Monthly Archive: July 2016

Joe Corallo: Black Comics Matter

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This past Wednesday I joined my fellow ComicMix columnist Martha Thomases at the signing for Scout Comics Solarman #1 at JHU in midtown Manhattan. Present from the creative team were co-writer and Milestone Comics alum Joseph Phillip Illidge as well as illustrator N. Steven Harris. Martha gave a big hug to Joseph Illidge, she introduced me, and they proceeded to catch up. Dakota North even got brought up by Joseph Illidge and not Martha!

On my way home I got a chance to read Solarman #1. For those of you unfamiliar with the character, he was created by Dave Oliphant with Deborah A. Kalman and starred in two issues of his own comic book series at Marvel in early 1989. In the time since then, Dave Oliphant eventually got the publishing rights back and has now found a new home at Scout Comics.

The original iteration of Solarman was a white guy with red hair donning an outfit he clearly nabbed from the Legion of Super-Heroes HQ during a skirmish with Dr. Regulus. Chances are you can probably guess his superpowers as well.

What makes this reboot of Solarman stand out is that the character is now black. Multiple people on the creative team are black as well. And although myself and presumably most comic book readers didn’t read the original two issue run of Solarman so I can’t compare the two, this reboot is a compelling story with a rich and well developed world in just one issue.

Solarman got me thinking a lot about representation in comics. In the past I’ve talked about how at the big two we’ll see a character a woman or minority character take over for a big name like Captain America, Thor, Green Lantern, and so forth. The problem that I and many others have with this is that it is often short lived with their original straight cis white counterparts taking back the reigns. Almost as if to say you’ve had your fun, but now let’s get back to the real story.

solar-social_1-550x287-5969818A character like Solarman is a bit different. With heavy hitters like Captain America and Thor, people already associate them so heavily with their long time comic and movie counterparts that are straight cis white men. Solarman is a character that is a virtual unknown in comics and never had the opportunity to gain much of a following. By updating Solarman to be a young black man, the vast majority of readers will associate this Solarman as being the default and makes it significantly easier to see this character as staying black for the long term and being a part of long term representation as opposed to being a footnote.

mosaicThis is going beyond Solarman as well. This year has been seeing an influx of black characters in comics written by black writers. Black Panther is being written by Ta-Nehisi Coates and was the highest selling comic of the year so far. Marvel is also introducing a new ongoing with a new black Inhuman hero, Mosaic, being written by Geoffrey Thorne and illustrated by Khary Randolph.

We will also be seeing DC Comics doing something closer to what Scout Comics is doing with Solarman. This fall, DC is rebooting Vigilante in a miniseries titled The Vigilante: Southland, the once problematic by our current standards golden age hero. Vigilante has popped up time and again since then, but arguably never in any significant way. He’s been reimagined as a failed NBA player getting by in life as a maintenance man until being dragged into a conspiracy.

One of the most intriguing sounding titles involving a black hero with a black creative team coming out this September is Black from Black Mask Studios. Written by Kwanza Osajyefo with co-creator and designer Tim Smith 3, art by Jamal Igle, and covers by Khary Randolph, Black is the story of Kareem Jenkins, a young black man gunned down by the police only to find that he’s one of many black people with superpowers.

A powerful concept tackling unfortunately divisive issues like police executing citizens is important for the comics industry to tackle and I’m proud of Black Mask Studios for putting a comic like this in its lineup. It’s certainly one of the comics I’m looking forward to reading most this year.

It seems like the comic industry is starting to make a bigger push at publishers both small and large to better represent the black community both on their pages and behind them. These efforts certainly seem to be more prevalent than they were over the last few years. Of course there is always more work to do to create a better, more inclusive environment in the industry as well as its readership, but these are certainly some positive developments and they should be noted.

These kinds of positive developments will only continue if we support these books though. So please, keep an eye out for comics like Black, The Vigilante: Southland, and Mosaic this fall, catch up on Black Panther if you’re not up to date, and pick up a copy of Solarman #1 if you haven’t yet.

X-Men Apocalypse Arrives in Oct., SDCC Special Offer

X-Men ApocalypseSAN DIEGO (July 18, 2016) – Based on “one of the coolest superhero movies of the decade” (Richard Roeper, Chicago Sun Times), Twentieth Century Fox Home Entertainment will debut the first ever “challenge room” at San Diego Comic-Con (SDCC).

