As fans of shows like Bewitched, I Dream of Jeannie, and Mork & Mindy, we already knew we enjoyed the sitcom stylings of magical mishaps in real life, so we were kind of excited to check out this 60th Anniversary DVD collection by MPI Home Video of My Favorite Martian. For those of you who don’t know (because we didn’t), My Favorite Martian aired on CBS from 1963 – 1966 and pretty much started the whole genre of fantasty/sci-fi TV comedies. The show is about Tim O’Hara (played by Bill Bixby), a newspaper reporter who meets a Martian (played by Ray Walston) and keeps him as his “Uncle Martin.” For three seasons, chaos and hilarity ensue as Uncle Martin’s Martian magic powers get in the way of living a regular Earthling life.
This is the first time all the episodes (107 of them – all unedited & digitally re-mastered) have been put together in the same DVD set. It’s pretty cool for full family watching and also has a bunch of special features for those who might have been big fans of the show back in the day. There’s stuff like Behind-The-Scene Home Movies, Original Commercials, Spaceship Miniature Test Footage, Ray Walston Game Show & Talk Show Appearances, and a radio show interview with Bixby and Walston talking to Lucille Ball. This week Anya reviews it all and Maddy lends a hand in answering Anya’s tough questions like “Who decided Martians have super powers on Earth?” and “Are Aliens real?”
For rent: Secret laboratory. Ideal for mad scientists, superheroes and their posses.
Now, about those posses: time was when superheroes operated pretty much alone, or with a sidekick, who could be anyone from the original Green Lantern’s cab driving Doiby Dickles to Batman’s intrepid though preadolescent Robin. Oh, there were other continuing characters in your basic superhero saga – think Jimmy Olsen and Commissioner Gordon – but when it came to doing the daring deeds the folk in the costumes usually flew solo.
Then things evolved and –
Almost certainly, a lot more people will see Supergirl on television this week than ever read one of the Maid of Might’s comic books. She’s plenty super – give her that – and as bonuses, attractive and charmiing, but she doesn’t fight evil by herself. No, she’s allied with a brainy group of colleagues who hang their doctorates in a secret lab. And if we scan the videoscape, we see that Supergirl has peers. The other two television title characters most like their comic book inspirations, Arrow and the Flash, also have lab-dwelling cohorts who can always be depended on to have the information the good guy/girl needs.
Structurally, the three shows – Supergirl, Arrow, and Flash – are virtually identical. And, again structurally, they’re pretty close to Archie Andrews, that teenage scamp, and the gang at Riverdale High. The biggest difference is that the Riversiders have no laboratory, but nobody’s perfect.
There’s a lot to be said for adding pals to the superheroic landscape. They give the hero someone to talk with, thus allowing readers/audience to eavesdrop on vital exposition (though sidekicks can do this, too, and if you don’t believe me, ask Dr. Watson.) Supporting players can also provide story opportunities. And they can add texture and variety to scenes. And the occasional comic relief. And, by their interactions with the chief evil-queller, they can add depth to that individual’s psyche. But mostly they can serve the same function as those stool pigeons and confidential informants served in the old private eye and cop shows, the scruffies who always knew what the word on the street was: they can quickly and efficiently supply data that enables the hero to get to the exciting part, usually a confrontation.
Finally, the pals and gals give the hero what seems to be absolutely necessary: a family. It’s usually a surrogate family, to be sure, and it may not be much like your family, but it has a familial dynamic and it allows the audience to experience, by proxy, what might be missing from their real lives: a secure knowledge that there are people who can counted on, who will always forgive you and have your back. And such nearests and dearests have to hang out somewhere, so why not a secret laboratory?
And while they’re there, they can supply the location of that master fiend, the one with the purple death ray and the really atrocious table manners.
I am not going to write about it. I know everyone thinks I will since I am a huge Trekkie, but I won’t do it. Despite my love for the franchise, I’m not gonna write about the new Star Trek series. Not happening at all.
I won’t acknowledge how confused and nervous I am about the potential premise of the show. All they said in the press release is that it isn’t affiliated with the new film. So, what timeline is in, the old fan favorite or the new Abrams one? What year will we be in, Kirk’s era, Picard’s, or a completely different one? And are we even talking about the Enterprise? All of these questions are valid. Still, I won’t acknowledge I am excited under all that nervousness.
