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ectonurites · 3 years

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Conner Kent in Suicide Squad/the Infinite Frontier era: wtf is going on

Alright lads hello I just need to type out some theories/thoughts about what’s going on with my boy Kon right now. This is more for myself than anything else (just trying to organize my thoughts) but since some of y’all like to hear me talk about comics (and some of this discussion has already been happenin in my inbox) I figured i’d format it and put it on here too! its like 4k words and written over the last few days mostly at 3am. sorry <3

this is basically just me going like

Also fair warning that like, I can be wrong and misinterpret things just as much as anyone else can, like I use panels to support why I think what I do but a lot of this stuff is subjective/complicated to understand so like... in general somethings should be taken with a grain of salt, especially because exactly what changes to the universe were made by Death Metal/Infinite Frontier haven’t been super super clearly defined yet. Also sometimes comic writers make the most random nonsensical shit happen, so I as a fan am also allowed to theorize about random nonsensical shit.

But to start: let’s backtrack!

Many months ago when Infinite Frontier was first announced they dropped some promotional art, and I remember being a little confused because. Well:

(Variant Cover spread for Justice League (2018) #59)

(Variant Cover spread for Superman (2018) #29)

Notice how Conner is back to his Teen Titans 2003 look up top, but in his YJ 2019 look at the bottom? This seemed weird to me! But then they announced that Conner would be part of the Suicide Squad ongoing title, in the T-shirt look, so I wrote this discrepancy off in my brain as ‘oh I guess that cover was just the last hurrah for punk Kon’ and moved on with life.

In Suicide Squad right away we learn he’s very much so there against his will:

(Suicide Squad (2021) #1)

Which corroborates more or less what we were also shown in Future State: Suicide Squad, although admittedly it tells... a slightly different version of the events. When I first saw both of these together I just chalked it up to being a bit inaccurate as it’s shown as a memory in Future State:

(Future State: Suicide Squad #2)

Issue 2 we saw him in action with the Squad, trying to do his best to still be a hero despite the team, but things get a little more interesting in the following issue. It starts off with an account of his history

(Suicide Squad (2021) #3)

This page gave me a few immediate red flags, mostly minor things that had to do with coloring, so more irl problems than things to take seriously in-universe (Kon’s pants are the wrong color in the first Superboy shot, and Bart’s Impulse costume is in Kid Flash colors instead of the correct Impulse ones) but then also it just bugged me the phrasing “he joined Young Justice” when he was a founder of the team, he didn’t join it he made it with Tim and Bart.

But again, chalked that stuff up to just.... writers/artists being inconsistent/unaware of things that they should be aware of, or even Nocturna just not being specific with details. But it did still strike me as a little odd considering the very accurate use of villains in those same shots, Scavenger who was a reoccurring bad guy from Kon’s solo days and showed up basically nowhere else (even holding the Spear of Lono and everything!) and Billy/Harm (Greta’s brother) from Young Justice.

But then a few pages later we got this:

(Suicide Squad (2021) #3)

Which is interesting. My first instinct was to think he’s being drugged w kryptonite or something thats leaving him hazy/out of it, but my thoughts on that have kinda changed, we’ll get there in a bit. But in general the context of ‘something’s wrong’ made the slight discrepancies on some details of his own history make more sense.

I also want to then bring up the next part to this story, the crossover issue in Teen Titans Academy.

(Teen Titans Academy #3)

So a few things. Does it feel weird to anyone else that Conner Kent, a known previous Titan who literally has a framed picture of himself in a case there, would set off alarm sensors like that? Wouldn’t he be... recognized as a Titan not an intruder by their sensors? Interesting! Anyways.

He looks really pained looking at that picture, and sad, and almost frustrated, which ya know makes sense and hurts my heart because he misses them! He misses his friends and being happy.

But, importantly for a criticism I wanna make thats less theory related and more just me bein annoyed at Tim Sheridan, that’s a picture of Conner. Right there. That’s Superboy, on display at Teen Titans Academy, so the people who frequent this building would know who he is and what he looks like and be able to recognize him, he’s even in the same outfit and everything. Alinta recognized him at the end of Suicide Squad #3.

So why does only one person during this big fight then comment on his presence?? Why doesn’t it get a bigger reaction???

(Teen Titans Academy #3)

And after the fight we don’t see any on panel moment of Wallace going up to the staff Titans (who weren’t present for the fight) and saying like “HEY NIGHTWING UHHH SUPERBOY WAS WITH THE SUICIDE SQUAD?” we just see him talking with his friends upset about Crush leaving. We see Alinta talking to them but we don’t see the exact dialogue. So I do just wanna take the writer by the shoulders and shake him a little bit and ask WHY because that just feels like... something you’d wanna address on panel! This is like the first time since joining the squad that Kon’s at all in contact with people from his life before Waller got involved, I feel like not addressing those people’s reactions to it/not discussing it at least a little bit on panel (especially when Conner CAME UP in the previous TTA issue, Dick brought him up and everything!!!) is a really odd choice. Maybe it’ll happen next issue and i’m just impatient, but who knows. Anyways, gripes with Sheridan aside, lets move on.

I wanna bring up how Conner... doesn’t really respond to Wallace’s question? At all? Except to just fight him off, not even an attempt at a ‘Sorry’ or anything? (the ‘Ha! That all you got?!’ seems to be coming from Culebra not Conner, although the placement of the bubble is vague enough it could be that it was supposed to be Conner? but it seems more like what she’d say, especially as she’s grabbing Emiko like that) That just feels weird. It feels off. In general he speaks so little in Suicide Squad #3 and this issue. Tbh it almost feels like he doesn’t really recognize Wallace which I mean I suppose they never exactly met (they would have theoretically during Death Metal, basically all past/present Titans were together for a while during that), but Kon’s been back in existing long enough he’d have a sense of who current heroes are anyways.

But right, so, lots of little things that feel weird... that gets us caught up to the most recently released comics... but in this household we look at solicits as they drop. Which gives us some info on what’s coming up a few months ahead of time, albeit without full context obviously. Issues #4 and #5 don’t mention Conner in their descriptions or show him on the covers at all, because there’s just other plot things going on, so ya know seems things will be quiet for him for a bit.

But then we got the August solicitations and oh BOY it’s a doozey for him! And some things start to kinda connect perhaps!

I want to just take a moment to look at that specific wording. “The teen calling himself Conner Kent” I’m probably reading too much into it but that feels deliberate, like why wouldn’t you just say ‘Conner Kent’? Usually these kinds of descriptions are trying to keep a low word count, not add in extra words that don’t need to be there. It makes it feel like that’s a name he’s using that... doesn’t actually belong to him.

So the theory I want to propose (that has been floating around already) is that based on these covers and the description, and how the Conner we’ve been seeing in Suicide Squad apparently talks about his own personal history like he’s ‘reading a wikipedia entry’ and had little response to people he should be aware of like Wallace and apparently isn’t recognized as a Titan through a bio-scan and also bearing in mind those initial promo arts with two separate looks at the same time for him... I think we're looking at a situation where the Conner in Suicide Squad so far has actually been a clone of original Conner (like... like he’s Match 2.0 or somethin) the whole time, that’s just not aware he’s not the original.

