One more yawn

Joey Q has been talking about doing it for at least a year.

The publicity was hinting at it for months.

Every fan has been assuming it for the last six months.

Every blogger has been complaining about what a bad idea it is.

And so the biggest twist in the Spider-Man story One More Day is... that it's exactly what everyone has been expecting all along.

After a year when the level of misdirection at the big two has reached the point where creators lie in interviews and publishers put out misleading solicitations for comics that will never be published, I am a little baffled to find the biggest Spider-Man story of the year to telegraph its big conclusion months before the first issue was even published.

So I'm now left wondering what they are going to do when the next movie rolls around and it features Spidey and Mary Jane as an item, given that last time Marvel bent over backwards so far to identify with it that they put him into his black costume for several issues for no good reason other than it was in the movie.

I'm less wondering how they are going to integrate the new status quo into the overall Marvel continuity that is so tightly clenched that if Thor sneezes in one comic, Daredevil hears it in another, because it's that obsessively tight continuity that puts me off reading any of the individual titles I might be interested in if they weren't going to be suborned into some huge uberstory every other issue.

I hope Joey Q is happy. Because I'm not sure anyone else is.

Now it all makes sense

I think Gail Simone might be on to something.

Maybe the reason big Joey Q is so obsessed with breaking up Spider-Man's marriage is because he has a secret agenda to out Spidey as Marvel's premier gay icon.

It all makes sense when you think about it. All those hints over the years. All the subtext. It's not hard to see when you are looking for it. I can only hope this leads to an even greater diversity in the Marvel stable, as Tony Stark is revealed as a transvestite, and Johnny Storm comes to terms with his gender dysphoria.

One more thing

Having seen several reviews of Ultimates 3 #1, I'd just like to say this:

I hated Jeff Loeb before it was cool, too.

One big bluff?

I'm beginning to wonder if this One More Day stuff is all a big fakeout.

Short recap if you don't know the story: Spider-Man is faced with the choice of letting Aunt May die (again) or having his relationship with his wife, Mary-Jane erased.

Now big boss of Marvel, Joe Quesada has been saying how he wants to undo Spidey's marriage for a couple of years now. J. Michael Straczynski, who wrote the story, has expressed how unhappy he was with writing it. Everyone, but everyone in comics fandom is aware of this, even if they, like me, haven't read a Spider-Man comic in ages.

So I'm just thinking this has to be the least unexpected twist in the history of comics, coming at a time when the publishers are so desperate to misdirect readers about significant plot developments that they will lie in interviews and even post fake solicitations for comics that will never be published. There's also the matter of the proposed change being universally condemned by fans, and the fact that there are plenty of flavours of Spider-Man already available in unmarried form.

Oh yes, and don't forget that this would also be taking the core titles away from the movie version in a year when Spidey suddenly started wearing his black costume for no reason that makes sense other than to strengthen the ties to the movie franchise.

I cannot see anything positive in cancelling the marriage at this point, and a lot of negatives. Which doesn't mean they won't go ahead with it; both Marvel and DC have made some amazingly boneheaded choices lately. Of course if they do pull the big twist on us, they might gain some kudos for not doing the thing nobody wanted them to do, but they'll have also made it impossible to trust their word about anything, and you'll get some fans assuming that they changed the ending at the last minute due to fan pressure, so to a degree it's a no win situation.

OEL is an oxymoron

This is one I've been intending to rant about for a while, but a recent snippet of news I've seen sent me over the edge.

Marvel have decided to produce an X-Men manga. None of the people associated with it are Japanese. Now I think Raina Telgemeier is a very talented writer, and may well produce an excellent comic, but it still won't be japanese, and it probably won't read much like a comic produced by Japanese creators for a Japanese audience, so calling it "manga" seems a bit of a cheat to me.

Original English Language manga is to me a contradiction in terms. If it's created by English speaking people for an English speaking audience in a western style for a western publishing format, then it doesn't matter how big the eyes are or how many speedlines you include, it's not manga. It's no more manga than strawberry flavoured candy is in any way related to actual strawberries. It might be very nice strawberry flavoured candy, but it can only compare favourably with other strawberry flavour candy. When compared with actual strawberries, you cannot help but notice that it is not a fruit.

