superhero comics Archives - Page 2 of 5 - Robot 6 @ Comic Book Resources
In less than a week, New Warriors #1 by Christopher Yost and Marcus To will be in my grubby little hands. While everyone else will still be basking in the glow of this week’s new Wolverine and Punisher series, I’ll be resurrecting my dormant Marvel zombie for some much-neglected superhero nostalgia.
Most of my comic book-loving friends cite Spider-Man or Superman as their favorite characters, and the ones they read religiously as kids; they’re undeniably iconic. However, the superheroes that resonated most with me were those off the beaten path; the obscure characters have always led to the more satisfying reading experiences, even if it often meant tolerating missteps and frustrating gaps in time.
Maybe it’s a matter of rooting for the underdog, but I think generally there are more opportunities for exciting and entertaining stories when your main cast isn’t the star of several feature films and a merchandising empire.
I first encountered the New Warriors in 1990, not long after their debut. I was new to the Marvel Universe, and only Firestar was somewhat familiar to me from her role on Spider-Man and His Amazing Friends, but she didn’t act the same as she did in the cartoon. She didn’t even have the same pet: Where was Ms. Lion? (Actually, that’s fine, leave Ms. Lion out of it. In fact, never mention Ms. Lion again.) Instead, Firestar had a pet cat named Pum’kin, which suited me fine — I was always more of a cat person anyway.
With only a relative handful of pages left on the calendar, The A.V. Club has released its picks for the year’s 20 best mainstream and superhero comics, prefaced with a bit of commentary about the state of publishing.
- Mind MGMT, by Matt Kindt (Dark Horse)
- Nowhere Men, by Eric Stephenson and Nate Bellegarde (Image Comics)
- Hawkeye, by Matt Fraction, David Aja, et al. (Marvel)
- Astro City, by Kurt Busiek and Brent Anderson (Vertigo)
- Swamp Thing, by Charles Soule, Kano, et al. (DC Comics)
- FF, by Matt Fraction, Michael Allred and Laura Allred (Marvel)
- Locke & Key: Omega and Alpha, by Joe Hill and Gabriel Rodriguez (IDW Publishing)
- East of West, by Jonathan Hickman and Nick Dragotta (Image Comics)
- The Superior Foes of Spider-Man, by Nick Spencer and Steve Lieber (Marvel)
- Five Ghosts, by Frank J. Barbiere, Chris Mooneyham, et al. (Image Comics)
Publishing | Tom Spurgeon writes the definitive obituary of PictureBox, which announced Monday it will stop publishing at the end of the year. He also polls other small-press comics publishers for their reactions. [The Comics Reporter]
Digital comics | Yen Press is bringing its digital manga magazine Yen Plus to an end; the December issue will be the final one. The magazine was launched as a print anthology in August 2008 and switched to digital-only format in 2010. When it began serializing Soul Eater NOT, Yen Plus became the first magazine to publish manga chapters worldwide at the same time they came out in Japan (Shonen Jump does simultaneous release, but only to a restricted region). [Anime News Network]
Conventions | Although convention organizers rolled out an altered name — WonderCon Anaheim — and logo when they confirmed two weeks ago that the event will return to Anaheim, California, again next year, they insist they haven’t close the door on San Francisco. “We still want to get back to the Bay Area. […] We are in touch with [the Moscone Center organizers] fairly regularly and we have an open dialogue,” says David Glanzer, director of marketing and public relations. “They haven’t given up on us, either.” The convention was uprooted from the Moscone Center in 2012 first because of remodeling and now because of scheduling conflicts. WonderCon Anaheim will be held April 18-20. [Publishers Weekly]
Digital comics | I spoke with Archie Comics Co-CEO Jon Goldwater and iVerse Media CEO Michael Murphey about the new “all-you-can-eat” digital service, Archie Unlimited. [Good E-Reader]
“Now, see, I haven’t read any superhero comics since I finished with Watchmen. I hate superheroes. I think they’re abominations. They don’t mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it’s nothing to do with them. It’s an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal. This is a significant rump of the superhero-addicted, mainstream-addicted audience. I don’t think the superhero stands for anything good. I think it’s a rather alarming sign if we’ve got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s.”
— Alan Moore, addressing modern superhero comics in an interview with The Guardian about Fashion Beast, his collaboration with Malcolm McLaren. Moore also touches upon the influence of his work on other writers, and gets in a jab another in the process: “Grant Morrison has actually self-confessedly made a tactic of not only basing some of his narratives on my style or my work but also trying to make himself more famous by slagging me off at every opportunity. I have nothing to do with him.”
