The Mix : What are people talking about today?

Joe Corallo: Breaking the Iceman

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I’ve only been writing this column for a month now, and if you’ve been reading you might have guessed that the next opportunity I’d have I’d write about Iceman coming out in Uncanny X-Men #600. Well, congratulations! You were right. I’ll try to be less predictable in the future, but I make no promises.

As you may have heard, last week the present day Iceman came out to his past self, thus confirming that Iceman is gay in both past and present. This move has gotten a great deal of praise, with many highlighting that this now makes him the highest profile gay superhero in comics. Though I’m a big fan of the X-Men in addition to being gay, I honestly did not care much for how Iceman coming out was handled.

Now, before anyone reading this starts either rolling their eyes thinking I’m gearing up for a rant on how Brian Bendis and Axel Alonso must be homophobes or don’t understand diversity for not handling this how I would have liked, or are gearing up to rally with me on that point, I’m going to stop you there. Bendis himself is Jewish, and two of his three daughters are adopted, one African-American and the other Ethiopian. He co-created Miles Morales, the half African-American, half Hispanic Spider-Man that has since become a major hit at Marvel. Axel Alonso himself was editor on Peter Milligan and Mike Allred’s X-Force/X-Statix run that introduced three queer X characters. The issue I have here is not personal and I acknowledge that they have made great decisions regarding diversity in the past. It’s about the handling of Iceman’s coming out and how that affects LGBTQ representation at Marvel. Now let’s get into it.

First off, Jean Grey is here for seemingly little reason as past Iceman has his talk with present Iceman. She was my and many other people’s point of contention when this was first brought up in All New X-Men #40, when she outed him. Some people don’t feel that she outed him, but having read it, that’s the conclusion I came to myself. Telling someone what their sexuality is when they’re questioning it can be damaging. I know when I was a teenager and had people in my life telling me I wasn’t gay, that it did hurt me and took time to get over. When Jean did this, it took away from Iceman’s agency. Rather than a coming out story, we got a “Jean told us we’re gay, so we are now,” story, and that’s significantly less compelling. I wish I had the time to go into how troubling the bi-erasure was in this story as well, but I’ll talk about bi-erasure in mainstream comics next week.

Second, starting with the “You’re going to be a mutant and gay. Wow,” line that present Iceman says to past Iceman, and going into how he put all of his effort into the X-Men over his own happiness, I was just completely taken aback. This made no sense at all.

How can present Iceman talk about putting all his effort into the team when he has never led the X-Men, and he left the team to go to college for a bit, and he had a fairly long relationship with Opal Tanaka that he put his all into, going as far as heading to Japan with Jean Grey (funny, right?) to save her from Cyber Samurai, and he tried to ruin Polaris’ wedding to Havok because he was still into her, and has seen several other X-Men over the years come out around him even as mutant numbers dwindled… and that’s just to name a few things. Not to mention how Cyclops, Storm, Professor X, even Magneto all made time for their own happiness and had a much more important role in the world than Iceman ever did. It would be one thing if this was because present Iceman was being selfish, but he’s making it out like he stayed in the closet because he’s selfless, and that doesn’t quite hold up here.

Building on that point, Iceman being a blonde hair, blue eyed, young, white, attractive, able-bodied, cisgender man with a six-pack complaining about how hard it is to come out was disappointing. Look, everyone has problems and hardships, even young attractive white guys, and I understand and acknowledge that. However, this is a fictional world where Iceman has been on life and death missions, gone through space, time, fought aliens, vampires, deities… and coming out was harder than all of that?

If this was the 80s, I’d totally get that. Even the 90s. It’s 2015, and that coupled with living in such a fantastical world makes this too hard for me to swallow. Not to mention how many of his teammates and fellow mutants are not nearly as privileged as he is. I’d dare even say that Nightcrawler and Beast might have a harder time being straight than Iceman would have being gay.

