Sunday, January 27, 2013

Blogathon 35: Identity Crisis (Part 1)

I'll be honest: I picked this book, because it seemed like a funny thing to make Shawn Starr write about. Hey, it was on his list...

I don't own this comic anymore. I had the trade and have since gotten rid of it. I don't miss it. This was a bad comic series. It had some nice small moments of emotion and an interesting core idea, but the execution was usually so poor -- and the mystery handled with such retched abandon that it's embarrassing -- that it just made me feel sad to look at it. A work that convinced so many people that it's worthwhile somehow...

I'll never understand how mediocrity thrives so much. What did people like about Identity Crisis so much? I'll grant them the initial stuff with Ralph, but... after...? Was it the convoluted storytelling? The mystery that didn't really add up? The big eyes and mishapen faces? The endless parade of narrators that were used when convenient?

I'm struggling here to see it. It almost seems like it was a popular comic because it was a popular comic. Does that make any sense? The way that some people are famous for being famous? Can that happen with stuff like comics? Can it simply be that this comic was going to be popular and so it was popular? Fuck quality or reasons -- this is just what it is and nothing I or you or anyone says will change a damn thing. That makes sense to me. If God came down and said that, yeah, that's what happened, I would accept that explanation and move on with my life. But, that people genuinely like this comic... how do you stomach that?

What's weird is that I'm not sure that I know anyone who likes it. Those people exist, but I don't... know... any of them...? It seems like I would. Will Shawn be one of them? How will I look him in the eye after...

The part where the book really lost the plot was when it suddenly became about Captain Boomerang being all concerned about his kid. Like heroes and villains have anything in common in this story. A story where heroes know the secret identities of most of the villains those villains families live their lives, while there's a concern that, should the villains learn the heroes' secret identities, all of the heroes' families would be slaughtered. In what world would you tell that story and then try to create a parallel between the two groups? It makes no sense. When Batman is licking his lips at the possibility of dressing your son up in tights and having his way before slitting his throat with a Batarang, then we'll pretend like we give a fuck about lame tubby villain wanting to reconnect with his kid before he goes off and kills Robin's dad.

There's also the fact that we're confronting an issue where typical superhero morality fails. Batman's outrage is laughable in how pathetic it is. Their fear should have been that the villains would learn their secret identities and that would force them to kill every villain. Because they would have to. Or fuck them and their cowardly morality that only got their loved ones killed. In many ways, this is a series that shines a light on how superheroes are awful, irresponsible people who preach a limited morality that doesn't work when things go bad.

It doesn't help that you turn the typical supervillains into stone cold murderous rapists. The worse the bad guys get, the dumber the heroes look. Do they not realise that? Every time the ante is upped, the heroes look that much worse for not doing anything about it. Every Joker story lessens Batman. Sorry, but it's true.

Awful comic... I think Shawn will agree... let's see...

We're up to $970 raised!

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 34: Monthly Quality (Part 2)

There is no answer. At least none that I can see that are viable. I mean, there's always "Be better," but that doesn't seem very practical. Or nice. It's interesting that Ryan approached the topic from the writing standpoint. That's not something that occurred to me as much. It's struck me that the bigger problem is the artistic side and the inconsistent art on these stories that aren't quite as good as last month's.

I guess the problem is where do you draw the line? Say monthly isn't right -- what is? I'm all for nuance, but that's not the way corporations are going to work. I doubt they would want Comic A monthly because the writer feels that that schedule works for his muse, but Comic B is every 9 weeks, because that writer's muse is a bit slower. Nah, they'll just fire Writer B and see if Writer A can fit Comic B into his schedule. Because companies aren't interested in art. They're interested in sales.

The art side of things has to come from the writers and artists. That's the way it's always worked and that's the way it's going to keep working. The company wants to make money, the creators want to make money and art. The minute a concern becomes money, a compromise is made. The issue isn't every month producing a masterpiece, it's producing something that allows you to produce something else next month. If you produce something amazing, of course you're not going to repeat it next month probably. But, here's the thing: you're likely to never repeat it. I don't think "Otherworld" (to use Ryan's example) would have been significantly better if Remender had more time. It might be a little better, but the basic framework would have been the same and that framework was weaker than what had come before.

Besides, deadlines are good. Some of my best writing has come in the face of deadlines. I used to purposefully write essays in school the night before, because that would force me to think better. That's when the mad ideas come. You need to think quickly and make connections you might not have made otherwise. There's an energy there. And I'll always take energy over dull perfection.

It comes down to what matters: art or money. Make the choice and live with it. If the art suffers too much, the money will too and a change will be made. I don't even know exactly why I'm talking about this. (I say in my calmest voice.) There's a part of me that doesn't care, actually. Why am I worrying about why other people can't do their jobs properly? This is a side of comics that I can never fully get into. Yes, it impacts the quality of them... but, what about the ones that aren't impacted -- or are made better? This isn't an issue there. All that means it that, for this job, those other people are better. That doesn't mean that the system is broken necessarily, it means that, maybe, someone isn't best suited to work in it.

God, that sounds so cold and mean... but it's true. Horrible things to say while raising money for the Hero Initiative. But, where is the line? Where does business and the fact that I'm spending my money begin and where does not being a prick about it end? I want to say with my wallet and my pull list. If a writer can't write five books a month, a writer shouldn't write five books a month, because that's a decision that will hurt the art in the shortterm and the money in the longterm. Who wants to keep paying a guy churning out crap no one likes?

So much of this deals in areas that I know little about. Money issues and such and how much people make and how much they need and... I don't have any answers. Just awful realities that make me sound like an uncaring asshole.

Maybe the system should change. That begins with the readers. And what's their vested interest?

In 30 minutes, I talk Identity Crisis with Shawn Starr...

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 33: Monthly Quality (Ryan K. Lindsay Guest Post)


Can We Expect Greatness Multiple Times Every Month?

Making monthly comics is hard. This thought recently crossed my mind as I’ve started doing it. However, at Marvel and DC, some people are doing it multiple times a month. Many of the stable creators at the Big Two regularly pump out 4 issues a month, or more. It’s a mammoth feat and one to be respected but how can we expect greatness from every title under this factory produced mentality. I’m not saying it doesn’t occur, Uncanny X-Force and Batman recently prove you can make the donuts and have them be insanely delicious, but I’m asking why we make the hub of comics (in both sales and stewardship) a production line where creativity cannot be key because the deadline is always going to crush it.

Let’s chat about why making comics on a neverending deadline of 30 day periods might not be the best thing for the industry.

Let me please assure you, I am not here to bash the Big Two, nor any of their creators. This isn’t a negative post but one of curiosity. I will also openly state I read plenty of Big Two books, as many as I read from outside the Big Two. I’m not saying they make terrible books, but I do think their system lends itself to closer to that than epiphanic dreams and nightmares on the page which will enlighten and broaden entire generations.

Hitting deadlines is important. Publishers often talk of missing deadlines and then losing numbers. If someone expects your book to be out on Date X then that’s exactly when it should ship. If not, people will wander away and spend their money on someone else’s tale. Obviously, deadlines are important. No one wants to wait years for the next issue because the muse hasn’t struck you yet. That’s just garbage and not to be tolerated but what we have right now is a culture where creators land on a title and then stick on it for years at a stretch. And this is quite possibly because of the audience. Fans want to know how long creators will be on a title and if they drop off after 6-12 issues then they deride the entire run as being a flash in the pan and unworthy of their time. Why this is so I cannot fathom because so many great comics are made in short bursts. In fact, if you pick the greatest comic stories of all time you’ll find a very large majority of them came when a creative team hit it and quit it. Frank Miller knew not to overstay his welcome on Batman and Daredevil after dropping what many believe to be the best stories for each character.

If someone today of Miller’s calibre circa the 80s tried to drop in and tell their tale and get out they would find many harsh calls from the internet. People want Bendis level runs that capture a decade and define a generation of readers. Look through many interviews and you’ll find one of the most common questions for a creator is how long they will be on their latest title. And if it’s a short run those creators rarely talk about it. They focus on their story.

The opposite is Jonathan Hickman who says he’s already planned 60+ issues of his forthcoming Avengers run – and I can’t help but feel that locks me out of trying it because I worry I won’t get great stories. I’ll get miniscule pieces of this grand operatic drama that I’ll have to commit hundreds of dollars to if I want to see if I like it. To digress, when Hickman took over Fantastic Four, he led with a 3 issue storyline. It was excellent. I loved it. It remains one of my favourite FF stories of all time. But then his run devolved into this insane tapestry that intrigued me but didn’t ever grab me in that month with that single issue. However, I am aware, this could just be me. Plenty of others loved his FF saga and will no doubt adore his Avengers work, and big ups to them.

Back to the point, if a creator feels they have to be locked into a title for a run that will cover 50 issues and thus many plots, how are they expected to hit it out of the park each and every arc? Making a masterpiece isn’t a science and no one should expect it to happen every time. Yet fans often do. Rick Remender was the writer and main creative force between the first year of Uncanny X-Force and in that time he told The Dark Angel Saga which, for me, is pound for pound the greatest superhero tale of the past ten years. This is the icon that this era of comics will be hung from. Yet, with its conclusion, Remender was expected to back it up the next month (I haven’t checked solicits but it may very well have been the next fortnight due to UXF being a ‘double-shipped’ title that drops twice a month). Is it likely that you will tell the greatest story of the year and then start the next greatest story within 30 days? No, it’s not bloody likely. And so the next arc of UXF, Otherworld, was good but not on the level of TDAS and so fans complained. Now, Otherworld was very good, let’s give Remender credit that the man knows how to do his job, but it wasn’t TDAS. I don’t expect to see the next TDAS for another decade. And that’s fine.