The X-Men: The Tomb of Apocalypse X-perience (Booth #3529) will incorporate a series of challenges that fans will solve to defeat the world’s most powerful mutant, Apocalypse. The booth will be open daily, including Preview Night, July 20 – 24. Each morning, fans will have the opportunity to RSVP for “Tomb Time” until the day’s schedule is full.

The Tomb of Apocalypse X-perience:

  • Will allow fans to work through a series of challenges to defeat Apocalypse
  • Fans who complete the challenge receive a custom SDCC 2016 X-MEN: APOCALYPSE t-shirt, while supplies last, and a souvenir photo
  • Will feature original costumes from the film including Oscar Isaac’s “Apocalypse,” Evan Peters’ “Quicksilver” and Alexandra Shipp’s “Storm” – offering fans several photo opportunities

As part of the experience, fans will have a chance to pre-order X-MEN: APOCALYPSE which arrives on Digital HD on Sept. 9, 2016 and debuts on Blu-ray™, 4K Ultra HD & DVD Oct. 4, 2016. Exclusive to SDCC, fans who pre-order will receive a limited edition Dazzler vinyl cover while supplies last.

X-MEN: APOCALYPSE Synopsis
OSCAR® Winner Jennifer Lawrence*, Michael Fassbender and James McAvoy lead a powerhouse cast in director Bryan Singer’s extraordinary follow-up to X-Men: Days of Future Past. After thousands of years, Apocalypse – the world’s first and most powerful mutant – has awakened to find a world led by humans. Intent on cleansing the Earth of mankind, he recruits a group of mutants to create a new world order. In a desperate race to save humanity, Professor X (McAvoy) leads the young X-Men in an epic showdown – against an unstoppable enemy – that will determine the fate of the world.

*Actress, Silver Linings Playbook, 2012
OSCAR® is the registered trademark and service mark of the Academy of Motion Picture Arts and Sciences.

X-MEN: APOCALYPSE Blu-ray Special Features Include:

  • Deleted/Extended Scenes with Optional Introductions by Bryan Singer
  • Gag Reel
  • Wrap Party Video
  • Hour long documentary, X-Men: Apocalypse Unearthed
  • Audio Commentary by Bryan Singer and Simon Kinberg
  • Concept Art and Photo Gallery

X-MEN: APOCALYPSE Blu-rayDisc & 3D Blu-ray™ Disc
Street Date:                  October 4, 2016
Prebook Date:              August 31, 2016
Screen Format:            Widescreen 16:9 (2.40:1)
Audio:                           English DTS-HD Master Audio 7.1
English Descriptive Audio 5.1
Spanish Dolby Digital 5.1
French DTS 5.1
Subtitles:                      English for the Deaf and Hard of Hearing/Spanish/French
Total Film Run Time:    Approximately 144 minutes
U.S. Rating                   PG-13

X-MEN: APOCALYPSE 4K Ultra HD:
Street Date:                  October 4, 2016
Prebook Date:              August 31, 2016
Screen Format:            Widescreen 16:9 (2.40:1)
Audio:                           English Dolby Atmos
English Descriptive Audio 5.1
Spanish Dolby Digital 5.1
French DTS 5.1
Subtitles:                      English for the Deaf and Hard of Hearing/Spanish/French
Total Film Run Time:    Approximately 144 minutes
U.S. Rating                  PG-13

X-MEN: APOCALYPSE DVD
Street Date: October 4, 2016
Screen Format: Widescreen 16:9 (2.40:1)
Audio: English Dolby Digital 5.1, English Descriptive Audio 5.1,Spanish Surround Dolby Digital 2.0, French Surround Dolby Digital 2.0
Subtitles: English for the Deaf and Hard of Hearing/Spanish/French
Total Film Run Time: Approximately 144 minutes
U.S. Rating PG-13

Kirk Meets Kirk in Star Trek Four

George KirkHOLLYWOOD, CA (July 18, 2016) – Paramount Pictures, Skydance and Bad Robot today announced that the crew of the U.S.S. Enterprise will return to the big screen for another voyage.

In the next installment of the epic space adventure, Chris Pine’s Captain Kirk will cross paths with a man he never had a chance to meet, but whose legacy has haunted him since the day he was born: his father.

Chris Hemsworth, who appeared in 2009’s Star Trek, will return to the space saga as George Kirk to star alongside Pine.

The remaining cast is expected to return.

J.D. Payne and Patrick McKay will write the screenplay. J.J. Abrams and Lindsey Weber will produce through Bad Robot Productions. David Ellison and Dana Goldberg of Skydance will executive produce.