Finally, on the last page of this scene young Iceman asks present Iceman if he thinks Angel is hot and they agree and have a good time about it. If you’re going to make the next LGBTQ X-Men character a young, attractive, blonde hair, blue eyed, able-bodied, cisgender white man with a six pack, can we at very least have him talk about being attracted to someone who isn’t also all of those things? It just feeds into so many of the negatives in the LGBTQ community that are trying to be addressed. It was a way to wrap up the scene that was clearly intended to be sweet that left me feeling sour.

I’m not trying to be ungrateful about having more representation in mainstream comics. However, we should be holding ourselves to a higher standard and demand more, better, and thoroughly thought out LGBTQ representation.

I do want to end on a positive note. Bendis has updated Iceman in a way that will give future writers something new to explore with the character and I’m thankful to him for that, and despite how I may have come across, I am eager to see what other writers will do with him. Hopefully an LGBTQ creator or an ally like Peter David or Kieron Gillen who handle queer characters respectfully will get to tackle him, and maybe I’ll soon be reading the greatest Iceman story ever told.

REVIEW: Trainwreck

trainwreck-blu-ray-e1446935384207-5309971Amy Schumer has become quite the comedienne, taking the stage, television, and now film by storm. Trainwreck, her starring vehicle for director Judd Apatow, was my first sustained exposure to her and thought the fresh eyes could glean what the fuss is all about. Still trying to figure it out.

The story is about a woman who is professional star and a personal wreck who meets and falls for a guy, only to screw it up at much the same time she screws up her relationship with her sister, and loses her job. That it is about a woman and not a man has garnered a lot of buzz but the overall story is tired and predictable.

Apatow’s previous films have offered up fresh takes on old themes along with sharply delineated characters that avoid the clichés and bring with them a tremendous amount of heart. In The 40-Year-Old Virgin, Knocked Up, and This Is 40 were all written by him and perhaps he should have been allowed to give Schumer’s script a pass.

We’re told that Amy Townsend is the star writer for S’nuff, a magazine that makes Maxim and FHM seem tame. She is assigned to interview a sports doctor despite disliking athletics of all kinds. Her boss, Dianna (Tilda Swinton) holds out the Executive editor’s post as a carrot for taking on the work. Meantime, she is avoiding emotional entanglements, drinking, dancing, and having a series of one-night stands which seems to stem from words of advice given to her and her sister Kim (Brie Larson), by their crude father Gordon (Colin Quinn). On the other hand, she has a warm spot for dear old dad, now confined to a nursing home given his multiple sclerosis.

She finally seems to settling into a relationship with the musclebound and possibly closeted Steven (John Cena). Despite being rude and crude, he gets his heart broken when Steven discovers Amy has been sleeping around and tells her she’s not a nice person and honestly, she isn’t.

That starts to change when she beings to interview the near-perfect Aaron Conners (Bill Hader) and a softer side seems to emerge. Over a period of time, she falls for the doctor and they begin to date and she’s having her first genuine adult relationship. She doesn’t want to screw it up but of course does, triggered in part by her father’s sudden death. She spirals downward just as one would expect towards the end of Act Two.

Everything comes crashing down around her until she finally hits bottom and rebounds making amends first with Kim then with Aaron. Her final over-the-top act comes out of the blue and is intended to be a showstopper when it just stops. They still kiss and all will be well. Awww.

Amy and Aaron, though, are deeply under-developed characters and you are not emotionally invested in either nor is there real warmth and chemistry between the performers. In fact, Aaron seems more himself with his patients including LeBron James, who provides as adept with comedy as he is with a basketball, stealing every scene he’s in.

Schumer may be a gifted talent but it’s not on display her since Amy is unlikable, the humor is tame, and nothing feels new and different, just tired and by the numbers. None of the supporting characters feel fleshed out, spoiling a rich ensemble.

Universal Home Entertainment has released the film in a combo pack that includes Blu-ray, DVD, and Digital HD. Additionally, both discs come with the theatrical version and a four-minute longer unrated version. From what I can tell, there’s just more, nothing earth-shattering and special.

