Tagged: Marvel Comics

MARTHA THOMASES: Daddy’s Home

  • News
  • June 16, 2007

martha100-3974448My husband really liked the column I did on Mothers’ Day (Brilliant Disguise #4). My stepmother also liked it. As a result, I feel a huge amount of pressure this week, as Fathers’ Day approaches.

Perhaps this is as it should be. Fathers, at least in literature, exert pressure. So do mothers, but fathers are much more stern about it, and send out much more of a mixed message. Zeus’ father ate him, for crying out loud. Jesus’ father sent him to die for our sins. Lear punished the only daughter who dared to tell him the truth. Jor-El proved his love by sending his son a universe away.

Fathers are stern. Fathers are cruel but fair. Fathers are distant. Tony Soprano? Please. Even today, on television, the best father, on Everybody Hates Chris, proves his love by working so many jobs he’s only home long enough to sleep and offer a bit of advice, if he’s lucky. In comics, the kindly fathers (or father figures) of Ben Parker and Thomas Wayne are all dead, inspiration only or motive for revenge. Jonathan Kent is the exception that proves the rule, depending on which continuity you’re in. (more…)

MARTHA THOMASES: Gangster of Love

martha100-8677944This may come as something of a shock, but tomorrow night is the last episode of The Sopranos.

Now, I’m not the world’s most dedicated fan. I came late to the party, not tuning in regularly until the second season. I tend to be suspicious of critical darlings, afraid they might be uplifting and good for me, or depressing and bleak. However, in this case, my husband and my son were both enthusiastic, I recognized the name of creator David Chase from The Rockford Files, and so, one night, I didn’t get out of my chair when the distinctive theme song came on.

It would be nice if I could say that I was hooked on the brilliant acting, the profound scripts, even the incredibly realistic portrait of middle-class values in New Jersey. That would be a lie. I tuned in to watch Michael Imperioli, because I thought he was really cute.

Over the years, though, I got sucked in. Watching these characters week in and week out (not counting the breaks that lasted over a year) helped me to identify with them. No, I’m not part of organized crime, but I, too, tend to offer my loved ones food when they come to tell me about their problems. I’m not a hired killer, but I’ve been angry enough to want to take someone out to the woods and leave them there.

Serial fiction, like soap opera, comics and Harry Potter books, are especially good at enmeshing the audience with the cast of characters. What The Sopranos has done so well with the form is to take people who are evil, who kill and steal, and make them so mundanely human.

When I read a Superman comic every week, I feel like I’m spending time with a friend I’ve known since I was five years old. He’s in the media in a major media market, probably knows a bunch of the same people I know. Bruce Wayne has a penthouse in midtown, and is a big part of the city’s party circuit, a beat I’ve covered. The Legion of Super-Heroes is like a big dorm, and I lived in dormitories through high school and college.

So, even extremely unrealistic comic book characters present no challenge to me. I can bond with them no matter how inane nor how two-dimensional the writing. Even though they have super-powers (or at least super-human self-discipline), I can find things in common that make it possible for me to relate to them.

But Tony Soprano? He lives in (gasp!) New Jersey! He works in a strip club. Both of those things put me off, even before we get to the guns and the beatings. Carmella wears a lot of make-up, has lunch with her lady friends a lot, and seems to care about jewelry. These are not qualities common to my friends or me. How do I relate?

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MARTHA THOMASES: Last Man Standing

martha100-5988441When I was a teenager, the environment of my hometown became poisonous. To save me, my parents sent me to an alien environment that seemed to be a universe away, filled with people so different from me they might have been a different species altogether. No one knew anything about my home, nor about my people’s civilization and customs. Instead, I had to hide my true self until I understood how I fit in and what I had to offer the strangers with whom I lived.

No, I’m not Supergirl. I understand how you could be confused, because the resemblance is striking. However, I did find myself in a similar situation to Kara Zor-El. Instead of being a Kryptonian from Argo City sent in a rocket ship to Earth, I was a Jew from Ohio sent to an Episcopalian boarding school in Connecticut. Instead of being part of the majority as I was at my public school in Youngstown (there were so few kids in class during the High Holy Days that they could bring comics to school!), I had to go to chapel five times a week while the priest swung incense.

Many of my classmates had never seen a Jew before. Others, more worldly, would say things to me like, “You’re from Ohio? I have a friend in Wyoming. Do you know her?” For the first time in my life, I wasn’t part of the majority culture. I learned what it was like to be a minority.

There’s a lot to be learned from the majority culture.  Not the least of it is learning where you, as a minority, fit in. You learn your place. You learn how to get by. You learn another point of view, that of the majority.  That’s what taught in school. That’s what you see on television and in movies.

