Tagged: DC

‘Secret Invasion’ So Far: The Main Story

  • News
  • September 22, 2008

So we’re more than half-way through Secret Invasion, the event that’s supposed to be the biggest thing to rock the Marvel Universe since Civil War, where the question was “whose side are you on?” Secret Invasion’s question is “who do you trust?”, which is almost the same question as Civil War’s but not as grammatically correct ( it’s "whom", people!) and concerns the revelation that several Skrulls (shape-shifting aliens who’ve had their asses kicked many times) have secretly been living among us for a while. This story is the brain-child of Brian Michael Bendis, who has been praised for his series Powers and his run on Ultimate Spider-Man and who has been writing New Avengers and Mighty Avengers since both titles were created.

This plot has been done before to lesser degrees. In the early 90s, the Fantastic Four discovered that the Human Torch’s wife had been impersonated by a Skrull since before they were even engaged. And a couple of years later, the X-Men found out that Wolverine had been replaced by a Skrull who then died because he didn’t know he didn’t have Wolvie’s powers too (idiot).

But there are three major elements that mark this particular invasion story as different from what we’ve seen in comic books a million times over. The first element is that what’s left of the Skrull Empire has now taken up religion. Their holy texts tell them that Earth is theirs by right and they have become quite creepy by habitually saying “He loves you” to everyone they attack. Secondly, they’ve learned how to infiltrate us in such a way that they are now beyond the detection of super-powers, magic and technology – very scary in this post-9/11 world. Finally, the Skrulls have finally figured out how to produce super-powers on a large scale. Where once the Super-Skrull and Power Skrull were unique, now there are thousands of Skrull warriors who have the combined powers of many different villains and heroes.

But how’s the execution? Well, in a nutshell, the main series started off very strong and has recently picked up steam again full force. Even when it was slow, it had some great scenes. But these are over-shadowed occasionally by pages of wasted space and repetitive recaps. And out of the eleven tie-in issues Bendis has written so far, eight of them can be ignored or have a smidge of substance that’s surrounded by filler pages.

But if you are one of those unfortunate souls who bought all the New Avengers and Mighty Avengers tie-ins and then realized you’d wasted over twenty bucks, don’t worry! Just do what I and my good friend Lisa McMullan did. With a little creativity, you can take those pages and make yourself a very smart looking jacket! Now you’re not a sucker, you are actually quite fashionable!

Don’t believe me? Just look at this photographic evidence, nay-sayer! All you need is scissors, tape and maybe an hour of free time.

And when people ask you "How did you think to make such a snazy and debonair sport coat?", you can simply say "I got the idea from those crazy guys at ComicMix and Alan ‘the Sizzler’ Kistler. He’s one nutty guy, that Sizzler."

Not a bad series, but I definitely have some criticisms. Hmmm? What’s that? You want more detail about what my problems are with the main series and the Bendis-written tie-ins? Not a problem, folks. That’s what I get paid for.

By the way, folks, if it pleases you, feel free to check out my old list of the Six Worst Moments in Skrull History! (more…)

I’ve Done Paul McCartney Wrong, by Mike Gold

  • News
  • September 22, 2008

Back in my DC Comics days, I was sitting in my office pretending to work when Mark Waid stuck his head in. “Hey, do you know when Paul McCartney wrote ‘Silly Love Songs?’” he asked.

“Pretty much his whole damn life,” I replied without looking up.

That about summed up my feelings about Paul McCartney. I was a John Lennon guy, although I’ve come around to really appreciating George Harrison’s stuff even more. He spoke softly but carried a big stick. “Taxman,” “Piggies…” great stuff.

I’ve had cause to reflect recently, and I think I’ve done Mr. McCartney wrong. He did this great song called “Give Ireland Back To The Irish,” which took a stand on the England / Ireland situation that one might expect from a guy named Mc-anything. And the BBC, owned by the British government, promptly banned it. So did Radio Luxembourg and ITV, effectively removing it from all venues of British broadcasting. His record label, EMI, said they wouldn’t release it. They wanted safe little silly love songs that said nothing and inspired no one but the vapid.