The film comes with a nice assortment of Special Features including additional Deleted and Extended Scenes; a two-part Gag Reel; Lin-o-Rama, where several actors are shown ad libbing for scenes; a traditional Behind-The-Scenes featurette; Directing Athletes: A Blood Sport , a more scripted than not look at working with James, Tony Romo, and Amar’e Stoudemire; The Dogwalker, the complete film-within-a-film starring Daniel Radcliffe and Marisa Tomei; and finally, from Comedy Central, the Trainwreck Comedy Tour Featurette.

Mindy Newell: Peace Killing

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The Doctor: “How are you going to protect your glorious revolution from the next one?” • The Zygon Inversion • Doctor Who, Season 9, Episode 8 • Written by Peter Harkness and Steven Moffat

What the fuck is with all these fucking commercials!

I mean, seriously, I get that BBCAmerica wants its money’s worth out of Doctor Who, but c’mon, are you fucking kidding me? Ever since the passing of the TARDIS to Peter Capaldi, the commercial breaks have gotten absolutely fucking ridiculous – what is it down to now, every five minutes? And the breaks seem to be longer than the actual story in between the damn commercials!!!! How the hell can anyone actually enjoy the show?

Because of the stupid commercials, I missed so much of the nuances of both The Zygon Invasion (which first aired last week on October 31) and Saturday’s The Zygon Inversion that I watched them at one sitting today, Sunday, November 8, on Amazon Prime. Yeah, I paid $2.99 for each, because Season 9 is (not yet) part of my Amazon Prime membership, but it was worth every penny.

I loved it.

No, more than that…

I adored it.

In fact, im-absolu-fuckin-lutely-not-so-ho, this two-hour story will be the one that definitely defines Peter Capaldi’s ownership of the Doctor. His delivery on the futility of war was brilliant, combining pathos, hope, desperation, and even bits of humor. I was riveted, I couldn’t take my eyes off of him – and, in fact, I “rewound” those ten climatic minutes three times just so I could watch and listen to him again. Now, I do have to say that I was a bit “quibbled” last week when the show hit us all on the head with a very, very heavy hammer:

The Doctor: “This is a splinter group. The rest of the Zygons  –  the vast majority  –  they want to live in peace. You start bombing them, you’ll radicalize the lot. That’s exactly what the splinter group wants.”

Yes, yes, Steven Moffat and Peter Harness, we got the analogy – and if you didn’t get the analogy then I’m not talking to you – and perhaps you didn’t have to swing Mjolnir again when the “normalized” Zygon pleaded that he just wanted to live in peace before he killed himself. The best part of any science fiction, whether it be in book or television or movie form, imho, is when it addresses and/or attacks our real concerns, assumptions, and prejudices and, hopefully, makes us actually think about them.

The Doctor: “Listen, I just want you to think. Do you know what thinking is? It’s just a fancy word for changing your mind.”

But this is the real world, and it will take more than Peter Capaldi’s breathtaking performance and a great, great episode of Doctor Who to change the minds of radical “splinter groups” bent on war to realize that the box – both of them – is empty.

Even the Doctor has been through this 14 times before.

Ed Catto: StreamCon & The More Things Change

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The more things change… the more they change. The very first StreamCon, a convention that’s all about online influencers and digital content, was just held in New York City. It’s a show that’s blended for both industry professional and fans, just like the bigger comic cons. And it was held in the Javits Center, just like New York Comic Con, so it brought back a lot of memories of the “early days” of what has become one of biggest comic-cons in the world.

StreamCon 1There’s been a lot written about New York Comic Con and the continuing growth of Geek Culture. It’s hard to believe it’s been 10 years since the first NYCC. No one knew quite what to expect. It was held in just one section of the Javits Center, in stark contrast to the sprawl of recent years. And that first year, when the crowds got too big, the Fire Marshalls put a halt to anyone entering, or reentering the convention floor. (You can imagine how well that went over.) How could they not have known that it would soon become the biggest show in the convention hall?

On the first day of StreamCon the crowd wasn’t overbearing. It was so easy to get from point A to point B. There was a casual and relaxed atmosphere. And there were only handful of cosplayers. To be fair, Day #1 was meant to be the Industry Summit day, so that was all by design.