And I won’t even admit how nervous I am about the guy at the helm. The same guy who brought us the multiple cringe-worthy, fan-hated Into Darkness. However, Alex Kurtzman has working on some shows I’ve enjoyed. He got his start working Xena and Hercules! Still, he proved in the movies that he just doesn’t get Star Trek. My nervous brain is wondering if he can bring back the true spirit and ideology of Star Trek or if it will just be another plotless, bad story lacking character development, action show on TV.
I’m not going to write about how the new pricing structure is kind of insulting. CBS All Access doesn’t really appeal to me. They want me to spend $72 dollars a year so I can watch two shows. That’s assuming I keep watching Supergirl (which I can get a season pass for on Amazon for $29.99). CBS needs to up their game and they need to do it fast. They rarely appeal to me and their overall image needs to change. Can’t they work a deal out with Warner so they can add some CW shows on there? And for all the arguments that Star Trek: TNG helped launch cable, I don’t really care. It’s mean to do this to fans who might not be able to afford it.
Mostly, I’m not going to let anyone know how pissed I am they announced this in the 49th anniversary year of ST but it doesn’t come out until the 51st anniversary year. Which means they will spend an entire year torturing fans with bits and pieces of details. They knew this damn 50th anniversary was coming; couldn’t they have planned it better?! I hate waiting for details!
I won’t talk about how wonderful it is that they are finally bringing Star Trek back to the medium in which it works best. While the movies are great, the stories really shined in the TV format. TV gave them the ability to single out and look at everyday social issues, from week to week. That is why Star Trek is known for tackling boundaries long before society. So, I can’t admit that I am so excited despite my reservations.
So yeah, I’m just not going to talk about any of this. I’m so glad I’m keeping quiet, I have a lot of uncertain feelings.
Quentin Tarantino, one of our most popular heroic fantasy movie writer/directors, has pissed off the nation’s police community with police unions in Chicago, Houston, Los Angeles, New Jersey, New York and Philadelphia as well as the National Association of Police Organizations (NAPO) calling for a boycott of his work.
These sundry organizations were joined by Quentin’s own father, Tony Tarantino. “I love my son and have great respect for him as an artist but he is dead wrong in calling police officers, particularly in New York City where I grew up, murderers.” Wow, I guess Thanksgiving at the Tarantino house is going to be one fun-filled laugh epic.
According to the statement on NAPO’s website, “We ask officers to stop working special assignments or off-duty jobs, such as providing security, traffic control or technical advice for any of Tarantino’s projects … We need to send a loud and clear message that such hateful rhetoric against police officers is unacceptable.
“As a high profile figure, Tarantino’s language is utterly irresponsible, particularly at a time when the nation is seeing increasing and persistent calls for the killing of officers,” NAPO uttered. “Anti-police rhetoric like Tarantino’s threatens the safety of police and citizens alike. The police he is calling murderers are the same officers who were present along the protest route to ensure the safety of protesters, who provide security when he is filming, and who put their lives on the line to protect our communities day in and day out.”
Holy crap. What did Tarantino actually say? Maybe it was more the venue than the language. At the New York City Black Lives Matter rally on October 24, Tarantino discussed the recent horrific wave of killings of primarily unarmed young black people at the hands of our boys and girls in blue, many of which have been videotaped. What he said was “This is not being dealt with in any way at all. That’s why we are out here. If it was being dealt with, then these murdering cops would be in jail or at least be facing charges. When I see murders, I do not stand by. I have to call a murder a murder, and I have to call the murderers the murderers.”
Like most of us, Tarantino has seen the videos and he has expressed an informed opinion. He did not call for the blanket conviction of these officers; he asked that we treat police under such suspicion the same way we treat everybody else. Well, maybe not all white people, but that’s different topic. Note that the director did not say all police, or even any police committed these killings. But that’s not the only outright lie being told by the NAPO.
They also repeat the overworked meme that there’s a national conspiracy of individuals who are wantonly killing police officers. This is not true and, in fact, on-the-job slayings of cops is bordering on a 40-year low.
Sometimes people with shallow imaginations protesting these types of police actions compare the cops to Nazis (to which even Lenny Bruce responded “Nazis? I’m the mailman, motherfucker!”) But this reaction to those who stand up against police violence is right out of the Joseph Goebbels’ playbook. And just watch that sentence get taken out of context.