Creating a masterpiece, especially in comics, is contingent on so many things occurring. The story must be quality and still broken up perfectly to match page beats and issue rests. The art must be grand – in pencils, inks, colours, and the other skills that go into fantastic arting (composition, storytelling, X factor). When a creator is on a title for 5 years and 50+ issues, I don’t expect every start from the gate will be clean. Hell, even Remender wrote one stinker of a UXF issue that I did not dig at all (sorry, Mr Remender).

I’m happy to accept that a guy writing two 20 page scripts a month for one book (while possibly writing similar copy for other titles) and doing so for anything more than a year is not going to be slapping ball after ball into the bleachers so he can round the diamond once more. In fact, while I’ve adored Remender’s UXF, I found his Venom flat, and his Secret Avengers fun but also thin. UXF proves to me, alongside Franken-Castle and Fear Agent to only name a few, that Remender knows how to play this game of making comics exceptionally well. But I don’t expect him to do it for every issue of every title he’s writing. He said recently, on Kieron Gillen’s amazing process podcast DECOMPRESED, that at one time he was writing UXF, Secret Avengers, Captain America, and Uncanny Avengers all at the same time. That doesn’t even take into accunt the outside Marvel work he’s been cooking up. How can someone hit all those marks and think anymore than the odd one will be a bullseye?

Let’s look at another Marvel stalwart (and university accredited architect) Matt Fraction. I am a massive Fraction fan but not every single issue from Marvel has been genius, which can be heartbreaking because we know he is capable of genius, many times over (see: Casanova, Immortal Iron Fist, some of Punisher: War Journal), but do we really expect him to write 46 issues of Thor (I think he said it was 46, I can’t find his tweet now – and be damned if I’m digging through wikipedia to navigate the many number changes and minis he done to verify it, what am I, a journalist?) and every single one of them will be gold dust? I cannot fathom how it is possible to churn out scripts for Fear Itself, Invincible Iron Man, The Mighty Thor, and possibly Casanova at the same time and expect all of those title to be masterpieces. This all probably came while he was planning out Hawkeye, Fantastic Four, FF, and his new Image books. Again, I’m not saying they all have to be winners, but wouldn’t it be nice if they had the chance? Under the pressures of doing so much, they cannot. I know comic creators need to survive, and feed families, etc, but at what point does a comic creator break?

I find it interesting to see that the point in which a comic creator breaks appears to be 2012. You’ve all seen the recent Image news of multiple Big Two creators running to the ‘independent’ scene to just make great comics. I feel like Vaughan and Kirkman did it long ago, but now we see Brubaker, Fraction, Morrison, Rucka, et al all heading off into the rosy sunset of Image Comics to hopefully make the same bang for their buck (easier to do with smaller sales if you are reaping a higher percentage) and also ensure the highest quality of their work by not needing to do four titles a month, with extra shipping on some of them. Little editorial fiddling with things, no continuity or crossover to align with, and the ability to paint with the widest and most durable canvas possible.

The exodus of Big Two creators intrigues me because it finally proves a point I had worried about, how good can your work be when it’s manufactured and not created? Ed Brubaker was the first crack I truly studied (and he’s a guy whose Marvel output was pretty spectacular at times).He churned out an intense amount of product for Marvel and while some was spectacular other stuff would only be okay. It’s the nature of the game. Now Brubaker is off to the golden lands of creator owned comics and film script work based off his own IP (wink).

It seems like Brubaker is now looking at a future of writing what he wants, when he wants, and how he wants. Hell, he’d already been doing that with Criminal and Incognito and look at the great results there. Some of the best comics from the past decade, without a doubt. It surely has to be easier to find greatness through your own creative process rather than doing it on a timed schedule like a caged egg farm. I mean, Brubaker even started alternating between writing Criminal and Incognito, and now Fatale, just to switch it up and keep himself (and always amazing amigo Sean Phillips) fresh. That seems like a smart move and the product supports this statement. If you are stuck on Uncanny X-Men for 3 years then you don’t get to walk away and refresh yourself. You just keep faking it until you make it.

Now Matt Fraction says he’s written [insert large number mentioned on Word Balloon here] issues since last January and he’s burnt out. He wants a break. He’s going to pick up the FF duo on the Marvel NOW! initiative, he’ll have Hawkeye (which is sublimely stellar), and he’ll do his weird tales over at Image. That just about seems manageable. I think over the next 12-24 months, you’ll see many more creators realising their best creations don’t come from being poked monthly (and twice monthly) and be expected to hand it over.

Look at BKV with Saga. I’m a massive fan and I’m content with just this series for now because he’s got all the time in the world to make each issue’s script sing. Admittedly, he’s also got the fanbase and sales to back up only doing this book and still paying the bills, but it shows that making the golden egg come out of the goose takes care and effort, it doesn’t just happen.

Who knows, maybe runs will become shorter? Maybe creators will move more. Maybe. But I doubt it. Fans don’t want that, it would often appear, and the companies like a good brand behind and for the title. It isn’t just the Avengers, it’s Bendis’ Avengers and there has to be something said for the power of such a claim to hold over a title. But who reading this can tell me the perfect Avengers story that Bendis told? Which tale will stand the test of time as the pinnacle that title, and those characters, have to offer? And don’t think I’m being a dick, I think Bendis wrote one of the most solid runs in the history of comics. The quality didn’t often dip below the dreaded ‘drop this title’ line but it never seemed to soar above the clouds and look down as a titanic classic. Bendis’ Avengers is like the John Hughes best friend who will not and cannot and should not ever be the boyfriend. He’s just there for a hug and some quality time, he won’t rock your socks off at 2am after too many tequila slammers. His Daredevil, however, will crush you and leave you breathless in the back of his car.

My final question is; we all want the best comics we can possibly buy, so why do we currently have a system where some of our favourite characters are rushed into hands each month without the greatest care being that of quality? Is there a better way? If there is, I’m sure only Chad Nevett has it…

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 32: Monthly Quality (Part 1)

It all comes down to the readers. The Image founders proved that readers would wait. Marvel proved that readers would buy the next issue no matter who the artist is. Really, it's about what people will buy. Apparently, we don't care. We'll wait or we won't. It doesn't matter. Whoop dee fuck.

Of course, the conflict is there between the things I said were proven. What happened to the skilled artist that could produce monthly? They skill exist, obviously, but why are they the rarety? Some say advances in printing technology mean that pages must be packed with more detail. I can see that argument, but it doesn't seem like an automatic to me. I look at Kirby's pages and I look at the pages of these slow, 'detail-focused' artists and, I've got to say, I'm not favouring the latter. Detail doesn't mean quality. Now, you're not going to do better than Kirby, but that doesn't mean you shouldn't try. I'm convinced that that's what Romita, Jr. is doing these days...

Now, maybe I'm not the best person to listen to about favouring the deadline most of all (see... um, almost every post I've written today...). Nor do I necessarily believe that. However, there's something to be said about a company's willingness to stick to a schedule. Of course, Marvel doesn't help matters by creating a schedule that, literally, only Jack Kirby could meet. And Kirby's dead. Not the best fucking plan.

But, this issue over artists seems like the biggest problem when it comes to maintaining consistent quality on comics. We've got the writers, we've even got colourists working in a heavyhanded style to maintain some visual consistency... But, it comes down to the line artists. Their ability to meet a deadline. A reasonable deadline would be nice. It really would. Knowing that next issue will look something like this issue would be nice. I was just writing about Uncanny X-Force and, holy fuck, are those issues between Esad Ribic and Jerome Opena's return dreadful. Just awful, ugly, subpar (by the standards set by the likes of Opena). And, yet, there they are. Fucking up the third trade of that series. And that's how it will be forever until I get the money to pay Opena and Dean White to redo the art for my own private edition of that comic. Maybe it will read better than, because it reads like shit now.

Artists interpret and present the writing and they can fuck it up in such obvious ways that I am surprised that anyone would take chances with that. More than that, it's sad to see them pretend like artists are somehow interchangeable. Oh wait. No, that's us, the readers. See, the Image founders proved that we'd wait... and then they took advantage and we got sick of fucking waiting. Now, we'll take a new comic with any hack's scribblings, because, hey, it beats waiting seven years for yet another promise that the issue is almost done. They had it and, then, they lost it. We all fucked up. Whoop dee fuck.

In 30 minutes, Ryan K. Lindsay will share his thoughts and probably use "fuck" less.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 31: Uncanny X-Force (Part 2)

Kaitlin makes a pretty decent argument for why Uncanny X-Force is good. I guess my problem is that not connecting to any of the characters, in particular, Psylocke, much of it is lost on me. But, I covered that. Now I will attempt to tell you what I like about Uncanny X-Force and, maybe, talk myself into buying the final two trades...

