Trouble with Comics

Here’s a fine letter to DC Comics objecting to the hiring of hatemonger Orson Scott Card to write some Superman comics.


Hi, DC!

My name’s Michael Hartney. I’m as big a Superman fan as you’ll ever meet. I have bought Superman comics every Wednesday since I learned to read, which was nearly 30 years ago. Superman was the subject of my blog and my one-man show. My name is tattooed on my arm in Kryptonian, for Zod’s…

What makes [Superman] interesting other than that he’s really, really strong? That question led me to want to redefine Clark in ways that made him more interesting and more flawed as a person. Not in a dark, mean, cynical way, because that’s way too easy. But as a true outsider whose heart is vulnerable. I wanted to emphasize the loneliness of a kid growing up knowing just how different he was from everyone else, who had to keep his distance for their protection and his own.

Quote of the Day | ‘What makes Superman unique?’ | Robot 6 @ Comic Book Resources – Covering Comic Book News and Entertainment

This is basically every kid ever, if you think about it for longer than a half-second. This isn’t a Superman thing. It’s not profound. It’s just the human experience. It’s how we do. It’s not special.

(via iamdavidbrothers)

To quote Orson Welles, “the right reading is the one I’m giving (and not David Brothers’)”. The “feeling like an outsider” part is, yes, typical of all children and indeed, many adults. But that’s not all the quote is about. Superman is a “true” outsider, as opposed to just feeling like one. He’s an alien, and he has to keep his distance to protect others from his powers. The trick is to mix the relatable aspect (we all feel out-of-place) with the different (real alien with powers).

Since we’re on the topic of creative changes, one of the things that was a big discussion point for a while was Gail Simone being on and off “Batgirl.” With Gail now reinstated on the title, I have to ask — how much was fan outcry and fan support part of that creative editorial decision?

Harras: What we had was Ray [Fawkes] coming on for two months to help out, schedule-wise. We’re very happy Gail is back; she’s on the book moving forward, so to me, that was a moment in time where we were just looking for Gail’s next plot to come in and we’re moving forward.

B&B: “Constantine” Creative Changes, 900 Issues of “Detective” & More - Comic Book Resources

Follow-up question: “When the news broke, Simone herself said that she was informed she was no longer the new writer. That doesn’t sound as temporary as simply waiting on her next plot. Can you expand on what happened here? Was there a miscommunication?”

Don’t let these people rewrite history and use your platform to do it.

(via iamdavidbrothers)

Such patent nonsense, so obviously false and easily disproven. There are good journalists covering comics, for sure, but so many are clowns who accept crap like this and post it without confrontation. Is Bob Harras now considered a forthright, truthful guy? It’s insulting to both Simone and the fans to present this farcical version of whatever the real truth is. Simone doesn’t have a reputation for being late, but even if she was, the standard procedure would have been to schedule someone, Fawkes or whoever, to do a little fill-in arc to help her get back on schedule. She announced she was removed from the book. There was no benefit to her saying that, so we can assume that as far as she knew, it was true.

—Christopher Allen

Peter A. David Suffers Stroke

Comics writer Peter A. David suffered a stroke while on vacation with his wife. He cannot move much of the right side of his body and is experiencing vision problems. Please consider sending him your best wishes for a speedy recovery.


ADD’s Farewell to American Elf

Click over to Kochalkaholic to read my thoughts on the end of James Kochalka’s American Elf daily diary strip.

Alan David Doane 

It was just another comic book art job.
Steve Ditko on Amazing Spider-Man.
Grant Morrison’s Eroding Significance Apparently Bothers Him Very, Very Much

I understand completely why Grant Morrison is so insecure about his place in comics history in comparison to Alan Moore, but someone should really explain to Morrison how much weaker and more inferior he ironically makes himself appear with such verbose defensiveness. The work of the two writers should speak for itself, Grant, and let history decide how much you did or didn’t matter. This piece reminds me, more than anything, of Straczynski’s desperate, pathetic need to justify his participation in Before Watchmen by tearing Moore down, despite the fact that the worst thing Moore ever wrote is twice as interesting and enduring as the best thing Straczynski ever did. The last couple sentences of this article at The Comics Reporter really say all that needs to be said.

Alan David Doane 

Iron Man #1 (2013)

I think this is Vol. 6 of this comic, right? I’ll be brief. Kieron Gillen has written books I’ve liked, and Greg Land has done some art I’ve liked, but as he’s a Photoshop artist that is to be expected. Oddly enough, the scenes I imagine to be more “drawn” than posed, the stuff with Iron Man flying around in his new black and gold armor, is the most appealing. When Gillen switches to talking head scenes, the book screeches to a halt. 

One problem is that I just finished reading Matt Fraction’s run as writer of Invincible Iron Man a couple days ago. Fraction pretty much returned the toys to the box, with Tony Stark wrapping up his Stane/Hammer/Mandarin conflict and heading to space in modified turd-recycling armor to clear his head and get some fresh ideas. So why doesn’t Gillen spend even a moment with this great premise? Marvel’s supposed to be more seamless, editorially. No, instead, Stark’s back on Earth, in different armor, and instead of seeking inspiration he’s only looking to bang another blonde bimbo with big ’90s hair in a club (I think?) while Pepper Potts tags along morosely, trying to untingle any vagina that falls for Tony’s rap. 