Captain-Kirk-chris-pine-as-james-t-kirk-34518525-500-300Star Trek,  the first film in the rebooted franchise based on Star Trek, created by Gene Roddenberry, earned more than $380 million worldwide in 2009. The second installment, “STAR TREK INTO DARKNESS,” earned more than $460 million worldwide when it opened in May 2013.

The series’ third film, Star Trek Beyond, is directed by Justin Lin (Fast & Furious franchise) and opens in theaters on July 22, 2016.

Hemsworth is currently starring in Ghostbusters alongside Melissa McCarthy, Kristin Wiig and Kate McKinnon, and filming Thor Ragnorok and Avengers Infinity War back to back. He is repped by CAA and ROAR.

Ed Catto: Sam Wilson’s Timely Tales

Misty and Sam Captain America

We’ve been obsessing over the wrong Captain America stuff.

Last month, both Geek Culture and the “world at large” (they aren’t as different anymore, are they?) were outraged that Captain America, in the debut issue of his latest series, was revealed to be an evil Hydra operative. Marvel, to their credit, played it all with a straight face. Some devotees seemed eager, unlike The Who, to “get fooled again.” Fists were clenched and keyboards were angrily pounded as indignant fans expressed their extreme displeasure at the “bad guy treatment” given to a favorite fictional hero.

hail-hydra-shot-my-parents-chimic hangas-hahah?-if-you-2586866The Hail Hydra shocker inspired a kazillion hilarious parodies, too.

But in the second issue of this new series, Marvel revealed it was all an insidious brainwashing trick. “Oh, never mind,” sighed most outraged fans. However, some outraged fans broke into a victory dance, assuming that Marvel caved to their wishes and changed the story based on their expressed outrage. These fans don’t quite realize how far in advance comics, a very collaborative effort, must be planned before the publication date.

CAPA2015011-int2-4-51167There was also a hubbub about the new Captain America statue being erected in Brooklyn. Was it the “real” Captain America or just the cinematic version? Mike Gold explored this notion here when he talked about conflating the media version of a character with the original comic incarnation.

Others, like Teresa Jusino in this Mary Sue column, pointed out that in the original comics continuity, Steve Rogers, the everyman who would become the most popular Captain America, was born not in Brooklyn but in the lower East side.

Even with all that going on, the Captain America news we should be buzzing about is the story unfolding in Sam Wilson: Captain America #11. In this series, Captain America’s pal and partner, Sam Wilson, has graduated from his Falcon identity to become another Captain America. Hey it makes sense to me. Companies can have several Vice Presidents, why can’t our nation have more than one Captain America?

Rage in Captain AmericaIt’s a gorgeous looking comic with fantastic artwork by Daniel Acuna. This brilliant Spanish artist combines dynamic images with innovative composition and then he then wraps it all in a spectacular mastery of color.

I was astonished when I read this comic right after July 4th. To put it in perspective, this was the week our nation had been shocked and saddened by violence in Baton Rouge, Dallas and Minnesota.

Remember I mentioned comics must be planned and created months ahead of time in order to make the publication deadline? It seemed like Nick Spencer, the writer of Sam Wilson: Captain America #11, penned the story that very week. It had a “ripped from the headlines” feel, complete with a nuanced and balanced presentation.

Captain-America-Sam-Wilson-11-Panel-2 copyIn this story, the Americops, a sort of privately funded police force, are the villains. The creators didn’t waste the opportunity to show the difficult conflicts faced by several characters as they struggled, just like the rest of us, to make sense of the awful situation in this story unfolding in the comic as well as in the real world.

Kudos to all involved for adding texture, depth and hopefully a little more understanding to the national conversation.

REVIEW: Batman v Superman the Ultimate Edition

Batman v Superman BRI remain astonished that the executives at DC Entertainment and parent company Warner Bros were surprised by the nearly uniform negative reaction to March’s Batman v Superman film. The film violated many of the key elements of good storytelling and showed a distinct dislike for the Man of Steel so the resulting experience felt oppressive, dark, and dislikable. Much of the blame is laid at director Zack Snyder’s feet since he edited the film in such a way as to emphasize the Dark Knight over Superman and never really addressed the questions he wisely raises in this sequel to his Man of Steel.

Out tomorrow is Batman v Superman the Ultimate Edition, a combo pack that has the theatrical cut available on DVD and Blu-ray with a second Blu-ray disc containing the three hour director’s cut.