Now that’s the base theory I wanna work with and build off of, but there’s MANY different directions that could go in/ways that could work.

For example, one idea is that the Conner we saw in #1 who was chained up is the original Conner, and he’s been being cloned and held captive, so everything else with Conner in Suicide Squad so far has been this Match 2.0

Another idea could be the original Conner in #1 is also the Conner in #2 who Waller had then commented wasn’t ready during the mission in Arkham and had zapped with a lil Kryptonite, and after that moment she took him off the field because his spirit hadn’t been broken enough to be obedient (as he was a lot quieter in Issue #3 & the TTA crossover compared to #2, and #3 is when the Nocturna thing with the history happened)

Or it could even be original Conner in #1, then in #2 was one clone that wasn’t ‘ready’ that after that point she stopped using him, and switched to a diff clone for #3, because like that first cover did show a LOT of clones. That could be more just ‘artistic interpretation’ or something, covers sometimes do exaggerate/mislead, but it also could indicate we’re looking at a lot of clones.

(Suicide Squad (2021) #2)

With all of those in mind I also wanna bring up this little bit from Future State Suicide Squad:

(Future State: Suicide Squad #2)

Again Future State is a ‘possible future’ so stuff from it isn’t set in stone, but the idea of ‘she still has his YJ 2019 outfit somewhere’ makes me think it could be something along the lines of like, Clone!Conner finds original Conner and frees him and he gets back his YJ outfit, which could lead to like the imagery on that variant cover/the idea from my very first part of this post where I was talking about Kon being shown in both outfits in different places.

Alternatively entirely from all that, another option is that she maybe got ahold of what was needed to clone Kon, but doesn’t even have the original Kon in her possession. (again with the Future State thing, she could be lying since elsewhere in Future State we did also see a copy of YJ 2019 Kon’s costume in one of the Jon-focused Future State comics in a display case 🤷‍♂️) Which could also lead to that confrontation on the variant cover & the promo art thing... and could also explain why we have seen nothing about anyone looking for him, because in that sort of scenario he wouldn’t have even been missing in the first place.

There’s a lot of possibilities! It’s still too early to solidly know anything, but I feel pretty confident we’re entering another cloning related plot with our Clone Boy so it’s... ya know. Clone time. On the one hand it’s annoying because god we have done clone/multiple Kons plots before. We’ve done them so much.

BUT on the other hand, I think it could be interesting to use this situation to tie into some older stuff from pre-reboot that I can see some connections to, because due to Infinite Frontier altering the world and people’s memories it’s all technically fair game storytelling-wise again (and like, the use of Scavenger specifically in that flashback way above, who’s not a super well known villain in general, makes me think maaaaybe the writer did do some of their Kon homework)

Something also just dawned on me that i’m not quite sure what it means but still is worth mentioning: The Conner here in Suicide Squad is back in his Teen Titans Vol. 3 outfit, and his history as he tells it stops during Teen Titans Vol. 3. And doesn’t... mention when he died? It feels like it... stopped before that, because like I feel if he was telling his life history (even the wiki version LMAO) the part where he died and came back would be pretty important to bring up?? And Nocturna specifically says that he didn’t explain how that stuff from TT Vol. 3 then led to him in his current situation. That’s a pretty big gap (like uhhh everything from resurrection until he got lost on Gemworld + all the rest of the Young Justice 2019 stuff?) So like.. there could be something funky going on here that has to do with that.

Similarly when he flashes back in Future State: Suicide Squad to his past it also goes right from Teen Titans Vol. 3 to the current Suicide Squad run? Like I get it’s one page so they can’t show that much, but the fact that there’s now two places that flash back to that same specific time period and nothing past it until the Suicide Squad feels just... noticeable! Not concretely indicative of something, but noteworthy.

(Future State: Suicide Squad #2)

Like...this almost has me thinking maybe it could be something where like, they tampered with his dead body and cloned from that? BECAUSE, for those of you who may not be familiar with how Kon’s resurrection (during Final Crisis: Legion of 3 Worlds) worked, when he came back there was time travel involved! He was brought back to life in the future (like. Legion of Superheroes era) because it was a process that took that thousand or so years to work/heal him (essentially because of his hybrid dna the process that healed Clark when he had died back in Death of Superman/Reign of the Supermen in the 90s just took a lot longer, but its the same Kryptonian healing chamber thing) meaning when he came back to the present alive again, his dead body was still also in the present just in it’s process of healing. Meaning especially if we’re bringing back stuff from before the reboot, Kon likely has his dead body just vibing out there while he’s goin around living life 🤷‍♂️

SO them doing something related to that could explain the choice to put him back in the T-shirt (since thats what he wore in the era his brain would be caught up to if we’re relating this to when he died) and why he’d recognize himself in a group photo with Bart, Cassie and Tim but maybe not someone like Wallace who didn’t exist back then. I don’t know, this branch of thought is still half baked. Will maybe come back and elaborate on this later. But I’m now really thinking there might be a connection to the early Teen Titans Vol. 3 era specifically because of it being referenced twice in stuff with this Suicide Squad.

ANYWAYS moving on, this is probably a shot in the dark and I only thought of it because I just was reading 90′s Superboy, but right away when thinking about ‘Amanda Waller’ and ‘Cloning Kon’ I was reminded of some stuff about the circumstances around the first clone that was made of Conner: Match.

(Superboy (1994) #35)

Match was created by an organization called ‘The Agenda’, that was after a while primarily under the control of The Contessa, Lex Luthor’s ex-wife, aided by Amanda Spence who had a personal grudge against Kon bc her dad was Paul Westfield the guy Kon was originally cloned from (before the Lex/Clark retcon). They were the big bad guys of an arc called The Evil Factory in Superboy (where Cadmus personnel got replaced with clones) which also then tied into the Sins of Youth event over in Young Justice (Remember how Match was posing as Superboy for a while there? yeah). After those plot lines finished the Agenda was pretty defeated (Amanda Spence was still out there and came back later but still) and... who got their hands on the remaining Agenda tech?

(Superboy (1994) #87)

Why none other than Amanda Waller herself!

If they re-canonized pieces of this (which also tied into Young Justice which ya know, YJ 2019 was all about re-establishing stuff from YJ even before Death Metal happened soooo) it would totally make sense for Waller to have complete access to the exact technology used to clone Conner before.

Now, a thing to consider here though is what happened to Kon after he’d been cloned that first time, where his DNA got all destabilized by the process (and he needed to go through a procedure with Roxy as a genetic template to keep him together, which was how he got stuck at age 16 for a while). This was something where he was fine for a period of time before the side effects began to kick in. Now, I think it’s worth mentioning that was also back in the days where he was not yet Lex & Clark’s clone, but still Paul Westfield’s. So there could easily be a ‘now that certain Kryptonian genes have kicked in as he got his newer powers it doesn’t destabilize him the same way’ reasoning or something along those lines to avoid this problem. Alternatively, it could be an interesting thing to embrace rather than retcon away, especially if we’ve been seeing Clone Conner in action and Original Conner hasn’t been in our focus, things could be wrong with him that we just don’t know about.

