Tagged: comics

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Is Iron Man Mike Hammer? by Dennis O’Neil

  • News
  • November 27, 2007

schepper__mike_hamme_60417h-4232768So where we at?  For the past month or so, we have, in a scattershot and disorganized way, been discussing the various elements involved in the evolution of superheroes.  I don’t think we’ve come to any conclusions worthy of being preserved for the ages, nor should we: things change, darnit. But maybe a little tentative upsumming would not be inappropriate.

Upsumming:

Haberdashery: There is currently a trend away from putting superdoers in costumes, though the big bucks movie heroes are still wearing the suits and, judging from the films I know about that are in development, this will not change in the foreseeable future.  But most entertainment consumers — I’m excepting comics fans here — get their heroism, super and otherwise, from television and maybe because of tv production hassles, costumes aren’t common.

Powers: We’ve agreed (haven’t we?) that for a long time the superbeings of mythology and folklore got their powers from some supernatural agency: they were gods, or demi-gods, or friends of ol’ Olympus,  or something.  Or they were agencies of darkness — black magicians of one kind or another.  Then science became the rationale, most famously with Jerry Siegel’s extraterrestrial origin of Superman.  Last, and decidedly least, there was technology allowing the good guy to do his  stuff. And now…well, it’s anything goes time.  Look at the current television offerings: we have a superhero private eye whose abilities are due to his vampirism, which we can call magic; a technology-enabled superhero(ine); and a whole bunch of peripatetic whose gifts have “scientific” explanations, or so it currently seems.

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Thank you. Thank you very much… by Michael Davis

  • News
  • November 23, 2007

Every Thanksgiving the media does reports on what makes people thankful. It’s always the same things. Husbands are thankful for their wives and kids. Wives are thankful for their husband and kids. Older people are thankful for good health. Kids are thankful for their Mom & Dad. Blah, blah, blah…

blahblahblahblahblahblah!

Give me a break. I mean come on; everybody loves his or her family. Well almost everybody. I forgot about the Menendez Brothers.

I love my family, as I’m sure you do but besides them, I wonder what people are really thankful for?

I think I may know…

Men are thankful for women and power tools. Women are thankful for shoes and power tools (…give it a moment). Skinny people are thankful for fat people. Fat people are thankful for meat. Black people are thankful for Lincoln and videotape, especially in Los Angeles. White people are thankful for golf and vacations. Super models are thankful for books on tape. Liberals are thankful for rent control and gun legislation. Conservatives are thankful for gated communities and guns. (more…)

Happy Thanksgiving!

  • News
  • November 22, 2007

And while Santa Claus is toodling down Broadway and we start playing Alice’s Restaurant, we bring you the wise words of Warren Ellis:

Don’t forget, my Yanqui readers, the true meaning of Thanksgiving: give  your neighbours an infected blanket this Thursday and then move into their houses after they’re dead.

Eat hearty, give thanks, and if the Lions game bores you, take some time and read some comics.

Persons of story, by John Ostrander

  • News
  • November 22, 2007

Today is Thanksgiving and a hearty Happy Thanksgiving to you all.

As it turns out, it’s also the birthday of my late wife, Kimberly Ann Yale, who would have been 54 today. This is a day for stopping and giving thanks for the good things in your life and so I’ll ask your indulgence while I remember one of the best things in mine, which was Kim.

For those who don’t know her, never met her, how do I describe her to you? My god, where do I begin? Physically – heart shaped face, megawatt smile, big blue eyes. Champagne blonde hair which, in her later years, she decided should be red. That decision was pure Kimmie. She looked good, too, but she also looked good bald. More on that in a few moments. She was buxom and damn proud of it. Referred to her breasts as “the girls” and was fond of showing them off. She was about 5’8” so that when she was in heels we were about the same height. Basically had an hourglass figure although sometimes there were a few more seconds packed into that hourglass than maybe there should have been. We both fought weight problems and I still do.