McCartney followed “Give Ireland Back To The Irish” with a reggae version of “Mary Had A Little Lamb.” It got lots of airplay.

So it is with this community. Comics creators used to work out of their need to earn a living. The pulps were dying, they couldn’t get work as illustrators (particularly if their last name sounded Jewish), newspapers started their half-century of death throes by slowly dropping continuity comic strips, the type that bring the readers back the next day to find out what happened. Writers and artists like to eat, sleep and reproduce, and therefore must earn a living. It was tough, particularly during the 50s when their efforts were equated with those of child molesters. Not to say that their heart wasn’t in their work; often it was, with some of the creators.

Today, creators have greater luxury. They have more options; they have a wider range of creative opportunities. They can work from the heart and pay the rent at the same time. Few will get rich, but, hey, that’s show business.

So when I fall across what, at first, might seem like a truly stupid idea for a comic book story, these days I think about all those silly love songs I so callously dismissed. We have a wide range of creative fare out in the comics medium these days, greater than we’ve ever seen in America. We don’t have to look at movies or television for legitimacy. We can look to the reviews in major publications, we can appreciate the fact that works in this medium are receiving serious, contemplated analysis and acceptance by the world at large.

We can make a statement when we want to, we can tell a rip-roaring story when we feel like it. And as readers we can enjoy a work that says something directly, indirectly, or just indulges in pure escapist fare. As Jules Feiffer said in his play Little Murders, that’s all right.

This is the golden age of comics, folks, where our choices can range from a reggae version of Mary Had A Little Lamb to something as bold and – to some – as offensive as Give Ireland Back To The Irish.

And don’t forget to support your favorite rabble-rouser.

Mike Gold is editor-in-chief of ComicMix.

The Theory of Webcomics: Could DRM Kill Your Webcomic?

  • News
  • September 20, 2008

The idea that the march of technology is too slow and could kill a baby art form is nothing new. Scott Kurtz wrote “Could Success Kill Your Webcomic?” in 2002, as he was then concerned with the increasing cost of bandwidth that came with an influx of readers. Fortunately, in the last six years, technological growth outpaced his concerns, but things were a bit dicey for some popular webcomics for a little while there.

Webcomics are taking the market share from print comics, particularly indie ones (though I wouldn’t be surprised if the general correlation between the advent of the web and decreasing sales of major companies’ print comics turned out to be a causation). When it comes to attracting new readers, a free product available on the web and updated daily (or several times weekly) is far more enticing to cash-strapped kids than a $3 22-page pamphlet that requires leaving the house to acquire and only advances the story once a month.

On a similar note, I’m of the strong opinion that when a company is able to produce and market a color ebook reader at the right screen size and the right price-point, it will kill the pamphlet comic book and hugely broaden the market for webcomics. Once the reading experience is equivalent, the decreased effort of ebooks can win the market for them. Why buy when you can download? If you want a physical copy, wait a few months and buy the trade paperback.

Obviously, the solution for the big companies is to appeal to those new readers by directly competing with webcomics and taking their advantages for yourself, while keeping your original advantages (professionalism, well-known brands, and the like). Of course, there are problems with translating print-sized comics to screens: Virtually no-one’s monitors can fully display ten-by-seven inches in portrait format with enough magnification to make it readable without destroying your eyes. Which means you either expand the image and have to scroll, or you can’t read the text and need to magnify it. (And in the worst cases, you need to scroll in multiple directions.) And there’s the loading wait when you turn a page. Most webcomics solve these problems by formatting their comics to fit most browsers, intentionally limiting the necessary scrolling and optimizing their text size for reading on monitors. The comics themselves are set up as compressed graphic images that load quickly. The archive sections of sites are usually designed with stripped-down graphics so that you can read through them quickly. (more…)

ComicMix Radio: Printing Errors Fuel Speculators Dreams

As we told you on Tuesday’s broadcast, DC has been plagued with a few printing errors one of which was Action Comics #869 that was recalled last week and redistributed this week. Why? The answer is a little simple, literally, plus:

  • Heroes‘ website expands including new web episodes
  • Marvel’s original online comics are here
  • Meet the cast of ABC Family’s Samurai Girl

And if you think we are kidding about Action #869, there are several on eBay right now for as much as $39.99.
Stop laughing and  Press the Button!

