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Let the fanboy bitching begin!!!

// June 29th, 2010 // 10 Comments » // Comics, commentary

admittedly, she does look like she got her costume at Forever 21

So DC debuted Wonder Woman’s new costume today on it’s Source Blog, and already I can smell the fans pissing their pants with fanboy/girl angst.

Wonder Woman’s costume and character have always been considered iconic, in spite of the fact that no one really seems to like either one.  Just as Superman is the ultimate man, Diana is the ultimate woman.  She’s beautiful, smart and stronger than all the men in any room she happens to be in. HOW DARE THEY MESS WITH HER STATUS QUO??

Blah, blah, blah. Angst, angst, angst.

Wonder Woman may be one of the most iconic characters in fiction, but she has had a nasty history when it comes to costumes.  Diana was created during the Greatest Generation’s era, the Golden Age of comics.  Her costume was representative of the patriotism that permeated the culture of the time. While Superman’s costume was subtly reflective of this, WW’s creators went all out. And as much as I consider myself a patriot, I number among those that don’t think it makes much sense in modern storytelling.  Wonder Woman is a product of Greek culture.  Wrapping her in the Flag never made much sense.

But compared to some of her other costumes, the original is hands down the winner.  I mean, they put her in a karate gi in the 1970′s.  It was so ugly I couldn’t find it in a google search.

So here’s the thing.   The new costume isn’t that bad.

Yeah, yeah… I know.  But look at it.  With a few changes, it would actually be pretty decent.  I like the top, the boots and the long pants. I’m 50/50 on the choker and the bracelets, but I don’t have a problem with either.  My only real beef is with the cut off jacket and the tiara.  The tiara is necessary, and I like that it’s understated, but I’m not fond of the design.  The jacket… I don’t think it fits Diana’s character.  She has had a cut off jacket before.  During the William Messner Loebs era (the one that ousted Diana as WW and replaced her with Artemis), Mike Deodato designed a decent looking purple costume with a more modern feel.  And it had a jacket.  But eventually Diana donned the tiara again and got back into her classic gear, presumably because the new one didn’t show enough cleavage.  (I assume that’s why they’ll get rid of this one as well.)

The new costume is brought in as part of the introductory storyline of incoming writer J. Michael Straczynski and artist Don Kramer.  It was designed by comics legend Jim Lee.

It’s a solid costume.  In fact, it looks really good.  And with a little adjustment over time and artists it could last.  Sure, you could say Wonder Woman’s costume is intrinsic to her character. But so is Batman’s, and he’s had a whole mess of different costumes through the years. My only real complaint is that it looks more like a costume designed for a younger character such as Donna Troy.  But that’s a minor complaint at best.

And if history is any judge, we can assume that once JMS’ storyline is over, DC will put her back in her old costume anyway.

So quit yer bitchin’.

5 Things I Want to See from James Robinson’s JLA

// February 19th, 2010 // 1 Comment » // Comics, Humor

No idea what's going on here.

If there’s a title that’s more of a mess at DC than JLA, I don’t know what it is.

It’s fair to say that since it’s beginnings, both company and creator alike have virtually ass-raped their flagship book to the extent that it’s been somewhat of a non-book since Brad Meltzer left a few years back.  What I mean by that is instead of being a normal ongoing series, JLA has become an ongoing tie-in series to whatever event DC is having at any given time.  Considering everything pre-Blackest Night sucked, that is an EXTREMELY bad place to be for a series.

So after a three-issue false start (which was a Blackest Night tie in; SURPRISE!) James Robinson and Mark Bagley truly begin their their new JLA run with issue 41.  DC apparently wanted to hold out for the end of Blackest Night  and Cry for Justice before letting the duo off their leash.  Of course, since Blackest Night is running late and issue 41 takes a piss on the ending of Cry for Justice, I’m not sure why they bothered.

But regardless, we’re finally here.  I’m all set for the beginning of the Robinson/ Bagley era of JLA.  Having read the first issue with the new roster, I thought I would share a few hopes that I have for Robinson’s run.

1. Be Yourself.  It’s what your Mama told you on your first day of school, and it’s damn good advice.  If there’s one commonality of the various things I heard said of Cry for Justice, it’s this:  ”Finally! THIS is a James Robinson book!”  For the first time since Robinson’s return, it felt like he wasn’t being ghost written.

The reason, I think, is pretty simple.  Cry for Justice was entirely his baby.  Since coming back, it’s the only thing he’s done that has been uniquely his own.  Which makes me worry a little about JLA.  For one thing, the roster is nowhere near as wild as the one he picked for C4J, which leads me to believe he didn’t pick most of them.  But no worries, he could still knock this one park.  But Mr. Robinson, if you’re not going to give this your all, then by all means quit while you’re ahead.  Go do something creator owned. Do something you really want to do.  You were at one time among my absolute favorite writers.  Be that man again.