“Superman was the start of the whole superhero thing. He had the superpowers and wore that costume with the bright colors and silly cape. It’s the costume that was different. Zorro didn’t have superpowers, Doc Savage didn’t have superpowers; they could just do things a little better than the rest of us. The Shadow could be a superhero because he could make himself unseen, and if he appeared in a comic book today, he might be a superhero, though he doesn’t really wear a costume. I’m not an expert on the Shadow, but I think he just had a dark business suit and a sort of raincoat and a slouch hat. Superman’s costume was different because of the bright colors, that silly cape, those red boots, his belt, and his chest symbol. I mean, it’s ridiculous, because you really don’t need a costume to fly or fight bad guys. If I had superpowers, I wouldn’t wear a costume. […]
Although a costume isn’t required of superheroes, the fans love costumes. The characters are more popular if they wear costumes. (Don’t ask me why.) In the first issue of the Fantastic Four, I didn’t have them wear costumes. I received a ton of mail from fans saying that they loved the book, but they wouldn’t buy another issue unless we gave the characters costumes. I didn’t need a house to fall on me to realize that — for whatever reason — fans love costumed heroes.”
– Stan Lee, from his essay for What is a Superhero?, from Oxford University Press
(For the story on Lee’s 1983 “centerfold” photo, visit Sean Howe’s Marvel: The Untold Story blog.)
“I see a kid superhero like Battling Boy or Aurora West to be symbols of the potential of youth to do something new and different, to invent a new solution to old problems. […] Too often, I think the superheroes we see in films and comics are too perfect, too established, too impervious to real fault or challenge. I like the idea of writing a story focusing on kid superheroes who mess up and must learn from their mistakes.”
It’s been more than 14 years since a then-unknown Gail Simone and friends launched Women in Refrigerators, a website that attempted to catalog the female characters in superhero comics who have been “killed, raped, depowered, crippled, turned evil, maimed, tortured, contracted a disease” or otherwise suffered “life-derailing tragedies.” The list sparked reflection and debate, and ingrained the phrase “women in refrigerators” into the comic-book lexicon, and even beyond (it’s a reference to the grisly fate of Kyle Rayner’s girlfriend Alex DeWitt).
The website was, without a doubt, critical to fostering important discussion about the treatment of female characters, but just how influential, how powerful, is Women in Refrigerators? More powerful that Yelp, Slashdot or 4chan, it turns out, and (at No. 3) only slightly less powerful than Amazon.
That’s according to the November issue of the trivia/entertainment magazine Mental Floss, which has released its list of the “25 Most Powerful Websites” (see the entry below). Any list of that kind is, naturally, subjective, and Mental Floss‘ definition of “powerful” is especially nebulous. “[T]o us, powerful isn’t just about computations,” the magazine states, explaining the exclusion of Google, “it’s about changing what we eat, how we vote, and the ways we kill time at the office.”
I’m still kind of flummoxed by Dan DiDio’s comments last weekend at Baltimore Comic-Con explaining why Batwoman can’t marry her girlfriend Maggie Sawyer. “Heroes shouldn’t have happy personal lives,” he said at the start of the DC Nation panel, according to several sources. “They are committed to being that person and committed to defending others at the sacrifice of their own personal interests. It’s wonderful that they try to establish personal lives, but it’s equally important that they set them aside. That is our mandate, that is our edict and that is our stand with our characters.”
I don’t disagree with the idea that main characters ought to struggle. A sunny walk through the park doesn’t make for much of a gripping adventure yarn. That is pretty basic writing strategy for drama: Put your characters through hell and watch them climb out. Serialized superhero stories, and in fact most Western narratives, are structured around that up and down of going from seeming defeat to triumph. It’s particularly appropriate for Batman and his family of books: The Dark Knight is built around tragedy, and his obsession over fixing that tragedy is what drives him. Bruce Wayne continually sacrifices his personal life in his constant pursuit to make sure what happened to him won’t happen to anyone else. It’s that drive that’s turned him into something of a social misfit — he can play the part of Mr. Debonair but getting emotionally close to him is almost impossible.
So on that level, I don’t disagree with DiDio.
After the last week or so of “We don’t publish comics for kids” and “[Depicting rape] is the same as, like, a decapitation” and “comics follow society, they don’t lead society,” among other chestnuts, I’ve been thinking about the mentality and philosophy that produces those positions, and how it reflects on the state of comics.