The longer version earned an R rating for the extensive violence throughout although the thirty extra minutes has surprisingly little extended mayhem. Instead, bits of pieces focusing more on Clark Kent and Lois Lane round out the film and frankly, makes the storyline far more coherent. There is a far more appropriate balance between Superman and Batman threads before they meet.

There are still incredibly lapses in story and character logic and the pacing remains bizarre in places. But, it’s nice to see Amy Adams’ Lois Lane actually investigating an event being blamed on her super-lover. She has two nice scenes with Jena Malone who is unnamed but is credited at the end as playing Jenet Klyburn, the comic universe’s head of S.T.A.R. Labs, a nice nod to the source material.

Clark also does further investigating on his own, wondering how Gotham City’s Batman terrorizes the very people he seems to be protecting. Which leads me to some of my biggest problems with either incarnation of the movie. Batman has been operating for 20 years so why is Clark investigating him now and why is Perry White (Laurence Fishburn) so resistant to such a story?

BvS 4Then we have the eighteen month gap between films which is never referenced so many of the questions Senator Finch (Holly Hunter) and others ask, are ones that should have been addressed prior to this moment. Also, the vitriol aimed Superman’s way for this African massacre is never balanced in the press by the heroic deeds we see in an all-too-brief montage in the half first of the movie. So, there are good themes that never really get properly aired out.

Even Henry Cavill’s Superman starts discussions with Lois about these issues, broods, frowns, and flies off without really talking about it. There are way too many of these moments and robs Superman of any real character arc. Cavill is incredibly ill-served by this film and probably doesn’t mind being dead until resurrected in one of the forthcoming Justice League movies. He can find better acting roles in the meantime.

Ben Affleck and Gal Gadot deliver the film’s two strongest performances with Jeremy Irons’ Alfred and Hunter right behind them. I really liked how Wonder Woman, a warrior, had a grin as she and Doomsday went at it in the climax.

BvS 2Ah yes, Doomsday. Jesse Eisenberg’s Lex Luthor is either loved or hated by audiences but either way you fall, his motivations are all over the place. So, he can’t bring down the “god” of steel by turning him into a murderer (twice) so he endangers all life on Earth by unleashing the unstoppable monstrosity from Krypton? Is he that immoral? Also, in the end, he reveals he’s aware that something dark is coming, which we know to be Darkseid. “The bell has been rung,” he cries but there’s nothing prior to this revelation setting up it up and, ahem, rings false.

Similarly, the pacing is seriously knocked off-kilter when Batman is visited by the Flash (am I the only one who thinks Ezra Miller and costume just look wrong?) and when Diane Prince stops to watch trailers for future films.

All told, the Ultimate Edition makes for a better film, but it’s still not a terribly good one.

The film’s high definition transfer is sparkling which it needed to be considering the dull color palette and all the busy things happening during the action sequences. The audio is sharp and Hans Zimmer and Junkie XL’s heavy-thudding score does not overwhelm the dialogue or sound effects.

BvS 3On the theatrical version disc, there are a handful of special features but NO commentary, which could have been interesting to see what their true intentions and feelings were. Instead, we get some electronic press kit pieces and some fresh interviews and perspectives. Like the film itself, they take everything way too seriously and don’t really allow themselves a sense of humor.

Beyond the Suicide Squad trailer, the extended cinematic universe is teased in Uniting the World’s Finest; Gods and Men: A Meeting of Giants, traces the meetings between the Gotham Guardian and Metropolis Marvel through the years, in print and screen;  The Warrior, The Myth, The Wonder – The history of Wonder Woman works to ready audiences for Patty Jenkins’ feature, due out next spring; Accelerating Design: The New Batmobile, which now feels like a regular installment per disc; Superman: Complexity & Truth, which explores the movie’s approach to Superman and how the production team interprets truth, justice, and the American way; Batman: Austerity & Rage, a similar exploration with little new to be said; Wonder Woman: Grace & Power; Batcave: The Legacy of the Lair, an overdue look at the coolest hangout in comics; The Might and the Power of a Punch, a look into the making of the fight scenes; The Empire of Luthor, another required look; and, finally, Save the Bats, as the cast and crew raise awareness for Bat conservation in light of the white nose disease destroying the population (for those interested, check out www.savebats.org.

 

John Ostrander: Fame

Suicide-Squad1

I’m famous. Kinda. Sorta.

I’m comic book famous. I get invited to conventions and the convention organizers pay my expenses. While I’m at a con, I sit at a table and autograph comic books, maybe speak on a panel or two (where my opinion seems to matter) and chat with various fans who come up.