On the other hand, ever since the incidents in Ferguson Missouri early last August, many cops have been forced to wear television cameras to record their behavior. Because of this, many have cut back on their activities in protest. Because of that, crime has gone up in recent months. It’s as if the petulant police are saying “If you don’t let us do whatever we want, we’ll do nothing at all.” While staying on the public payroll, I might add.
Of course, these cameras cut both ways and can be – and have been – used to exonerate cops from bullshit complaints of police brutality. Nonetheless, police are sworn to uphold the law and the constitution, and that includes those troublesome provisions for freedom of expression and assembly. Historically, they’ve had a great many incidents of difficulty with this concept.
I’ll be at the opening of Tarantino’s next movie, The Hateful 8, in Manhattan on Christmas, the movie’s opening day. I don’t think I will be alone, but I do suspect I’ll be crossing a police picket line before I get my popcorn. The movie goes national the following week.
Quentin Tarantino did not call all cops murderers, nor did he call for the killing of cops. But there is sufficient evidence that a few are murderers and should be investigated.
By the way. As it turns out, Quentin Tarantino has not killed any unarmed black kids.
Happy post-Halloween, everyone! I hope it was spooooky and fun and sugar-coma-tastic. Man, I love Halloween. And this year I had a big party to go to, so I decided to go all out on my costume, a creepy “broken doll.”
Even though this year’s costume was not specifically geek-related (unlike that year I went as Black Canary and everyone thought I was Lady Gaga… sigh), I had a great time putting it together, and since putting together a good costume is part of the fun for me at some conventions, and I haven’t done a costume how-to (Emily-style!) in a while, I thought I’d give it a whirl with my Halloween getup.
I am unashamed to admit that this year’s costume idea came from an email Hot Topic sent out advertising their Halloween costume pieces. (And FYI, if anyone else is remembering the days when Hot Topic mostly contained black things covered in spikes, you are now on notice that these days it also contains a lot of awesome geek and pop culture clothing and collectibles.) Although I do like to try to come up with my own spin on costume things, my starting point was definitely the Doll Leg Tights on the Hot Topic site. I saw them and just thought, “A life-sized doll. What a cool, creepy idea.” Especially since I have a weird fascination with the idea of dolls (and other toys) coming to life (wherein depending on the toy, you either wind up as one of the humans in Toy Story or in Chucky and who can say which it will be until it’s too late? See also: <a href=”
evil doll in the new Ash vs. Evil Dead show, which is hilariously cute-evil).
Unfortunately, by the time I realized I wanted to do a creepy doll costume the tights were all sold out. Undeterred, I thought, “How hard can it be to make doll legs?” Well. Not as easy as you’d expect, actually, but then again, nothing ever is in costuming. That’s what makes it fun! (And after all, it’s not Emily-style costuming unless you attempt to make something you’ve never made before from scratch with little idea how and almost no time to spare.) I decided to give it a go, and ran through the options of drawing them on with makeup, creating some custom temporary tattoos as I have for previous costumes, or using permanent marker (either directly on my skin, or on tights).
I nixed the idea of makeup because I didn’t want to have to worry about it smearing and coming off on things, and I decided against the temporary tattoos because I didn’t have time to properly fit and scale them in Photoshop. A friend informed me that drawing on yourself with ink or permanent marker is bad for you (oops for all those years I waitressed at the Arts Center and doodled on myself in between orders). So I decided to try permanent marker on light-colored hose. It…did not go well. It turns out, permanent marker is not actually permanent on hose. Instead, it gets all over everything. Ick. Fortunately, at that point I remembered my cache of fabric paint (d’oh!); and in the end, that’s what I used. (I have been informed that Michael’s also has fabric markers, so that might be an option for other DIYers, but I didn’t have time to go buy any).
The fabric paint worked pretty well, considering. It’s not super easy to paint on your own legs, but in the end, and using some photo references, I managed some acceptable doll ball joints. Given I was going as a broken doll, I then added a bunch of cracks, which was the fun part. It was kind of like painting lightning; and I also discovered that making some of the cracks really black in the center gave them a more realistic look, for added creepy brokenness. I then managed to create arm-hose by cutting apart a pair of regular hose and then cutting finger-holes in the toes (pro tip: because hose stretch so much, the finger-holes can be only a few millimeters across when you cut them; and you can then use a thin line of clear nail polish around the cuts to stop runs). And then, of course, I painted on them, too.
I was pretty happy with the end result for a first attempt, although as a fair warning to anyone else who wants to try this, some of the paint does bleed through and will thus have to be scrubbed off afterwards, and also touched up on the hose before a second wear. But the Tulip brand of fabric paint I used wasn’t hard to get off.