Another branch of thinking that I think is even MORE a shot in the dark but could be interesting (or again even related to what I just said, could be a combo of things) is if this somehow ended up related to those clones that were reverse engineered from the remains of Match from the very end of Teen Titans Vol. 3

(Teen Titans (2003) #99)

All of them were then taken down with Kryptonite and killed in battle (by Rose & Damian)

(Teen Titans (2003) #100)

But like... idk man if Waller got her hands on those corpses or even just the data from Dr. Caligan that he extracted from Match to make them... that could also be a potential way to make some new Conner clones, and that could be why the bio-scan thing at Titans Tower wouldn’t work properly because of the thing he says above about it not being a “complete match’

One thing I don’t think is the case, but has been brought up to me, is stuff with New 52 Kon. I’ve talked extensively about New 52 Kon in recent weeks because I read through all his stuff, but the thing that makes me shy away from him being part of this situation is the fact that... he’s not interchangeable with Kon the way I think some people think he is. He wouldn’t visually be recognized as Original Kon because he is literally on a genetic level a separate person. They’d prob look related, sure, like they’d pass for brothers because they both have Clark’s DNA, but New 52 Kon has Lois’ DNA and Original Kon has Lex’s. New 52 Kon would likely look more like Jon, rather than Kon. Lois specifically commented in an Action Comics issue that Kon had some resemblance to Lex, even. So like, things like Wallace recognizing him or him looking at his own matching reflection alongside the group picture at the Tower... those wouldn’t happen the same way if this was New 52 Kon.

Now I think it coooould theoretically be possible for Waller to have gotten her hands on that future N.O.W.H.E.R.E. cloning tech that had been used to make New 52 Kon, like I wouldn’t rule that out. Because she knows where the remains of their bases are as shown in Red Hood and the Outlaws (2016) #16-17, and like, Harvest is dead so she could easily just send teams out there to gather shit if she wanted.

Onto some other things I don’t think are actually related but that I was reminded of/wanted to address:

I feel i’d be a bad timkon fan if during all of this discussion of past stories with cloning Kon I didn’t even bring up Tim’s cloning attempt stuff, but I think it would ultimately be unrelated. His tech was stolen from Luthor, and his attempts didn’t succeed because he was trying to build from scratch without Cadmus’ the data about how they altered the DNA from the original process.

(Teen Titans Vol. 3 #34)

Then that initial cover for the annual really reminded me of part of the Hollow Men story from Superboy Vol. 5 just with like... Kon in a room full of copies of himself. I don’t think this story would be related either because it was more magic Tannarak stuff rather than regular cloning, but ya know. It’s the imagery.

(Superboy Vol. 5 #9)

It also really reminded me of the stuff from Hyper-Tension which was hypertime stuff not cloning but again just... visually.

(Superboy Vol. 4 #62)

In general I don’t think we’re EVER gonna see Black Zero or any of these multiverse Superboys again LMAO.

To try to sum up all of this in a way that might make sense here’s kinda a... flowchart of some of my main ideas for what the cloning situation could be/how the logic could work. Again this is borrowing stuff from across continuities because Infinite Frontier means theoretically anything’s fair game. (Also I don’t think I mentioned this earlier but I do mention it in the chart, but I think it’s also reasonable that Waller could get her hands on Cadmus tech if Cadmus is like properly made canon again. She just has funky government connections!)

Also I just now thought of this now several hours after I already made the chart and I don’t wanna remake it so sorry not incorporating it there but I remembered there was also that bit during House of Kent where Clark took Kon to the Hall of Justice and they were running some tests on him, so I’m thinking it’s also possible Waller got ahold of that data/that might be how she found out about Kon in the first place for this timeline. And they indicated that there was something wrong with him there, where he might eventually lose his powers or something, so maybe she tried to do cloning stuff to be able to have a copy of Superboy in his prime or something??? before that started kicking in. I don’t know, just more things to consider:

(Action Comics (2016) #1028)

ANYWAYS in conclusion: there is clone fuckery of some sort happening, I’m curious where it’s gonna go, and I just want Kon to be okay.

If you actually read this uhm. props to you bc this probably makes no sense to anyone but me its just word vomit <3

#this is very long! and disorganized! i am sorry #this doesn't have one theory abt things it has like. many #its basically just brainstorming/spitballing ideas #i could also be entirely off base! with much of this! i just feel i need that disclaimer #grandpa max is god? i go to church now #i need a kon talk tag bc i swear i write more analysis stuff like this for him than anyone else

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davidmann95 · 3 years

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Comics this week (3/10/2021)?

cheerfullynihilistic said: Comics this week (03/10/21)??

adudewholikescomicsandotherstuff said: This week’s comics?

Anonymous said: Comics?

Anonymous said: 3/10 NCBD?

Non-Stop Spider-Man #1: The lead story was fun, the backup was dopey, I’ll give it another issue or two to see where it goes.

The Immortal Hulk #44: While it was too late for this week I’ve taken Hulk off my pull list, so the store won’t order any copies specifically for me and therefore my future purchase of the book won’t support Joe Bennett’s presence, just the store. This issue is typical of some of the books’ weaker installments of the last year or so - feels like well-done regular superhero comics instead of Immortal Hulk - but those last couple pages bring it back around.

Daredevil #28: Holy cow, those King In Black issues actually mattered. God this book is still so fuckin’ good in so many ways, everything every dumbass street-level superhero ‘deconstruction’ wants to be when it grows up.

Children of the Atom #1: Sucks real bad! This weird combo of ‘hip new young Marvel heroes!’ trappings and soulless X-Men lifer comics execution that feels certain to appeal to neither group.

Eternals #3: Of the listed Deviants I imagine I’d relate most to Annoyed Veug.

Commanders in Crisis #6: While I remain without the ability to weigh in on this objectively, this is the issue that to date most feels like it lives up to the promises of the series premiere.

The Wrong Earth: Night & Day #3: Little disappointed personally with the reveal of what the third world is - I assumed it was going to be more of a straight take ‘modern’ version to the other two’s flavors of throwbacks - but this series still rules. And that ending.

Home Sick Pilots #4: Okay, I think I can follow what’s happening at this point, still enjoying it.

Proctor Valley Road #1: I review these books in the order I present them to my dad since he likes DC/Marvel/Other to each be lumped together, but make no mistake: this is the last of the three Morrison books to read this week, because this is what comes next for them. A return to their roots - 70s kids way into music and dealing with the weird, girls adventure stories of the kind they apparently grew up reading - this feels like a refinement of their mid/late-00s Vertigo work in the same way they’ve been iterating on their superhero material for decades. The horror is sold excellently, whether by their own efforts or thanks to cowriter Alex Child this is their most fluid, ‘real’-sounding dialogue perhaps ever, and Franquiz with Bonvillain are instantly among their all-time best collaborators, perfectly capturing the shifting tone and character acting necessary to best put Morrison’s big ideas over in a way a number of their collaborators haven’t lived up to over the years (and speaking of the visuals, Jim Campbell does the lord’s work with that lettering trick near the end). Ritesh Babu and Sean Dillon have a lot more to say about the book and how it already acts as a darker, more honest take on your Stranger Things and the like as a commentary on its times, but I’m already loving to see this particular return down to Earth for Morrison and company and I’m glad to hear this is selling really well compared to their previous indie work.