While I’m at the convention, I’m sorta famous. I leave the convention hall, take off my badge, and nobody outside really knows who I am or cares, which is cool. I can go to the store or a restaurant or, really, do most anything short of dancing naked in the street. No one cares. I’m not famous. I’m just another person and that’s great.

I won’t pretend that it’s not an ego-boost to be sorta famous. The attention is flattering and I’ve seen parts of the world as a result of being invited to a con that I might not otherwise ever visit. Mind you, unless I make arrangements to stay a day or so after the Con I don’t actually see much of the city I’m visiting. Cons are working weekends for me; I’m there to meet with the fans.

One thing that comes with the semi-famous territory are requests for interviews. They’re usually connected to some work I’ve done. Nobody is asking for my political opinion about the current presidential race. (Two words describe it: Trump. Yech.) Right now, with the Suicide Squad movie about to debut, there’s been a spate of interview requests regarding my work on the Squad.

Interviews can be funny critters. I want to answer honestly but I also want the answers to be entertaining. Certain questions, such as how it began, are part of every interview and if you’ve read my answer once, you’ve probably read it several times. I feel like the old codger who is telling his tales over and over again to an audiences whose eyes are increasingly glazed. Still, I’ve had nice experience doing interviews and I give good blather. Point me in a direction and I can talk for a long time.

The interviews I’ve been doing about the Squad have generally been fun. One or two are with people who have interviewed me before so there’s an easy rapport.

Two interviews in the batch stand out for me. On one, I video taped some answers that may be included as bonus supplemental material when the Squad movie eventually goes on blu-ray. The other was an audio tape interview for NPR and it focused mostly on the work that my late wife, Kimberly Yale, did with me on the Squad.

I will admit, the video tape interview was very cool and I’m excited about being part of the Squad blu-ray (if I am; you never know what they’ll decide when it comes to picking material). It was done in Detroit at an industrial setting. The electricity had gone out for the whole neighborhood (hey, it’s Detroit) so it was shot mostly in natural light. The guys were friendly and knew their stuff and it was a lot of fun.

The NPR interview focusing on Kim was very different and I was very gratified that it happened. It gave Kim her due and I can hear her delighted giggle in my mind’s ear. As I told the interviewer, if Kim had been there, I wouldn’t have gotten more than three words in. She would have been ecstatic about the Squad movie and would have wanted to be in it and to direct it. Mostly, I was just happy to remind people what a good writer she was and how important to the Squad. Kim wasn’t part of the book from the beginning but she was a big part of it as we went on.

All this attention will probably dissipate very soon. The movie will come out and do enormously well (I have really good feelings about this) and my semi-fame will go back into hibernation, as it should, at least for now.

And we will all be much relieved.

Marc Alan Fishman: Gazing Beyond the Gender Gap

ghostbusters thor spiderman iron man

By the time this column posts, I will have seen the new Ghostbusters flick from the Freaks and Geeks guru Paul Feig. I have chosen to see the film based not on any lingering love of the first two incarnations of the franchise (but put a pin in that until next week). I am not seeing it because of any particular love of the paranormal. And I’m especially not seeing it because a who’s-who of amazingly funny women are starring in it.

I’m seeing it because it looks like a fun flick to shut my chattering brain off for a couple of hours. Maybe giggle and marvel at some special effects in the process.

Meanwhile I also saw this week that Iron Man will be played by a black woman in some upcoming issues of the series. I’ve literally no doubt that the move isn’t permanent. I’m chalking it up to Marvel’s occasional jones to do the unexpected. It’s a great marketing plot to enrage Old School fanboys, while making millennials have hope for the future. It’s the battle-cry of the embittered old farts of fandom… “It’s not my Iron Man / Ghostbusters / Peanuts / Voltron / Power Rangers!”

Ahh, but that’s where you’re wrong, Grandpa. It’s merely a horse of a different color.

I’m personally mollified by the continual degradation of our pop culture society’s abandoning the shades of grey that better fit our worlds of fiction. To take a hard line stance over the casting of a female in what was once a male role, a black person in what was once a white role, or even a CGI character where hand-drawn animation once stood is just lunacy to me. At the end of the day, I don’t care who. I care what, why, and how.

