats are numerous on the canals...

Another one I took slight liberties with, but if my translation is sound then it gets the sense across. I've translated l'arrière-pays (literarly the back-country) as the provences since it seemed to be referring to the countryside beyond the capital city, but I'm not sure if the outer world or the outside world might be better. Hmm.

I can't help feeling it would be less confusing if the capital city had a name that wasn't basically the name of the whole planet with an adjective appended (which sometimes seems to be dropped anyway). The writing is quite confusingly condradictory as it is, what with in one sentence telling us that Syrte is basically one giant starport, and in the next differentiating between the outer world, the capital city, and the starport.

And a planet without wind? Is that even possible if the place has a breathable atmosphere? This is surely hyperbole for the sake of it.

Pourtant, malgré son ancienne té et sa gloire, Syrte n'est plus ce qu'elle était...
Partout des ruines non relevées, des digues effondrées ou des port d'attache ensablés...

However, in spite of its age and glory, Syrte is no longer what it once was... Everywhere is fallen ruins, ploughed up dams or old docks, silted up and useless...

Less sure of this one but the context is harder to read, and I was stumped for a while when the only translation I could find of té is T-square or T-piece which doesn't make any sense . Although there is a clear gap it seems more likely that it's not ancienne té but ancienneté, meaning age.

Le palais impérial lui-même est de plus en plus délabré...

The old imperial palace becomes more and more dilapidated...

...Dans la jungle, oū de pauvres pêcheurs poursuivent le dangereux marcyam, gigantesque serpent d'eau ā la peau précieuse...

... In the jungle, the poor fishermen still hunt the dangerous marcyam, a gigantic water snake whose skin is highly prized...

Seuls les inexpugnables temples des connaiseurs tranchent sur la misère ambiante.

Only the impregnable temples of the experts contrast with the surrounding misery.

Dans l'espace, ā quelques années-lumière de Syrte...

In space, only a few light-years from Syrte...

What's that I spy on the distant horizon? Could it be an actual story? Or at least a character or two? Yay!

The Valerian translation project (2)

Some people do jigsaw puzzles; I translate french graphic novels into english. It's not that different in some ways. You pick out the bits of each sentence you understand clearly, which are like the corners on a jigsaw, and then you puzzle your way through the rest relying heavily on the context - seeing how the new bits match up with what you have so far. And every so often you get to something that doesn't seem to fit however you rearrange the pieces and you reckon you must have lost a verb down the side of the sofa.


Page 5.

And straight away we are in at the deep end again.

...schamils hypnotiques de la planete Glimius lesquels on senferme pour trouver l'oubli.

...Hypnotic [schamils] of the planet Glimus which one [senferme] to find forgetfulness.

is the best I can do so far. None of the dictionaries I tried included either schamils or senferme so I'm a bit stumped there. Schamils may be a made up name but senferme has to mean something in context.

...Pierres vivantes d'Arphal qui se fixent a la peau pour faire les beaux bijoux.

...The living stones of Arphal that can be set directly into skin and worn as beautiful jewels.

...Rarissimes spiglics telepathes de Bluxte, animaux familiers qui vivent sur la tête de leur maître en lui communiquant leur bonheur toujours égal par transmission de pensée

...The extremely rare telepathic spiglics of Bluxte, animal familiars that live on the head of their master, communicating a constant feeling of happiness via thought transference.

...Métaux rares, mets raffinés étoffes colorées... dans l'enchevêtrement des ruelles de Sytre, une population venue de toutes les planètes, achète, vend, vole parfois...

...Rare metals, refined [mets] colourful fabrics... in the tangled lanes of Sytre, a population drawn from every planet buys, sells, and occasionally steals.

Only translation I can find for mets is dish, which doesn't seem right.

...On vient aussi sur Syrte pour consulter les connaiseurs, médecins ducorps et devins des âmes, impénétrables derrière leur masque de metal.

...Visitors also come to Syrte to consult the great experts, doctors of the body and soothsayers of the heart, impenetrable behind metal masks.

...leur puissance, dit-on, ne fait que s'accroître, et certains pensent qu'ils sont peut-étre denvenues les véritables maîtres de syrte. Peu nombreux, les connaisseurs sont les hôtes les plus respectés et surtout les plus craints du palais...

...their power, say some, does nothing but increase, and others think that they might be [denvenus] the true masters of Syrte. Though small in number, the experts are the both the most respected and most feared inhabitants of the palace...

Once again I couldn't find a translation for denvenus, and I'm a little dubious about my translation of that last sentence, particularly having used inhabitants where the original is hosts, but it seemed to make the most sense.