All that, however, is mere physical description. Photographs could tell you as much and more and still tell you so little about Kim. Not who she was. Kim was an extrovert to the point of being an exhibitionist. She was flamboyant sometimes; I have described her at times as the world’s most innocent narcissist. She loved the spotlight but with the delight of a child. Yet, she also loved nothing better than to be in the corner of a tea shoppe or coffee house, drinking her cuppa, writing in her journal, totally absorbed into herself and the moment. (more…)

Doctor 13: Architecture & Mortality Review

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  • November 21, 2007

Modernism and self-referentiality have been rampant in superhero comics for a good twenty years now; Alan Moore was the main instigator, with his great final Superman story and the Watchmen “pirate comics” motif. Some of the best and most entertaining stories since then have been knowingly "comics," from Grant Morrison’s "The Coyote Gospel" in Animal Man to John Byrne’s pleasant run on She-Hulk. But self-referentiality can also curdle like milk, or gnaw away its own belly like the fox under the Spartan boy’s cloak. There’s a huge streak of allegory in modern superhero comics – actually, "allegory" gives it too much credit; what we actually find are naked bids for audience identification and equally naked scornings of any connection to or interest in the supposedly puerile and retrograde wishes of that audience. (Pop quiz: who does Superman-Prime represent and why?)

Mainstream superhero comics have become a high-speed whirlwind of reader-response feedback done mad, with convoluted continuity one week and shredded history the next, and, no matter what, the anvil chorus of comics bloggers complaining that something or other is “raping their childhoods.” Doctor 13: Architecture & Mortality is not the first series to dive into the middle of that debate – hell, most of the big crossovers now are thinly veiled attempts to seduce the audience into believing in one propaganda version of continuity or other. (“Marvel has always been at Civil War with Eastasia.”)

But Doctor 13 does have the advantage of trying to be fun – and, even better, at generally succeeding. It does feel a bit like special pleading in the end; Azzarello is yet another guy who grew up with comics and wants to celebrate the stuff he loved as a kid. (Exactly the kind of comics writer, I’m afraid, that we need less of today.) The art is also very nice: Cliff Chang has clean, confident black lines defining crisp space, and is particularly good at drawing people. (more…)

The days of miracles and wonder, by Elayne Riggs

  • News
  • November 21, 2007

elayne100-1554533I’ve taken a break from my promised sequel about comic book artists whose current work I like because (1) I still haven’t made it through the most recent DC comp box, (2) it’s not like there’s a huge clamor for it. and mostly (3) I’ve been in a sort of weird transition mode and needed to write about that because it’s never far from my mind, but is thrown into special relief during the upcoming holiday season.

In truth, I feel like this entire year has been a transitional one for me. Losing my best friend then my father in rapid succession threw me for such a loop it seems doubtful I’ll ever fully regain my equilibrium. Then there was The Job Thing. I’d been looking for a new position for awhile but the timing never worked out. Every time my job search gained momentum, my boss would return from Europe and I had to put everything on hold. Meanwhile, lots of little downturns became bigger ones and, to make a long story which I’ll be happy to tell you in a bar sometime short, on November 9 my employer of ten years and I officially came to a parting of the ways.

I have enough severance pay for awhile and am still interviewing for a new position back in Manhattan, so this isn’t a lamentation on my lack of current employment. It’s more a realization of how lucky I’ve been again this year. Even with deaths in the family and among my circle of friends, I have so very many blessings in my life. And with my half-century mark looming ever closer (a week from Sunday, in fact) I thought it would be a nice and perhaps inspirational idea to count those blessings.

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MW: A Review

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  • November 17, 2007

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It’s difficult for an American to appreciate the place Osamu Tezuka held in Japanese popular culture. Tezuka created the first massively popular character and storyline in manga, Astro Boy – something on the level of Siegel & Shuster’s Superman. But he also owned that character, and ran a studio to produce stories – something like Will Eisner. (And he went on to create more adult, complex works later in life, also like Eisner.) But Tezuka was also a major force in animation – roughly the Walt Disney of Japan. And he was massively prolific for forty years; his “Complete Works” (collecting just over half of his manga) runs 80,000 pages through 400 volumes, and his animation work was similarly large. So his impact is absolutely colossal; I’ve seen some commentators claim that every single Japanese comics sub-genre derives from something Tezuka did.