 

And remember, you can always subscribe to ComicMix Radio podcasts via badgeitunes61x15dark-7965278 or RSS!

 

On the Road to a Crisis

  • News
  • September 17, 2008

final-crisis-one-ff-1667347So right now, we’re halfway through Final Crisis, a crossover involving the weakening of space and time and all of reality being endangered. In the prelude one-shot DC Universe #0, readers were recapped about the fact that this is the third universal crisis to happen to the DCU (which isn’t entirely accurate and we’ll get into that soon).

But some of you folks may want a little more detail about what happened before this. Why is this the "Final" Crisis? And considering the fact that the previous two crises both involved history being altered, what do the heroes involved truly remember about them?

So here is not only a rundown of the previous crises, but the major events that have led into them and certain side stories that writer Grant Morrison may refer to again very soon. (more…)

ComicMix Radio: What Comics Did You Miss?

Printing mistakes and distribution snafus have plagued us all comic-wise the past few weeks. We help you catch up on what you should and will be seeing in the comic stores, plus:

  • Geoff Johns jumps into the DC Universe MMO
  • Captain Action gets out the vote
  • Shia LaBeouf in Y The Last Man?
     

It kicks right off when you Press the Button!
 

And remember, you can always subscribe to ComicMix Radio podcasts via badgeitunes61x15dark-6462078 or RSS!

 

 

Batman’s Comedy of Eros, by Dennis O’Neil

  • News
  • September 16, 2008

Way back in the late 80s, or maybe early 90s, an inker working on one of DC’s superhero comics rendered a female form rather more like the Lord made female forms than the mores of the time allowed. The editor dealt with the problem by putting a color hold – a purple one, I think – over what some would have deemed offensive nudity.  Sex always wins. The lady’s charms shone clearly though the purple haze and a fuss ensued.

I remembered this anecdote when I saw, in the New York Times, an item about a Batman comic describing “a two page action sequence that is filled with foul language…uttered by (a) heroine…

“A black bar covered the blue words, but it was too transparent and allowed the text to be read.” Sex always wins and maybe “foul language” at least doesn’t fight fair.

According to the Times, the print run was destroyed. Having made more than my share of blunders when I sat in an editor’s chair, I know how easily goofs like this can occur and I hope the ensuing fuss doesn’t devolve on the editor, whoever he or she may be. As a certain Secretary of Defense said, stuff happens.

But I’m curious.  Did the creative folk always intend the offensive language to be covered? Surely not. Why go to the bother and expense of lettering copy that no one will read? Easier, one imagines, to simply do the black bars in the first place, though as a storytelling strategy, that would be questionable; why pull the reader out of the story while they puzzle over the meaning of the black bars?

Okay, the copy was meant to be seen? Didn’t somebody wonder if such language could cause trouble and…I dunno – ask around?

Maybe someone saw it as a free speech issue. If so, I’d demur.

I think the First Amendment is the crown jewel of the Constitution, and, personally, I can be a potty mouth. Much of my choirboy vocabulary was left on an aircraft carrier and much of whatever was left in the gutters of the East Village, pre-gentrification. But I think the way things are marketed creates expectations, and it’s not playing fair with the customers to thwart those expectations. Anything – and I do mean anything – should be allowed in the public arena, but if one buys a book bylined Henry James, one should not be subjected to a story by Mickey Spillane.

Comics have come a considerable distance in the few years since I left editing. Hell and damn, once verboten seem okay both in comics and on TV, and a few gamier locutions are beginning to pop up. But I don’t believe the medium – comics – has evolved to the point where authentic street lingo is expected.

A final consideration: The question in matters like this is always a simple one. Does it help the narrative? Is the vocabulary the writer is using his way of showing off, or does it serve a larger purpose? Any vocabulary that tells the story is almost certainly the right vocabulary, though I’d expect to get argument on this. In the case of the Batman comic we’ve been discussing, I don’t know, and probably never will.