But the fascinating part, during this designated professional day, it was all the stress and strains of the marketing community in flux. Sure, there were “industry experts” present but there were also a lot of professionals there to learn about who the YouTube/Vine/Twitter media stars are and just why fans love them so. These folks may have been a little overwhelmed, but the NYC marketing community is nothing if not tough, and you didn’t see anyone sweating.

StreamCon 3But It was soon clear that the days of advertising agencies reaching out to the most popular celebrities product spokespeople based on the top network TV shows are long gone. For today’s millennial audiences, the first thing they reach for is their cell phone. And fewer and fewer of them even watch traditional shows – and when they do it’s usually not on their television. It’s one a different screen. TV stars like Tim Allen and Ted Danson are irrelevant to them. Instead they live in a world dominated by online celebrities like PewDiePie, Smosh and Allicatt. In fact, in Variety’s recent ranking, Taylor Swift just barely cracked the top 10.

During the conference, you could see the struggles as many professionals tried to keep up. They worked to make sense of this world of “non-scripted reality fiction”, cord-cutters and the deemphasizing print media. Carrying around a newspaper or telling stories about things like “waiting in line at the bank” were clearly out of place.

One parallel, of course, is how rapidly Geek Culture is also changing. Movies and TV shows serve as not only the gateway for many fans. And these versions are quickly becoming the “alpha continuity” as well. Cosplayers have leapfrogged from being labeled as “nuisances” at comic cons to becoming main attraction. In fact, now there are whole conventions built around cosplayers.  Many women now lead the way in creativity and fandom. And with the recent blockbuster debut of Supergirl on TV, you just know that more female fans are being created every Monday night. (Disclosure: I liked it too!)

Change is good! Change is exciting! Flux is the new norm… or the new black or the new orange or something like that. It’s a fascinating ride to be on, and I wouldn’t have it any other way. How do you feel about it?

John Ostrander and The Humbug Murders

humbug-murders-4366775I’m a big fan of Charles Dickens’ A Christmas Carol. I try to read it every Christmas, I watch multiple versions of it during the holiday season (including a half hour animated version starring Mister Magoo), and in my acting days I performed in the annual theater production of it at Chicago’s Goodman Theater. For the record, I played in the all-important parts of Mr. Lean, Fred’s friend number 3, dancing man, and ensemble.

Coming across a mystery called The Humbug Murders – An Ebenezer Scrooge Mystery by L.J. Oliver, I was quickly drawn in. Not without some hesitation; the notion of Dickens’ notorious miser acting as a detective rattled my chains a bit. Still, I decided to give it a chance.

For the most part, it works. L.J. Oliver is a pen name for Scott Ciencin and Elizabeth Wilson, both of whom are experienced authors. Sadly, Ciencin died in 2014. The story takes place in 1833 when Scrooge was still a relatively young man, only a few years removed from his days working for Mister Fezziwig. The story includes quite a number of characters from different Dickens’ novel as well as a young Dickens himself, still a reporter at this point.

I usually have trouble when authors place characters and creators in the same story. For example, I’ve seen Sherlock Holmes stories were Arthur Conan Doyle is also a character and it is said that Doyle is the “literary agent” of Doctor Watson. These arrangements suggest that the author didn’t have the imagination to create his/her own characters and, as an author, I dislike that insinuation.

Also, I had to reconcile the Scrooge in this mystery with the Scrooge I knew from A Christmas Carol. That was a bit difficult. It was hard to imagine the Scrooge that I already knew having had the experiences he had in this story and still becoming the same man. However, I simply decided that this was the Scrooge of an alternate, parallel dimension. Hey, I work in comics; alternate dimensions are an everyday occurrence where I come from.