* I genuinely enjoy the way Rick Remender writes Deadpool. He's not funny, but he's unhinged and tries to be funny. A character like Deadpool shouldn't be funny. He's too weird for that. Remender gets that.

* Evan was raised to be Superman.

* The art. Sometimes. But, I also think that I've passed by the rough patch (aka "The Dark Angel Saga" book one).

* Wolverine talking to Psylocke about killing folks.

* The way it ties in with Secret Avengers.

* The Final Four Horsemen.

* The idea of returning to the Age of Apocalypse and how it led to that comic. I like that comic.

* Seriously, Jerome Opena and Dean White!

* I like Remender's ambition. He doesn't think small. He thinks big. And he tries to make the characters matter. He simply falls into the bad habit of telling us things matter.

* Okay, I liked the art in the "Otherworld" story... it was me!

* That there's an end point.

In 30 minutes, Ryan K. Lindsay and I begin discussing the issue of maintaining monthly quality.

We're up to $960 raised!

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Saturday, January 26, 2013

Blogathon 30: Uncanny X-Force (Kaitlin Tremblay Guest Post)


Right from the get-go, Uncanny X-Force had everything I loved: a team of hired guns, which included Psylocke and Deadpool, taking care of dirty work incognito. And it was this team, and Remender's ability to create an ensemble cast where no character felt tacked on or left out, that ultimately hooked me. Each member brought their own unique strength and provided something to the story nobody else could -- whether it was Pyslocke’s compassion/telekenesis holding the team together, Logan’s battle-weary wisdom leading them on, Deadpool’s sheer insanity saving them from situations a sane man would run from, Angel’s psychosis testing their limits and Fantomex’s bravado threatening to break them apart. They worked as a team and moved as a team, and even when the story got a little too wacky -- which, oh boy, it did -- watching X-Force play together was always worth the read.

Despite all that, ultimately, Uncanny X-Force reads more as Pyslocke’s, or at least the Psylocke we’ve known so far, swan song -- a sort death with the ultimate hope of a rebirth for Betsy Braddock. We start off with a fairly recognizable, traditional, none-too-complicated Betsy: her unapologetic ass-kicking and her loving relationship with Warren. After The Dark Angel Saga, Betsy undergoes a series of events that are ultimately about redefining her: her mind becomes shattered; emotionally, she becomes wiped clean; she severs her relationship with her brothers and family in Otherworld; she sees a future version of herself as a Minority Report-esque fascist leader, killing people before they can commit murder in a world ruined by Apocalypse; she tries to kill herself to prevent this future; and after all of it, her mind becomes potentially irrevocably shattered in the final battle to prevent Evan from turning into the evil Apocalypse Take Two.

Everything contained within Uncanny X-Force is a steady loss of what is important to her, and her frenzied, chaotic and disastrous attempts to reconcile these events with her life. She gives up her ability to feel in order save Fantomex after killing her brother. After the horrid experiences with Angel, this is the next big step in her downward spiral. So much of Uncanny X-Force is Betsy fighting and jumping between extremes of what she feels is right and what she feels she needs to do. At the end of issue 28, when she sees herself in the future, she justifies her suicide attempt by saying "If I am the woman who brings this all about -- I'll kill her before she can." Her disassociation from herself in this scene points to the splitting that has occurred within her mind: there is the Psylocke she sees she will become, and the Psylocke she currently is, and both are wedged into her body in this moment, a moment that has been building for the entirety of the Uncanny X-Force run.

Betsy is steadily losing everyone and everything. She loses Jamie, and because of that, she also loses Otherworld. She loses Warren, she loses Fantomex. She loses her ability to feel, her ability to think properly in her own mind. By the end of issue 36, she even loses the ability to tell what is real and what is fantasy, as Fantomex points out to her on the final page. But the crucial part of this loss and descent is that it is paving the way for a creation of a new Psylocke. Uncanny X-Force ends with Betsy's assertion that, even if this is all in her head a la a Nolan movie, then at least she's going to take control and make it something meaningful for herself.

Ultimately, then, I would say Uncanny X-Force is the stage where Betsy Braddock’s life and identity plays out like a tragedy in order to take Psylocke’s character in a newer direction.  With the MarvelNOW! Uncanny X-Force run beginning including Spiral, the character who forged Betsy’s mind into Kwannon’s body, all signs appear to point to a refiguring of Betsy’s identity and characterization.


[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 29: Uncanny X-Force (Part 1)

I have read the first five trades of Uncanny X-Force and I really dug the first one. Since then, it's been a progressive slide. I still enjoyed the fifth trade, but there's no hint of the overwhelming love that others seem to have for the book. It's a little hard not to react against that love, to simply look at the book on its own terms.

It's a comic that had some amazing art in the first arc, went through various degrees of lesser art, and, then, briefly had that amazing art return three trades later. I can appreciate the story that Rick Remender was trying to tell. The failing of the group to recognise the danger their teammate posed despite seemingly recognising it. Their inability to see that their job was to protect the world from the likes Apocalypse and, when, one of their own accomplished that goal under horrible circumstances, to see that it was needed. Of course, the conceipt that the core of Apocalypse is simply passed on is a fairly... dumb one. Once you're aware of that, you don't kill anyone. You simply contain and restrain. You would think...

Part of my issue is that there's nothing for me to latch onto in this title. The closest thing I had was when the Age of Apocalypse Nightcrawler joined the team. That created an interesting dynamic as the members of the team struggled with this man who was so much like this lost friend, but clearly wasn't him -- and made that as clear as possible as much as possible.

The biggest letdown was "The Dark Angel Saga." Half of which was utter rubbish. A lame detour that didn't honestly add a lot before jumping into a story that didn't have the necessary oomph. If you weren't invested in the Psylocke/Angel relationship, a lot of what happens doesn't land. I don't think that Remender did a lot to actually make that relationship something worth caring about. He talked about it a lot in the comic, yeah. But showing? There were some early scenes that made it clear that it was a fairly poor relationship between a delusional ninja telepath and a man losing a battle with himself. It was doomed from the getgo in this comic and we're supposed to pretend that it matters? That it's important or tragic? If anything, it was the logical conclusion of the foreshadowing in the first arc.

Something I never quite got is the moral quandries at the centre of this book all too often. It's a wetwork team put together to do dirty jobs... yet, so much of the time was spent working against that idea. It's strange to have a comic where the characters fight so hard against the premise that they set out. Instead of those moments acting as an exploration of what this sort of violence and killing means, it made the characters look weak and uncertain in their situation. That's not compelling, particularly when it's all of them. It's one thing to avoid killing and questioning your chosen life after the fact... but to contantly talk around the idea like they do...

Sorry. I know how much Kaitlin likes this book and wanted to immediately set up the contrast, especially when I stand by everything I said. It's just not everything I think. Yet.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 28: Cyclops was Right! Cyclops was Wrong! (Part 2)

And he did it. Tim O'Neil beat me. I hate him.

The first part of his argument against Cyclops doesn't hold much water with me. Mostly because it ignores the second half of the story where the situation changes and, I think, the Avengers become a force for more ill than Cyclops. However, the second part of his argument is hard to ignore and I think it totally on the money. When discussing this issue, I rarely stopped and considered whether Cyclops was right or wrong to want to bring back mutants. I focused so much on the conflict within Avengers vs. X-Men that I didn't examine the rightness of his initial desire.

What's weird is that I've always bristled against the idea of mutants as a separate race, especially when that idea was argued by mutants. It seemed like the wrong approach to the issue. By declaring yourself a different race, it made all of the prejudice easier. Instead of being humans with different abilities or a medical anomoly, they become something other. It's easy to justify killing the other instead of victims of genetics. In one case, you're killing aliens; in the other, you're killing people with Down's syndrome. Why would any sane mutant encourage the former over the latter? And, yet, that's what Cyclops does. He becomes obsessed with this idea that mutants are separate from humanity and loses his way. Over in Ultimate X-Men, Brian Wood dealt with the issue of the mutant cure very much in the way that Tim mentions: all but 20 mutants take it. The rest are happy to be normal again and free of concentation camps and other prejudice. All that's left are misguided idealists like Kitty Pryde and the violent, mentally unbalanced who want to kill humans and pretend like they'll take over. It's kind of sad.

If anything, Cyclops should have been working to eliminate mutations, because there's a difference between being proud of yourself when there are no options and purposefully choosing to be a man who has to wear a protective visor all of the time for fear that deadly eyebeams will shoot from his eyes and destroy everything he looks at. Choosing to remain that guy is disturbing. He more than most should want to get rid of that whole X gene thing and go work private security or something. I understand Wolverine not wanting to take the cure, because he'd... die. But, why would you choose persecution and, possibly, physical disabilities all because of some notion that you're special despite everything in the world telling you that you're not, including yourself?

Cyclops should have wanted the Phoenix to arrive to eliminate the rest of mutantkind. Fuck evolution. Do what's practical and makes sense. Besides, why buy this whole 'mutants are the next step in evolution' thing? Seems like a strange way for humanity to evolve to me.

Cyclops was wrong before Avengers vs. X-Men even began.

