Tuesday, June 09, 2009
I'm looking forward to the new run of Detective Comics, in which Batwoman takes over while Batman deals with a case of being dead (this being comics he'll get better in a few months time). I plan to actually buy the comics, as opposed to downloading them as I do with most of what else I read (although with Jeph Loeb, which I read just for his Ed Wood quality, I still feel that I should receive an apology afterwards for wasting my time, if not my cash). I'm a little concerned with this article, in which writer Greg Rucka claims that when the character was announced several years ago then pretty much didn't show up in comics that was all because of naughty newspapers misinterpreting press releases, leaving DC high and dry (not mentioning the cancelled Devin Grayson series). Not so much for that but for a couple of quotes that caught my eye.
Batwoman is the highest profile queer character in mainstream, genre fiction ever. As a lesbian, she’s possibly an easier sell to the still mainly straight, white, male comic readers. "If I have to PT Barnum you a bit to get you into the tent then it might be worth it. But then the flip side is if somebody is going to open up these pages hoping for some hot girl-on-girl action then they will be sorely disappointed."
which seems mostly positive, and
"Batman is a demon, he’s a gargoyle. And I wanted Kate to be more seductive and consequently I would think more likely to take people by surprise... Their reaction to Kate is, yes, surprise and alarm, fear. But the way I see it is she’s more like a succubus when she wants information. She will coax it out of you, tease it out of you...."
which seems less so. Those ole' feminine wiles again. I guess the proof will be in the pudding.
Batwoman is the highest profile queer character in mainstream, genre fiction ever. As a lesbian, she’s possibly an easier sell to the still mainly straight, white, male comic readers. "If I have to PT Barnum you a bit to get you into the tent then it might be worth it. But then the flip side is if somebody is going to open up these pages hoping for some hot girl-on-girl action then they will be sorely disappointed."
which seems mostly positive, and
"Batman is a demon, he’s a gargoyle. And I wanted Kate to be more seductive and consequently I would think more likely to take people by surprise... Their reaction to Kate is, yes, surprise and alarm, fear. But the way I see it is she’s more like a succubus when she wants information. She will coax it out of you, tease it out of you...."
which seems less so. Those ole' feminine wiles again. I guess the proof will be in the pudding.
Labels: Batman, Batwoman, comics, DC comics, lesbians, queer
Monday, September 08, 2008
For Linkmachinego, here's an Alan Moore documentary from the end of the 80s that covers Swamp Thing and Watchmen. He does sound like Richard O'Brien at times though.
Labels: Alan Moore, comics, DC comics
Monday, May 05, 2008
Iron Man
I went to see Iron Man today and thought it a satisfactory movie. Not great, it wasn't X-Men 2 but it certainly wasn't Fantastic Four or Hulk. Robert Downey Junior was probably the best thing in it but he didn't get too many chances to shine, though he did have the best line of the entire film, when Pepper catches him taking the proper Iron Man armour off for first time.
The story is also okay. This is probably because it is the same story that they have used in Spiderman and, broadly, Hulk. Peter Parker/Tony Stark meets his friends father/has his father's friend Norman Osbourne/Obadiah Stane. Unfortunately Norman/Obadiah have nefarious plans of their own and when they discover our heroes secret Peter/Tony/Bruce is forced to fight his patriarchal figure who uses an enhanced version of our heroes invention/ability against them. Iron Man also makes the same mistake as the first Fantastic Four movie in that 90% of the film is the origin story, with the last ten or fifteen minutes being saved for the final confrontation with the baddy. Certainly the Tony/Obadiah face-off is a better fight than the Four/Doom tiff but it's hardly epic. I don't know whether it's the danger of being into comics, I've never read Iron Man but already know the basics of where he comes from. So my heart sinks when we have another origin film. It's perhaps unavoidable with the other characters but I'm not sure it's needed with Iron Man. I think the first film could have happened presenting Iron Man as more or less already being around, having Obadiah as a forgotten face from his past that turns up in a second film, making Tony deal with self-doubt (we don't see substance abusing Tony in this film, so no doubt as War Machine is not so subtly mentioned, we've got those two things to look forward to inSpiderman 2 Iron Man 2) and then explain how he was captured by Al Qaeda, working for Obadiah. Marvel comics always have to work as though the company will fold tomorrow because there's a chance they will, and Hulk was probably them doing what they thought was an experiment and it failed but if they keep regurgitating the same few stories for each film then the cash fillup from the movies will be gone.
That said, the graphics are as you would expect, you can't tell where the props end and CGI starts, so as a near brainless way to pass an afternoon the film just about passes muster. And after waiting through the interminably long credits for the final scene we're left to wonder whether they can do the fairly unlikely and rein in actors egos long enough for an Avengers film. I always assumed that either that or a Justice League of America film would be impossible without replacing the A-list stars with C or D-listers. Would Downey sign up for an Avengers movie? Would Bana or Jackman?