It's cultural appropriation at its worst. Japanese culture tells stories in a different way, with different emphasis and pacing, and with different references. Attitudes to the medium of comics are different in Japan, which leads to a different publishing structure. It's not just difficult for an American production to properly emulate a Japanese comic, it's almost impossible. And most of the time, they don't even try. They simply pick up a few superficial stylistic tips, and think that's enough to hitch a ride on the manga bandwagon.

And one other thing: if you are a westerner, creating a comic to be published in America to be read by Americans, constructing it so it reads right to left is a ludicrous affectation and I will mock your foolishness and cast aspersions on your character.

You have been warned.

The breast thing again

There was an excellent competition over at Project Rooftop to design a new costume for Wonder Woman. There is some amazing creativity there, and it's worth a look if you haven't seen it. But that's not exactly what I want to talk about.

One of the entries included an image of Wonder Woman with one breast removed, and one of the judges, Joel Priddy opined

"You know, with the dozens of Wonder Woman avatars running around out there (Power Princess, War Woman, Winger Victory, etc.), I can’t recall anyone making use of the Amazonian mastectomy before. Go figure."

I commented that perhaps it hasn't been used because it had been disproved a long time ago.

I happened to check back today and found that I had received a couple of responses that surprised me, and rather than sidetrack that thread on a detail, I'm going to address them here.

Dean Trippe said:

you’ll note we refered to the mastectomy AS a myth.

However, I’d say the exclusion of the breast-removal in popular representations has more to do with squeamishness and male boob-fixation than lack of research.

That's an interesting opinion, and there may even be some truth in it.

The Amazons in Y The Last Man have it, but they could be seen as a cult, using this as part of the indoctrination. The Amazons in Xena don't do it, but quite apart from considerations such as the cheesecake aspect or whether self-mutilation of this kind would be permitted on prime time TV, there's the problem of actually creating the effect with real actors. I'm not sure there are enough actresses with mastectomies to fill the ranks, but I suppose it might be achieved by hiring a lot of flat-chested women and giving them one large prosthetic boob, either way I don't see the idea getting that far.

Off the top of my head I can't think of any other popular representations of Amazons, apart from Wonder Woman herself, and she's been dual-breasted since 1941, so it seems a bit late to change that now. I suppose they could dig up another lost tribe of Amazons who did it, but why would they, unless they wanted to show how stupid the group were, since it is of no practical value?

Sonny said:

The Amazons were mythical warriors, Marionette, and if you’ll recheck the review,

Whether it was a part of the original myth or added later, the whole point of mythology is what it says about the creators (or those who adapt the creations) and the reactions of those witnessing them. Marionette’s strong reaction to it should make Jess proud. Getting such strong reactions from art (either positive or negative) is quite an accomplishment.

Whoever originally added the mastectomy idea to Amazonian myth obviously had a similar spirit to the creator of this website.

Yes, Sonny. The Amazons were mythical warriors. And the people who first wrote about them, created art about them, built statues and frescos depicting them all showed them with an even number of breasts. Quite clearly, in some cases. The fact that the word used to describe them was mistranslated to suggest that they were single-breasted does not make it an enhancement or variation on the myth, it makes it an inaccurate understanding of the source material.

If I choose to describe unicorns as having three legs, does that make it a valid adaptation of the myth of the unicorn? No. Does it enhance the myth in any way to add a lot of baggage suggesting that women mutilated themselves in order to give themselves a bit more bow-room, when all you have to do is go google women's archery to see that modern women manage quite adequately without this disfigurement? No.

And while you're right, it is an achievement to get an emotional response to a piece of art, A) I wasn't responding to the art, I was responding to Joel's comment, and B) I don't think that gaining the emotional response of annoyance at seeing an old inaccuracy perpetuated is an achievement of which to be especially proud.

A brief comic review

Countdown: Arena #1.

It's like Secret Wars, but with extra death.

Or, I don't know, maybe one of those tedious threads that crops up on every comics message board before long where people debate who would win in a fight between hero X and hero Y, and you know it doesn't matter how carefully they analyse the relative powers and skills, it all comes down to what story the writer wants to tell.

Or it could be a videogame. One of those dull fight games where the plot is just a thin excuse for the fighting. It's like watching someone else play one of those.

Plus DC get to kill off a whole bunch of Elseworlds characters that were minding their own business.