In The Humbug Murders, Old Fezziwig, Scrooge’s former employer, has been brutally murdered. (The story has a goodly amount of rather graphic violence and touches on some lurid depravity, all of which may bother some folks.) Scrooge is a suspect and finds himself drawn into the mystery. A masked murderer calling himself Humbug is guilty of the crime and Old Fezziwig’s ghost (of course there are ghosts in the story), appearing to Ebenezer, says three more deaths will follow and that Scrooge himself will be the last victim. Unless, of course, the killer can be caught first.

The authors know the era and the locale, especially the less savory neighborhoods in London. They also know their Dickens and sometimes get a little cute in borrowing lines from A Christmas Carol. It sort of shouts “See how clever I am!” It also took me a little out of the story which an author should never do.

The reveal is a little difficult, requiring the killer to monologue in order to bring it all together. Scrooge himself, although a keen observer of humanity, doesn’t really uncover Humbug’s identity. The lead female character also comes across as a bit of a Mary Sue – the somewhat idealized projection of the female author.

Mostly, it’s a good mystery although I did spot the true killer some fifty pages before the reveal. It didn’t take away from my enjoyment of the book, however. The ending promises a possible sequel which I wouldn’t mind reading although, since Mr. Ciencin died, that may be problematic. It was not a waste of my money which, no doubt, Mister Scrooge would consider a high compliment.

3.5 stars out of five.

Box Office Democracy: “Scouts Guide to the Zombie Apocalypse”

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In his wildly popular book on screenwriting [[[Save the Cat!]]], Blake Snyder suggests that every movie needs to fulfill the promise of the premise; to give the audience all of the things they expect to see in the movie based on the title and the promotional materials. You can’t make Legally Blonde without having scenes where a ditzy girl applies her skills as a socialite to the buttoned-up world of law school and you can’t make Star Wars without having some interstellar battles. Unfortunately, Scouts Guide to the Apocalypse didn’t take this to heart as it’s a generic teen comedy layered on top of a generic zombie movie with just a sprinkling of the scout gimmick tacked on mainly at the end. It results in a movie that feels tired and unoriginal.

Scouts Guide to the Zombie Apocalypse colors inside the lines very closely. It hits all of the teen comedy beats you know and love, including: kids who want to ditch an uncool friend so they can appear more attractive, kids who get invited to a party by people much cooler than them, awkward teen who doesn’t know to deal with a crush, oversexed teen who pursues sexual gratification at inappropriate times. They take these well-worn classics and slap on a quick zombie overlay and call it a day. This is a movie that feels like Superbad meets Dawn of the Dead, but instead of being those movies they’re the off-brand knock-offs you would find in the bargain bin at a Wal-Mart. Even at its highest highs, Scouts Guide doesn’t feel like it touches the splendor of the movies it copies.

That’s not to say that there isn’t good comedy in here, because there is, they just do the damndest job hiding it. There’s a joke in this movie involving grabbing on to a zombie while falling out a window that I laughed harder at than anything I’ve seen in months. That joke comes well past the halfway point and I had pretty much given up on the entire film at that point so to get such a huge, genuine, reaction from me at that point was practically a miracle. Where was anything near this funny the rest of the way through? I saw two groups of people walk out of the theater before this sequence; they needed to do a better job keeping people engaged. The whole first act was plagued by jokes that the movie clearly thought were funny falling flat and later there are plenty of funny ideas that don’t get enough space and simply die on the vine (zombie cats being the most egregious example). A zombie singing a duet of a Britney Spears song with the main character got a whole chorus.

This is the kind of movie where I can’t help but wonder if there was some kind of tragic problem in the production process that led to such an uneven effort. Three people share the screenplay and story credits, an arrangement that might hint at some kind of dispute over a rewrite. It’s also a hard R movie that I can’t understand how it would appeal to anyone over the age of 17, so this might be a token theatrical run hoping it has a long tail as a cult classic movie passed back in forth as a contraband DVD at middle school sleepovers for years to come. I want to believe that some conflict or secret conspiracy is behind this failure because it’s a movie that fails to live up to a halfway clever title, and that’s just a failure so sad it defies belief.