Once I had the arms and legs out of the way, the rest of the costume wasn’t too challenging; although I did also do some fancy-schmancy nails in one of my favorite greens to match, and those took some time. But fancy dolls have to have fancy nails! (For my fellow nail polish addicts, that’s China Glaze Smoke and Ashes from the Hunger Games line, Wet N’ Wild Spoiled in Correction Tape, and Sally Hansen Lacquer Shine in Glow.) As per the Emily-style costuming method, I love to repurpose costume pieces I’ve used before. Therefore I decided that this doll was going to be a sort of dark harlequin/ballerina-style doll, and pulled together the green corset and fluffy black skirt that originated in an Absinthe Fairy costume, a black lace shirt with puffed sleeves that’s played its part in my Discworld ensembles, and ballet flats that, quite honestly, are part of my regular work attire.
That just left hair, makeup, and accessories. For whatever reason, despite my hair’s inherent general inability to hold any curl whatsoever, I discovered recently that it will stay naturally in simple curled pigtails (weird!) so I opted for those, helped along by hair spray for a little extra staying power, and accented with black ribbon bows. The necklace was actually a Hot Topic purchase I’d never found anything to wear with before, but it set this ensemble off perfectly; and the earrings added a nice additional pop of green to a fairly dark outfit.
The makeup job was a bit tricky, I’ll admit; but it had to be right to pull the costume together. Fortunately, the set of colors I usually use for Harley Quinn could be repurposed for this (and can be acquired at your local CVS). For anyone who wants to replicate the look, I started with circles of Maybelline’s “Dream Bouncy” blush in Plum Wine, which is a cream blush that stays put and shows up well under powder. The powder went over my whole face and is Manic Panic’s “Virgin” Pressed White Powder, which is of excellent quality. I then drew on dark, fairly thin eyebrows with a black brow pencil to get that more doll-like look.
Next up were the eyes – with white around the outside on the bottom, and on the upper lids, to make them look unnaturally large and doll-like (Milani’s Runway Eyes in Backstage Basics has a pearly white that I used). Under the eyebrows I used the basic brown in Revlon’s Illuminance Cream Shadow set, with a touch of the shimmery brown on the inside areas, to make the eyes look like they were more deeply-set. Once I had the basics done, I drew the shape of the bigger doll “eyes” and eyelashes underneath in black liquid eyeliner, and filled in the lower half of my upper lids with the same, getting wider towards the outside of the eye. I finished the eyes with some fake eyelashes on the upper lids to add to the blinking doll effect.
The black eyeliner was also what I used to draw the “cracks” on my face, and worked very well for that because of the liquidity and fine tip on the eyeliner brush. I finished off the look with a lipstick base of Maybelline “Bare All” (originally acquired for my Orphan Black Helena costume) to get rid of my natural lip color, then drew on a smaller, rounded pair of doll lips using Milani Easy Liner in Sugar Plum, Revlon Ultimate ColorStay Liquid Lipstick in Brilliant Bordeaux, and Revlon ColorBurst Lipgloss in Bordeaux. Et voilà! Creepy broken doll face, and Creepy Broken Doll.
As many of you may know, last week was the release of Batgirl #45, the issue in which Barbara’s former roommate/good friend Alysia Yeoh gets married to her lover, Jo. The resulting wedding was the first time in mainstream comics that a transgender woman got married. Googling this will lead you to a slew of articles and blog posts covering the groundbreaking nature of this issue. How important is this event though, and will this have any impact on mainstream comics? I picked up a copy so I could try to figure that out.
Like many a comic book wedding before it, it’s a filler issue. It’s about Batgirl at this wedding. This is an important point. It’s about Batgirl. It’s not primarily about Alysia and Jo. They’re the B plot of the issue. With the way the wedding has been hyped this past week, the cover for this issue, and thinking back not too long ago to Northstar’s wedding in Astonishing X-Men #51, it’d be easy to see how one might think that Alysia and Jo would be in the A plot. So if you haven’t read it yet and that’s what you were anticipating, I hope I helped you to avoid going into it with that mindset.