RECOMMENDED READING: Redemolished, by Alfred Bester

Dennis O’Neil is an award-winning editor and writer of Batman, The Question, Iron Man, Green Lantern, Green Arrow, and The Shadow– among others – as well as many novels, stories and articles. The Question: Epitaph For A Hero, reprinting the third six issues of his classic series with artists Denys Cowan and Rick Magyar, will be on sale in September, and his novelization of the movie The Dark Knight is on sale right now. He’ll be taking another shot at the ol’ Bat in an upcoming story-arc, too. 

Embrace Your Inner Pig, by Mike Gold

  • News
  • September 15, 2008

Are you a pig, or are you a sheep? I’m a pig, myself.

Contrary to popular opinion – particularly these past couple weeks – pigs are clean, intelligent, productive, and necessary to our eco-system. Of course, beauty is in the eye of the beholder and while I must admit pigs do nothing for me, I’m not here to pass judgment on animal lovers.

Sheep are useful. I haven’t checked out their SAT scores, and they seem pleasant enough. While I understand they are more appealing than pigs in certain farmland circles (including at least one semi-famous 1960s comics artist who bragged about it) and lanolin is comforting stuff, they, too, evade my wandering eye.

As colloquial phrases, neither one is held in very high regard. Being a pig has come to mean being ugly (totally unfair), being stubborn (probably fair), and/or being a miscreant police officer (tacky).  Being a sheep has come to mean being totally passive, one who follows the sheppard’s demands mindlessly, even to one’s own detriment.

Ergo, I’d rather be a pig than a sheep. But I’d rather be a sheep than an idiot.

Last Friday, Michael Davis commented about the Palin-the-Phony-Pig non-scandal, and he did so with his typical charm, wit, and aplomb. I have no intention of repeating his argument.

Actually, the whole thing sickens me.

Not the fact that McCain would seize upon a comment of Obama’s that had nothing to do with Palin and turn it into such. That’s campaigning for you, and one of the ways we can determine the make of person running is the way he or she conducts his or her campaign. McCain’s a scumbag who, according to his campaign “doesn’t speak for the campaign" (to quote McCain spokesman Tucker Bounds). Fine. We know McCain, and by now we know Palin, her ethics, her family values, and her supporters’ stand on hypocrisy and blatant lying. I’m good to go here. (more…)

The Theory of Webcomics: What are Webcomics?

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  • September 14, 2008

Help me Wikipedia, you’re my only hope! What are webcomics?

Oh, okay. They’re comics published on the web. That was easy. What else have we got? Over 18,000 exist, few are self-sustaining, blah blah blah, some are like newspaper comics and some are like graphic novels, yadda yadda yadda, sometimes use sprites, pixels, photos or 3D Poser art. Some are funny, some are not; and they cover a wide variety of genres.

But really, what are webcomics? “Webcomics” is the collective name we’ve given to sequential art that appears online. Scott Kurtz’s PvP is a webcomic, as is Scott McCloud’s Zot!, but so are the reprints available from Marvel Digital Comics and the online For Better or for Worse strips. Same name, wildly different products: Kinda like comparing a 1940s Superman story with Neil Gaiman’s Sandman or Harvey Pekar’s American Splendor. They’re all “comics”, but the similarity stops there.

We’re going to need a little more granularity: Typically, one will use the phrase “webcomics” to refer to creator-owned properties published originally and/or primarily online. Reprinted newspaper strips would still fall under “newspaper comics”, and reprinted superhero material would still be “print comics” or “comic books”. So our narrowed “webcomics” would include DC’s Zuda Comics, but not Marvel Digital or FBoFW. This is still hazy for cases like Diesel Sweeties, which started on the web, and published both on the web and in syndicated papers simultaneously (with different content) for a time; but it will do.

And that’s the definition I’m typically using and tend to focus on when I talk about webcomics. When I talk about how webcomics make money, I’m thinking about how Kurtz or McCloud would make money, not how Marvel would monetize their website. When I talk about “the most popular webcomics,” I don’t mean Dilbert. The collection of comics that are creator-owned, published online, usually maintained by one or two authors and typically full of geeky content are a community and a genre all their own, and deserve the same singular attention that we give to, say, sci-fi novels.