2. Keep it real.  One of the great things about having Mark Bagley as a penciler is that he can draw absolutely anything (and on time!).   SO yeah, he can draw crazy, bombastic fight scenes full of ‘splodey goodness… but he can also give you intimate, emotive moments as well.  Make sure this is as much about the characters as it is the capes.

3. Break stuff.  Maybe I’m just a prick, but for me the absolute best moment in Cry for Justice was seeing Roy Harper maimed and beaten half to death.  Don’t get me wrong, I think Roy is an awesome character (aside from currently being saddled with a really stupid Alex Ross costume and name), but the fact is that moment was a game changer.  I’m not saying you should just start killing off JLA members… but one or two couldn’t hurt.  *cough* Dr Light *cough cough*

4.  Remember your history.  One of the best things about Starman was Robinson’s reverence for the past and willingness to revisit the golden oldies.  The JLA may not be as old as the Justice Society, but there’s still plenty there to be mined.  Show us why the world needs a JLA, even one that would have Vibe as a member.

5. Jack Knight.  Stop being a dick, Robinson.  You know we want it.  One issue.  I don’t care if he flies or gets drunk and takes a piss on Mon El’s booties.  You teased us with the Blackest Night Starman.   GIve us what we want old man.  DO IT, and maybe… just maybe, we’ll forgive you for writing LXG.  (But probably not)

Go get’em Robinson.

A Brilliant Opal in Blackest Night

// January 20th, 2010 // 1 Comment » // Comics, Review

Few comics have ever had the impact of me that James Robinson’s Starman series has.

Back in the hyper-stimulated days of the 90′s, Robinson offered an alternative to the grim n’ gritty era that gripped even DC’s comics such as Batman, Superman and Green Lantern.  He gave us Starman.   The story of Jack Knight is one of legacy and literature.  The story, the characters and the dialogue were all uniquely Robinson’s.  And at the center of it all was Jack Knight and the city of Opal.

The last issue, #80 shipped in August of 2001, the final panel fittingly was of Jack Knight leaving Opal City for the final time, his hero’s journey at an end.

In the 9 years since, it’s fair to say that “Where is Jack Knight?” has become the private bane of James Robinson, Dan Didio, and pretty much anyone who represents them.  Starman’s fans are legion.  And the fact is for all the character’s charm, Stargirl will never be an adequate replacement.

When DC announced that it was resurrecting several comics for one issue this January, it was only natural that Starman be one of them.  I nearly soiled myself with excitement.   FINALLY!  We would know what has become of the great Jack Knight!  —except that it seemed Starman #81 would not feature Jack at all, instead focusing on the Shade and Hope O’dare, both fairly important characters in the Starman mythos.

Having read the results only moments ago…  I have to call it a success.

Make no mistake, only one of the legendary Knights will make an appearance here, in the form of a Black Lantern, risen from the dead.  And yes, you will miss Jack’s presence.  But this is absolutely a return to the fictional world you once knew.

Some books are defined by the strength of their main character.  But Starman was a success in part because of it’s ensemble nature.  No character served to be window dressing.  And more than any other fictional city in comics, Opal was a character all it’s own, and in many ways it was equal to Jack for status as a main character.

The one issue revival of Starman is not significant because it’s a Blackest Night tie-in.  The real story is our return to the Opal and those therein.  We discover in brief the whereabouts and goings-on of many old friends such as Bobo Benetti, Mason and Clarence O’dare.   And we find Hope O’dare and the formerly villainous Shade in the midst of a relationship that can only be described as complicated.

Sure there’s a battle, but I won’t bother you with the details.  That’s not the point.  The heroes fight the good fight; they persevere in Blackest Night.  It’s the same old story, one you can find in any of the BK tie-ins.

What really matters here is that the Opal still stands.  And it’s just as beautiful as I remembered.

Jack Knight Returns???

// October 14th, 2009 // No Comments » // Comics, Rumor, Scifi

Knight's End?

I guess Dan Didio got tired of being asked where the hell Starman is.

In this week’s edition of DC Nation, DC Editor Dan Didio’s version of Stan Lee’s Bullpen, he announced the reason behind January’s Blackest Night absence.   While the event takes a brief hiatus, DC will be resurrecting 8 cancelled comic series for one month only.

While each has it’s own interesting twist (Question #37 in particular), without a doubt the stand out of the bunch is Starman #81.