Dead Dog’s Bite #1: This actually came out last week, but Ritesh recommended it so I figured it might be worth a look. A so far intensely low-key missing persons mystery with a touch of surreality around its edges, this already looks to be the best “look! A nine-panel grid! Fancy!” comic since Mister Miracle, really lived-in and emotional for as little happens in this debut. Very curious where it’s going.

Rorschach #6: I continue to like it.

Batman: Urban Legends #1: Glory be, a good Jason Todd comic - at last, you noble stubborn weirdoes living off of like six nonconsecutive panels all these years, you may lay down your burden. Not all you’d necessarily hope from Zdarsky tackling Gotham after what he’s been doing with Daredevil but rock-solid work regardless; the Harley story is fine, Outsiders is a letdown after Thomas’s shockingly good showing for them in Future State but it’s still fine, and the Grifter stuff is fun.

The Joker #1: I thought the advertised ‘a Joker story from Gordon’s POV’ angle was an interesting one even if I was concerned this book would in practice be pure editorial mandate, but in reality? Tynion has managed to pull the wool over DC’s eyes and do a full-on Jim Gordon book (one predicated with him being off the force to make it reasonably comfortable read in 2021) with Joker as the barest of pretexts to get it out the door and selling for as long as he wants to continue it. He even said in interviews that when the book was first pitched to him that his response was that a Joker solo book was a dumb unworkable idea until he had an idea for a ‘different way to approach it’, he knows exactly what he’s doing and I salute him. And it’s a darn good Gordon book even if the Punchline backup is predictably tepid, I’m in the tank for Gotham’s perpetual whipping boy dealing with weird noir international crime with Joker sort of hanging around in the background menacingly to justify the nominal premise.

Anonymous said: Hey, so I figure one random anon won’t change your mind, but like you I was disappointed by New Frontier’s immortal Wonder Woman, but I still got the new issue of Wonder Woman cause Wonder Woman at Valhalla still sounds great and I actually liked it! I think I’m gonna get at least the next issue, so there’s at least one recommendation for it

Wonder Woman #770: This combined with the store still putting it in my pile prompted me to give it a try after all, and whether because something here clicks better or if they’re simply not trying so hard without the pressure of doing a ‘final’ story for Diana, Cloonan and Conrad do in fact do substantially better on the main book than they did with Immortal Wonder Woman. Some fun, some fights, some mythology and intrigue, gorgeous landscapes and generous servings of beefcake from Travis Moore - this isn’t going to be sweeping the Eisners, but this is as enjoyable as a Wonder Woman comic has been in a good long time. My only concern is that the joyousness on display here might dissipate somewhat once Diana fully returns to herself, but in the meantime this was a very pleasant surprise (especially with the the Young Diana backup by Bellaire, Ganucheau, Goode, and Carey).

Superman #29: PKJ’s Superman thus far has been a story of overcoming initial worries of mine - in this case, my concern that he’d have a bad Scott Snyder-ey case of “if you’ve read the interviews you’ve pretty much already heard the dialogue of the comic verbatim”. In practice here most of what he’s had to say about these issues are distilled down really succinctly and poignantly in the midst of a fun little upper-atmosphere adventure portending something grimmer, and while I know it didn’t click with everyone I thought Phil Hester’s work here was a perfect accompaniment. The Tales of Metropolis backup wasn’t nearly as enjoyable, but hints at some interesting worldbuilding I’m hopeful will pay off in the main run.

The Green Lantern Season Two #12: The final Grant Morrison DC comic. One of two anyway, but if the next story I discuss is their broader final (non-Klaus, hopefully) statement on the superhero subgenre and a bridge to what they’re doing next, this is the one that’s about being The Final Grant Morrison DC Comic. A mélange of pretty much all their other DC finales into a shamelessly self-reflective meditation on the limits of what they can accomplish in shared universe storytelling where Green Lantern saves the universe through collective action and then fucks off to do his own thing elsewhere while the kids take over the ongoings. Weird and kinda perfect, and if nothing else this series took Liam Sharp from “really? This dude is drawing the last ever Morrison DC ongoing?” to “HOLY FUCKING SHIT LIAM SHARP”.

(The panel folks blew up over I think can be read multiple ways, but not in a ‘it’s open to interpretation!’ way so much as the storytelling/framing being unclear. I personally read it as ‘this is what neighbor versus neighbor looks like now’ rather than ‘calling someone a TERF or a Nazi is as bad as anything the other side does’, because oldster and out of touch though they may be I can’t see Morrison seriously saying that, especially after coming out.)

Wonder Woman Earth One Volume 3: At long last, after a hideous misfire kicking the series off and a second installment best described as ‘well, at least it wasn’t the first one’, this while not without elements I want to see femme and nonbinary critics discuss critically lives up to what you want to see out of ‘Grant Morrison’s Wonder Woman’. Big utopian fiction breaking the typical boundaries of superhero stories with aplomb in implicit conversation with a ton of their previous work, a bridge from what they’ve done to what they’re doing next, it’s an imperfect (especially with Paquette’s art, which while gorgeous and majestic in the way this story demands really doesn’t living up to the ‘acting’ necessary here in a way thrown into sharp contrast by Franquiz in PVR) but shockingly passionate statement of intent - if the last two volumes felt like Morrison struggling to have something to say with Wonder Woman in the same way they did with Superman and Batman, this feels at the close like them at last finding in her a way to do everything left with the cape and tights crowd they wanted to but couldn’t manage anywhere else under the Big Two umbrella. Odd and lovely, a fine sendoff.

#Week's Comics #Opinion

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garazza · 4 years

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Action Comics #1023 Review

“The House of Kent: Part 2″

Action Comics #1022 “House of Kent: Part 1″ Review

Hoo-boy.

I actually appreciate this recap page, I really do, but it just rubs me the wrong way. I’m not sure if it’s the content of the recap that pisses me off or if it’s for the fact that they literally just took a page from the previous issue and slapped in some new dialogue (see Bendis’ Man of Steel mini for this to be taken to the extreme).

Most likely the latter, but there’s a good argument for the former because reading objective statements about what Bendis has done tends to do that. I guess what they could be going for is for something similar to when Svengoolie comes back from commercial break and it’s a still from the movie with Sven’s face superimposed somewhere and he makes a quip about the movie before it starts back up again.

But I digress. It fills me in on what’s been happening in the book and that’s what I needed it to do.

The art really goes down in quality since last issue. Romita, Jr.’s pencils aren’t as good, Janson’s inks are heavier and a lot more boring, and Anderson’s colors are bland and flat and not as lively. There are a few good spots and I’ll point them out, but they’re infrequent, and overall, the quality of the art is much more similar to the art in the Metropolis Doom arc than it is to last issue. This leads me to believe that editorial only gave the art team enough time over the pandemic-induced break in publishing to produce one good issue before forcing them back into a deadline where Romita, Jr.’s work is not as good and tends to suffer.

Red Cloud attacks and attempts to kill Jimmy Olsen instead of Lois Lane to send an even greater message to her and Clark.