These are the comics that you find on Keenspot [link: http://www.keenspot.com/], Zuda, Blank Label, Dumbrella, Modern Tales, and similar collectives. These are the comics that get their start on Comic Genesis [link: http://www.comicgenesis.com/], Drunk Duck, or Webcomics Nation.

And yes, these are the comics that obey Sturgeon’s Law much more so than any others—after all, the barriers to entry are very low; anyone with a computer and a bunch of free time can create one. (I myself had a short-lived sprite comic, now gone from the web and never to be seen again.) This means they’re often drawn and written by hobbyists with limited time, no editors, and the occasional limited grasp of spelling and/or grammar. Which is, of course, the other reason I like to talk about them: There are some fantastic gems of comics to be found, if you know where to look.

I’m  going to be picking apart how these comics exist as an art form and what makes them different; discuss how they make money, why some do so much better than others, and which ones you really should be reading. Though be warned: The only thing that sucks up more of your free time that creating a webcomic is reading them.
 

Review: ‘[[[Next Avengers]]]: Heroes of Tomorrow’

Right off the bat, to put to rest an already angry legion of fans who want to know why this movie exists instead of Allan Heinberg’s [[[Young Avengers]]] or even Tom DeFalco’s [[[Avengers]]] Next as a series or movie, know that this animated film is a great self-contained story done in the vein of Marvel’s other animated DVDs, and deserves a close look from anyone who can call themselves a Marvel–or even an animation fan. With that said, this story is not for any fan who cannot take themselves out of the grown-up world of [[[Skrulls]]] and [[[Hulk Wars]]]. In order for an adult to enjoy this, you need strip down to your inner child (metaphorically speaking) and watch the movie with a purely childlike mindset.nextavengers-7133013-4477575

The plot takes place in the future of an alternate reality where five of the original eight Avengers have been killed off by Ultron, but not before most of them produced offspring that Tony Stark whisks to a secluded location, safe from the arms of evil. They are raised by the aging [[[Iron Man]]] and trained to use their powers, as James Rogers, son of [[[Captain America]]] and Black Widow; Pym, son of Giant-Man and Wasp; Azari, the son of Black Panther and Storm; and Torunn, the daughter of [[[Thor]]], who didn’t die, but just left Earth one day. Each of them posess an amalgam of their parents’ powers, and even some of their personality quirks as well. Their hideout becomes compromised, Iron Man gets kidnapped, and the kids must then go for the rescue, running into fellow heroes like an elder Hulk and Clint Barton’s son, Francis, taking the helm of Hawkeye.

The great thing about movie is the way they depict the “age of heroes” in the beginning of the film as a bedtime story to the children. The mythos is described almost biblically by referring to the Avengers with names like the Soldier, the Knight, and the Ghost (Cap, Iron Man, and Vision respectively). There are certainly enough wacky “kid” moments and bright colors to keep anybody under the age of 13 interested, but that stays balanced by the amount of mature themes throughout the film, such as abandonment issues, and a rite of passage subplot. The film touches on the subject of death and heroism that most kids would understand, but is clearly meant for adults.

The animation is the same used for Marvel’s [[[Ultimate Avengers]]] films, like a Japanese/American animation hybrid. The strongest element here is  BBC composer Guy Cichelmore’s (Ultimate Avengers) score. This sold the entire film in its epic interpretation. The voice work is mostly done with Marvel and Lionsgate’s in-house talent. Going in the opposite route that DC Animation had gone, the company uses mostly unknown actors and professional voice actors rather than pull in celebrity names. Much like the other Marvel animated films; this was the weakest element in the film, leaving us with a poor-sounding [[[Hulk]]] and Iron Man.

Overall, the film may borderline puerile at times, but makes for a nice competitor for DC’s leading animated series [[[Teen Titans]]]. There is certainly potential for a franchise here, and will most definitely do as well, if not better than the aforementioned show. It should also be mentioned how “ironic” it is that the only two established heroes that are alive and kicking throughout the film are the only two that had a major motion picture this year.There is certainly plenty of action and violence for us adults, and more than enough geek-fodder for the die-hards. A clear recommendation for any true Marvel fan. RATING: 8/10

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