The fact that they weren’t the A plot shouldn’t be a bad thing. Yes, it would be great for diversity in comics if they were. However, the book is still about Batgirl, and not Alysia. Batgirl #45 is a twenty-page story. Six of those pages feature Alysia, and she has six word balloons throughout the comic. Her partner, Jo, is featured on three of those pages and has one line of dialogue, which is “And I love you.” Batgirl has ten times the dialogue that Alysia has, and the story is mostly about Batgirl and her relationships with Luke Fox and Grayson with the wedding as a backdrop.
None of that takes away from the fact that Alysia Yeoh is a long overdue representation in comics, and that she had an important moment in her life that Barbara got to be a part of. Current trans representation in mainstream comics is nearly nonexistent outside of Alysia. We do need trans representation outside of the heroes themselves as part of having a world more reflective of our own, and Alysia has been a step towards that. It’s not ideal, but this is where we are.
I encourage everyone who wants to see more and better representation to pick up this book if they haven’t yet at their LCS. If it’s sold out, ask them about ordering more. If we can show that trans representation can help sell comics, we will get more of it. That’s just how it works.
At the end of the day, both DC and Marvel, and nearly every other comics publisher for that matter, is a business first and foremost. They may be willing to occasionally take a risk, but when all is said and done they need books that sell. We could have a discussion about how we don’t necessarily know some of the sales potential more trans representation could have over time, and how maybe expanding that quicker could lead to great things for the publishers and the readers, but if we don’t buy and support the offerings they’re already trying to give us, than they’ll just stop where they are and potentially take years to try again.
This does not mean you can’t also demand more and demand better. Social media alone isn’t going to necessarily bring about the kind of characters and story lines you want, but it does have power. Earlier in this Batgirl run, as I mentioned last week, the same team that worked on the first trans wedding in comics wrote an issue with a story and dialogue that was considered transphobic. It was public outcry through social media that got us an apology and changes in the reprints of that issue.
People and companies can learn and adapt to changing demands from their customers. By both buying comics with queer characters like Batgirl and Midnighter, and speaking up through social media and other outlets available about these issues and what can be improved upon, we can assure a bright future for mainstream queer comics.
One of the things they’ve been doing during this World Series – and every one, really – is comparing them to series contenders of years past. This year, the references to the ’85 Royals and the ’86 Mets have come fast and furious, and while it’s great to talk about Gary Carter, Darryl Strawberry, and Dwight Gooden again, it’s not like anybody under the age of 30 saw them play in their prime. More to the point, no one is becoming a baseball fan today from watching those guys from back then.
Sadly, to me, I think it’s the same with superheroes.
Nobody is becoming a fan of superheroes today if their first exposures are comics from 30+ years ago. I’m not talking about the characters and concepts, I’m speaking only of the works themselves. There are a lot of young kids who fell in love with Supergirl this week, but if I handed them stories by Otto Binder and Jim Mooney as the first things they read, I’d turn them off to comics forever. I’d hand them a copy of Squirrel Girl or Ms. Marvel or Paper Girls or A-Force or Batgirl or even Mark Waid and Fiona Staples’s Archie.
This is not a knock on the old comics; they’re great after the initial infection has happened. Nor is this a knock on creators who have careers that span decades. And I’m certainly not denigrating fans who are getting on in years – aren’t we all? But there really has to be a feeling of currency, of contemporary creation, and attitudes have changed over the years. There’s no reason new readers today should be caught up by what got us as 10 year olds, whether that was in 1963, 1985, or 2000 AD.
Luckily, we also have one other gateway for people to get into superhero comics, and it’s our old frenemy television. From the days of The Adventures Of Superman in the 50s, more people got into comics from superhero TV over the years than any other medium. The Green Hornet, Super Friends, Shazam/Isis, Spider-Man (with or without his amazing friends), Plastic Man, Wonder Woman, The Incredible Hulk, Electra Woman, and the more recent Swamp Thing, Batman and X-Men animated series, Lois & Clark, Smallville, Human Target, and Heroes. Yes, much as comic fans are loath to admit it, even the Batman series in ’66 brought in new readers.
And with the current explosion of TV shows based on comics (what is it now, twelve?) that are targeting whole swaths of audiences across demographic lines (to say nothing of the movies and webcomics) we might finally be able to say that we are getting new comics readers from anywhere and everywhere. Across all ages, races, and genders.
Yes, they aren’t sparking to the same things you latched onto when you started. Maybe an ex-boyfriend gave them Sandman, or they heard something about this Ra’s Al Ghul fellow. That’s cool. You get to show the world of comics to today’s 10,000. And that keeps you young.