For those of you that don’t know, the Invisible Mafia speak in code to avoid detection by Superman’s super-hearing and meet in areas surround by lead to hide from his supervision. In the beginning of this confrontation, no one says anything that Superman would respond to if he hasn’t already tuned it out, which is why Lois says out loud her nickname for her husband to get his attention.

It’s a sign of affection for them and could be utilized for such a scenario, but I don’t see why she had to say his nickname over anything else to get his attention. Maybe because since he revealed his identity to the world his real name is being said a lot more often in non-criminal ways, so he doesn’t respond to it as much as he has in the past. I’m not sure if I’m trying to come up with a rational excuse for what is actually a writer’s weird and out-of-character creative choice or if it’s what an actually competent writer intended for a discerning reader to infer and get joy from a successful analysis.

Regardless, it’s what got Superman’s attention at the end of Superman segment in the last issue. I don’t think what was supposed to be conveyed with those panels last issue was accurately conveyed by the art. Either Romita, Jr. didn’t sufficiently depict (but still beautifully rendered) what Bendis had directed him to draw, or Bendis had poorly directed Romita, Jr. in what he wanted him to draw. With this added context, however, these panels do make a lot more sense, but only with the added context. Without it, the scene is a little unclear.

You can clearly see the change in art with the two issues side by side like this. This issue, the art just doesn’t look as good. It’s just kinda blegh. It accomplishes what it needs to convey the story, but in a very boring and unspectacular way.

Also, this panel is very Harry Potter to me. Superman’s more subdued face is similar to that of book!Dumbledore in Goblet of Fire, but the almost hyperbolic dialogue is more akin to that of movie!Dumbledore. It’s very dissonant.

I really want to hate the humor of this panel, but it’s just so fun, so I won’t.

This is a really cool panel, one of the few standout moments, but I have issues.

First, I may have enjoyed the humor in the last panel, but Bendis’ attempt at humor with Jon here just makes me want to cringe. Whenever Bendis makes Jon talk, it just pisses me off and makes me want to stop reading.

Second, I see what they were going for with the glowing eyes, but this is some more of that dissonance between the art and the writing. It actually looks quite menacing, but the dialogue has a more humorous tone. Also, the actual effect for the glow is just two red circles, making their eyes look more like flashlights than radiating energy. I also want you to keep this moment in the back of your minds, I’ll refer back to it in a second.

I think the dissonance is the result of the Bendis-speak, where some of the characters are quippy, but other characters are playing the situation straight and are reacting accordingly to the incorrect behavior. There’s nothing wrong with a superhero comic being light-hearted, but it just doesn’t quite fit here. All the right ingredients are present, but they’re not all in the right proportions.

Another panel I really like. The smoke and its color are really well done, especially in contrast to the all black silhouettes except for their back logos of the Supers.

The eye glow effect looks much better here. It’s simple yet powerful.

I don’t know how important this revelation is actually supposed to be, so I’ll defer to the depiction of the comic instead of playing the fool and acting upset about something I’m ignorant about simply because I’m not a fan of the writer.

This moment is cool and all, but I don’t think Conner has super-breath. He doesn’t actually have the powers of Superman, he uses his tactile telekinesis to mimic some of the powers of Superman.

The “extreme high-velocity super-speed” was this issue’s first indication that Bendis might not know anything about this character he has stewardship over, but that can just be chalked up to Superman not remembering the powers of Conner. We don’t know the upper limit of Conner’s tactile telekinetic flight, nor should we care, it’s supposed to be a fun line.

The second indication is that Conner is shown to have heat vision when his eyes glow alongside Clark and Jon’s. He only has heat vision when he wears special goggles or a visor. Again, he doesn’t have all the powers of Superman. Tactile telekinesis only covers so much of Superman’s powers. But this can be forgiven because it is a pretty cool image.

“Once Is Chance, Twice is Coincidence, Third Time Is A Pattern.” This panel is the third instance of Bendis’ lack of understanding of Conner’s character. If this was the only instance, this would be fine, but it’s not. The moment is cool, but it’s a bridge too far.

Refer to my review of the first issue for more of Bendis not knowing anything about Conner.

EDIT: Thanks to @thebartallenblog for pointing out to me that Conner does in fact start developing more Kryptonian powers outside of his tactile telekinesis in the 2003 Teen Titans book by Geoff Johns, so Bendis does in fact know more about the character than I give him credit for, which is more than I can say for myself in this instance.

Also, this moment goes on for way too long, almost two entire pages. Beautiful, the art of decompression and wasting reader’s time and money.

“Should I super-inhale?” Shut up, Bendis.

Also, why is Red Cloud is so fixated on Superman’s family instead of just Superman. Does the Invisible Mafia have something against his family as well? It was my understanding that they have it out for him specifically, anything that is ancillary to him is extraneous and not worth their time.

“Hey! It’s not my favorite super-move on a good day.” Then why the fuck did you even make him suggest it, Bendis?

I don’t know if loved ones referring to Lois as Ma is something Bendis has been trying to push as a character quirk or if it’s some sort of weird one-off. Either way, I don’t like it. It’s not bad in of itself, don’t get me wrong, it’s just not my thing and there’s nothing wrong with that.

Again, I’m not sure how significant Jimmy figuring out Red Cloud's identity is supposed to be to the plot and the narrative, but this seems to be a bit of lampshading from a writer who literally has no right to be lampshading.

Couldn’t give a shit about the plot, I’m just here to nitpick. Next.

Feels a bit janky in the art department, but the dialogue is surprisingly in character. They all feel like they have their actual voices. It’s a nice little moment.

I would address all the instances of Bendis making Jon talk, but that would make this longer than it already is, so I’ll only do it when it’s particularly egregious.

Red Cloud comes back and attacks not!Jon and I couldn’t care less. Kill the bitch. Please.

The next two pages are a lot of nothing, just a boat load of Bendis-speak.

I’m pretty sure this played out a lot differently and more humorously in Bendis’ head when he wrote it down and Romita, Jr.’s art makes it all the more funny but for all the wrong reasons.

Who’s his partner? Officer Tomasi?

You know when I said that one panel with Lois, Clark, and Jimmy was written really in-character? This panel with Conner and Jon is the exact opposite of that.

Red Cloud and Ms. Leone have a fun back and forth for two pages. It’s a good example of Bendis-speak working well.

“Black Label Club?” One meta-reference is enough, but two is stupid. I actaully feel a little conflicted nitpicking this, but Black Label is in such a weird place right now, so why reference it?

But “Clark Kent walked into a bar...” is a pretty bad ass line, very John Wick.

A very cool sequence, but it’s full of Bendis-speak and very decompressed.

Why the fake-out of the Superfamily executing a gangland-style shooting with Jon being the one pulling the trigger? I get it’s a story beat the narrative is supposed to hit, but still.

The reveal is pretty funny, shrinking the club, so it’s a little forgivable, but the set up and the pay off don’t quite match. It’s just another example of that dissonance I’ve been mentioning.

I know that “supersons” line was put there by Bendis as a deliberate dig at his detractors, so I’m not going to take the bait and get pissed. Nice try, big guy.

All in all, this issue was not as bad as I initially thought. It’s series of some really big highs and lows.