The Paris Hilton of the superhero set

No, not Supergirl. The other one; Stormy Knight AKA Phantom Lady. When I was first introduced to the current Phantom Lady I was intrigued to find that beyond the cliché hot bod, at age 22 she also had a degree in quantum physics. I've been waiting for the last year for Jimmy Palmiotti and Justin Grey to develop the physics nerd side of her, but they seem to have forgotten that whole aspect in favour of making her a drunk, embarrassing, airheaded party girl, drowning in cliché.

Add to that Renato Arlem's lazy art, and I am fast losing all interest in Uncle Sam and the Freedom Fighters. It's bad enough when you see cut and paste in webcomics; to see it in a DC comic is simply wrong. I had been intending to do a quick count of how many panels in the latest issue reused elements from previous panels, but when it became apparent that there were several examples on almost every page, I gave up in disgust.

This comic has too many characters, which means you get very little depth to any of them, and the story is trying so hard to be "torn from the headlines" that it just comes across as tabloid cliché conspiracy theory with extra superheroes. It manages to be extremely wordy without saying much of interest, and the whole thing is a big disappointment.

Oh, and if you want to get an emotive image of someone slashing their wrists, you need to a) make them sympathetic beforehand, and b) use an artist who is not going to get it so totally wrong. Anyone care to guess what's wrong with this picture (other than the dodgy perspective)?

Statuesque

After recent commotion about representations of female characters in miniature form, I'd like to take a moment to show appreciation for when they get it right.

Here's a manga-fied Wonder Woman.

She's holding a sword and shield, in a pose that suggests she's ready to use them. There's some stylish detail work (click on the image to see it larger) and the costume actually covers more skin than the regular version, though it may look more skimpy due to the optical illusion of her having considerably more leg than usually depicted.





And here's Wonder Girl. I'm not quite sure what she's supposed to be doing, but it looks like she's about to cheerfully tie someone up.



See, toy sculptors? you can get it right when you try.

Scott Kurtz cracks me up

See, it's funny because even though Brent is technically an adult and in a relationship, the mere sight of a fully clothed woman with large breasts makes him unable to function or think about anything other than boobies.

And when I say "woman" here, I mean cardboard cutout of a woman traced from someone else's comic, since it's the same image cut'n'pasted into every panel but with slight change of expression.

Surprisingly, this was not written and drawn by a 15 year old.

Win some, lose some

Remember Public Enemies #1, 2, and 3? Grant Morrison does, and as part of his ongoing plan to reintroduce the entire silver age back into continuity, Batman #670 polishes up Silken Spider, Tiger Moth, and Dragonfly for a new age, in an issue that also featured our old friend I Ching. Back in Batman #181 they were rivals, and if they had any super abilities, we were never shown.

I like them as a team, and now they have powers. Sort of.

On the minus side, the former most wanted are here merely served up as an entrée for Batman. They go down so easy that you can practically see Bats yawning. And they aren't all that impressive anyway.

Dragonfly has the ability to summon some white misty stuff from her arm. What this does, we never find out because Bats takes her out in two panels. And it's only that long because he pauses to give them a quick "sux 2 B U" speech.

Tiger Moth appears to have the power to shoot people.

With a gun.

This leaves only Silken Spider, who gets a nice visual, but then it turns out all she can do is some variation on the pheromone shtick that Poison Ivy worked to death years ago.

I'm left wondering quite what the point was. Why dust off an obscure concept from 1966 and give it a makeover, only to throw it away in seven pages?

Will we see them again? And if we do, will they ever be anything more than cannon fodder?

Update: Yes. We see them again in Nightwing #138. They are once again defeated as soon as they appear. Congratulations, girls. You've become a running gag.

The odd thing here is that they are referred to as has-beens, even though they've never been seen before in current continuity. This suggests that they were at least competent once. Shame we don't get to see any hint of that.

The simple answer to continuity problems

I haven't read the whole of Batman and the Outsiders #1, but I've seen scans of the pages where Batman claims to be unaware of a lesbian relationship among members of his team. Now this is Batman, the guy who is so psychopathically anal that he makes plans to defeat all of his friends and team-mates, on the off chance one of them goes bad. The idea that he would be unaware of a romantic relationship in a team he leads is laughable, unless you plan to do a plotline about him mellowing out or losing his grip.