But remember: with great power comes great responsibility.
You don’t have to explain what a comic convention is to most people anymore. They know that these conventions are a celebration of geek culture, that they are places to sell comics and collectibles, and that a lot of people attend these things. Some people might know that the San Diego Comic-Con is the grand-daddy of them all, and generally considered to be biggest and the best.
But that standing is rapidly changing. Recently, New York Comic Con published some astonishing attendance numbers. As it has been each year, this was another record-breaking year as they counted 167,000 attendees. That’s a lot of people.
Geek Culture business analyst and author Rob Salkowitz sees different strengths for each. “NYCC strikes me as a great way for brands to reach influential audiences in the New York area (including a lot of media and publishing elites), whereas SDCC is still the only truly global fan event in North America.”
So while every major convention might have a distinct flavor or purpose, I feel the strong attendee and revenue growth across the board seems to speak to both the rise of Geek Culture and changing consumer habits.
Remember just a few years ago when Target was a “cool” place to shop? Everyone even pronounced the name as “Tar-jay” with a half-jokey attitude. Since then, big box retailers like Target and Wal-Mart (for the first time in ages) find themselves struggling and falling short of expectations. So many Americans feel that if you just have to “buy something,” it’s easier to just order it online and have it delivered.
But if there’s an experience involved, it’s a different story. If you need an expert to help you plan your bridal registry, for example, you definitely want to go to visit a retailer. Or if you want to meet a favorite author, you’ll visit a bookstore for an autographing event. And if you want to celebrate your fan passion, you probably want to visit your comic shop every Wednesday or attend one of the country’s many comic conventions.
That’s where you can see you’re part of something big and exciting. There’s so much to see and learn about – it’s not only about acquiring stuff. Now it’s about acquiring stuff and experiences.
And with the rising tide of Geek Culture and comic cons, everyone seems to have a vision of how they should all work.
I shouldn’t have been surprised to read Alisha Grauso make her case in The Wrap (a news portal that covers entertainment news with a generous dollop of Hollywood insider insights) that movie studios should focus their efforts on promoting at New York Comic Con. For the industry, it’s been “understood” that Hollywood likes to participate in San Diego Comic-Con because it’s fun and it’s an easy economical trip. In her article, Ms. Grauso pointes to several important economic reasons to consider shifting Hollywood’s marketing focus away from thw San Diego Comic-Con and to the New York Comic Con.
I’ll admit it, in my role as a marketing guy we were recently suggesting to a client that they focus their efforts on other conventions rather than San Diego. And this choice makes sense for that particular client, and it also makes sense for more and more brands.
“Fan events… are big business,” said Lance Fensterman, senior global VP of ReedPOP. “It is where brands and media companies can connect directly with fans… passionate, passionate fans. These guys are rabid consumers of content, they have heavy social media presence, and they’re savvy. These are people that marketers want to reach. With that in mind, an important part of our job is to ensure this is done the right way and isn’t too overwhelming or distracting to the fan experience.”
The reality of the situation is that there are now so many venues for marketers to choose from. And that’s great for fans and great for brands.
Halloween was yesterday (if you’re reading this on Sunday); a time of ghosts and ghouls and little children strong arming adults for candy under the threat of “tricks.” Oh, also when the Great Pumpkin rises from a really sincere pumpkin patch to bring toys and presents to good little children all around the world. Or so I have been told.
And, of course, it’s time for ghost stories and horror stories and tales of things that go bump in the night and I’ve told a few of those myself, notably Wasteland. My most successful foray into the genre, though, probably was the run I did on The Spectre with Tom Mandrake for DC Comics back in the 1990s.
The Spectre was an interesting amalgam of both supernatural and superhero. Created in 1940 by Superman creator Jerry Siegel and artist Bernard Baily, the central character was hardnosed plainclothes detective Jim Corrigan who falls afoul of mobsters and is murdered. He’s sealed into a cement filled oil drum and dumped in the river. His soul, however, is unable to rest and an entity called “The Voice” sends him back as a vengeance-seeking ghost, a.k.a. The Spectre.
As the Spectre, Corrigan has unimaginable powers and abilities. And therein lay the problem. The only being more powerful than the Spectre would be God and only on days when God had been eating his Wheaties. How do you mount a credible threat to someone like that? If there is no risk, there’s no suspense and no story. The bad guy does bad things and the Spectre shows up and dispatches him, usually in a grisly fashion.