Marc Alan Fishman: “Unshaven Comics: Open For Business”

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I was recently informed that my local comic shop The Zone (of Homewood, IL) was being sold for a very affordable sum. So affordable in fact, it got many a folk a’twitter (no, not that Twitter) over the feasibility of making that leap into small business ownership. And for a hot minute? Unshaven Comics seriously considered it.

I mean, next to making comics, having your own shop is very much the dream for many. Ask Art and Franco (Aw Yeah, Comics!) or Mark Waid (Aw Yeah, Muncie!). The appeal of growing a community around the comic store is more than a passing desire for me. Why? Because it’s how Unshaven Comics happened in the first place. When I met Matt Wright in sixth grade, he cemented our friendship with the gift of a few comic books. Soon thereafter, trips to the local store – then, Fiction House – were typically at least a weekly endeavor. By high school, Fiction House was more than just a retail mecca. It was church. A collection of gamers, and fans of pulp and paper united by the bond of shared love in off-the-beaten-path minutiae. And it was within this community of nerds, geeks, and dweebs, did we all find a large chunk of our self-identity. One day, we would move from fan to creator. If for no other reason, than being able to place our fiction next to Batman and the like, to declare this is how we’d do it better.

As we grew up, the comic shop never lost its luster. In Indianapolis, Comic Carnival became out haunt of choice. While we never found a community over the course of our college years… the weekly tradition of new comic book day was never to be missed. When we made our triumphant return to Chicago, with our beloved Fiction House now a Chinese food emporium, we tripped over Lansing’s Stand Up Comics. Therein, we found a trio of kindred spirits. Twenty-somethings sharing a long-lasting friendship, united in business. New Comic Book Day soon sprouted into extra-curricular affairs – as getting new books was on the beginning of an evening over shared dinners, and boisterous conversations. It was at Stand Up Comics I made my debut, and eventual retirement from stand up comedy. And far more important… it was where Unshaven Comics was blessed to put our first books on the shelf; to declare this is how we do it better.

Hence, it should come with no surprise when the opportunity to recreate a bit of that magic in my hometown, my beard bristled with glee. I mean, the Aw Yeah guys seemingly are doing well for themselves. And how could comics not be a booming business right now? With the Marvel Movieverse into its strong second phase, DC Comics killing it on TV, and Image Comics proving how creator-owned books can school the mainstream in terms of depth and quality on the page… we’re living in a gilded age! So, a brick and mortar store, in the heart of a well-worn middle class town like mine should be a dream waiting to happen.

A few sobering conversations later? The dream dissipated back into the digital ether where it was born.

The biggest concern, of course, is money. Even at the amazing price the owner is seeking for the shop, it’s not like three working dudes barely into their thirties are sitting on mounds of extra cash. It further belabors that point when two of those dudes are expecting daughters in March of the coming year. Or that the third dude is finally getting hitched all legal-like. Taken a step further… being in debt to start your business – even with a solid base of customers currently streaming into the shop – is daunting. Especially because we’re more than clear that only one of us could ever man the counter. Lest we think owning a small comic shop can replace 3 full time salaries. We wouldn’t bet on it. In addition, as with all business owners, the shop is far more than a collection of current and back issues (and associated brik-a-brak). It’s an environment. Meaning an Unshaven Shoppe would need to reflect our personalities. And somehow, that likely costs money too. It all adds up, doesn’t it?

Great comic shops in the suburbs are more than just pulp and paper now. The need for Pokemon leagues, Magic tournaments, and D&D nights are near must-haves. Most comic shops are also aforementioned social hubs. Home to comedy nights, local high school punk rock shows, and impromptu podcasting studios. Owners of these stores need either to hire local talent (see: those kids in the punk band), or give up any chance at normal work hours. Certainly kids aren’t trolling the comic shop until after school. And while any of us Unshaven Lads might enjoy the ability to sleep til noon on a weekday… we don’t want the result of that gift: working late nights to keep the lights on. It’s not an easy life to tend to a shop. And certainly not one that can support three budding families from day one. It doesn’t warm our hearts either to know that our beloved Stand Up Comics ended up folding over a diminishing clientele base – in spite of every attempt to grow it. The sober facts of the glamorous world of comic book retail.