#superman #superboy #conner kent #jon kent #lois lane #jimmy olsen #red cloud #robinson goode #ms. leone #invisible mafia #brainiac 5 #clark kent #action comics #brian michael bendis

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superman86to99 · 4 years

Photo

Action Comics #692 (October 1993)

In this issue: Superman goes to the doctor and finds out why he's not dead anymore! But, before that, he's clearing some of the debris left by his fight with Doomsday when he finds... Clark Kent? Lois Lane is very happy to see Clark again, but Superman himself doesn't look very thrilled in these panels.

Turns out Clark wasn't dead as everyone believed, he was simply trapped in the basement of a collapsed building! The basement happened to equipped with plenty of food and gym equipment (explaining why he's still jacked, like Superman), but unfortunately not a single pair of scissors (explaining why his hair is now long, like Superman's).

Later, Superman bumps into Lex Luthor Jr., who demands to know where Supergirl is, but Superman gives him the runaround. Hmm, where could Superman's good friend who can change shape and pretend to be other people be? Anyway, Superman then meets Lois and Clark and... holy crap! Mild-mannered reporter Clark Kent is secretly Supergirl!

So yeah, Supergirl pretended to be Clark for a while just so he and Superman would be seen together and no one would question why both are suddenly alive again. Then Supergirl leaves and we move on to the second dilemma solved in this issue: How the hell is Superman alive again? To address that question, supernatural DC character (and fellow Jerry Siegel/Joe Shuster creation) Doctor Occult appears out of nowhere and rudely teleports Lois and Clark to a black void, where he replays moments from Superman's life... and death.

Occult explains that Doomsday DID punch Superman's spirit out of his body, but there was still solar energy keeping the body just barely alive. Superman's ghost ended up stuck between the living and the dead, attracting some nasty soul-eating demons. Fortunately, Pa Kent happened to be dying of a heart attack at the same time, so he and Superman teamed up to fight off the demons (as seen in Adventures #500). Superman’s soul returned to his near-corpse, which was taken to the Fortress of Solitude by the Eradicator and lovingly nursed back into health. (Okay, more like “coldly,” but you can’t argue with the results.)

Anyway, the point is that Superman's resurrection happened due to a convoluted series of events that could never be repeated, unless someone's willing to sneak behind Pa Kent and blow an airhorn in his ear or something. As the mystical exposition dump ends, Occult teleports Lois and Clark to Smallville, and the issue ends with the Kents finally reuniting. A tender moment...

...until two seconds later, when Ma smacks Clark in the back of the head for taking two whole issues to come see them (or that’s what I’d do).

Plotline-Watch:

Doctor Occult reveals that the moment when Bibbo shocked Superman’s body with a hyper-charged defibrillator in Adventures #498 actually helped keep him alive. Once again, Bibbo is the real hero of this saga.

Supergirl has a lot of experience posing as Clark, since she was stuck in that form between 1989 and 1992. That was also her in the only other photo of Superman and Clark together, taken in Superman #34.

While Superman is being interviewed by a news crew after rescuing "Clark", that lawyer from Action #689 barges in and demands that they stop calling Superman Superman, since that name is now trademarked by Superboy's manager. Damn, maybe he's gonna have to start calling himself "Supreme" or something?

Aww, Lex is happy to see Superman again. Sure, it's only because he wants to be the one to kill him, but still.

S.T.A.R. Labs is examining the Eradicator's corpse when they realize he's alive! Sort of. Later, Doctor Occult remarks that the Eradicator sacrificed himself "in mind, if not in body". Hmm. The doctors overseeing his condition are Kitty Faulkner, who can turn into an orange She-Hulk called Rampage after a workplace mishap, and a new character called David Connors, the only S.T.A.R. employee without superpowers. So far.

The JLA returns from the little space vacation the Cyborg sent them on, and we get the first instance in all of comics of Guy Gardner admitting he was wrong. Character growth! Don Sparrow says: “Nice to see some follow-up to the characters around the DCU and how they react to Superman’s return. No mention of the fact that they got suckered into a mission into space that went nowhere.”

When Doctor Occult shows up, Superman is like "aw, not this guy again!", referencing that classic tale of Superman's first encounter with the supernatural... which hasn't come out yet. Don: “It’s a neat forward call-back (is that a thing?) when Superman references his first encounter with Doctor Occult, given that we won’t see it happen until 1995, when DC does a line-wide ‘Year One’ series of stories. And wouldn’t you know it, that story is written by none other than Roger Stern (and even involves tentacles, as in the thumbnail image)!” #rogersternplaysthelonggame

Don Sparrow's section, on the other hand, can be read NOW, after the jump!

Art-Watch (by @donsparrow):

We open with the cover, and it’s one of the top ten best of this era, for sure. Drawn by Kerry Gammill and Butch Guice, DC used this drawing on the “Return of Superman” cards. I tend to favour simpler, iconic covers, even when they don’t necessarily represent the story within, but in this case, it’s showing exactly what the heart of the story is about: Clark Kent is back.

Inside, we open with a full page splash of Superman’s shield, through tons of rubble, and it’s a great image, but without the face, it allows us to focus on the title of the story, a callback to the speech introduction of the old Fleischer Cartoons.

I don’t know if it’s from the writing, or the artist, but Action Comics has always seemed the most romantic of the Super-titles, and this one is no exception, as Clark and Lois have their hands all over each other for basically the whole comic. While it is a bit weird to remember that it isn’t Clark that Lois is caressing (more on that in a bit) in the early part of the story, it always feels intimate and romantic more than it feels graphic or titillating. A tricky balance that this team pulls off well, particularly in their “reunion” on page 3. [Max: Every time I read this issue I think it’s Martian Manhunter posing as Clark and when they start flirting I’m like “ew”. Then I remember who it is and I’m like “nice”.]

I always enjoy seeing Superman flying upside-down, which I consider to be a Byrne innovation—I don’t remember him doing it pre-Crisis. It always seems so joyful and carefree, and it’s nice to see Superman savouring his powers.

Jackson Guice uses tone very well in the scenes with Lex Luthor II in his aviators, and I quite like the sense of motion to Superman’s pose as he approaches the helicopter—almost like he’s swimming in the sky rather than floating.

It’s a good drawing of the Eradicator getting the post-Hoth Luke Skywalker treatment, with David Connor and Kitty Faulkner getting an eyeful. My copy has a slight colouring error that makes it look like the Eradicator is awake in the tank, even though he’s supposed to be catatonic. [Max: Still looks like that in the collections. Maybe he’s one of those people who sleep with their eyes open?]

Superman embracing Lois after the ruse of “Clark Kent” is very cutely drawn, as is the Ghost-like backward embrace on the following page.

The entire sequence replaying Superman’s death and rebirth is drawn well throughout, especially the dreamlike staging, and the darkness as Lois knocks the flashlight away. It’s also moving that Superman can see the heroic lengths that Bibbo went to try to save him once Superman succumbed to his injuries.

Lastly, it was wonderful to see Clark reunited physically with Ma and Pa, especially with the nice touch of the poem by DH Lawrence as the only narration. Stern was always the best at referencing secondary texts in his stories, and it’s well used here.