While the 2003 Daredevil film will be fondly remembered as dreck, I actually liked it quite a bit. Sure it was muddied by Collin Farrell clearly ingesting a bit too much coke before filming. Sure it introduced the Greek ninja goddess Elektra as a supremely white chick. But you know what? It also gave us Michael Clark Duncan owning the Wilson Fisk role. I recall some sects of fans going banana-sandwiches over the darkening of the character.  And then I recall seeing the film, and basking in the depiction. Duncan was strong, stoic, and the apex of scene-eating-villainous. It never mattered once that he was black. Nor did he speak in jive, or really reference his ethnicity at all.

And yes: Vincent D’Onofrio’s Fisk is a million times better… but you’re taking a slow burn performance in a carefully built show vs. a blockbuster built to bank bucks in the short term. But I digress.

In the last decade or so, specifically in comics, we’ve seen a veritable gold rush of diversity. To quote Vox: “[Marvel] has already given us a black Captain America, a female Thor, a Muslim American Ms. Marvel, and a black-Latino Spider-Man. That push has been met with applause from fans who want to be included, praise and recognition from critics, and prickly criticism from comic purists who believe their beloved titles have been shunted aside for gimmicks and stunts.” And while those purists poo-poo the notion of such hypocrisy, I’ve been able to enjoy hearing about new readers coming to comics because they now had a character to relate to. Comic books (and I’d go far as to say science-fiction and fantasy) have long been the secret playground for those with a better vision of society. Where the world is color and gender blind. Where the story above all else determines the validity of a character.

Maybe I’m just that liberal a person; I don’t balk at any casting of any character in any fiction for any reason with regards to sexual orientation, gender, creed, religion, or pizza topping preference. It will always be about the character in context to the plot around them. If Riri Williams dons the red and gold armor to do battle with nefarious ne’er-do-wells, so be it. So long as she provides depth and clarity to the book; giving me, a long time reader, something new to respond to. If the Ghostbusters of 2016 are women? That’s fantastic. More so, if they provide a new take on the classic model of snarky comedians waging war on special effects. Regardless of erogenous zone paraphernalia… plot overpowers all.

And at the end of the day, if you want to call it a marketing gimmick, so be it. Because if the final piece of fiction is good enough, then you’ll swallow your ignorance with a smile and a changed mind.

The Law Is A Ass # 392: Bob’s Brain Has A Darkside

I am reminded of a story my father told me. What story, I’ll get to that shortly. First I’ve got to tell you about another story.

That other story is “Sleepwalker” from Tales From the Darkside# 1. For those of you who, unlike me, aren’t as old as Pangean dirt, there was a syndicated TV show of that same name combined back when Hector was a pup, and I was in my 30s. A half-hour anthology show featuring horror, science-fiction, and fantasy stories that usually climaxed with a twist ending. The show wasn’t bad, but I had a problem with it. I was raised on The Twilight Zone and EC comics. I cut my teeth on twist endings. For me the endings of Tales From the Darkside had as much twist as a pretzel rod.

Joe Hill, a fantasist with a pedigree, both a literary pedigree and a literal pedigree, tried to revive the series for the CW. The series didn’t make in onto TV, but Hill is adapting four of the scripts he wrote for the show into a comic-book series of the same name. And that first issue is the other story I’m telling you about first.

Ziggy was a recent high-school graduate who was working as a lifeguard at a municipal swimming pool on Brody Island. His lawyer mother was out-of-town on business, so he stayed out partying all night then went to his lifeguard job during the day. As bad ideas go, this wasn’t like texting and driving. This was more like typesetting a magazine article complete with multiple fonts and drop caps while driving.

The sleep-deprived Ziggy fell asleep on duty and Ellen Miller died.

Only she didn’t drown. Leastwise, I don’t think she did.

Neither did the coroner. He testified during some courtroom proceeding Ziggy called a trial that Ellen had a weakness in the wall of her heart and Ziggy he probably couldn’t have saved Ellen’s life even if he had “gotten to her in time.” According to Ziggy, the hearing ended in less than an hour with the judge telling Ziggy that he shouldn’t blame himself.

That’s when I went tilt. The story called the proceeding both a hearing and a trial. My brain, with it’s mind trained to think like a lawyer even though none of my law school professors looked even remotely like John Houseman wanted to know. Was it a hearing or a trial?

The proceeding happened so quickly that Ziggy’s mother had to cut her business trip short. That’s not enough time between event and proceeding for it to have been a full trial. Trials take time to mount. Even on small islands with small populations, trials for negligent homicide don’t generally come to court for weeks or months. So let’s take trial off the table. Ziggy, the narrator of the story, probably didn’t know the difference between a trial and a hearing and misspoke, or mis-first-person-narrative-captioned, when he called it a trial. Hearing it is.