If you’re lucky, you take your experience as a minority and use it to understand how other minorities feel. You know what it’s like to be on the outside, looking in. In my case, as a Midwestern Jew, I could imagine how it would feel to be African-American, or gay, or Asian. I could take my own experience as a minority to imagine the experience of people who were other kinds of minorities.

Fiction helps. For example, when I read Amy Tan’s The Joy-Luck Club, I read about a society where, no matter what you did for your parents, it wasn’t enough, and that it was more important in a marriage to find a husband with money than with imagination. I was convinced that being Chinese felt just like being Jewish.

Comics help even more, if only because they are produced more quickly than novels. In The Legion of Super-Heroes, we can see how Chameleon can shape change to fit in – but chooses not to. Princess Projectra tried to hide her snake form at first, but learned to exult in it. The theme of three X-Men movies has been a metaphor for the dangers of the closet, of hiding your true self to pass for straight or, in this case, non-mutant. (more…)

MICHAEL DAVIS: I’m with the band… not.

michael-davis100-9345750I am a huge believer in personal choice. I think that you should be allowed to make up your mind freely on all matters. If you don’t like something you have every right to say so. If you do like something then you have the right to say that also. You don’t have to believe what I believe and vice versa.

For the most part I’m a liberal.  Well I’m a liberal except when it comes to violent crime, then I’m so conservative it hurts. Get it? Violent crime? Hurts?

No?

I firmly believe that if you commit a violent crime you should rot in jail or rot in Hell. If it were up to me, first you would rot in jail, then you would rot in Hell. But hey, that’s my belief. You can believe in rehabilitation if you want to, but let me see you hire that convicted murderer when he gets out of jail. Me? Oh hell no. Now that I think of it, I’m very conservative on many things. The reason I have not joined the conservative ranks fully is because they tend to want to tell you what to think. Usually it’s under some “moral” banner. They also throw God in the mix a lot.

Funny, as much as they bring up God, they never bring up “free will.” That seems to never make the moral argument. Also, some seem to think that their God is the God. That’s OK but why can’t I believe that my God is the true God without them calling me wrong or wanting to change my mind? Failing both, some conservatives would want me to simply disappear.

I think that whatever you believe is your right and if I disagree that’s all it is, a disagreement. We don’t have to go to war as some countries do. I think that disagreeing on faith to the point of war is the single stupidest thing on the planet. I frankly don’t believe that Allah has a problem with Jehovah.

So I hope it’s clear from my too long intro that I believe people should think for themselves. So, why don’t they?

I go to this great Karaoke bar in L.A. The KJ (that’s the host) loves Elvis so someone in my Karaoke group suggested that we do an Elvis night for his birthday. The sheer venom that rocketed across the insuring emails made it look like Elvis took part in 9/11. This from a group of people I love hanging out with. These are good people. Every year I get invited to great New Years Eve Parties given by A-list celebrities. I prefer to be at this Karaoke bar because the people are just really cool. (more…)

Americans spend half of their leisure time online

It’s not all that surprising, but still shocking when you see it spelled out: Americans now spend roughly half of their spare time online during a typical weekday, according to the Netpop I Play report from Media-Screen, and more than half of this time is spent on entertainment and communications activities.

Forty-eight percent of young broadband users say they learn about entertainment through their online community of social networking sites, blogs, review sites and video sharing sites. Only a quarter of them say they learn about entertainment options through television. And that’s why Paul McCartney debuted his latest music video on YouTube last night.

Meanwhile, TV networks devalue their own brands by running advertisements for shoddy products, as Mark Cuban points out — which, come to think of it, has an eerie parallel in DC and Marvel Comics’s recent moves of dumping unsold ad inventory to put in house ads or ads for comics stores.

DENNIS O’NEIL: Dick gets his due

 

Back in the halcyon Sixties, when respectability was but a distant glimmer on science fiction’s horizon (and comics were still mired in disrepute), the editor of an SF magazine asked me to review a novel by Philip K. Dick. It wasn’t my first encounter with Mr. Dick; back in St. Louis, before I’d migrated east and gotten into the funny book racket, I’d read a roommate’s copy of Man in the High Castle and found it interesting. I told the editor, sure, be happy to. The book was Galactic Pot Healer. I didn’t like it and wrote the review accordingly.