The Spectre never lasted long in his own series, although there were several attempts. The common wisdom was that you had to reduce the Spectre’s power to make a story. The problem with that was, in so doing, you lost some of the spectacular visuals that made the Spectre what he was. Why bother?
Tom Mandrake and I had been partners for a while, working on GrimJack and then on The Fury of Firestorm. The latter series was ending and we were looking for something new to do together. Both of us were long time fans of the Ghostly Guardian (as the Spectre was known) and campaigned to get to play with him. DC was leery; a recent attempt at doing a Spectre ongoing had been cancelled only a relatively short time before.
“Give him to us,” Tom and I told DC; “We know how to make him work.”
Editor and friend Dan Raspler took up our cause and got DC to agree based on our past track record together and how we pitched our concept for the relaunch.
It wasn’t the Spectre that we changed so much as it was his human counterpart, Jim Corrigan. Different versions of the story resurrected Corrigan and even set him at odds sometimes with the Spectre persona, which had taken up residence in Corrigan’s body. I felt that Corrigan himself had become something of a wimp. So, first of all, Tom and I declared that Corrigan was dead and had been dead since the 1940s. That was his tragedy. Sometimes, he fooled himself into thinking he was alive but he was, in fact, dead.
Second, Corrigan had been a plainclothes police detective back in the 40s. He was hard-boiled. Go back and watch the police movies from back then; hell, go read the early Dick Tracy strips. Hard, tough, and not afraid to use violence and even death to achieve justice. This, we felt, was why he was given the power of the Spectre and informed how that power was used. The Spectre may have had the power of a god but he had the perspective of a mortal man, a very flawed mortal man.
We decided that “The Voice” was short for The Voice of God and the Spectre himself became the Wrath of God. In a way, he was an aspect of God, specifically of Jehovah – and a very Old Testament Jehovah at that. The Spectre had been the Angel of Death that had culled the first born of Egypt. At one point, the Spectre entity rebelled against mercy and so it was decreed it that it had to be united with a human soul in order to walk the Earth, the theory being that the human could temper the Wrath of God. However, when you had a human as liable to rage and outrage as Jim Corrigan, that wasn’t always true.
This enabled us to keep the spectacular visuals and outrageous stunts, the iconography that gave readers a reason to come to the Spectre in the first place and still allow us to construct stories. The Spectre wasn’t vulnerable but Corrigan was.
Corrigan was also weary; since the 1940s he had tried to eradicate evil and the world had only gotten darker. He was very near despair and facing an existential crisis. That also gave us a platform for our stories; we asked questions on the nature of punishment, despair, and redemption. We posed ethical and theological questions. I was less interested in giving answers to those questions, which I felt the readers could and should provide for themselves.
This is all very cerebral. I know. What really made the book sing was Tom’s artwork. This is the character that Tom Mandrake was born to draw and over and over again I looked for situations that played to his myriad strengths. Hey, as they said in The Producers, “When you got it, flaunt it, baby, flaunt it!”
What added to the run were the covers; each issue had a different artist and each artist presented their own interpretation of the character, often telling their own story in one image. Likewise, the letter page (helmed by Peter Tomasi who started as the assistant editor on the book and later became the book’s editor) also delved into the topics raised by the story, creating an interesting discussion between Pete and the reader. All in all, it was quite a package.
We went on for five years and we learned that our run was nearing an end. We were given a year’s notice and permission to wind up the story our way. This is really rare. Corrigan had grown during the run of issues we did and, in our last issue, he gave up being the Spectre to go on to his final reward. That’s also unusual. With that ending, we were able to tie up our entire series and make it all one story. It completed what Tom and I were doing in a way that one rarely gets to do.
Tom and I are playing with the horror genre again as we work on Kros: Hallowed Ground. We’re both very excited by it; this is the first time we’ve played with the horror genre together since The Spectre. Expectations may be high; The Spectre was one of the high-water marks in both our careers. We feel confident but not cocky. The Spectre was very much of its time and where we were in our careers but I think it also stands up today. Two TPBs have been issued from DC gathering some of the early issues; I hope they go on to collect the others as well.
By the time you read this, there will only be 46 days, 5 hours, 29 minutes, and 7 seconds until Star Wars: The Force, Black to the Future debuts. OK, I’m not even sure if that time calculation is right. I mean, who knows when you actually read my article, right? The point should not be missed though: the hype train is in full force for the next installment in Mickey Mouse’s epic empire. And boy howdy, could I give two poops less about it all.