STRAY OBSERVATIONS:

Is it me, or is Matrix/Supergirl a little too into this Clark Kent act? I get that making their performances light and funny keep it from seemingly overtly dishonest, but “Clark” is pretty tender in these scenes. Lois does a good job of playing along, but it’s hard for me to fully forget that all this canoodling is actually with Supergirl. So as a helpful tool, I created these graphics: [Max: Nice.]

It was cool that Lois specifically mentioned that Jimmy got a shot of the returned Clark Kent next to Superman, I always like it when that can happen.

In previous posts, I’ve talked about how creepy it is that Luthor has a sexual relationship with Supergirl/Matrix, when she is in so many ways (mainly mentally) a child, and I can’t help but read the scene where Lois chooses Superman over “Clark” this way. The laughing and clapping has a whole different feel if you think of her as mentally diminished somewhat.

So it’s not exactly a continuity error that Clark says on page 13 that he has to call Ma and Pa to let them know that “Clark” is alright (even though he already called them in a previous issue). It could be that they want to tell the Kents the cover story of Clark’s return has now taken place, and they can act like their son is alive again when they go to the corner store, etc. [Max: Yeah, that’s how I took it. It would be awkward if their neighbors saw them all cheerful while their son is still “dead”.]

I like to imagine that Dr. Occult looks and sounds like Robert Stack. [Max: It’s impossible for me to hear him as anyone other than Humphrey Bogart after Lois calls him “Sam Spade”.]

We’ve mentioned previously Jackson Guice’s tendency to use photo reference for his characters. In this issue, Superman looks a lot like Jason Patric to me, who would have made a pretty great Superman had there been movies being made in this time.

I also appreciated this issue explaining both the physical and metaphysical reasons Superman was able to return—and that there’s no back door to the story—if Superman ever died again, he would be unable to return.

#superman #roger stern #jackson guice #denis rodier #supergirl #justice league #guy gardner #rampage #eradicator #doctor occult #pa kent #ma kent #bibbo bibbowski #S.T.A.R. Labs #cat grant #captain marvel #roger stern plays the long game #nice

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hellzyeahthewebwieldingavenger · 4 years

Text

This is the most offensivly ignorant comment I’ve ever had the misfortunte of reading

Unsurprisingly it comes from the King of ‘What you just said is so aggressively idiotic I feel like you just insulted everyone’: RDMacQ.

For context you need to read this statement from someone else. Whilst I do not agree with this statement I’m not addressing it’s merits or demerits.

“Let me say that I don't like Evil Superman as a concept, but when written well, like Tom Taylor's Injustice comics, where the guy who wrote it clearly has love for the traditional version of Superman and tries to humanize him even at his worst so you can relate and feel for the guy, I accept it, I enjoy it. By that same token, I was always open to Peter/MJ not working out if it was done well, and not done as in the case of OMD/OMIT with the demonstrable intent of slandering MJ's character and making Peter young hip and open to dating younger girls without him coming off as a creep and sleazebag. I am not okay with it happening to preserving Peter's sainthood. I mean the reason I accepted Peter B. in ITSV is that it did that take on the direction the character went into very well. In the case of Life Story #3, you are meant to agree with MJ and she's shown as a moral force, someone who condemns Venom Peter when he is about to kill Kraven-in-Cloth Suit. And of course people need to keep in mind that in Life Story, Reed and Sue didn't work out either, Vision suffers more guilt than even Peter can fathom, Captain America made a bigger and more difficult choice and faces more consequences for his actions than Peter does. So I feel that whatever Zdarsky is doing he's playing fair in the way that other writers don't when they do the story this way. And also tonally, the story is set in the '80s, the age of Watchmen. I think in terms of decade-specific mood and trend, having a story where Spider-man becomes a deadbeat dad worried about not being in prime physical shape and so on...is quite apposite.”

Then we get to RDMacQ’s bullshit

“Yeah, I find it weird that the main complaint is "This isn't what happened in the original comics" and I'm like "Yeah.... kind of the point!"”

Here is the problem.

Life Story is intended and promoted as a WHAT IF.

The way a WHAT IF works is that it takes what DID happen and changes variables to explore how that’d impact the outcome.

With Variables A+B you get outcome 1 (the main universe).

But what if you had Variables C+D? You would get outcome 2.

Gwen Stacy died so Spider-Man tried (and ultimately refrained) from murdering the Green Goblin.

But what If Spider-Man saved Gwen Stacy? Then she’d accept him, he’d stop the Goblin, but the Goblin would expose his identity in the interim and thus ruin Peter’s life.

Kingpin’s assassin injured Aunt May so Peter beat him up.

But what If the Kingpin’s assassin didn’t injure Aunt May but simply outright killed Mary Jane? Then Peter would directly murder the Kingpin.

Life Story doesn’t play fair as a What if in the slightest.

A what if done properly is confined by the parameters of the original story. Everyone still needs to act in character within the context of the new situation as defined by the older stories.

That isn’t he case in Life Story

To begin with it isn’t changing just one variable it’s changing multiple. Spider-Man is aging in real time. The events of his life are happening in roughly the same time period they would’ve been published, but not in the same order. The level of realism is drastically higher since Marvel heroes are going to the Vietnam War.

Characters act arbitrarily differently in ways they wouldn’t do in the context of the new variables. Case in point, why exactly would Norman Osborn pull the scheme he di in issue #2 just because he’s in prison? His plan never made sense. And in issue #4 his plan was even more asinine. He wanted to destroy Spider-Man and due to being too old to do it himself he pulled the Clone Saga and got Doc Ock to attack Spidey on his behalf. But he knew who Peter was, why not just reveal the truth. Doing so couldn’t harm him as he’d already paid for his crimes as the Goblin and his identity was public knowledge.

That doesn’t make sense. That’s not an opinion that’s just self-evident by the story. The cause and effect of it doesn’t add up.

But RDMacQ doesn’t believe in that. According to him Norman’s actions are justified because ‘ a crazy person did something that didn’t make sense’. That’s the laziest most pathetic attempt at analysis. And yet this cum bubble of a human being has the audiactity to claim I don’t analyse.

To him authorial intent is everything unless he doesn’t like it.

Because the point is that it’s supposed to be different from canon that means that characters can act in ANY way that’s different. ANY thing that is different is a viable option. Which obviously defeats the entire object of the project. If you are going to do that what is the point of rooting it in 616 canon in the first place? Why rely upon familiarity with the canon universe if you are going to randomly change anything on a whim as opposed to in logical response to a changed variable?

In doing that all you have accomplished is a weird and unfocussed Ultimate Universe, not a What if.

But then ol’ Big Mac starts to step up the game.

“I think probably my issue arises due to certain recent fan outrages, and a lot of the rationalizations and justifications that came from them. The latest episode of Game of Thrones, for example, had a lot of people- and I mean a LOT of people- decrying a character's "Heel" turn and their "Out of character" moments- while at the same time showing a bit of a misreading of the material or the subject matter.”

Bear in mind when he wrote this the latest episode of HBO’s Game of Thrones was the penultimate episode of it’s eighth and final season. In it, key protagonist, Daenerys slaughtered a whole city full of civilians with a fire breathing dragon and her army. Throughout the show she’d previously been defined as being unwilling to kill innocents on principle, once claiming that each enslaved person in a city was a reason to conquer the city and liberate it’s people. She was so horrified that one of her dragons inadvertently killed a child that she locked them up. She once affirmed that she did not want to be ‘Queen of the Ashes’ amidst her campaign to retake her homeland.