Except there appeared to be a jury in what appeared to be the jury box and you don’t have juries in hearings. Only, was it a jury box? The group of people were seated in what looked like a standard jury rig, except for the fact that it was on the other side of the room from the witness stand. The judge’s bench separated the witness stand from the jury box. In every courtroom I’ve been in, the jury box is right next to the witness stand, the better to hear the witnesses with.

So, let’s assume this wasn’t a jury box because it wasn’t where a jury box was supposed to be. Maybe it was an auxiliary seating area for the spectators. Boy there must not be a lot to do on Brody’s Island other than that swimming pool, if the local courthouse routinely gets so many spectators it needs overflow seating. Okay, no jury box means that wasn’t a jury and the proceeding wasn’t a trial. It was a hearing.

But what kind of a hearing? The coroner testified. Could it have been a coroner’s inquest? Not likely. First, coroner’s inquests might be all the rage over in England, when they’re not too busy having their Brexit, lunch and dinner, but they’re aren’t as common in the United States. Moreover, a coroner generally presides over a coroner’s inquest, not a judge. Our hearing definitely had a judge.

I’m guessing it was a preliminary hearing, in which the judge heard some witnesses and determined whether there was enough probable cause to bind Ziggy over for trial. That would be in a courtroom and presided over by a judge. And it only last an hour after the judge heard the coroner testify that Ellen died from a weakness in the wall of her heart, like a ruptured aortic aneurysm, and Ziggy couldn’t have done anything to save her life. Even a tough-on-crime judge would have to find no probable cause after the coroner testified the defendant didn’t kill the victim.

I was almost satisfied. The only question I still had was this: What was Ziggy doing in the witness stand? The prosecution couldn’t call Ziggy to the witness stand. I don’t know what state Brody Island is in, but I don’t need to. All 50 of them recognize the 5th Amendment and its right against self-incrimination. So the State didn’t call Ziggy.

Did he testify on his own behalf? At a trial, maybe. Sometimes defendants testify in order to present a defense with the best possible evidence. But not at a pre-trial hearing. When all that’s happening is the judge hearing the state’s case to determine whether there’s probable cause, no “high-powered lawyer” is going to let the defendant testify. There’s a greater percentage of impurities in Ivory Soap, than there is of allowing a defendant to testify in a preliminary hearing.

I have a theory why Ziggy was in the witness stand. The story was about Ziggy being sleep deprived and sleepwalking through life. Maybe Ziggy sleepwalked into the courtroom and sat in the witness stand by accident. No one moved him because you’re not supposed to wake a sleepwalker.

Okay, it’s not a great theory. But it’s still a hell of a lot better than believing that a defense attorney let the defendant testify at a preliminary hearing.

So after studying the contextual clues of the story, I’ve determined that the proceeding shown in Tales From the Darkside # 1 was a preliminary probable cause hearing.

Now here’s the story my father told me that I was reminded of. When he was in college, my father took a course on Shakespeare. One day the professor came into class with the biggest, broadest cat-that-swallowed-the-canary smile imaginable on his face. The cat didn’t just eat the canary. It had canary cordon bleu, asparagus with hollandaise sauce, and La Bonnotte potatoes; washed it down with a bottle of Chateau Lafite, and got double points for the whole meal on his cash-back rewards card. The elated professor announced that after thirty years of close and intensive study of Hamlet’s text as well as the language, idioms, and word usage of Elizabethan England, he had concluded that, yes, Hamlet had definitely slept with Ophelia.

My father asked one simple question, “And that changes the play, how?”

The professor deflated quicker than a Macy’s balloon after a close encounter of the AK-47 kind.

I was reminded of that story, when I realized that my studying contextual clues to determine Ziggy was in a preliminary hearing didn’t change the story, either. But at least I didn’t spend thirty years determining the answer. Or even thirty minutes. And, unlike Ziggy, I didn’t lose any sleep over my problem.

Martha Thomases: Go, Pokémon, Go!

pokemon-go-unsafe-locations

Over the weekend I noticed my Facebook and Twitter feeds were overrun with new words and phrases. What is a “Pokewalk?” Why were so many people looking for gyms?

As you probably know, the cause was Pokémon Go, a break-out cell phone game that is crashing servers and bringing people together all over the country. This is in addition to a successful roll-out in Australia and New Zealand. In fact, “By July 8, just two days after its launch in the U.S., Australia, and New Zealand, Pokémon Go was installed on more than 5% of all the Android devices in the U.S., surpassing popular mobile-dating app Tinder, which was running on a little over 2% of all Android devices.”