...A moins qu'ils ne vivent dans des temples-fortresses perdus dans la jungle Syrtienne

...Except when they live in temple-fortresses lost in the Syrtienne jungle.

Another line I'm a bit dubious about but literally it's "unless they don't live in" which makes no sense to me.

Only one more page of this and we might actually get to Valerian and Laureline.

Mirrormask

I went to see the Dave McKean/Neil Gaiman movie Mirrormask tonight and had been intending to review it but the pub I went to afterwards for a quiet drink was hosting a band that performed Kinks covers in the style of Led Zeppelin. I'm not sure which was the more surreal experience.

Five songs I'm obsessed with this week

For no particular reason I felt like sharing the soundtrack to my life...

Pink - Eighteen Wheeler
Ookla the Mok - Stop Talking about comic books or I'll Kill You
K. T. Tunstall - Other Side of the World
Shinohara Tomoe - Ultra Relax
Concrete Blonde - Ghost Riders in the Sky

The Valerian translation project (1)

My copy of Valerian volume 2: L'Empire des Mille Planetes (Empire of a Thousand Planets) arrived today, so my attempt to translate it commences.

I was worried that I'd look at the first page and it would be complete gibberish to me, but in fact I was pleasantly surprised by how much of it I could read, even though my program of building on the french I learned at school is only up to lesson 6 (of 90) of Pimsleur's Learn French course, and I don't expect it to include words like spatio-temporel.

Even so, the words that I don't get in the sentances are usually the important ones, so I'm going to have to look a lot of it up. Looking around at what is available I decided first port of call would be Google's automatic translation service. Here's the text of the opening page in french:

Noirs espaces infinis de l'univers, soleils brulants eclairant des terres in connues. Combien de milliards de civilisations d'etres vivants pouvez-vous abriter?

And Google's translation:

Blacks infinite spaces of the universe, suns brulants lighting of the grounds in known. How many billion civilizations alive beings can you shelter?

Not bad for a machine, although when there are several likely meanings to a word the choice you get seems pretty random. The only word it rejects completely is brulant, and it doesn't even get brûler (meaning to burn) without the accent.

So correcting the mistakes and rearranging it into something that makes sense in english, what do we get? How about:

The black infinite spaces of the universe, punctuated by the light of stars that brighten the known worlds. How many billion living civilisations do you shelter?

Could be better, but I think it gets the sense across.

On to page 2. Well, page 4 actually, since it is numbered from the title page.


To start with I was flying along, only needing to check the occasional word here or there.

In a remote galaxy one planet forms the centre of an immense solar system.
It is Syrte the Magnificent, capital of the Empire of a Thousand Planets.

Syrte, with its fabulous imperial palace, houses the last descendent of a dynasty which, since the dawn of time, has extended its influence over all of the planets of the system.

Only the accredited ambassadors of the empire and the prince's favourites may penetrate the heavily guarded palace.

But then I ran into a problem.

Le peuple qui souvent se presse au pied l'edifice ne peut qu'entendre les echos de fetes mysteriouses.

Which Google tells me means:

the people which often press with the foot the building can only hear the echoes of fetes mysteriouses.

I don't get this. Who are the people referred to here and why/how are they listening to the echoes of mysterious fate by pressing their feet against the building? Is it a mistranslation or a colloquialism that is zooming over my head?

Moving on...

But Syrte is the great marketplace of the empire. In the souks and along the canals one can find anything one's heart desires. The merchants of the empire scour the outer worlds to bring back innumerable wonders.

That wasn't so hard.

Now if only someone a little more gifted with la francais can help me with the whole foot pressing business I can continue.

Jumping off point

When comics companies pull an all-change on us and give a comic a new creative team or a big retcon, they like to tout this as a good 'jumping-on point' for new readers. In order to make this a good place to start they often dump a lot of the character, cast, plot and sub-plot of previous issues and start the comic going in a completely new direction. The corollary they often seem to forget is that if you were enjoying the previous incarnation of the comic then this also makes a perfect jumping-off point for the established readership.

This becomes particularly relevent right now as DC gives a number of their titles a major overhaul for a post-Crisis world, even though Crisis hasn't finished yet. Are the guys at DC as sick of the whole thing as we are that they are so keen to move onto the next phase? Starting the post-Crisis comics while the story is still in progress feels a bit like when you find easter eggs in the stores before christmas.