In 30 minutes, I'll begin discussing Uncanny X-Force with Kaitlin Tremblay.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 27: Cyclops was Right! Cyclops was Wrong! (Tim O'Neil Guest Post)

I am loath to admit that Marvel may have done a decent job of framing the larger ethical quandaries surrounding one of their major events, and the primary reason for this is that they have a terrific record of handling such ethical quandaries in as cack-handed a fashion as possible. The go-to example is obviously Civil War, a book built on the dramatic tension provided by trying to pretend that Captain America was wrong. Anyone reading comics for longer than five minutes knew that this was a mugs' game. Captain America is always right.

That's an immovable law of nature, and has been so since at least the seventies. Trying to pretend for any amount of time that this isn't one of the bedrock foundations of the Marvel Universe is pure, disorienting folly. It doesn't even matter that, in real-world terms, most people would concede the rightness of Iron Man's position: if (and of course, this is the kind of "if" through which you can drive a Mack truck) super-heroes were real, of course we would want them to be trained and registered. But because this is comics, we also knew that Tony was wrong for siding against Cap. Sure enough, the fact that he proceeded to build a Negative Zone prison, put murderers on the payroll, and build a homicidal clone of his dead best friend proved in short order that Cap had been right from the beginning. It didn't help that once the Civil War was over Tony's national security infrastructure was co-opted by the Green Goblin, an event that only reinforced the fact that, even (temporarily) dead, Cap was still always right.

So, on to AvX. Again, we're presented a seemingly even-handed conflict between Captain America and another marquee hero, and expected to believe that it's a fair ideological fight. The only difference in this respect between Civil War and AvX is that while you could at least make the argument that, in a quote-unquote "real world" context Iron Man probably had a point (even if, in-story, we always still knew Cap was right all along), there really doesn't seem to me to be any reason whatsoever for pretending that Cyclops had any rational justification for his actions over the course of AvX #1-12. There's no real suspense here. In both practical and ideological terms, Cyclops wasn't just wrong, he was spectacularly wrong.

In this context, it might be more convenient to split AvX into two distinct ethical questions: for the sake of argument we'll call them the Phoenix Question and the Mutant Question. The first is a situational question, the second is conceptual. The former is easier to answer, while the latter points not merely to the weaknesses of Cyclops' argument but the larger problem of how Marvel has spent years deliberately undercutting the premise of the X-Men.

First, the Phoenix. The very first part of AvX was a prologue printed in the first Marvel Point One book, from the end of 2011. In that story the new Nova, Sam Alexander, witnesses the Phoenix destroying / consuming an entire planet - Terrax's planet, incidentally - while making a beeline for Earth. The new Nova reaches Earth at the beginning of AvX proper, carrying the warning that the Phoenix is loose, heading in the direction of Earth, and destroying planets left and right. Given that, it is more than reasonable to expect that the Phoenix coming to Earth does not bode well for the planet and its inhabitants.

Now, step back from the book a moment and think about the difference between the two levels of knowledge to which we, as readers, are privy. Certainly, we as readers know that we're reading fictional stories set in a super-hero universe, and that if the Phoenix is heading in the direction of the Earth it has business on Earth, otherwise there would be no purpose in telling this story. But we can't loose sight of the fact that, in-story, the people in the Marvel Universe living under the cloud of this impending threat don't and can't know precisely what the Phoenix is doing. Remember, the Phoenix is not merely an unimaginably powerful cosmic entity, but a singularly inarticulate cosmic entity. Galactus declaims, the Stranger exposits, but the Phoenix doesn't actually say anything: it takes hosts, and the hosts speak, but unfortunately when the hosts speak they have a tendency to say things like this:



. . . and then go on rampages where they destroy entire solar systems and planets full of peaceful broccoli people.

So even though we as readers know the Phoenix is probably coming to Earth to do something related to M-Day and Hope Summers and all that jazz, the people in the story don't know this with anything resembling certainty. And the problem is that this is a situation where being wrong doesn't just mean people get hurt, or a few people die - it means that everyone dies. With the Phoenix on the way to Earth, there was a not-zero chance that the Phoenix intended to destroy the Earth for whatever reason, or maybe even no reason at all. So whatever reason Cyclops had for thinking the Phoenix may have been headed to Earth for benevolent reasons are essentially moot. If there is a not-zero chance that the Earth might be destroyed, it isn't just irresponsible to stand in the way of a solution to the problem, it's downright villainous. Dr. Doom would gladly risk the destruction of the Earth for a chance at absolute power - Cyclops may believe his motivations were more noble, but the fact that he was willing to gamble a non-zero chance of an extinction level event against the health of the mutant race is unacceptable.

I've said many times before in multiple contexts that I've never been a fan of the Avengers being a fully sanctioned branch of international law enforcement. Marvel heroes, even the "establishment" heroes like the Avengers, always got by on being vaguely scruffy and disreputable, so being licensed and bonded agents of S.H.I.E.L.D. presents the concept at a disadvantage and, for what its worth, results in static storytelling. But if you're going to insist on this status quo for the Avengers (and, given the success of the movie, it's likely to be the status quo for a long time to come), then you need to show the Avengers in a position of unambiguously defending the Earth from external threats. That's precisely that the team does in AvX: whatever Cyclops' rationalizations are, the fact is that in the context of the story his actions materially contribute to a not-zero chance of the planet Earth being destroyed. The moment the X-Men decide to strike out against the Avengers and gamble the safety of the planet against the well-being of a small minority it becomes impossible to sympathize with them. And what's more, it's not even as if you can make the argument that the Avengers were really trying to persecute the X-Men, put the surviving mutants in camps or Negative Zone prisons or whatever else the government did during the Civil War: all they wanted to do was take Hope as far away from Earth as possible in an attempt to forestall the not-zero chance of planet-wide extinction.

(It's also worth mentioning that later on, at the story's conclusion when Hope actually does receive the Phoenix force, she is only able to control the force and use it benignly because she's spent months being trained in K'un-L'un by Iron Fist, Spider-Man, and Captain America. This wasn't something Cylcops or even Cable did for her.)

From the very beginning of the story Cyclops is wrong about the Phoenix because he simply ignores the possibility that the Phoenix is coming to Earth for anything other than to help jumpstart the mutant race, even though - in-story - he has no reason to really believe that aside from a handful of possible coincidences and hunches. Hope could have been groomed to serve as the Phoenix's new host not out of a desire on the part of the Phoenix to help humanity, but because of any number of other strange and unknowable reasons that only make sense to cosmic birds of fire and death. I know I keeping harping on this, but I simply can't move past the fact that regardless of why Cyclops believed the Phoenix's arrival would be positive development, the fact that there was a not-zero chance of him being proven wrong is simply unacceptable. The stakes, in this instance, were too high for the Avengers to do anything but what they did.

Moving on from the question of the Phoenix, we are left with the larger question of why exactly Cyclops is motivated to do what he does in order to preserve the mutant race in the first place. Already we see a serious problem, but we need to back up a bit to understand exactly why this was such a problem. When the Scarlet Witch said "no more mutants" at the end of House of M, it didn't immediately strike me as a terrible idea: cut down the number of mutants from the absurd number that had popped up since the mid-nineties (and especially during Grant Morrison's tenure), bring the books down to a status quo more or less resembling the way the line looked from 1963 up through the early nineties. Mutants had been rare but not so rare that they couldn't always find new mutants about whom to tell stories, and most importantly there weren't so many of them that the sheer weight of demographics put a strain on the suspension of disbelief in the wider Marvel Universe. That was pretty much the way the books worked up through to the point when Claremont left in 1991, so a return to that premise seemed to me like a good decision at the time.

But that's not what Marvel did. Instead of just cutting down the number of mutants and going forward from there, they picked a random number (198!) and stuck with it as their status quo from that point forward. There could be no more new mutants until Wanda's spell was undone. This wasn't a story Marvel had any intention of telling until 2012 - so, from 2005 to 2012, the X-books were stuck running in circles in the shadow of a larger meta-narrative that everyone reading the books knew they couldn't actually resolve. There was a giant scab at the center of the franchise that could not be picked until the powers-that-be at Marvel were ready to do so.



In the meantime, the books themselves made a subtle but disastrous decision. It might seem like a small point, it might even seem insignificant - but the X-Men themselves made a practice of referring to mutants as a "species" and a "race." Notice I even did so earlier in this essay. They even had a crossover event called "Endangered Species." Think about this for one second: the entire premise of the series from the very first issue of X-Men back in 1963 is that mutants are not a separate species. Professor X says that the X-Men have "extra" powers that give them the responsibility to protect "normal" humans against the predations of "evil" mutants who believe their powers give them the right to dominate humanity.



Magneto is the first character to utter the phrase "homo superior." Professor X asserts that mutants are a part of humanity, and that their "extra" powers do not give them extra rights to exert their superiority over those who are not so gifted (or cursed).



This is a basic definitional fact of biology: mutants are not separate species. Mutants only become separate through the process of speciation. Mutants precipitate speciation through the process of natural selection, but mutants themselves are not separate species. This is certainly true in the Marvel Universe, where it has long been established that mutants do not necessarily breed "true" (meaning, it's possible for mutant parents to have "normal" offspring), even thought many subsequent stories have muddied these waters for various reasons.