Get that? Looking for cute little virtual animals is more popular than looking for convenient, no-strings-attached sex.

Sometimes, I just don’t understand kids today.

I missed the most rabid parts of the original Pokémon fad back in the 1990s because my kid was a little bit too old for it, but I can totally understand why this new game is so popular. In the original, you looked for a variety of Pokémon (or “pocket monsters”) on your video game screen, and when you collected the most, you won. Yes, there were more wrinkles to it than that, but the kids I watched play were more excited by the quest than by the battles.

In the new version, the game involves many of the cool features on your smartphone, especially the camera and the GPS. By looking at the world around you via your screen, you can occasionally see a Pokémon, and by swiping across, you can capture it. Then there are a bunch of things you can do with your collection, like taking them to the gym to make them stronger.

When I was at the Green Market on Saturday, talking politics with the folks at the Anthony Road Winery booth, two African-American women came up. One was ready to try wine, but the other was suddenly interrupting, taking pictures, and making us laugh. She was so excited!

Turns out, they had found a Pokémon.

Unlike so many video games, Pokémon Go seems to be encouraging people to get out of their homes, to walk around and explore (even if it’s just for some pixels), even meet new people and talk with them. In some cases, they might even notice the world around them and learn something.

This is a good thing. At least, it’s a good thing for those of us who enjoy a certain amount of privilege. The article in the link really made me question a lot of my assumptions. The author points out that if a black man is playing Pokémon Go, exploring a new neighborhood by walking around and circling in on a Pokémon, there is a real chance that someone will see him, assume he’s a criminal, and call the cops. The fact that he’s only looking at a phone won’t necessarily save him.

Pokemon SquatIt wouldn’t be the first time police have mistaken a phone for a gun. It wouldn’t even be the first time this year.

It’s also disturbing that the game imagery has already been coopted by racists.

Is this any reason to deny people joy? Of course not. The two women I talked to at the market were politically engaged and had been demonstrating all week with Black Lives Matter because of Baton Rough and Minnesota and Dallas, but on a Saturday morning, they wanted some goofy playtime. Whether I want to play the game or not (and, really, I stare at enough screens as it is and I don’t need a new addiction), I sure as hell don’t want to limit anyone else’s fun.

I’d just ask for people, in their zeal, to remember that there is more to life than finding Pokémon. There are other people on the planet, and on the sidewalk. Please don’t get so caught up in your quest that you wander into traffic, or into a unit of Storm Troopers.

I’d like to see Pokémon Go used as a force for good. For example, on Twitter, a person named Kris Straub said, “Dear Nintendo, please put super rare Pokémon at polling places this November.”

Gail Simone’s Red Sonja Moves to Animated Comic August 2

Red Sonja DVD“Gail Simone’s Red Sonja is an absolute winner — powerful, thrilling stuff that builds up so much momentum you won’t ever want it to end. Richly textured action-adventure with an unforgettable heroine.” – Kurt Busiek (Astro City, Avengers)

From Gail Simone (Batgirl, Birds of Prey) and Walter Geovani (Vampirella, Witchblade), Red Sonja: Queen Of The Plagues gives the iconic fantasy heroine a fresh new attitude! And now, you can see it all brought to life in this animated comic, starring Misty Lee (Ultimate Spider-Man) when Red Sonja: Queen Of The Plagues 2-Disc Blu-ray™+ DVD Combo Pack and DVD arrive on home entertainment shelves everywhere on August 2, 2016 from Shout! Factory. 

Special Features:

  • Featurette including brand-new interviews with Writer Gail Simone as well as members of the cast and crew.

Blu-ray: 1080p High-Definition Widescreen (1.78:1) / DVD: Widescreen (1.78:1)
74 minutes

The company is already taking pre-orders at their website or via Amazon.

Red Sonja, the She-Devil with a Sword, intends to pay back a blood debt owed to the one man who has gained her respect… even if it means leading a doomed army to their certain deaths! Who is Dark Annisia, and how has this fearsome warrior accomplished what neither god nor demon has been able to do: force Sonja to her knees in surrender? An epic tale of blood, lust, and vengeance, Queen of the Plagues takes Red Sonja from the depths of her own grave to the heights of battlefield glory.

The character has been a fixture in comic books since the early 1970s as Roy Thomas and Barry Windsor-Smith adapted a character from Robert E. Howard’s Conan stories and made her a match for the Cimmerian.