I’ve only read a few of those four hundred volumes – in my defense, most of them aren’t available in English — but I’ve found Tezuka an interesting but quirky artist. (I’ve reviewed the first six volumes of his Buddha series on my personal blog, and here at ComicMix I’ve looked at Ode to Kirihito and Apollo’s Song.) MW is another graphic novel in the vein of Apollo and Ode: dark, adult, violent and occasionally sexual. It’s from the late ‘70s, several years after Apollo and Ode, and originally appeared in the Japanese manga magazine Biggu Komiku (whose name I never fail to find humorous).

Unlike Ode and Apollo, MW has no supernatural element, and it’s even bleaker than those two works (neither one terribly cheerful). Fifteen years before the story began, a massive, horrific event occurred on a remote Japanese island, and that event bound together a boy and a man. When the story begins, the man, Garai, is a Catholic priest – from what I’ve seen, Tezuka was fascinated by Christianity, and particularly Catholicism, returning to its iconography and doctrines over and over. The man is tormented because of his relationship with the boy Yuki, who has grown into a dangerously attractive young man – and who was warped into a sociopath by the event they lived through.

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Manga Friday: Romance Is in the Air

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  • November 16, 2007

Manga Friday continues to go backwards and forwards at the same time; this week, I read the first volumes of two very popular and long-running series, and the latest volume of Path of the Assassin, a lesser-known samurai series from the creators of Lone Wolf & Cub. Our theme this week is young love…but this is manga, so we’re talking about lots of panty-shots, blood spewing out of noses, gigantic sweat-drops, tasteful nudity, and utterly gormless young men. So let’s dive right in:

Ai Yori Aoshi, I’m informed by its foreword, is a romance comic for young men. (They don’t put it quite that way, of course, but that’s what it is. And it shows just how big the Japanese marketplace for comics is when even the odd niche of a love story in a boy’s magazine is filled.) Kaoru, a young student, ran away from his terribly rich, terribly powerful, terribly conservative, and terribly controlling family some years ago, and is now in college. Aoi, his incredibly sheltered childhood sweetheart – who is the scion of a similar family, and who was betrothed to him at a very young age – runs away to find him, since she’s utterly in love with this man she hasn’t seen in a decade (or at all as an adult). They meet cute, she goes home with him – not like that, get your minds out of the gutter – and then the engine of plot complication starts to chug along.

Kou Fumizuki, who created this series, does make Aoi believable, which is not an easy achievement – she’s confused about nearly everything to do with Kaoru and modern life, and that’s the main driving factor of the plot. Kaoru is more generic, the usual audience-identification character (smart enough but not too smart, hardworking ditto, and so on), but he works, and centers the story reasonably well. I suspect that over-controlling rich families and arranged marriages are mostly things a generation or two in the past for the Japanese public, which makes them fodder for melodrama and comedy. (If they were still living institutions, stories about them would be drama.) (more…)

Countdown Still Counting Down…

In a week with the near future of TV up in the air and Broadway all but dark, we have a few bright spots to share here at ComicMix Radio. As usual, there’ s a big stack of new comics and DVDs landing in the stores this week, plus:

• Sean McKeever tells us why Countdown is still exciting every week
• Break your piggy bank if you want to see Marvel Comics online
• Another Messiah Complex sell out for the X-Men
• NYC’s National ComicCon is days away and we talk to one of the celebrity guests. Farscape fans will be happy to know that Gigi "Chyanna" Edgerly is taking her career farther than ever.

Press The Button! This one is a biggie!!

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Mighty Marvel MONEY Society

  • News
  • November 13, 2007

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They say that imitation is the sincerest form of flattery. It’s a shame they didn’t get it right.

Several months after ComicMix started posting serialized new comics for free, several weeks after ComicMix started posting complete previously-published comics for free, and, what, about a year after Newsarama started posting Powers and Kabuki and other titles for free, our friends at Marvel Comics have started reprinting their classic fare online – for ten bucks a month.

"We did not want to get caught flat-footed with kids these days who have the tech that allows them to read comics in a digital format," Marvel president Dan Buckley told USA Today. "Our fan base is already on the Internet. It seemed like a natural way to go."

Well, Dan, welcome to the club. We’ve been saving you a seat for a while now. By the way, since you’re charging so much money for all this, how much cash do the writers and artists get?

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