This, in any event, is the most basic premise of the X-Men: mutants are humans who have received "extra" powers through accident of birth and are sworn to protect humanity from those mutants who believe their powers set them above or against the human race. The books have often served as a metaphor for civil rights movements - from the end of segregation in the sixties through to the rise of feminism in the seventies and the fights against Apartheid and for gay rights in the eighties and nineties, the men and women behind the franchise did a good job of keeping the books tethered just enough to a real-world understanding of prejudice and the mechanisms of historical change. It was never a good idea to press too heavily on the subject, since the books are first and foremost fantasy - and therefore not at all contiguous with actual real-world civil rights struggles - but as fictional metaphors go the X-Men was a pretty handy vehicle for exploring surprisingly heavy themes in the guise of children's entertainment.

The problem is, as I said, because it's a fantasy metaphor it doesn't pay to put too much weight on the analogy. It works in broad strokes, but once you get into the thicket of the practical "realities" of mutants in the Marvel Universe, you run into problems. M-Day is ran into these problems head-on, with a vigorous enthusiasm that belied that fact that the people in charge at Marvel did not understand how they had profoundly crippled the franchise.

Mutants aren't a separate species, anymore than black people, jewish people, GLBT people, or disabled people are separate species. That's the whole premise. Their mutations are completely random. That is also why some mutations are benign and some are not: some people get really awesome Omega-level reality-altering telepathic powers, some people get turned into hideous monsters who have to live in the sewer. You don't get too choose your genetics, the series maintains, so prejudice against people on the basis of genetics is inherently wrong - and to go one step further (attempting to keep pace with advances in queer studies and disability studies, among other disciplines), you are entitled to live however you want to live and be recognized in whatever way you wish to be recognized by a world that has no right to impose its idea of biological determinism upon you.

All well and good. The problem is that if you look at it too hard, the rules regarding real-world minority concerns don't quite work for mutants in the Marvel Universe. And the reason it doesn't quite work for mutants is that mutation in the Marvel Universe doesn't just come in the form of benign godlike powers that still leaves the recipient in possession of fantastic good looks and a super-ripped bod. Who wouldn't want to be a mutant, if that were the case? There is a not insignificant portion of mutants in the Marvel Universe - and there has been ever since Stan & Jack created the Mortimer Toynbee in 1963 - whose mutations resemble something more along the lines of a physical disability. This is why my least favorite X-Men stories have always been those stories that deal with the idea of a "mutant cure" as if it were some kind of terrible existential threat to mutantkind. Even putting aside an early outlier like the Toad, since Chris Claremont created the Morlocks there has always been a sizable group of mutants who haven't been pretty and perfect like the X-Men (and, come on, even Nightcrawler is beautiful), who would probably have no qualms whatsoever about taking a "cure" that would enable them to live something resembling a normal life once again.

The entire premise of the X-Men is that mutants are people, too, they just happen to be different from "normal" people, and furthermore, the idea of normalcy is overrated and hegemonic. That's fine, and certainly one of the strengths of the X-Men's original premise. But there are plenty of mutants who would probably love the opportunity to live "normal" lives. And we're not talking about something hideous and disgusting like the "gay cure" groups who brainwash LGBT kids into thinking they need to conform to some idea of "normal," we're talking about someone like Rockslide who no longer has a human body or working sex organs (as covered in one of the last issues of Avengers Academy) or Glob Herman, or even someone like Strong Guy
whose powers force him to live in severe pain and be at constant risk of suffering a fatal heart attack.

In our "real world" mutants are as likely to have cystic fibrosis and muscular dystrophy as something benign like heterochromia. Traditionally, this was another one of the franchise's strengths - acceptance of differences, helping people learn to accept themselves and live with and celebrate whatever it was that made them "extra" ordinary, for better or for worse. But the moment Wanda said "no more mutants" and the X-Men became fixated on trying to "restore" the mutant race, this simple and supremely pliable premise was warped almost to the breaking point. Mutants aren't a race, they aren't a species. That's Magneto's logic, that's Apocalypse's logic, not Professor X's logic, and certainly not the logic behind forty-odd years of X-Men stories. Mutants are part of humanity. Mutants don't get to choose how they're born. Mutants should be able to live however the want without fear of prosecution. Mutants should use their powers to help those without, not because they're better than normal humans but because they are, fundamentally, the same. And being a mutant is as much a curse as a gift.



This premise went out the window the moment M-Day happened. The series' most basic metaphors were annihilated. It's not about toleration and acceptance anymore. Suddenly the X-Men started talking about "the mutant race" and "the mutant species." It became important to restore the X-gene to the world, so there would be more mutants - no one ever said exactly why this was so important, since it didn't actually contradict Professor X's original motivations for founding the X-Men. Making the conscious decision to restore the X-gene didn't just mean there would be more supremely powerful, beautiful mutant demigods walking around (who could object to that?), it meant that there would also be more Glob Hermans. Sure enough, the first three new mutants we met in Jason Aaron's Wolverine and the X-Men after the conclusion of AvX are a kids covered in eyeballs, a girl who can turn into a were-shark, and a half-lobster half-boy. Not superstar mutations by any stretch of the imagination - serious, life-altering conditions that most people would probably rather not experience.



I must have missed something. I must have missed the part of AvX - or really, any of the years of X-Men stories leading up to the crossover - where Cyclops took the time to explain exactly why the mutant gene simply had to be restored, why having a handful of new and beautiful godlike mutants was worth the price that there would almost certainly be just as many, if not more mutants who weren't so lucky, and received the superhero equivalent of cystic fibrosis and muscular dystrophy for their troubles. It's one thing if they had randomly been born that way, but a number of people fought long and hard to ensure that they would have the "freedom" to have their lives irrevocably changed for the worse. Those people were led by Cyclops, and at no point during the course of AvX does he ever actually explain why cursing Mudbug, Eye Boy, and Shark Girl to live terrible lives was a necessary sacrifice for the good of the "mutant race."

At the very end of AvX, after Cyclops has been stripped of the Phoenix power and placed into custody, he learns that new mutants have begun to appear. He realizes in that moment that he has won, that his actions have resulted in the rebirth of "the mutant race." I would love to see the scene where he apologizes to Mudbug's parents for insuring their son would live the rest of his life as a hideous freak, and justifies why this was a necessary sacrifice "for the good of the mutant race."

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 26: Cyclops was Right! Cyclops was Wrong! (Part 1)

Shortly after Avengers vs. X-Men ended, Tim O'Neil attempted to engage me in a discussion on Twitter about Cyclops and I sort of blew him off. I really like Tim, it was just that I was tired of talking about Cyclops and that story at that point. I had no interest in the topic, feeling that I had said everything I wanted to say. I'm not sure if I have a lot to say about it still -- less sure that I have anything new to say. But, I am interested in seeing what Tim has to say. I like that there's someone who I like and respect who read those comics and came away with a very different impression of the character than I did. Part of the reason why I dismissed them to a degree is that they seemed so obviously one-sided. That Tim didn't see it that way makes me think maybe they produced a better series than I thought. Maybe. Maybe Tim is wrong.

I'll run down my basic argument and then leave it to Tim to freshen up this topic:

Cyclops began Avengers vs. X-Men as the villain. He was basically a crazy cult leader who believed a cosmic bird was going to arrive and save mutantkind. He was willing to risk Earth to do so, because that giant cosmic bird has a habit of destroying worlds. Instead of offering a nice compromise like taking Hope off planet to meet the Phoenix, he strarted throwing around punches. After the conflict escalated, the Phoenix arrived, was split up by Tony Stark, and put inside of Cyclops and four other mutants. They then went to work on making the planet better in ways that superheroes should: they tried to combat hunger and poverty, eliminate weapons, stop crime... and the Avengers responded by continually attacking them. Now, Cyclops was surrounded by weak people who succumbed to corruption. However, with each of them falling, he gained more power and kept his focus. He kept trying to keep the others in check, believing that Captain America and the other Avengers would come around once they proved that they were only doing good. Instead, the Avengers kept poking at him and poking at him and poking at him until they teamed up with the other X-Men and got his mentor to try and shut down his brain. He reacted in self-defence, killed his mentor, and was pushed over the edge, resulting in some horrific actions that eventually led to mutantkind being reborn.

He was right. At worst, he was possessed by another lifeform and not responsible for his actions under the argument of See Every Other Superhero Possession Ever. Much of the damage that happened only happened because the Avengers decided that the best way to deal with a man possessed by a destructive cosmic force was to keep attacking him until he snapped and was taken over completely, losing all control. Great strategy there, Captain America.

In 30 minutes, we'll see what Tim has to say. It should be good.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 25: Garth Ennis's Best Female Characters (Part 2)

I haven't read Dear Billy, so I'll have to take Brian's word on that one. I have read Ennis's Hellblazer and agree with regards to Kit. I did find her a little one-note in her relationship with John, but she served a specific role and filled it well. Her later reppearance (of sorts) in issue 200 was even more terrible because she had been left out of the book for so long.