The story is also okay. This is probably because it is the same story that they have used in Spiderman and, broadly, Hulk. Peter Parker/Tony Stark meets his friends father/has his father's friend Norman Osbourne/Obadiah Stane. Unfortunately Norman/Obadiah have nefarious plans of their own and when they discover our heroes secret Peter/Tony/Bruce is forced to fight his patriarchal figure who uses an enhanced version of our heroes invention/ability against them. Iron Man also makes the same mistake as the first Fantastic Four movie in that 90% of the film is the origin story, with the last ten or fifteen minutes being saved for the final confrontation with the baddy. Certainly the Tony/Obadiah face-off is a better fight than the Four/Doom tiff but it's hardly epic. I don't know whether it's the danger of being into comics, I've never read Iron Man but already know the basics of where he comes from. So my heart sinks when we have another origin film. It's perhaps unavoidable with the other characters but I'm not sure it's needed with Iron Man. I think the first film could have happened presenting Iron Man as more or less already being around, having Obadiah as a forgotten face from his past that turns up in a second film, making Tony deal with self-doubt (we don't see substance abusing Tony in this film, so no doubt as War Machine is not so subtly mentioned, we've got those two things to look forward to in
That said, the graphics are as you would expect, you can't tell where the props end and CGI starts, so as a near brainless way to pass an afternoon the film just about passes muster. And after waiting through the interminably long credits for the final scene we're left to wonder whether they can do the fairly unlikely and rein in actors egos long enough for an Avengers film. I always assumed that either that or a Justice League of America film would be impossible without replacing the A-list stars with C or D-listers. Would Downey sign up for an Avengers movie? Would Bana or Jackman?
Labels: comics, DC comics, Marvel Comics, movies
Monday, April 07, 2008
Dick Grayson and/or Harvey Dent ..in a story where amnesia leads to sex
DC Universe Characters - Clichéd Porn Situation Generator. I swear they are using this to write the comics these days.
Saturday, March 15, 2008
Comics Are Sometimes Shit... It's Official (Part Two!)
You may remember that some four weeks ago I started talking about why comics were shit and had two reasons for which, the first of which I only got part way through explaining before losing too much enthusiasm to carry on.
So Spidey makes a deal with the devil to save his hundred-year-old granny, bloggers frothed and Joe Quesada sits back and waits for the quality of the stories to magically improve.
What really irritates me is that the inbuilt resistance of comics to change. Soap operas try to restrict change to when an actor wants to leave or drops dead, having no such constraints comics can go round in circles until the publisher turns the lights out. It's a valid argument that Spidey was married so long that breaking it up goes against this point but by and large most comics have tinkering around the edges with hasty back-steps (or 'retcons') when something proves unpopular, they actually killed off Aunt May many years ago, only to reveal a while later that that Aunt May was an imposter and the real one was safe and sound. A few years ago they published a very well done issue where Aunt May finally discovers that Peter is Spiderman and, rather than fainting and/or having a heart attack, as had been the working assumption for years as to her response, dealt with it. A bonus of the Mephisto deal is that no-one remembers Peter is Spiderman, undoing that little story.
So Superman saves the world, so why can he never get the girl? Even Grant Morrison thinks it was a bad idea to finally allow, after some fifty years, Superman to marry Lois Lane, though he doesn't say why. Again, why should a married couple lead to less interesting stories than an unmarried one? Thanks to the interweb you can see any number of the so-called Silver Age Superman stories where the two of them dance around each other, Superman not wanting to be 'ensnared' into marriage but not wanting Lois to give up hope either. It's not necessarily 'more adult' to have the two of them married but if you work on the assumption that it was going to happen some day why not make that some day today?
The worst and most egregious example of this is DC's caving in to HEAT. In the 90s, DC killed off (alright, turned evil, turned good and then killed off) one of their underperforming heroes, Hal Jordan the Green Lantern and brought in a new character. A bunch of fatbeards took umbridge and, a decade later, Hal was back. Never mind that he was got rid of because he was a consistently boring character who wasn't selling comics. But he was Green Lantern when the people complaining were kids, so he had to be Green Lantern now. Change is bad.
I suppose all that aggravates me is the superficial trappings around the story, I'm not suggesting that Superman/Spiderman/Whoever stop their eternal battle against evil, I suppose that really, I'm annoyed that the people making comics aren't making more effort to disguise the fact they are selling me today what they sold me yesterday. Which makes me as much of a fool as the next comics collecter, or would do if it wasn't for the fact that I don't buy more than a trickle of comics these days and, when I do it's stuff in limited series with a beginning, middle and end planned.
The other point I was going to use to argue that comics was shit, was one of the big black-and-white phonebook sized collections that DC are doing of their old stuff, in this case DC Showcase Presents Metal Men but it's not really worth the time. Most of all comics at any time are rubbish and these are no different. Of course the artwork is appalling and the stories are repetative, they weren't written to be read again in a month, let alone forty years later. So they could afford to have each story follow the same basic pattern, but why anyone would part with money for it defies common sense. Even dialing down my expectations as far as I could manage and reading it based on my memories of more recent appearences by the characters I couldn't last more than about a hundred and fifty pages beforetossing carefully placing the book aside.