So while you are checking out the new directions for Wonder Woman, Flash, Aquaman or Hawkmangirl, how many titles that you previously read will you now be expecting to drop as the series you have enjoyed until now is concluded, and all the stuff you liked about it is pushed aside to make way for the shiny new model? And what is the point of getting people interested in one title while alienating them from another? Can't they just tell good stories within established continuity that will attract new readers while keeping the established ones?

And one more thing. While they are constructing elaborate ways of gutting established titles and slapping on a fresh coat of paint to pull in new readers, how is it that when they actually have a new original series they don't use the all time most successful jumping on point of beginning the story with issue #1? Take for example Supergirl, or any of the new Crisis spinnoffs: if you knew nothing about them but picked up the first issue would you find a good jumping on point? No, you'd find yourself in the middle of some story that started in some whole other comic. Would you then go hunting for those other comics which featured characters you knew nothing about having stories that you weren't interested in simply in order to find out what the hell was going on with this new comic that you picked up because it was a first issue?

Supergirl's scary bits made safe for public viewing

I've seen posts in both Dave's Long Box and Tom The Dog on the subject of what Tom gives the delightful name of Editorial Swimwear so my bullshit detector was primed for when I saw this picture in Supergirl #5.



Now this story doesn't strictly require a double page nudie shot of Supergirl, and obviously for the intended market they couldn't ever have considered doing one that didn't have that clumsy old device of hiding her scary parts by placing objects in front of them, and if you look close it is possible to see that the artist has drawn threads of very lumpy looking smoke and cunningly hung drapery to protect us from the terrifying sight of female bits. So what's with the heavy airbrush on top of this, so clumsily obvious because it is seen nowhere else on the page and doesn't fit the style of the rest of the art?

I can only guess that editorial saw the original version and panicked that you could almost see some of the wrong sort of skin and opted for some last minute butchery of the artwork.

And yet somehow they left in the dodgy explanation Zor-El gives his teenage daughter for why she needs to get naked, that odd expression on his face as he stares down at her breasts while removing the last of her clothing, and her delighted response.


Is anyone else seeing a mixed message here?

Pretentious, moi?

I've always considered it a mark of pretentious intellectual oneupmanship when someone says that they are reading whatever the text under discussion might be in the original language it was written in. In most circumstances where this is applied to philosophy, literature, religious texts, or whatever it might be there are usually perfectly good translations available that are entirely adequate for most purposes (I make an exception for poetry here; while a translation might have a beauty of its own, it cannot be the same as the original).

So it is with a degree of selfconsciousness that I find myself brushing up my school french in order to read the series of french Valerian graphic novels. But my patience has run out.
Some years ago four volumes were released in english that gave a taste of this fun and wonderfully drawn series, and now after years of waiting for more what we get is Valerian: The New Future Trilogy. Now to be a little pedantic I have to point out that this is not in fact a trilogy in any sense of the word, just 3 self-contained sequential episodes of the much longer series. But the really frustrating thing is that after such a long wait to see this series the translation is so poor.

And by poor, I mean it's so bad that I am not only saying "I could do better than this crap" but I am actually going out and buying one of the untranslated volumes and doing so. I had been intending to start at the beginning and work my way through in chronological sequence, but due to a slight confusion I ended up getting volume 2 on ebay instead of volume 1. Ah well, if I get anywhere with the project I can always do that one next. After all I've already read volumes 4, 5, 7, 10, 13, 14, & 15.

I'm just waiting for the book to be delivered, but I'll let you know how I get on. In the meantime I'll maybe review the volumes that have been translated. I already did a brief piece on The New Future trilogy over at Comics Should Be Good, but it's a good excuse to reread the older books.

N.R.F.B.

People sometimes look at you a bit odd if you admit you read comics, but I have a worse confession; I collect dolls. No, not action figures (which seem to be a legitimate form among comic fans, but dolls. And not just any dolls; I collect goth dollies.

Actually I used to collect all kinds of cool toys that I would have died for when I was a kid, but at some point I felt the need to pack them all up in a box and stuck them in the closet. But my monitor wasn't the same without a cool toy sitting on it, and when I saw these gorgeous goth dollies I had to have one. Now I just bought my seventh (selling off some of my old cool toys to pay for her) and my computer area is starting to look like it's inhabited by a small goth girl gang.

But how does this relate to comics, I hear you ask? Well doll collectors are worse than comic collectors. In the same way that the more obsessive comic collectors buy comics encased in plastic that they cannot ever read, doll collectors buy dolls and never take them out of their boxes. This whole frame of mind upsets me in some strange way that it's taken me a long while to pin down, and I think what disturbs me is that if you buy something and never touch it, can you really say you own it, or are you just acting as a caretaker for it for a while? Comics are made to be read, dolls are made to be played with. The BeGoth dollies have improved tremendously in construction since they started and the newer ones can be posed in all kinds of ways. But what's the point if they are being bought by people who never take them out of the box? They might as well be solid plastic.