Many fans have attempted to work out a rationale that enables this interpretation of the character to fit with how he has been generally characterised in recent years. It's something I've seen time and again where someone has acted completely out of character, or in extreme cases, appeared in one comic after they had died in another.

My advice is don't sweat it. Sometimes you just have to accept that the writer is a dick and let it go. It's not your problem that some writer has written a story that doesn't fit continuity, and it's not your job to fix it. The current run of Supergirl has contradicted itself so many times that most of her backstory up to the present issue is a pick and mix. Choose which parts you wish to believe and ignore what you don't. Don't try to make it all fit together because it doesn't.

Nobody can ruin Batman, or Superman, or Wonder Woman, or the JLA by writing them badly. These heroes will outlive any dumb characterisation, and if you want a rationale there will always be a Superdick Prime punching reality or a Mister Mind Chewing on the multiverse or whatever they hell they come up with next year to give them an excuse to disown all past mistakes. And with the afterlife having such a revolving door policy, it doesn't matter how dead a character is, they may come back one day.

So read the good stories and don't worry about the bad. Leave it those who are paid to do so try to make sense of it. Don't blame the character because the current writer is a lazy jerk with an agenda, and don't rescue him from his errors by attempting to rationalise them. It's not your job. It's his.

Duh

I have no idea how I missed it, but I only just found out that there's a Supergirl Showcase due out next week.

There is not enough squee in the world to adequately describe how I feel.

Excuse me. I have to go queue at my local comic shop now.

Or I could, you know, tell them to hang on to a copy for me. Which probably won't leave them one to put out on the shelves if I know them.

While I'm on the subject...

Maybe I'm expecting too much of DC. It's entirely possible that the murder of the entire team (except Cyborg) in Titans East is actually just part of the whole Death of the New Gods story. Though I can't see why exactly this would lead to the original new Teen Titans reforming, which is the whole point of it.

Thing is, Power Boy was already on the hit list because he comes from Apokolips. As an Apokolipian or possibly Apokolite, he's marked for the New Gods cull currently underway. Possibly Little Barda too. I have no idea where she comes from, but the name suggests a New Gods connection. So it may be the whole thing was simply a hit on Power Boy and everyone else got caught in the crossfire.

Either way, doing a story featuring the shock death of Power Boy is pretty limp. I mean, what's the shock? Power Boy killed by a different mysterious psychopath from the one you were expecting? And while I don't know there was anyone who cared enough to want him dead, I suspect he will be the least missed. It's not like anyone is going to admit to liking him when his defining characteristic was an unhealthy obsession with Supergirl, as Judd Winnick reminded us of here.

In fact he devoted several pages to a sequence about how funny it was that Power Boy was such a creepy stalker that he gets girls to dress up as the object of his obsession when he has sex with them.

Judd, a word of advice: you'd be more convincing with the "not a misogynist" argument if you didn't write things like this. Also, avoid writing humour; you're crap at it.

Dead Again

Can you guess which comic I want to rant about today?

Here's a clue: At least one hero is murdered in order to generate interest in another comic.

Still too many to choose from?

How about, it's a currently running storyline?

Wait, that's good for at least three comics.

Written by Judd Winick?

That narrows it down to two...

Okay, the answer is Titans East. A one shot that gathers together a group of c-list heroes and Power Boy*, and then kills them.

I could go on about how short sighted it is to keep blowing holes in the diminishing roster of unique characters that make up the DC universe. I could talk about how every minor hero has a few fans who will be upset at not just their deaths, but the careless way they were cast aside.

It baffles me what they hope to achieve here. If you liked the characters, it's just going to piss you off. If you weren't particularly interested in them, you're not going to care much that they are dead. As for bigging up the mystery villain by demonstrating that they are not only capable of killing heroes, but evil enough to do so for no apparent reason; fans of that weary old trope are already well catered for right now, as there are two other DC titles running the same plot, and at least one of them is taking out much more powerful heroes.

My only faint hope in all of this is that DC will eventually apply the same strategy to their own offices. If they expect to generate interest by killing off a few has-beens and c-listers, imagine the publicity it would generate if Judd Winnick was graphically murdered by a mysterious editor in chief.