But grey clouds will part! Soon, the Zone will be home to new owners ready to tackle the tasks we admit defeat over. And I’m likely to meet them shortly after the sale is final. Because every shop needs that community, and what better way to engrain a local independent comic publisher with his community, than being the artist(s) in residence at said shop?

I can think of no better dream to be a part of.

Voices From Krypton: The Boy Who Will Be BATMAN

Actor David Mazouz, who portrays Bruce Wayne on GOTHAN, discusses exclusively with VOICES FROM KRYPTON, the journey that has begun that will see Bruce start to embrace more of the qualities of Batman.

Martha Thomases: Every Picture Tells A Story

apb-8825149I have opinions about superhero comics that have no basis in anything other than my observations. There are no studies, no data, no proof whatsoever. But I have these opinions, and, quite often, reality supports them. Then again, quite often reality disproves them, but this column isn’t about that.

One of my core beliefs is that superheroes comics appeal to our inner two-year-old. That’s about the age when we realize that we have physical and mental limits, and we can’t shape the world to our whims. It’s natural that power fantasies attract our imaginations, because if we could fly and beat up any enemy and never get hurt, we could live the life to which we feel entitled.

This is also why teenagers like superheroes. However powerless you feel as a toddler, that feeling is dwarfed in comparison to how you feel when puberty hits. Now your body is not only able to do what you want it to do, but it’s actively working against you.

If you’re lucky – and you read good superhero comics, and you read other forms of literature and you have a good community for support – you will, while enjoying your power fantasies, begin to understand other points of view. I vividly remember stories from my childhood in which Lex Luthor found a world where he could be a hero. Through him, though looking at his face when he was finally cheered by people who loved him, I understood that each of us wants to be a good guy. We might disagree about what that means, but we are each the protagonist in our own stories.

This is a really long and roundabout way to say that comics are an excellent way to learn empathy and discuss lots of opinions. The most moving recent example I’ve found is APB: Artists against Police Brutality, an anthology about the state of police violence and race relations.

The contents are brief essays and comics about police brutality. Some are to my taste and some are not. (Hint: Clear lettering might not be moody and atmospheric, but it’s legible and that makes a huge difference if you want me to read what you wrote. Rant over.) Some of the essays are a bit didactic and some are so personal and painful that I could barely get through them. Every one came from a place I’ve never been. Every one (even the ones I didn’t like) made me see the world in a new way.

I’m a parent, and, as a parent, my heart skips a beat every time the phone rings when my kid is away from home. When he was first starting to go out by himself, without my hand to hold when he crossed the street, I would make him call me when he got to his destination because otherwise I would worry that he was dead in a ditch somewhere. When he went to college, he almost went out to a ditch just so he could call me from there.

My worries are about drunk drivers or falling pianos or random lightning strikes. I’m not particularly worried about cops. As a white person, that’s not how I was raised. I expect the police to respect me and to watch out for me, my family, and my property. I understand, intellectually, that this is not everyone’s experience.

APB made me understand this difference viscerally. I could see how the police looked from the eyes of someone who is terrified, who is about to be beaten. I could feel the puzzlement and pain a person feels when a loved one goes out to run chores and doesn’t come back, ever. I could feel the shame and heartbreak of a woman whose brother grows up to be a cop who kills an unarmed African-American kid.

The book ends with a list of 881 people killed by police between December 15, 2014, and the date the book went to press on September 11, 2015. I can’t tell the race of each person, nor can I tell the reason he or she was killed.

I do know that each and every one had a story.

The Point Radio: Jack Coleman And The World Of HEROES

As “HRG”,  Jack Coleman has been an important of the HEROES TV mythology from day one. Now, he talks about HEROES REBORN and what lies ahead for the NBC limited series. Plus Josh Gates is a curious guy and he makes that work for him in his show, EXPEDITION UNKNOWN. Did you know Robin Hood was real? Josh has proved it and much more!

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