Are these people just packaging fans? Do they take esthetic pleasure from the packaging and feel that this is an artform in itself, or do they see the dolls as artworks in their own right (they are very nice sculptures, it's true) and that the best way to display them is in the original packaging? Or are they playing investor, sitting there calculating how much profit they would hypothetically make if they ever actually sold them (which of course they wouldn't ever do)? I guess that for the people that like that sort of thing, that's the sort of thing they like.

Me, I buy my dollies to play with (though I haven't quite reached the point of having goth dolly tea parties), even when they are from a limited edition of 500. And if that makes the packaging fans whimper then they can console themselves with the fact that this makes one less pristine, mint condition, never removed from box doll, and thus gives that tiny bit more value to the other 499.

What's in a

It started with Everquest. You'd choose a name and then at level 20 you could get a surname. The official name policy said you couldn't pick a name from popular culture like James Bond, so I'd think of creative ways to get around it. I'd come up with names based on movies like Tamara Neverdies or Diane Otherday.

Consequently when I make a new character in an online game I now have a list that I am adding to. These include:
Alison Wonderland
Angela Sashes
Rowan Deworldineightydays
Sven Samurai
Laura D'Ufthrings
Lars Tangoinparis
Jenny Tothecenteroftheearth
Grace Anatomy
Abby Ridgeovertheriverkwai
Eve Encowgirlsgettheblues
Farrah Fromthemaddingcrowd,
Chris Talvoyager
Candice Camera
Thelma-Anne Louise
Bjorn Onthefourthofjuly
Anne Ightattheopera
Bess Thatshoutedloveattheheartoftheworld
Sam Uraipizzacats
Ahmed Summernightsdream
Neville where
May Tricks

Slimming

So I'm dieting.

I notice that a lot of places in the UK will now list useful stuff clearly where it is easy to spot about calories, salt/fat content and suchlike, but what really annoys me is that often where they list the calories the small print will say *per half can, or in the case of some desserts *per 1/6 or some such.

What the hell? If I am interested in the calorie count for an item I want to know how much the whole lot contains, not how much I will get if I share it with six friends (like that's going to happen). Give me the total or just forget it.

And what's even stranger is when I find non-slimming branded items that contain less calories than the slimming ones. What's that about? Why not mention this somewhere to save us slimming types time?

Of course the true secret of slimming can be simply summarised:
Eat less
Exercise more.

Personally I'm working on both. Which involves a lot of salad (which I happen to like), Tai Chi, and getting vertigo running accross Clifton suspension bridge, but it's a pain picking up some tasty morsel thinking I can eat it without guilt only to find I can eat 1/4 of it before I have to feel bad.

The Breast Thing

I'd read the first couple of issues of Y the Last Man and thought it looked interesting, and I'd been thinking of picking up the collected editions, but hadn't got around to it yet, so when I saw issue #40 sitting in a bargain bin I picked it up.

Turns out this was a good issue to grab at random as it is pretty much a stand alone story, and I am even more encouraged to get the collections, but there was one bit in it that knocked me sideways slightly. In the story one of the characters reveals that she had been a member of a modern amazon group. She does so by displaying the mastectomy scar where her left breast should be. This confused me for a moment because the historical amazons didn't cut off their left breasts. They didn't even cut off the right ones.

Whether the writer Brain K. Vaughan had been taken in by the myth, or if he was just saying that the women in the story had been, I don't know. Maybe that will become clearer when I get to read the rest of the story.

You see it's all based on a mistranslation. According to Wikipedia:

The name Ἀμαζών is probably derived from an Iranian ethnonym, *ha-mazan-, originally meaning "warriors". A connected word is probably the Hesychius gloss ἁμαζακάραν· πολεμεῖν ("to make war", containing the Indo-Iranian root kar- "make" also in kar-ma).

The Greek variant of the name was connected by popular etymology to privative a + mazos, "without breast", connected with an aetiological tradition that Amazons had their right breast cut off or burnt out, in order that they might be able to use the bow more freely (contemporary Greeks drew the bowstring to the sternum); there is no indication of this practice in works of art, in which the Amazons are always represented with both breasts, although the right is frequently covered. Other suggested derivations were: a- (intensive) + mazos, breast, "full-breasted"; a (privative) and masso, touch, "not touching" (men); maza, a Circassian word said to signify "moon", has suggested their connection with the worship of a moon-goddess, perhaps the Asiatic representative of Artemis.