What I would recommend is Good as Lily by Derek Kirk Kim and Jesse Hamm from DC's appallingly titled 'Minx' range of comics aimed at women. School aged Grace Kwon suddenly finds herself meeting herself at three different ages, one a brattish pre-teen, one a twenty-something and one an old lady. As she struggles to help put on a school play she and they come to terms with the history they all have in common. Unlike the samples of other titles in the series at the end of the book which all look like they are entirely generic stories with 'teenaged and female' pasted into the lead character's position this somehow manages to have an 'everywoman' feel about it, with each of the four ages of Grace's clearly defined. Where it does fall down is in the relationship of Grace and Lily, her dead sister. This gets all of a couple of brief mentions in the story and doesn't occupy Grace's thoughts much, I did wonder if Kim meant to beef that up in a later draft of the script and forgot, it's a plot point that could be excised with absolutely no harm to the story. The artwork is halfway between cartoon and 'realistic', but Hamm has a gift for expressing emotion through a character's body language. It's dei=finitely worth your time, unlike most of the rubbish out there.
So Spidey makes a deal with the devil to save his hundred-year-old granny, bloggers frothed and Joe Quesada sits back and waits for the quality of the stories to magically improve.
What really irritates me is that the inbuilt resistance of comics to change. Soap operas try to restrict change to when an actor wants to leave or drops dead, having no such constraints comics can go round in circles until the publisher turns the lights out. It's a valid argument that Spidey was married so long that breaking it up goes against this point but by and large most comics have tinkering around the edges with hasty back-steps (or 'retcons') when something proves unpopular, they actually killed off Aunt May many years ago, only to reveal a while later that that Aunt May was an imposter and the real one was safe and sound. A few years ago they published a very well done issue where Aunt May finally discovers that Peter is Spiderman and, rather than fainting and/or having a heart attack, as had been the working assumption for years as to her response, dealt with it. A bonus of the Mephisto deal is that no-one remembers Peter is Spiderman, undoing that little story.
So Superman saves the world, so why can he never get the girl? Even Grant Morrison thinks it was a bad idea to finally allow, after some fifty years, Superman to marry Lois Lane, though he doesn't say why. Again, why should a married couple lead to less interesting stories than an unmarried one? Thanks to the interweb you can see any number of the so-called Silver Age Superman stories where the two of them dance around each other, Superman not wanting to be 'ensnared' into marriage but not wanting Lois to give up hope either. It's not necessarily 'more adult' to have the two of them married but if you work on the assumption that it was going to happen some day why not make that some day today?
The worst and most egregious example of this is DC's caving in to HEAT. In the 90s, DC killed off (alright, turned evil, turned good and then killed off) one of their underperforming heroes, Hal Jordan the Green Lantern and brought in a new character. A bunch of fatbeards took umbridge and, a decade later, Hal was back. Never mind that he was got rid of because he was a consistently boring character who wasn't selling comics. But he was Green Lantern when the people complaining were kids, so he had to be Green Lantern now. Change is bad.
I suppose all that aggravates me is the superficial trappings around the story, I'm not suggesting that Superman/Spiderman/Whoever stop their eternal battle against evil, I suppose that really, I'm annoyed that the people making comics aren't making more effort to disguise the fact they are selling me today what they sold me yesterday. Which makes me as much of a fool as the next comics collecter, or would do if it wasn't for the fact that I don't buy more than a trickle of comics these days and, when I do it's stuff in limited series with a beginning, middle and end planned.
The other point I was going to use to argue that comics was shit, was one of the big black-and-white phonebook sized collections that DC are doing of their old stuff, in this case DC Showcase Presents Metal Men but it's not really worth the time. Most of all comics at any time are rubbish and these are no different. Of course the artwork is appalling and the stories are repetative, they weren't written to be read again in a month, let alone forty years later. So they could afford to have each story follow the same basic pattern, but why anyone would part with money for it defies common sense. Even dialing down my expectations as far as I could manage and reading it based on my memories of more recent appearences by the characters I couldn't last more than about a hundred and fifty pages before
What I would recommend is Good as Lily by Derek Kirk Kim and Jesse Hamm from DC's appallingly titled 'Minx' range of comics aimed at women. School aged Grace Kwon suddenly finds herself meeting herself at three different ages, one a brattish pre-teen, one a twenty-something and one an old lady. As she struggles to help put on a school play she and they come to terms with the history they all have in common. Unlike the samples of other titles in the series at the end of the book which all look like they are entirely generic stories with 'teenaged and female' pasted into the lead character's position this somehow manages to have an 'everywoman' feel about it, with each of the four ages of Grace's clearly defined. Where it does fall down is in the relationship of Grace and Lily, her dead sister. This gets all of a couple of brief mentions in the story and doesn't occupy Grace's thoughts much, I did wonder if Kim meant to beef that up in a later draft of the script and forgot, it's a plot point that could be excised with absolutely no harm to the story. The artwork is halfway between cartoon and 'realistic', but Hamm has a gift for expressing emotion through a character's body language. It's dei=finitely worth your time, unlike most of the rubbish out there.
Labels: comics, DC comics, Marvel Comics, Spiderman, stupidity, Superman