Reading those quotes in a vacuum, you would think the last 10 to 20 years of progress in comics never happened. They did, of course; it’s just not easy to tell sometimes.
All of the creators involved in the unfortunate remarks come from the so-called “mainstream” of comic books. While Todd McFarlane and Mark Miller are more well-known for their creator-owned comics, they still play within the superhero genre primarily defined by DC and Marvel comics to the majority of the populace. They may not be actively steering mainstream comics these days, but many of the actions of those that do reinforce the same disappointing opinions. There are plenty of beacons of hope in nearly every other sector of the industry, and even a scattered few pinpricks of light within the superhero mainstream, but the makers of our highest-profile genre are still holding back the slowly improving public perception of comic books.
My point was that the ‘mainstream’ isn’t the whole picture. Frankly, to my mind, ‘mainstream’ comics are actually the least interesting and creative comics published today.
It’s always good to hear both sides of the story. Conway took to Twitter this morning to clarify his thoughts from the panel he was on with Superheroes‘ director Michael Kantor and fellow comics makers Todd McFarlane and Len Wein. It was during that panel that Think Progress’ Alyssa Rosenberg asked about sexism in superhero comics and got some disappointing answers.
Most Marvel comics fans pride themselves in their encyclopedic knowledge of comic-book continuity, amassed over a lifetime of reading. The Summers family tree, the gross national product of Latveria, whatever the deal is with Wanda Maximoff’s kids — that sort of thing. And now this 4-year-old girl is about to put them to shame.
In a video posted over the weekend, Mia Grace Montross of Schenectady, New York, correctly answers 23 Marvel trivia questions (with occasional prompting), ranging from what Captain America’s shield is made of and the stones of the Infinity Gauntlet to the names of the prince of Wakanda and the Devourer of Worlds.
The mythologies built by comics, particularly superhero comics, is often pointed out as one of the great accomplishments of the medium.
There’s no doubt the Marvel and DC universes are impressive feats of world-building. In Marvel Comics: The Untold Story, Sean Howe proclaimed the Marvel Universe “the most intricate fictional narrative in the history of the world”. If you discount DC because of its various universe resets from Crises and Flashpoints and what-have-yous, I guess that’s true. Whoever gets to wear the crown, both sets of characters have been generating dozens of stories, usually hundreds of stories, every month since the late 1930s. Erik Larsen’s Savage Dragon universe might be in third place.
Of course, superhero comics aren’t alone in this: In Japan, popular manga series also tend to get pretty long in the tooth. Osamu Akimoto’s police comedy Kochikame has been running weekly since 1976, resulting in more than 1,700 chapters collected in nearly 200 volumes. Takao Saito’s twice-monthly crime manga Golgo 13 is older, having launched in 1969. One Piece has 69 volumes, Naruto has 64, and Bleach 58.
These are amazing accomplishments, but we don’t appreciate the satisfying arc of a finite story often enough.
Once more, it appears, Fredric Wertham may have been right.
For the latest evidence, look no further than a Philadelphia preschool, which has purportedly banned “wrestling, Super Hero play, and Monster games,” because they’re resulting in injury.
Reddit user Oremar posted a May 17 letter (below) brought home by his son that states, “Recently it has come to our attention that the imaginations of our preschool children are becoming dangerously overactive causing injuries within our pre-k community. Although we encourage creative thinking and imaginary play, we do not promote out [sic] children hurting one another. Wrestling, Super Hero play, and Monster games will not be permitted here at [name redacted]. In addition, please monitor the different media that your children may view. The re-enactment of televisions [sic] shows/movies are being done during active paly [sic] times in school.”
Superheroes | Writer Jim Zubkavich tackles the burning question of why there are so few Canadian superheroes: “We don’t have a long standing superhero tradition in this country. We don’t have a long-standing focal point character people recognize (I like Captain Canuck, but the average person on the street does not know who he is). We’re not a country galvanized by heavy-duty patriotic pride that lends itself to a Superman, Captain America or even a Batman. We don’t have the kind of rampant crime that ‘needs’ a heroic symbol to fight back against.” [Zub Tales]
Digital comics | The first issue of Mark Millar’s Jupiter’s Legacy sold more than 100,000 copies in stores, but was that because he refused to allow it to be sold in digital format the same day? Steve Bennett is doubtful, because so many people (including himself) didn’t realize until the last minute it would be print-only for now. [ICv2]