According to the myth the Amazons remove their right breast for a practical reason - to make using a bow easier. The modern Amazon would not be so bow-dependant, and even if she was, champion bow-women seem to manage without resorting to surgery. So a modern Amazon could only be following this non-existant "tradition" for purely ritualistic purposes.

Which seems an awful lot of trouble to go to because of a mistranslation.

Competition!

Okay, it's not really a competition, but I have a free 14 day trial to City of Villains to give away so if you are interested, drop me an email (mari at blueyonder dot co dot uk) and tell me why you'd like to try COV. It doesn't have to be witty or clever, I'd just like it to go to someone who will really enjoy it rather than someone who just likes getting free stuff. Heck, maybe I'll even show you around the place.

Note that while COV doesn't require quite the top end machine as some online games, this will involve downloading something like 1.5gb.

Update: They sent me another one so I now have two free trials to give away.

Fashion Disaster Week: The last word

How could I forget?

Worstever!

Fashion Disaster Week: Degrees of Disaster

Okay, so I'm running a bit late on this one, but here it is at last.

There is a difference between costumes that are merely inappropriate - either not suited to the particular person wearing them (although they might look fine on someone else) or to the setting of the story (eg. space suits that include either miniskirts or bikinis) - and the truely disasterous that would look hideous on anyone.

Flower from Kamandi wears a torn red skirt and no top, and appears to have her long hair stapled to her chest. While this is entirely consistant with the circumstances of the story, you have to wonder why Kirby chose to have a female character running around topless in a comic where sight of a stray nipple would be strictly forbidden, requiring such a clumsy device to keep her decent.

A typical way of showing when a good female character has gone bad is to put her in some kind of bondage/fetish costume. A prime example is Sue Richards of the Fantastic Four, whose repressed urges were released when she donned the fetish costume of Malice. It is actually a very good story empowering the Invisible Woman, unlike the semi-sequel where the return of the Malice persona is signalled by Sue taking a pair of scissors to her regular costume and cutting a lot of holes in it, and then biting the head off anyone who comes near her.

Costumes with only one pants leg never work, even when drawn by Alan Davis.




Not many comic characters could pull off a tailcoat and fishnets, but Zatanna only works if that is what she is wearing. As a stage magician it is entirely consistant for her to wear such an outfit and it's only when they try to make her look more superheroey that it all falls apart. In the recent mini-series Grant Morrison puts her in a variety of absurd cheesecake outfits but they work because they look like stage costumes, wheras the two she wore while an active member of the Justice League completely jar with her personality.

Always remember...

Fashion Disaster Week: Supergirl's New Groove

As the Silver Age waned DC went through the first of their periodic shake ups to revitalise their characters. But unlike later attempts, this was not any kind of co-ordinated event, as it required no retconning, and each editorial team within the company took a different approach.

For Supergirl this involved an intermittent depowering similar to what was happening to Superman at the same time, but more importantly it involved her quest for a new costume. Kara had been wearing the same old dress since 1957. It had never gone out of fashion because it had never been in fashion, but changing it was a big deal because at this point in history no established superhero had ever changed the design of their costume (Wonder Woman doesn't count, since she stopped wearing hers altogether). DC promoted this with a big competition among the readership of Adventure Comics, and in Adventure #397 she got a new outfit designed by Diana Prince (Wonder Woman), though I'm not sure I'd be taking practical fashion tips from a woman whose idea of clothes fit for street fighting and action adventure were exclusively coloured white.

Despite the announcement that Supergirl would now be seen in a variety of fan-designed costumes it would be a year before she changed again (Adv #407), when the scientists (scientists?) of Kandor had finished running up a wardrobe full of monstrosities.


For reasons unknown, Kara's first choice of the scientist designed costumes is one of the worst. The red tights were apparently a colouring mistake (who would know?) since they are changed to blue in the next issue. Sadly, the pixie boots remain and one can only assume these were done on purpose.







Of course the new costumes had the advantage of remaining invulnerable even when her powers faded, which came in quite handy when she got dunked in acid in #407, so it makes you wonder what the thinking was behind the backless, sideless, sleeveless, legless number she wore in #409.


In Adventure #410 she first wears the hot pants number that would see her through the 1970's, and although she continues to try out alternatives until #415, this is the only one that recurrs.













It was only changed again in the 1980's for the Olivia Newton John cheerleader look that she died in fashion-wise long before Crisis.