I guess I'll take issue with the Tulip stuff, because while she is clearly the 'least' of the three leads, I don't think she's as shunted to the side as Brian suggests (I could be reading that a little harsher than he intends). Part of the point of the series is that she gets shunted to the side by Jesse and everything we see with her is meant to show how wrong that is. She can handle a weapon, she keeps a cool head, and she saves his ass a time or two. She can also put Jesse in his place and keep him grounded. Beyond him, she functions just well. She's the one outside enough to see through Cassidy (though his behaviour doesn't help) and, often, sees things more clearly than Jesse, because she's not weighed down by his macho bullshit. It probably doesn't count per se, but one of my favourite panels in the whole series is in the final issue when she sees Jesse crying. That reaction may be the best thing that Steve Dillon has ever drawn. And you don't get that sort of reaction on my part if all that I can about is Jesse. Everything about that panel was earned because of Tulip and her story. Her childhood, her father, her saving her friend from date rape, her relationship with Jesse, her time outside of Jesse... it was a moment where you could see that maybe she would be happy and, goddamn, I wanted that. It didn't seem fair that Jesse could fuck that up and she would have to pay the price, too. It was never just about Jesse... if anything, for me, that moment was more about her and it working out for her.

If Ennis has one big failing with women it's that, too often, they exist only to point out the flaws in his views on masculinity... while then enforcing them by being with the men who espouse them. They sometimes seem to simply put up the token arguments before falling into bed with the very men they were criticising pages before. That is something very problematic and he's never really gotten rid of entirely.

In 30 minutes, I will tell you that Cyclops was right. Tim O'Neil will probably tell you that he was wrong. Trouble's a'brewing.

My mom donated and put the total up to $920! And she doesn't even love comics. She just loves me. Most of you love comics AND love (like? respect? tolerate?) me, so what's your excuse?

Also: we're halfway done. (Is that right? Only halfway? Oh lord...)

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 24: Garth Ennis's Best Female Characters (Brian Cronin Guest Post)

While you and I both love the work of Garth Ennis, I think it is a reasonable criticism that as good as his work is, it tends to be a bit on the male-centric side. There is little doubt that one of the driving forces of much of his work is the bond of friendship between two men and how the said two friends play off of each other. That's the driving force of three of his most famous works, Preacher, Hitman and the recently finished The Boys. However, because that aspect of his work is so prominent, it also leads people to dismiss his work with women, which is unfortunate, because he HAS done some strong work with female characters in his career, including one of the most impressive handlings of rape that I can recall ever reading (not just in comics, but period). Here are my takes on the two best female characters Ennis has created.
Interestingly enough, his first major mainstream work, the work that led to him having the freedom to create Preacher in the first place, also introduced one of his best female characters, Katherine "Kit" Ryan, one-time girlfriend to John Constantine. Kit is from Belfast. She met John when they were both still teenagers but she was dating a friend of his. Years later, when the friend died, Kit and John became involved in a serious relationship. The greatness of Kit comes both from her steely resolve and her frank nature. She is willing to put up with a lot of shit for the people that she loves, but at the same time, it is clear that there is an imaginary line in the sand that she will not let people break and once they do, she is willing to cut people off, even people she loves. With John, that line mostly involved his dealings with the occult. If John were to have a real life with her, he had to be willing to give up his occult dealings and he, as much as he could, really did try to do so for a time. However, this being John Constantine, shit happened and Kit was forced to break things up. Really, in a lot of ways, what it seemed like was that Ennis just loved the character too much to see her be written by a different writer, It is no coincidence that she left Hellblazer at the same time that Ennis stopped writing the book. It is a testament to how well Ennis developed Kit that the editors of Hellblazer and future writers were willing to respect the way that Ennis essentially put her aside for protection. In a comics world where the supporting characters of previous writers rarely get respected and typically get brought back simply to kill (which actually has happened a number of times in Hellblazer itself - very few people who had extended dealings with John Constantine live to tell the tale for too long), Kit was different. She was so interesting that Ennis and his Hellblazer collaborator, Steve DIllon, even wrote a one-shot solo story about Kit featuring her time back in Belfast (Where she left after things with John ended). It is a compelling tale of Kit and her siblings and the things Kit was willing to do to protect them. It also, of course, deals prominently with the conflict in Northern Ireland between the Protestants and Catholics living there.

Tulip O'Hare is one of the most popular female characters Ennis has created, but while she was certainly a force to be reckoned with in Preacher, like I noted before, the driving force of Preacher was the relationship between the title character (Jesse Custer) and the Irish vampire Cassidy. Tulip definitely got a bit of the short straw when it came to the great character work in the title.

The female character that stands out the most for me from Ennis is a recent creation, Carrie Sutton, of the mini-series Battlefiends: Dear Billy (as a quick aside - let me express my gratitude that a series of books like Battlefields even EXISTS. Dynamite takes good care of Ennis by giving him these series of war comics where he can tell whatever kind of war story that he wants. He hasn't had this type of avenue for his work since Vertigo's War Stories, which were almost a decade ago. The first Battlefields mini-series, The Night Witches, is also about a strong female character, one of the many female aviators for Russia during World War II, who were forced to use such outdated planes that they actually developed plans where they would cut their engines and just glide into attacks since their old engines made too much noise. Their silent attacks on German forces earned them the name "Night Witches"). In Dear Billy, Ennis explores the lesser-explored aspects of war, the treatment of female prisoners by the Japanese. Carrie was a nurse who was captured with a group of other nurses in Singapore and after they were all raped, they were gunned down, Only Carrie survived. Carrie eventually develops a relationship with Billy Wedgewood, a British pilot who was tortured by the Japanese. Wedgewood was stabbed so many times by Japanese bayonets that it is shocking that he survived. Here, though, is where Ennis gets into the disgusting yet fascinating issue of surviving rape. For lack of a better term, both Carrie and Billy were violently pierced by the Japanese. However, as Ennis rightly notes, there is no real comparison when it comes to actually being raped. Where Billy is a damaged person, he is able to heal. You can cure his stab wounds. You cannot cure a rape. Ennis gets that and the series follows the fact that while they love each other, Carrie and Billy are on two very different paths. Billy is like a broken chair. You replace the leg and you have a working chair. Carrie is like a broken mirror. You can't ever truly repair what happened to her. Carrie tries to explain herself to Billy through a letter (the "Dear Billy" of the comic's title comes from the letter, naturally) but as you go through the series until its tragic ending, you know that this powerful, fascinating woman is just too broken. But by the time the series ends, you will come to enjoy Carrie so much that the depravity of her rape feels that much more painful, that it robbed us of a woman like this.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 23: Garth Ennis's Best Female Characters (Part 1)

Anyone who's read some Garth Ennis comics for a decent period of time knows that Ennis seems focused around a certain type of masculinity. It's an older sort where men are men and they drink and hurt bad people and say "ma'am" and treat ladies with respect. It also means often keeping emotions bottled up and act condescending to women. Preacher dealt with that in a big way. The Boys did it again with a slightly different take. Yet, despite this recurring pattern, Ennis does have a habit of writing strong women who act as counterbalance to his men -- often pointing out the faults in this particular view of men and woman, too.

I want to focus on Annie January in The Boys, because she seems like a possible target to point out where Ennis writes women poorly, mostly because of her introduction: she performs oral sex on three men to get into a Justice League-esque superhero team. Ennis has said that the character began as one-note joke. Another example of how horrible and crude the supes in that world are. Someone who would be corrupted (willingly to a degree) and really just another supe for Hughie to see and feel disgust at. But, something changed and, soon, Annie reappeared and, slowly, became a more rounded character, someone who struggled with the choice she made, what says about her, who she thought she was, and where she is. Over the course of the series, she developed into her own person who falls in love with Hughie and, while understanding his issues with her actions, stops apologising and says that he needs to move on, because that's something she did. She regrets it, but she's not going to obsess over it and allow it to determine every aspect of her life. If there's a weakness to the character, it's her inability to move past Hughie. It's understandable given that he was a genuine moment of kindness at a time when she needed it. She even recognises this weakness. But, what I have to wonder is if that's really cause for criticism. Since when is anyone perfect and sound in their judgment, especially when it comes to matters of the heart? She fell in love and can't get past that. It winds up happy in the end when her idiot boyfriend gets over himself. I don't know what anyone else would want, besides that perfect embodiment of everything righteous and wonderful in a woman.

And what are those qualities, by the way? For me, someone making a horrible mistake and then doing their best to learn and grow from it is about as close as it gets.

More than other Ennis women like Kit or Tulip, there's a bit more of a flawed streak running through Annie and I appreciate that. If she were a male character, no one would pay a second look to those flaws. They would simply see an interesting character. A well-rounded character even. Look at her other half, Hughie. He is the entry-point character of The Boys and is horribly flawed. He's narrow-minded, whiny, and selfish. He doesn't always do the right thing and struggles. All of which make him more 'real' and interesting. The relationship between the two is so compelling and engrossing because they're both so flawed. Neither is perfect... except maybe for each other. (Awwwwwwwwwwwwwwwww...!)

In 30 minutes, Brian Cronin will share his thoughts on this topic.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 22: 100 Issues in a Row (Part 2)

One series that I know I will get and read more than 100 issues of is Cerebus. Just a matter of when, not if.

Of the current titles that I'm buying, I'm not sure if there are any that will make it that far. One that just finished up that almost made it was The Boys (it hit 90 if you include the three mini-series that accompanied it) and it was, as you said, creator owned. Oddly, the two that I had that made the cut (sort of) were not creator-owned. Maybe that's because not a lot of creator-owned books last that long either.