That doesn’t quite end the story. The review never got into print. It may have been a lousy review – hey, nobody’s perfect – or the fact that the editor was friendly with Mr. Dick may have influenced his decision. No big deal either way,

Cut to a decade or so later: I am in Southern California on a mission for Marvel Comics and I have run out of things to read, and for some reason, there are no places to buy books nearby, and our expense allowances for this particular jaunt do not include car rental. Oh, woe! What is a print junkie to do? Then my fellow Marvel editor and friend Mark Gruenwald comes to the rescue with a copy of Valis, by a writer I knew I didn’t like, the same guy who’d perpetrated Galactic Pot Healer. But a writer I didn’t like is better than no writer at all – remember, I’m a print junkie – and besides Mark, whose acumen I respect, recommends him. I take Mark’s copy of Valis to my room…

And have that rare and wonderful experience of finding what I hadn’t known I was looking for. Dick was writing a kind of fiction unlike any I’d ever encountered – a fiction that dealt with the malleability of reality, the impossibilities of accurate perception, the questions of personal identity and its place in a large context.

I enrolled in the Philip K. Dick Society and delved into the author’s 44 title backlist.

A year ago, someone who shares my DNA found that tattered copy of Galactic Pot Healer on a bookshelf somewhere and I reread it. I can see why I panned it 40 years ago. The writing is only okay, the plot not terribly engaging. But mostly, the book doesn’t deliver what I think I wanted from science fiction in those days, which was closer to space opera than the introspective, sui generis stuff Dick was doing. But in my new capacity as an Ancient, whose tastes have changed somewhat, I could and did enjoy it. It will never be on my Top 10 list, but I don’t regret having experienced it.

I now know that Dick wrote what was labeled “science fiction” only because nobody, maybe including Dick himself, knew what else to call it. Writing in a genre meant that folks who fancied themselves capital L-Literary would not notice the work, and may not have been able to judge its worth if they had. Back then, the rule of thumb was If it’s good it can’t be science fiction. So Dick’s brilliantly original novels were largely ignored during his lifetime.

His reputation has gradually brightened over the years because, among other reasons, his work has inspired a lot of movies, from Blade Runner, completed shortly after his death in 1982, to Next, which I saw last weekend. Now, The Establishment, in the person of the guys who run the Library of America, have further anointed Mr. Dick by bringing out an edition of four of his novels to be offered alongside productions from Twain, Hawthorne, Melville…you know, the gents whose yarns get assigned in Lit. classes. The Dick collection is edited by the increasingly ubiquitous Jonathan Lethem, which, as far as I’m concerned, is icing on the cake.

The novels in the collection are Do Androids Dream of Electric Sheep? (which became the basis for the aforementioned Blade Runner), The Man in the High Castle, The Three Stigmata of Palmer Eldritch, and Ubik. Any one would do for this week’s Recommended Reading.

Dennis O’Neil is an award-winning editor and writer of comic books like Batman, The Question, Iron Man, Green Lantern and/or Green Arrow, and The Shadow, as well as all kinds of novels, stories and articles.

MARTHA THOMASES: Hey, Kids! Comics!

martha100-9148764Once a week, I volunteer in the pediatric department of a local hospital. I teach knitting to kids and caregivers. I’d like to say I do this because I’m a spiritual person, more evolved than you – better, in fact – but that’s not true. I do it because it’s the best part of my week, and whatever problems I might have in my adult life disappear when I spend a few hours with these kids. It gives me a chance to talk about color and texture and sheep instead of war and money and politics.

Because I go to the hospital on Wednesdays, I stop on the way at the local comic book near the subway for my weekly fix. The subway ride is long enough to read at least one book, and sometimes I get uptown early enough to sit in a playground and read more, weather permitting.

For the past few months, when I’ve bought a Simpsons comic or the Jonny DC Legion series, I’ve given them away at the hospital. Again, this isn’t altruism, but efficiency. There are enough comics in my apartment without adding any extras.

I’d give them all away, but most comics are too serialized to give away at random, and it is not my wish to see these kids in the hospital every week. It would be better for them to get better and go home. And I’m not giving a kid Garth’s Wormwood, no matter what.

This may surprise you, but children are excited to get comics. They like them. Even in a room filled with computers and video games and flat screen televisions (and flowers and get well cards and relatives), kids put down what they’re doing and start leafing through the pages, looking at the colorful pictures.

For more than twenty years, those of us who love comics have insisted that the medium is one that can support great literature and complex ideas. We’re right. We’ve said “Comics aren’t just for kids,” and that’s true. Just as prose can be written for different audiences, graphic storytelling can reach many different audiences and tastes.

And yet, for some reason, a lot of people think that comics shouldn’t be for kids. I’m not just talking about the arts police, the ones who think every kind of entertainment needs a rating and a warning sticker. When I worked at a major comics publisher, my boss (who was a vice-president of marketing) once explained to me how the company would make plenty of money if no kid ever bought another comic, and our audience was exclusively males in the prized 18-to-25 demographic.