I had to take a quick look again to remember just what this issue’s main story was about. Somebody selling an old version of Tony’s Extremis armor, which he’s already surpassed and beaten, so there’s no drama. Speaking of turd-recycling…maybe Gillen needs to go to space for inspiration, because we’ve seen all this before, and better. A year or two ago, I’d have closed with something like, “I’ll give this another issue or two to see if it finds its feet,” but life’s too short for comics that are just okay, you know? NEXT.

—-Christopher Allen

David Brothers on Cerebus: High Society Digital Edition

Excellent, detailed, and (unlike the product itself, clear) piece on the Kickstarter-funded digital edition of one of the more highly regarded stories in Dave Sim’s Cerebus epic. Unlike David, I didn’t fund this project, but like him, I’ve read very little Cerebus and was curious whether this would be a good place to start. This sounds like too much information, or at least a ton of ephemera presented in such a way that it distracts from reading the story. Add to that that you’re only getting one issue’s worth of story so far, rather than the entire story, and it sounds like a drag for all but the hardest-core fan. I don’t know Dave Sim enough to lecture, but it does kind of sound like one of those cases where, when an artist is used to listening only to his own inner voice, he can end up really closing himself off from his existing fanbase as well as possible new fans.

—Christopher Allen

Daredevil - End of Days #1 (of 8)

Writer: Brian Michael Bendis and David Mack

Pencils: Klaus Janson

Finished Art & Paintings: Bill Sienkiewicz

Marvel Comics

Brian Michael Bendis has taken his share of knocks as a writer over the years. Those distinctive stylistic tics that marked him as fresh over a decade ago have settled into formula, some might say self-parody, not unlike other distinctive writers like Chris Claremont or Frank Miller. I’ve taken my shots, too, and honestly am looking forward to his departure from the Avengers books. But I think his Daredevil run, while flawed, like anything, is still a pretty impressive accomplishment. And as with Claremont’s return to X-Men books or Miller going back to Batman, there is incredible risk in returning to past triumphs. Do you really have something left to say, or can’t you really go home again? 

I was really worried with the first few pages here, an ugly fight between Bullseye and Daredevil that results in D.D.’s death, captured on cameraphone. It’s meant to be brutal, sure, but the combination of Janson and Sienkiewicz is surprisingly off-putting. As great an inker as Janson is, he’s often a stiff penciler, and finds in Sienkiewicz a finisher so eager to add pizzazz to the page that he ends up cluttering it with too many blood spatters and tendons and wrinkles and speed lines that it’s a mess. Try as he might, the opening splash page just doesn’t actually convey the feeling of a punch being thrown, because no matter how much he slops on or whites out, the angle of the pose is just wrong. Janson defeated him before he started.

On page 3, it’s a different story, a well-composed Janson page undone by excessive detail and shading that makes Matt Murdock look like he’s in blackface, not just bleeding and bruised. It’s not all bad, but there are several pages of fights in this issue, and Janson is hit-or-miss in dynamic action, and so, something like the last battle with the Kingpin, which leaves him dead and Daredevil disgraced, is actually anticlimactic and draggy.

I’m not really for superheroes killing, except in extreme circumstances, but I would have to admit that the final Daredevil story is one of those circumstances. And yet, Bendis does really set himself up for disappointment here, challenging the reader to recall the old, pure-hearted, non-murderous Daredevil to make us accept this new one. There are no scenes of that old Daredevil in the book, which I think was a mistake. We need to be reminded of what Daredevil was, so we can accept and understand what he becomes. As it is, storming into a restaurant and ordering the Kingpin to leave town forever or he’ll kill him, is unacceptable. That the Kingpin chooses to fight instead of run doesn’t justify Daredevil beating him to death with his billy club, and Daredevil shouting to the horrified onlookers that he’d “tried everything else” just feels hollow. He came there and made a death threat that he knew he would likely carry out.

What Bendis and Mack get right is Ben Urich. Ben had been the custodian of Matt Murdock’s secret identity as Daredevil, knew him as well as any man, and so is the only one to tell of his final days. And of course, it’s the last thing he wants to do, because it makes him feel even worse and he doesn’t want to engage with it. But J. Jonah Jameson is not going to see the end of print media by putting out a half-assed paper, and so he’s damn well sure the right writer is on the story. This is all good stuff, and Bendis/Mack write Urich as well as anyone has. It reminds me of their first Daredevil collaboration a decade ago, in that that story also found Urich as the protagonist, an investigative reporter hunting down leads. It seems the video shows Murdock uttering a mysterious name before he dies, and it’s not Bullseye’s real name or anyone we’ve ever heard of before. So that’s what we’re in for, a murder mystery—or is it? There’s some suggestion that maybe Daredevil is still alive somehow. 

Later in the issue, Janson and Sienkiewicz seem to get a little more in sync, though it’s still uneven, with some pages looking much more like Sienkiewicz and others mostly Janson. Again, both terrific artists, but very different styles. 

So is it any good? It has some parts I liked, some I didn’t like at all, but I’m interested in seeing it develop. When you review first issues, it’s hard to walk that line between condemnation and faith. The fact is, Bendis is an old pro and is good enough at his craft that there should be enough going right in a first issue for it to basically work. At the same time, when was the last time he wrote a gritty mystery that was light on conversation and absolutely absent of humor? There might be some rust there; for me, it’s most apparent in the fight scenes, where it feels like his brain kind of shuts off. There’s nothing in those scenes that’s unusual or containing important information; you get the idea those script pages are very basic, allowing the artist to figure out the staging. It’s in the Urich stuff where he feels engaged, and so far it’s not bad.

—Christopher Allen