James Robinson will be returning to the book that launched him into stardom.   Starman is one of the best comic series of all time.  Period.   It is in many ways the pre-cursor for all modern comic book story telling.  Robinson’s nuanced writing of hero Jack Knight became an instant classic after spinning out of the Zero Hour mini-series.   Unlike most cape books, particularly in the adrenaline drenched 90s, it focused more on the relationships between characters than in muscle-broached adventures.  Jack is a young hipster who wants nothing more than a quiet life selling antiquities and pop culture collectibles.  Unfortunately as the son of legendary hero Ted Knight, he is called upon to protect Opal City, the home that has cradled him.  It’s a story about legacies.  More than that, it’s a story about a father and his son.

When last we saw Jack, he left Opal for the last time with his son.  Jack had passed the mantle on to the Justice Society’s Star Girl.  He’d set out to San Francisco to marry his girlfriend Sadie and live out his days in the quiet and peace he’d always longed for, raising his children.

So with the arrival of Starman #81 this January, what does this mean for Jack, if anything?  While the issue is definite, there hasn’t been any specific mention of the titular hero.   I wouldn’t put it past Robinson to pull a fast one on us.  That said, any return to the shores of Opal City are welcome.

It is worth noting though that these issues all relate to Blackest Night and the return of dead characters.   Jack has a history of talking to the dead, and even is said to have limited psychic powers.  ”Talking with David” was an annual feature in the book in which Jack conversed with his dead brother David.

Whatever the case, Starman fans will be exuding palpable excitement as the New Year draws on.    It’s been a long time, Jack. We missed you.

UPDATE:  Solicitations suggest that Jack Knight will not be a part of the issue.  Instead the story will feature the return of one of the Starmen of times past as a Black Lantern.  The Shade will serve as the story’s unwilling “hero” who protects Opal.  There have been a number of Starmen over the years, but the Black Lantern will most likely be one of the Knights.  Also of note, Weird Western Tales #71 also arrives in stores as part of the event.  Shade’s dead best friend, Matt O’Dare, had been the reincarnation of Scalphunter, a hero in the old west.  Scalphunter returns as a Black Lantern in WWT 71.  Does it mean anything?  Probably not, but it’s interesting.

The Long Goodbye

// October 12th, 2009 // No Comments » // Comics, Review, Scifi

The best book you've probably never read.

Ask anyone in the know. Warren Ellis is a sadist. He’s an evil genius the likes of which the world and scotch whiskey have rarely seen and never understood.  But damn if he’s not a bloody genius.

Sure, he looks like just another crazy, drunk Englishman, but don’t be fooled by this scraggly-bearded devil; he’s brilliant.

For proof of this, one need look no further than he and artist John Cassaday‘s magnum opus, Planetary.

While modern comics is fill of deconstructionist subtext thanks to worshippers of the almighty Watchmen, Planetary is perhaps the pinnacle of this trend.  Typical of Ellis, the series picks apart scifi conventions, shines a light on every nook and cranny, then punches it in the mouth and makes out with it’s girlfriend.   But as much as Planetary is an examination of superhero storytelling dynamics, it also does what Ellis does best: telling a damn good story.

Elijah Snow is a cranky old man literally drinking dog piss out of a dirty coffee cup in a diner in the middle of a desert no one would every think to look for him.  And then one day, someone does.  Jakita Wagner, leader of the Planetary Corporation’s archaeological team offers him the opportunity to leave his hellish life and help her find the secret history of the world in exchange for one million dollars a year for the rest of his life.  When offered the chance to keep drinking dog piss or get a job, he strongly considers turning her down.

The world Snow, and by extension, we the reader get sucked into is more than a life of dinosaur fossils and lost Arks.  It’s a world where other dimensional Pterodactyls still fly and an immense database of souls lies beneath the streets of Hong Kong.   It’s a world secretly owned by sociopathic alternate versions of the Fantastic Four who have sold all our souls to the highest bidder in exchange for a chance at godhood. And the only person who can stop it is an amnesiac old prick named Elijah who’d much rather be left alone.

The first issue dropped in mid-1999.  The epilogue arrived in stores this past Wednesday.  Counting all 27 issues, the series took just slightly over a decade to be completed and the finale came out over a year ago.  Granted, some truly great work was produced by both creators including Ellis’ second best book, Nextwave and Cassaday’s collaboration with virtual unknown Joss Whedon- a little thing called Astonishing X-Men (which is known for more than a few delays itself).  Still, heroin addicts don’t like having to wait 6 months to a year between fixes, and neither do Planetary fans. Torturous?  Just a bit.  Worth it?  Abso-frakkin-lutely.   But damned is Ellis doesn’t enjoy twisting that knife.

Subtle, ain't he?

Take his last issue for example.   The previous issue had seemingly wrapped every story thread that was introduced since the first issue, all except one.   The epilogue deals with the previous leader of the Planetary, Ambrose Chase.  Chase had seemingly died during a mission to a fictional sub-universe which had been created by the Four.  Though he was bleeding out after 3 shots to the chest, there was no body.