Even those who aren’t in it for the money often think that comics for kids aren’t necessary. In the early days of the direct market, when there were suddenly all kinds of comics for all kinds of niche tastes (“The Good Old Days”), I would often go to a local store with my toddler son. I’d buy a variety of comics, including a fair number of independents, but the emphasis for me has always been super-heroes. The clerk would sneer at me as he added up the prices on the colorful covers. “I don’t read this crap,” he would say. “I prefer the more challenging literature. Like Love and Rockets.”

No disrespect meant to Los Bros Hernandez, whose work I admire greatly, but I don’t find them to be the ultimate literary expression available to humanity (nor do they, I suspect). And why should I feel defensive about my purchases? It’s no surprise to me that this store is no longer in business. The stores that survive in the competitive Manhattan market are the ones that understand that all kinds of customers enjoy all kinds of comics.

Even these good comic book stores have relatively few comics for kids. American publishers aren’t publishing them. Manga is great, but there’s an awful lot of it, with lots of extended stories, and it’s hard for a newbie to jump in without a guide.

Comics may not be just for kids anymore, but do we have to shut them out?

Writer and creator of Marvel Comics’ Dakota North and contributor to their Epic Illustrated, Martha Thomases also has toiled for such publishers as DC Comics and NBM before becoming Media Queen of ComicMix.com.

Could it be… magic?

Some of us are total suckers for magic. I mean, let’s be honest, all that super-science stuff that purports to explain how people have superpowers and everything — how different is that really than just saying "He flies? She shoots beams from her eyes? It’s magic!"

To some of us it’s all much of a muchness, but superhero comics universes are peculiar about that sort of thing, they seem to demand differing levels of disbelief-suspension depending on whether we’re talking about Batman or the Spectre, Spidey or Dr. Strange.

At both Marvel and DC, magic is a part of their fictional universes but, like religion, is usually distinguished from the mythmaking involving superscience. The DC Universe has had a number of recent stories dealing with a transformation of how magic works in that fictional milieu, and now Marvel’s about to undergo a similar shift in their interpretation of the fantastic.

mahandbookpg00-8379095For my money, even though I’m not paying for it, the best story currently dealing with DC’s attitude towards magic and superheroes is the Doctor Thirteen backup tale currently running in Tales of the Unexpected, wherein superscience and magic and nonsense and fourth-wall breaking all collide in a fun romp that proves DC is well schooled on how to puncture its own pomposity. Maybe it’s not Ambush Bug-level surreality, but you can’t go wrong with talking pirate gorillas, parodies of the 52 writers, and Infectious Lass.

Now Marvel’s gearing up for their own big magic event this summer, Mystic Arcana, leading off with, appropriately enough, a Magik one-shot written by one of my personal heroes, Louise Simonson.  Firm believers in not being able to tell the players without a scorecard, Marvel’s also bringing out a companion guide called Mystic Arcana: The Book of Marvel Magic, 64 pages of bios and character sketches and probably not storytelling.

Meanwhile, Scott at Polite Dissent decries the use of the "humans only use 10% of their brains" misinformation employed so often in comic book fiction as a way of introducing magical (or even superhuman) abilities.  Dang, there goes about 90% of the captioning for future origin stories!

Spider-Man 3: woulda, shoulda

Ouch ouch ouch. A brutal recap of the film. Examples:

A huge crane swings around, very specifically knocking some floors out of the building where Gwen Stacey has a modeling job. She ends up hanging from something way up high. Down on the ground, Captain Stacey meets up with Eddie Brock, who is photographing the whole thing.

EDDIE: Hey, isn’t that your daughter in deadly danger?

CAPTAIN: *yawn*

EDDIE: Shouldn’t you be doing something?

CAPTAIN: Nah, these days we more or less just wait for Spider-Man. This is the best job ever!

EDDIE: By the way, I’m dating Gwen for some reason, although I too don’t seem especially concerned. Let me take pictures.

Spider-Man arrives and saves the day, despite nearly being thwarted by some errant CGI.

This, along with a brief discussion of ECMLS, is worth a read.

(Artwork copyright Marvel Characters, Inc. All Rights Reserved. La de do da dey. Hat tip: Andrew Wheeler.)

Spidey and Supes’ YouTube chat

Via Val D’Orazio, here’s a delightful parody of the Mac vs. PC commercials as action figures of Spider-Man and Superman discuss Marvel vs. DC movies.

Just one more thing to get you psyched for Spidey 3, in case you weren’t already.

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