Getting back to current titles... Uh... I could see me winding up getting those 100 issues of Thor in a row despite it being across three volumes (at least!). Nothing else is standing out. Maybe Jonathan Hickman's Avengers/New Avengers? Those two titles in conjunction could hit 100 if he's allowed to tell his whole story, I suppose. Possibly The Unwritten. That could make it, I guess, if it keeps going. I don't know if I'd be there when it reached 100 issues.

100 issues is a lot. That's 100 months (if it ships monthly): a little over eight years. As Augie said, who wants to stick around on a book that long when you can be doing new things? That's a big investment of time and energy -- and maybe not the best investment.

Since few seem likely to make it that far, I'll say what comic I would like to see make it that far all things considered: Wonder Woman. That's probably the only ongoing title that I'm buying that I could see making 100 issues and that being fine. With Brian Azzarello still writing. Everything else seems to have a built-in shelf life. I love The Manhattan Projects, for example, but that does not strike me as a 100-issue series. Nor does Prophet (though, maybe I'd like to see them try there...). Maybe it's the natural tendency to assume that only superhero comics will last forever. And Wonder Woman is the ongoing superhero comic that I'm enjoying the most right now, so... let's see it hit 100!

In 30 minutes, I'll begin talking Garth Ennis's best female characters with Brian Cronin.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 21: 100 Issues in a Row (Augie de Blieck, Jr. Guest Post)

COMICS CENTENNIAL

The only thing rarer than a comic book reader sticking around to read 100 straight issues of a comic series anymore is a singular creative team sticking around for 100 consecutive issues. When I sat down to make a list of the comic series I had read for 100 issues straight, though, I was surprised to realize that (A) they were nearly entirely creator-owned and (B) all kept the same creative team for a long stretch.

The obvious conclusions to make from this are two-fold:

* Creative consistency is key to my enjoyment of a comic. Give me a singular voice and there won't be as many opportunities to jump off the train.

* Creator-owned comics are freer to make changes, take chances, and adapt to the times. They don't need to stop every six months for the latest crossover. They don't have stories dictated to them by an editorial committee. That keeps the books fresher, inviting readers to stick around longer without being bored by repetition.

The list of books I didn't make it to 100 issues with didn't follow those two rules. I read "The Amazing Spider-Man" for a long time when I first started reading comics, but the changes of direction and creative teams eventually drove me away. I stayed for darn near 100 issues of Peter David's "Hulk" run, but after David left, so did I. I read "Uncanny X-Men" for a long time, too, but you know how things go in the Mutant world. . . The last two decades of that title have been a churn of creative teams, directions, reboots, and rampant crossovers. Just when you get comfortable or find a particular creative team to enjoy, they're gone again.

I have read more than 100 consecutive issues of "Uncanny X-Men," mind you. I just didn't read those from month to month. That came from reading Chris Claremont's entire run, 90% of it in reprinted editions. That doesn't count for this column, because I'm explicitly thinking of the books I read from month to month as they show up on the stands. It's a different thing, but it is interesting that the run is based on the specific work of one creator. I don't think I'd ever go back to read 100 consecutive issues of X-Men from a time after that run. It would be too jumpy.

Which comics have I stuck around for 100 issues of? Not many:

* "The Savage Dragon"

One creator, Erik Larsen, has handled words and art for nearly 200 issues now. And I've been around since the first issue of the first mini-series. The biggest changes in the title, creatively, have been in the coloring department, but they've still mostly maintained the same look and feel of the series. The lettering has been passed off a couple of times, but you can't complain when the list of letterers is Chris Eliopoulos, John Workman, and Tom Orzechowski, can you?

* "The Walking Dead"

Charlie Adlard just hit his 100th consecutive issue, after taking over from Tony Moore early in the series' life. Given the speed of Moore's output in the years since, it's obvious that "The Walking Dead" would be nowhere near #100 if he had stuck around. Adlard is a producing machine, and he's good. I've enjoyed his work going back to "Astronauts in Trouble." His style is much better suited to comics without super-heroes, so "TWD" is a good fit for him.

* "Invincible"

The series is coming up to 100 issues soon, and Ryan Ottley has drawn the vast majority of them. Only Cory Walker has drawn the series otherwise. Walker is the series' co-creator, and still comes back from time to time for a fill-in story or some pages of issues with separate stories. This entry is a bit of a cheat, in that we're still a couple weeks away from the 100th issue, but I'm going to give msyself that buffer.

* "Ultimate Spider-Man"

This is the only series that fails the creator-owned test. It's a title I stuck with for the entirety of its original run. I said often that it was the single best monthly superhero comics being published during those years. I only hopped off when the series ended, the character "died", artistic teams began to change frequently, and the series rebooted a couple of times. I would like to get back to it someday, buy up all the collections since then and sit down to have a good read. I just can't force myself to read "Ultimatum" again to get the whole story. Ugh.

Still, those 120 or so issues with Brian Bendis, Mark Bagley, and Stuart Immonen were pure gold. I wouldn't trade them for anything. I never considered dropping the title, either. I do honestly believe the quality level was high throughout the whole run. Some stories might have grabbed me harder than others, but I was never bored. I never bided my time until a better creative team or a better story came along. That goes for all the books on this list. And that couldn't be said about any series that had multiple creative teams, reboots, "jumping-on points," etc.

The comics market today doesn't reward consistency, creators are too busy diversifying their IP portfolio to stick to the long slow decline in sales that most monthly books fall prey to, and the Big Two don't want to publish a comic for three years (let alone 8.5) without rebooting it and pushing me away. The Direct Market does not reward extended runs. And monthly comics don't get produced for the non-Direct Market. Those markets -- specifically, the bookstore market -- are geared towards collections, and those rarely last long as a series. So how many titles might you read 100 issues of in the next few years? I doubt there are too many. Jump aboard "Usagi Yojimbo" and you stand half a chance, though.

Or do what I do and buy lots of translated French albums. But that's a topic for another Blogathon someday...

Thanks to Chad for lending me a few inches of blog space for this particular walk down memory lane, and for putting together this Blogathon for a good cause. Let's go to the tote board now!

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 20: 100 Issues in a Row (Part 1)

Augie de Blieck, Jr. asks: "What titles have you read more than 100 issues of straight, as they came out? Why did you stick around so long? Did you ever continue to buy the book in the hopes that it would get better again eventually? Have you no shame?"

I think I only have two: Hellblazer and Brian Michael Bendis's Avengers stuff (shut up, it's one run!). And both of those don't fall into the traditional category that Augie's speaking of. I buy Hellblazer in trades (as they come out), while the Bendis Avengers stuff was spread out over... six ongoing series, some event books, and a mini-series or two. I'd have to count how many issues of Thor comics have come out since I began buying it regularly again, but I don't think it's been 100. Even if you include Journey into Mystery.

So, those two. And I have stuck with both, because I enjoy them -- for different reasons. Hellblazer is a comic that reveals something about each new writer. John Constantine is malleable and interesting and shows off what a particular writer is interested in like no other mainstream corporate comic character. I've seen the title through... four regular writers since I began buying trades as they come out. Each has been unique. Some haven't been as great as others, but, hey, bad Hellblazer comics are still better than most comics. Something about the title. The Bendis Avengers stuff was because of Bendis. The quality would dip here and there, but there was a standard that it usually met and that standard was high enough (and interesting enough) to keep me.

I don't think I've stuck with any other title for so long, because I can't keep buying books too long in the hopes of the quality getting better. I may have some specific, funny tastes, but I know my standards and it doesn't take long before I will kick something to the curb that isn't meeting those standards. As well, the nature of mainstream corporate comics is rotating creative teams. My interest rarely lies in the specific title/character; it's usually the people working on the comic (specifically, the writer) that get me to buy the book. If a writer leaves, there's a good chance that I'm out the door, too.

I grew up as a teen in a time where I had people like Warren Ellis emphasising the creator -- to not mindlessly buying something. To giving something a fair chance to keep you, but, should it fail after two or three issues, drop it and don't look back. I haven't always adhered to that and have let things slide a little longer, but very, very, very rarely do they slide too much longer. Six issues at the most. Which is too long, honestly.

I've gotten some books that have been 100 issues or more after the fact. 100 Bullets is one. Some others that aren't consecutive issues. But, it's hard to find 100 issues in a row that are worthwhile. What writer can maintain that? What are the odds that a company will put enough good writers on a book in a row? What are the odds that the great things can last 12 issues let alone 100 in this market?

In 30 minutes, Augie may or may not answer these questions. I don't know honestly.

And, something else: NINE HUNDRED DOLLARS, PEOPLE! That is amazing. Stunning. Let's keep it up.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 19: Best Time to Stop Reading Superhero Comics (Part 2)

Fuck.