Elijah refuses to accept that Ambrose is dead, and sets out to prove just that.

Though I had been eagerly awaiting the release of this issue more than any other comic since Ultimates 2 #13, the experience of reading it is bittersweet.

While the ending is reasonably satisfying, it also constantly teases bigger and greater adventures for the Planetary team.  Ellis doesn’t skip a chance to taunt us with the further stories of our favorite archaeological crew which we’ll never see nor read about. As I said, the man is a mean son of biscuit eater.

Also, while not a problem, the epilogue was not nearly the ride that issue 26 had been.  It probably would have read stronger if the gap between them weren’t so chasmal.  When the Planetary saga is finally collected, I’m sure I’ll change my mind.

And that’s really all we have left to hope for; a Planetary Absolute Edition- perhaps with some sketches and unused story ideas.  That sick old English bastard has strung us along for a decade, and now he leaves us lost and scattered, looking for something …anything to fill the void.

It’s fucked up … but man, what a ride.

How Alan Moore Changed the Scope of Comics

// September 26th, 2009 // 2 Comments » // Comics, Movies, Review, Scifi

Comics history has always been classified by three eras:

the Golden Age, which started in the 1930′s and introduced to classics like Superman and Batman (your Grandfather’s generation)

the Silver Age, whose peak was in the 1960′s and 1970′s and whose content was just as trippy as you would expect from the era of psychedelic drugs.  Your Dad’s comics gave us the birth of the House of Ideas and subsequently Spider-man, the Fantastic Four and the X-Men

the modern, or Bronze Age is thought to have started between the early to mid-eighties.

The most common place-markers of the modern era are Alan Moore’s Watchmen and DC’s Crisis on Infinite Earths which rebooted all their franchises into one cohesive (though not for long, as it turned out) continuity.

I am a child of the Bronze Age.   Both comics and I seemingly went through puberty together, as the 90s witnessed a transformation of the form into a flashy, high tech, big guns, big breasts, fireworks extravaganza.   We witnessed the market rise to heights never before imagined as the supposed “Image style” flourished, pushing artists to the forefront of the stage, while forcing writers and editors to clean up the mess.   I remember those comics fondly.  They were my world; sparkling, glittering, angelic and… ahem… “busty”.  I loved it all, from endless cross-overs to anti-heroes to (yes, even) Onslaught.  It’s become en vogue to badmouth the 90′s and the Image guys who are often blamed for the whole thing.  But really, as any Grant Morrison fan can tell you, the 90s were no less insane than the Silver Age comics on which we look so fondly.    The Bronze Age is simply exemplary of the times in which they existed, a time in which Flava Flav was a number one rapper. (God help us, he’s back!) Is it any wonder they’re so backwards?

Earlier this year I read the comic that supposedly birthed modern comics, Watchmen.  I know, it’s insane that a fan like me had never read it.  I just never got around to it.   Having finally read it, I came to a confession.  I didn’t love it.  I liked it, but it didn’t do much for me.   But as I read through the TPB over the course of several days, my appreciation of this work of art did grow in one regard.  You see, I stopped reading comics in 1997 and didn’t return until 2002.  In this time, comics had matured as I did.  They became much more complex and sophisticated.  The writing had become more mature, tending towards literature and featuring psychological and sociological examinations.   Of course, the 90s had this as well, with the advent of Vertigo featuring Preacher and the Sandman, and of course James Robinson’s seminal work, Starman.  But now the vast majority of comics seem adult oriented, if not adult in content. Writers are coming from different mediums such as television (JMS, Whedon, Heinberg), movies (Kevin Smith) and even stand up comedy (Brian Posehn).   And it occurred to me that Watchmen must be appreciated in the way the Beatles are, not for its classic, or certainly contemporary appeal, but for it’s affect on the medium.  Watchmen changed the game.   Alan Moore redefined the scope of comics.  And he was well ahead of his time.  It took fifteen years for comics to catch up.

Alan Moore & Dave Gibbons' Watchmen

Moore’s work is nothing if not complex and nuanced, and Watchmen is exemplary of this.  Take Dr. Manhattan;  never has there been a comic character that felt more alien in thought and action.  Many writers would have just made him another Superman or Captain Atom (on which the character was originally/ loosely based).   By making character more realistic, you take them from their pulp roots and plant them firmly in the ground of true literature, on a par with any novelist’s work.  Which isn’t to say that comics need to be relevant.  I still love comics that make me feel nostalgic for bygone eras, and firmly believe that those comics should still exist and publish. But now the medium I love so much can also be so much more.

In looking at it all, I believe that our generation’s comics has long since passed.  I was a child of the Bronze Age.

But I live now in the Watchmen Age of comics.  What a wonderful time to be a fan.