Get some new ideas, DC. This is not only stupid, annoying, and wasteful. It's also starting to get embarrassing.

*Power Boy does not qualify as a hero unless your definition of hero is wide enough to encompass creepy stalkers and attempted rapists.

Night of the Living Snorefest

Am I the only one who's really, really bored of zombies?

I mean SO totally bored of the very idea that the mere mention of the "z" word sends me into a coma and the idea of some comic or movie warming over those rotting leftovers one more time with their hilarious and almost original idea for a zombie sitcom makes me want to strangle them with their own intestines?

I'd just like to add...

Props to Looking2dastars, who has provided a selection of icons to cater to fans of many of the characters Winick has written.

Winnick the Pooh

I love Amanda Conner's art. I hate Judd Winnick's writing.

Can I enjoy the Green Arrow/Black Canary Wedding Special if I just look at the pictures and ignore the text?

Not that I'm saying Steve Trevor is a creepy stalker, but...

Sense of Wonder (Woman)

Robert Kanigher wrote Wonder Woman in a peculiar steam-of-consciousness way that reads a lot like dreams in comic form. In the second story in the Showcase collection Steve Trevor is for no explained reason now piloting a rocket plane to chase and observe an experimental rocket. (1). Unexpectedly, Steve's plane accelerates faster than the rocket and disappears into space, so Wonder Woman gets her invisible plane a quick refit at Paradise Island and follows, also becoming caught by the strange effect and sent hurtling across space.

Once she's retrieved her wayward boyfriend, she observes the Earth being destroyed by a flaming meteor, except no, it's only a cardboard cutout of the Earth that evil aliens were using for target practice, because they feed on planetary fragments, and Earth is next on the menu, even though it's 200 light years away and there are plenty of uninhabited planets closer (2). And they appear to have brought the reluctant astronauts from their home purely to gloat at them (3). Tough for them that Wonder Woman can fashion a giant magnet out of the nearby landscape and use it to pull the meteors off course and send them crashing back to the planet that launched them (4).

Of course now Wondy and Steve are stranded in space, hundreds of light years from home, except what's this? Could it be a handy spacewarp that will return them to Earth space? You can bet it is.

It's only with the third story that some of Kanigher's less entertaining themes become explicit. The problem is the relationship between Wonder Woman and Steve Trevor. Personally I've never been able to understand why she puts up with his nagging. The situation is that Steve wants Wondy to marry him and settle down, i.e. stop going out and doing hero stuff. Wondy's response is that she cannot marry him until she is no longer needed to battle crimes and injustice. Only then can she think about herself.

This is a twist on silver age Superman's lame excuse for refusing to marry Lois Lane. Here Wonder Woman has to put the concerns of the whole world before herself until she is no longer needed, and her definition of being needed is impossible to fulfil, since it not only requires there to be no crime and injustice, but no natural disasters too. And yet rather than challenge this absurd notion, Steve instead repeatedly attempts to trick the woman he claims to love into marrying him. It seems to be far more about control than love, and it's my least favourite aspect of these stories.

But back to the plot: this story completely rewrites part of the origin story, with an entirely new telling of how Wonder Woman became Diana Prince and came to work at Steve's office in Military Intelligence. In this variation Steve bets Wondy that if he can find her three times in 24 hours, regardless of how she is disguised or hidden, then she will marry him. When she finds that he has tricked her, she gets her own back by applying for a job in his own office (5) so that she'll be right under his nose all the time without him recognising her.

Would I recommend this as a book to give to kids? On the one hand the stories are light and fantastic, bursting with sense of wonder and fairytale logic, while short and self-contained, but on the other they have some underlying values that I would be uncomfortable exposing to someone who was not experienced enough to recognise them as the BS they are and able to reject them while still enjoying the rest of the story. Don't get me wrong, I love this stuff, but that doesn't mean I don't see elements in it I don't like.

Notes.

1) We are told that the plane is slower than the rocket, so I doubt it can be observing it for very long.
2) I can only assume that Earth is a particularly tasty morsel on the galactic menu, since it seems to attract planet eaters from across the galaxy.
3) no better explanation is given, and that's all they actually do with them.
4) She never did have an actual code against killing, did she?
5) and only in a Kanigher story would an office worker have to take part in an underwater race as part of the application process