Forgive me, Star Wars fans. The force is so very, very weak with me. My generation didn’t grow up with Star Wars, unless we had older brothers or sisters. Return of the Jedi debuted when I was two. And by the time I was old enough to even absorb any of the original trilogy, video rental was still only a rare occasion in my household, although Voltron was the singular entity that was a must. When Lucas re-released A New Hope and its brethren, I was deep within the heart of my own adolescence; so I eventually came to understand and appreciate the fandom. I won’t lie: I bought myself a lightsaber. I owned more than a few of the franchise video games, X-Wing vs. Tie Fighter being the crown jewel. I even spent a summer enjoying the collectible card game. But all of this was at an arm’s length.
When Phantom Menace debuted, I recall the insanity that swept the nation. Star Wars permeated every available licensing opportunity in every retail establishment as far as the eye could see. And then the movie actually came out. I remember the apologists extremely well. Sure, look past the overused CGI. Ignore the banal plot circling around trade negotiations. Pay no attention to Jar Jar Binks, Watoo, or any of the other obvious stereotypes that apparently caused no undue stress for the focus groups. But we all knew it. As good as the original movies were, the next generation of Star Wars felt hollow. When they made A New Hope, you could feel the ⦠well… hope. By the time we’d reached Jedi, Star Wars was more machine than man. The prequels never had a chance.
Time heals all wounds … and J.J. Abrams heals all franchises. At least enough to please Disney and Lucas to pass the reigns over to him. And well they should. I happened to catch his Star Trek on basic cable the other night (I’d seen it in theater, but not since), and truly it held up. Not that any previous Trek movies were ever Star Wars in terms of mass appeal and profit, but the concept remains the same: Abrams is handed the keys to the castle, and is left to accentuate what we love, and maybe shine it up a little bit. But mark my words, we’ll be one misplaced lens flare away from instant satire.
But that isn’t why I’m ranting today.
Amidst the ramp up for The Force Awakens a few tidbits have permeated my news feed. Amongst them was the odd rise of a few bad apples calling to #BoycottStarWarsVII, via a Twitter campaign. Their argument: the new lead, John Boyega, is black. No, I couldn’t believe it either. I mean, sure, boycott Star Wars because Phantom really was that bad. Boycott it because the Hateful Eight will be coming out close to it and Tarantino has never steered us wrong.
To have a few trolls even insinuate that the placement of a black actor, or female in the lead of a major franchise was reason to save one’s shekels is laughable to me. So much so, that upon seeing it being mentioned on my news feed made me initially believe it to be the brainchild of a viral marketing campaign. Want to fight social injustice? See Star Wars. Tell me it’s not brilliant. But alas… there truly are still openly racist idiots throwing stones at an impenetrable fortress, in hopes of toppling a giant they can’t even comprehend. I’d like to think the franchise got it’s fill of minstrel tap dancing after Episode III ran final credits.
Far more disturbing to me than a few errant racists with Twitter accounts are the baby boomers with Facebook. I’ve seen more than a handful of reposts already calling for the âSpoiler Freeâ sharing of elation for one week after the film debuts. Because people aren’t capable of just avoiding Facebook until they see the movie. Or just as scary, the celebration of Star Wars Day at K-Mart (or Toys R Us, or Target, I think), wherein fans waited in line for hours for the opportunity to buy some toys. Or frightening me down to my core… the news that Fandango and AMC crashed like the Titanic over people preordering their tickets to opening night. That night well over a month and half away. I couldn’t even get a show time next week for Trumbo without consternation. Egads.
Look. I get it. Star Wars is to many of us, the literal gateway to our eventual geekdom. It’s what lay-people and nerdlingers can unite in mutual love for. The gentle hum of a lightsaber brings men to their knees, and boys to their feet. And to know that Han, Chewie, Luke, and Leia will once again be in our lives? Well the only thing that could make that better is if a soccer ball was a droid. Wait. It is?! Great googly-moogly, kiddos…
How can we just sit here and wait? Oh yeah! Patiently. At the end of the day, it’s only a movie. Even if it turns out to be as amazing as we’ll all hope (note: it won’t be, but it’ll be great), Episode VII will always miss the crucial ingredient that A New Hope had a long time ago. In a galaxy far away, The Force Awakens won’t have the magic of being something we haven’t seen before.
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