How do I approach this. I'll start at the beginning and see if I can not embarrass myself. What I wanted/expected when I began writing for CBR was a cheque every month. A cheque for doing something I already did, albeit in a slightly different way. I was broke, out of work, and that money came at a good time. I would buy my comics and still have money left over each week, because I always made sure to review more books than my comics bill would be. That mentality lasted until I found work in the fall of 2009. And began again when I lost that job later in the fall of 2009. That's okay, because it was a shitty job that I could never figure out. It was calling up people in Edmonton and Calgary, asking them to do vacation surveys. If they said no, you had to take no for an answer. 90% of the calls you made were blocked by the national blocker list or simply got no answer. Another 8% said no. Another 1% didn't fit the criteria. And they wanted a certain numbers of surveys completed each night. You were not allowed to falsify any. I got in shit for that, because, the surveys were step one. Step two was calling those people back and trying to sell them on a bullshit travel club membership. On my final night, in one hour, I made 110 calls. 100 of those had no answer/were blocked. Another 8 said no. 1 didn't qualify. 1 did. Somehow, it was my fault that I didn't get enough completed surveys, though they couldn't tell me how to get more. Because it was out of my hands. But, they paid me for a few months and I wasn't too sad about leaving behind such a scummy, awful job. It took another ten months for me to find another job. The CBR cheque helped a lot in that time. It took me a year or so of working my current job before I realised that I didn't like reviewing comics enough anymore and I didn't need the money anymore either. So, I quit. And it felt good. I wasn't enjoying the free comics writing stuff either, so I'm quitting that, too. I thought giving myself a year would mean trying to get as much out of it as possible. It meant I wrote about Avengers vs. X-Men and enjoyed that, but... yeah. Don't get me wrong, I never did the CBR gig "for the money" as it were. It just came along at a time when I needed money. I enjoyed it. I enjoyed writing about comics like that for a time. Of finding new ways to say things I'd said many times before. Of finding the line you couldn't cross and somehow sticking a toe over. Of hearing rumours or getting impressions that I'd pissed off some thin-skinned creators who never quite got that it was never personal until they decided to whine. And, even then, I didn't make it personal though I wanted to. I can't say that the comics themselves got to me. The comic review that ended it for me was an issue of Prophet early in 2012. It was a Sunday and I was at my job (I worked weekends then) and I had a choice: write the review or do some more work (I was ahead). I realised that I enjoyed the work more than the review writing. So I was gone.

I spend 9-10 at work every day (if you include travel), so, you're right, why would I want to have any other time wasted? That actually gets at the heart of why I'm quitting this blog. I want to scale it back and see what I really love about writing. Figure out how to do it all again and not treat it like a chore. Maybe part of that is getting away from what you mention: superhero comics aren't as smart as I am. I take these skills and tools that I learned in school that I honed on great works of literature and, then, I apply them to Avengers vs. X-Men and bask in the praise I receive for making those comics seem smarter and more worthwhile than they do when you actually read them. It's not something I've ever thought about consciously. Or for that long. My usual response was always "It's all in the work! It's not me!" But I wonder...

I'm not certain that that's it entirely. In leaving the internet (I even plan on setting out a rigid schedule for reading things online) I have thought about what that will do to my pull list. There are things I buy because I know I will write about them. I was thinking the other day about picking a number and seeing if I could cut back to that. I'm not sure I can. I'm not sure that I should want to. But, having Michelle in my life and working -- those two things together have made a lot of this seem like a distraction that I don't need. When I was going to school, I didn't have her, so this was fine. When I had her, I wasn't working, so I had plenty of time. Now, I don't have that time. And what about if/when we have kids? I don't know how Tim does it somedays. But, look at his comics reading habits now that he's escaped the week in, week out wheel of comics reviewing (and comics podcasting). I said earlier today that he's my example in many ways and this looks like another one.

I can't see myself giving anything up entirely. Specific books, sure. Maybe most of them. Maybe everything new. Maybe get rid of a lot of what I have. But, not all. Never all. And I think I'm going to teach myself how to love this again like I used to. On my terms.

I wasn't planning to say any of this until Tuesday. But, hey, what the hell.

Thanks, Tucker.

In 30 minutes, we try to recover with Augie de Blieck, Jr. and I discussing long, 100+ runs of comics we have read.

We're up to $779.95 raised for the Hero Initiative.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 18: Best Time to Stop Reading Superhero Comics (Tucker Stone Guest Post)

I can't remember what was in my head at the time I asked you at what moment you think you should have stopped reading super-hero comics. What was it I was thinking?

I wonder what you wanted out of CBR when you first started reviewing there, or what you wanted when you hit a year, or two, or had your first taste of the meaningless of it all, the way a great comic or a great artist or a great writer could fail miserably to find its audience out of what initially seems like the most arbitrary bits, like the characters it featured, or the day it came out, or its lack of connection to a part of continuity, or any one of the things that tend to have so little bearing on quality and yet exert a massive influence over their popularity. I'm not curious to whether you got irritated--you either did because you're sane, or you didn't because you're a fool, and I have to act as if you're the former or else I won't be able to continue. I'm curious what you did after the irritation wore off, what motivated you to go forward. You have these funny little standards--not funny in a patronizing way, funny just in that they're specific and unusual, they're private, personal--and I wonder how that seriousness worked when you were met with such consistent mediocrity. I want to know about the moment when you let your standards slip. Me, Deadpool Max, I knew there was something off, but I kept returning. I thought I liked REBELS until I realized I just liked clinical, thin lined facial expressions. Looking into a box, realizing that I was the guy who read Geoff Johns Teen Titans comics, drawn by Mike Mckone. I see you doing it with Ellis, with treacly crap like The Massive, but I can understand that--it's competence, there's efficiency happening there. Bryan Wood, Bryan Vaughan--those are creators that have massive appeal if you have a tendency towards timers and productivity and deadlines. They get the job done, and while that job tends to be a 7 minute distraction over the barely 3 minutes that Rucka can provide, they tend to feel reliable. It's not art anyway, regardless of how well they've all adopted artist as their job description. Ellis is another beast entirely, a topic I can't imagine discussing with you seriously, we'd both just end up talking around each other, mumbling obscenities under our breath. It would be like an abortion debate, or the way Republicans and Democrats cockfight on talk radio. You think he's made some good comics, I think the world would be a far better place if he cleaned bowling alleys with his tongue and slept in a bucket.

Ugh. This is becoming such a mess. I don't have anything to say about this topic myself, that's the problem, so of course it's going to deteriorate into easy, familiar topics, like being sarcastic about ex-Vertigo check chasers with T1 lines. I bailed on super-hero comics because I got a Chevy Blazer and because I was obsessed with the idea that if I drove around in it smoking Marlboro Reds and listening to Pretty Hate Machine and Doggystyle, that if I did that long enough, girls with names like Kelli and Wendy would get into the Blazer with me and we could go watch movies where people murdered people because Tommy Lee Jones needed to wear a bandanna and no one would let him. I came back to super-hero comics because I read an article that Frank Miller was doing more Dark Knight comics, which he did, and I didn't fall in love with them the way other people did but I decided to read Kevin Smith comics because I had always liked the part in Mallrats where Jason Lee carried around his own little paper cup. Where else but in super-hero comics do people choose to consistently pursue something they barely even vaguely enjoy in a regimented, obsessive fashion? Television doesn't count, because television is essentially a more exciting version of an overhead lamp. You had to go and get comics, you had to pay for comics, there was effort and choice there.

I think about it now, and the only explanation that really makes sense to me is that I liked weaker, stupider stories that I could feel smarter than, because I didn't feel smart enough, and I didn't know how to change that. I didn't read hard comics, good comics, I read swill and organized it, I forced my way through Dan Jurgens on the Justice League, or that storyline in Batman where he fought an earthquake, and I knew it was page after page of garbage, but it gave me a momentary sensation of power and success to have read those things in order after having found them in order. I did that instead of actually doing things that make my life better, and I used the excuse that I deserved to have fun and kill time or blow off some steam or have some escapism in my life, when the truth was that I didn't want to do any of the things that I was doing nor did I want to be around the people that I was around, and having a regimented place to go to that wasn't some absurd church full of absurd chuchgoers made things more bearable, and finding out that Stanley was getting molested by the Monster was a small psychic price to pay for the opportunity to forget the choices I'd made.

I suppose it's impossible to argue someone into that mindset, it certainly sounds as if I'm describing shitty Green Arrow comics as the only bright spot in a life of horrifying pain--but that's only for exaggeration sake, to make it sound more interesting than it was: which was the actual problem. The mediocrity of my taste was a reflection of the mediocrity of my life, I read crap to forget about the weakness of my relationships, the impotence with which I pursued my dreams, the embarrassment I had for even having dreams. Super-hero comics weren't the cause, they were a symptom, but their toxicity has a tendency to spread. There's no better excuse for Catwoman 16 than Catwoman 1-15, quitting today--when nothing has actually changed, when the qualitative shifts are incremental at best--is merely a reflection that one should have never begun. And you know this part, don't you Chad? You run through the conclusion of another Marvel tie-in-a-thon and you know that it's meaningless, and I can hear it in your voice, you don't like it, and it would be so easy to dismiss it as no big deal--but it's a big deal for you now, right? You have somebody who loves you, and you love her, and there's weight to your life now, those moments you so easily burned through before now become moments that could have been spent in the presence of something or someone that actually does mean something, in the practice of something that's genuinely great and not just above average or okay or a nice way to spend ones afternoon.

Whatever. Winter Solider, right? Something by Garth Ennis. Nostalgia. Who gives a fuck.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]