It’s fair to say the overwhelming majority of viewers AND professional critics took major issue with this and declared it a travesty and out of character.

Behind-the-scenes stories also heavily point to Emilia Clarke (the actress portraying the character) being upset and disenchanted with her character’s direction.

youtube

For my money these two videos are the best examinations of the disaster that was Daenerys heel turn in this episode of Game of Thrones.*

youtube

Also please bear in mind the ‘man’ saying people are misreading things is the same man who has continually insisted that Norman Osborn merely wants to kill Spider-Man in spite of me citing examples to the contrary, including this page.

So you know, not exactly demonstrating great analytical skills there.

“I think it's far too easy to cry "Out of character" when a character does something different, or simply questionable, because it's an easy catch all phrase that sounds like you know something, but in reality it's just a cover for a lack of understanding of things like characterization or plot development.”

Says the ‘man’ who genuinely once said Norman Osborn doing something nonsensical is justified because ‘he’s crazy’.

Says the ‘man’ who leaned incredibly hard on the idea that Miles Warren in Life Story would not have intervened in Gwen’s marriage to Peter Parker even though his entire character revolves around his jealous obsession over her.

Says the guy who once said a writer can randomly decide all of Mary Jane’s character development since the 1980s didn’t matter.

Says the ‘man’ who once claimed Doc Ock at the end of Gage’s Superior run was he real Doc Ock even though he was literally a clone of his mind in a clone of his body…and then he refused to listen to me when I repeatedly spelled that fact out for him. His rationale was ‘Marvel are treating him as the real guy so he is’.

Says the ‘man’ that in his ‘interpretation’ Spider-Man regarded Ned Leeds as a ‘viper’ after he was revealed as the Hobgoblin, in spite of literally no evidence supporting that interpretation and you know Spider-Man literally saying otherwise multiple times; including in the issue he learned Ned was a villain. In fact when I pointed this out to ol’ big Mac he referred to such things as ‘arbitrary’.

Says the guy who once said it’s better for stories to be in multi-parters because before the rise of decompression al stories had rushed endings. Remember how Amazing Fantasy #15, The Kid Who Collects Spider-Man, Sensational Annual 2007, The Conversation and When Commeth the Commuter all had ‘rushed’ endings?

Says the poor excuse for a ‘man’ who once claimed there was nothing wrong with the JMS run having magic but who also lambasted Peter David’s Spider-Man work for involving magic and time travel, even though JMS wrote ASM #500 which is literally about magic time travel.

What I am trying to say is this ‘man’ has systemically demonstrated immense hypocrisy and stupidity but a staggering deficiency when it comes to literary analytical skills.

“The movie reviewer Bob Chipman mentioned this in one of his videos where he talked about the problems that a lot of "Modern" viewers have is that they believe because they watch a lot of movies in a year, that somehow makes them film buffs or gives them insight into the storytelling process, when in reality what they are doing is watching all the Marvel movies or all the big releases, and assuming that gives them the same sort of insight that people who go to school to learn this sort of thing do. And I kind of think that's also true of comics as well.”

Oh boy, is there a lot to unpack here.

Keeper of the Gate

For starters let’s call this out for what it is. As much as he might be softening the statement by saying ‘kind of’, what he is actually doing right here is GATEKEEPING.**

He is saying unless you have ‘gone to school to learn this sort of thing’ you don’t COUNT as a critic.***

Okay let’s dive into that one.

Schooling ain’t everything

Gone to school to do what exactly? How to make movies? That’s what film school is for right? So you can learn how to write, produce, direct, etc movies. Correct me if I am wrong but film school does not teach you how to CRITIQUE movies.

So by this logic going to film school wouldn’t qualify you to critique a movie, just how to make them. Except no one argues that. Bob Chipman himself studied film at school and it is from that point of view that his analyses come from.

So by RDMacQ’s own logic Bob himself isn’t qualified for his own job, let alone RD himself. At which point why does Bob’s words carry any weight at all?

But wait, we can go yet deeper.

What if we aren’t talking about film school specifically? What if someone just studied film as their major in college but not strictly film school? Is that good enough to be a film critic or not? If it is are you a lower echelon of film critic?

What if you minored in film/media studies instead of majored in it? Are you yet lower on the totem pole?

What if you went to film school but dropped out?

What if you studied from home and didn’t actually GO to the school itself?

What if you studied it at A school but pre-college?

What if you studied it privately outside of an educational institution? In other words a self-taught film student?

Shit, what about the first ever film critics or the first ever film makers who pioneered techniques and the art form? If they were going through the trial and error of formulating the art form and medium there obviously couldn’t have BEEN film schools back then?

Do they not count?

Not to mention the cultural implications of this. If you are an American who attended a French film school are you unqualified to critique American films and only French ones, even if you grew up predominantly with American cinema?

Let’s change things up a little and look to TV in Britain. One of the most acclaimed British TV writers of all time was a man named John Sullivan. Sullivan created multiple beloved and acclaimed sitcoms, the most famous of which is called Only Fools and Horses. So successful was this show that it was the most viewed TV show in Britain in both the 90s and the 2000s. The latte in particular is an achievement since the show existed purely as reruns in the 2000s sans literally 3 episodes.

The show had a total of 64 episodes and ran between 1981-2003. Do you know how many of those 64 episodes Sullivan wrote?

ALL of them.

And do you know how many of them have predominantly negative reviews? Arguably just four.

Not only has the show been positively received it’s been regarded as the singular greatest British comedy of all time, a title it still holds to this day.

Amidst the praise that the show has received is it’s great characterization, it’s emotional moments and in particular it’s utter command of narrative structure. Not only do the jokes land they land with grace and make the feat seem easy when it’s all over. The cherry on his record was his OBE, an official government recognition of his positive contributions to the arts.

So you know, this guy clearly knew how to tell a good story. He did like 60 times in a row single handily.

So when and where did he study film? The answer is, he didn’t.

He never studied film. His formal education stopped at age 15 when he dropped out of school with no qualifications. Even if he had completed his secondary high school education he’d have not studied film. Film was not on the British curriculum at the time and to my knowledge still isn’t. At best you can study ‘media studies’ starting at age 16-18 before you go on to university. But up until age 16 it’s just not an available option.

He did go to evening classes for English and read teach yourself books but that was it.

By Big Mac’s standards this writer who’s been recognized by the government themselves wasn’t qualified to write anything, let alone critique it.

Additionally let’s consider one teeny weeny little fact. If you’ve lived through the formal education system in pretty much any Western country you have almost certainly been educated on how to gain an insight into the storytelling process. Because that’s a big part of what fucking ENGLISH class is for!****

MovieBob

I’d say I’m shocked and appalled at RD’s audacity and lack of self-awareness in citing MovieBob Chipman. But I’m not. It actually makes far too much sense.

MovieBob is a broken clock that’s often not even right twice a day. His credibility as a critic and as a human being is also woefully lacking.

For starters RD is a big Spider-Marriage proponent (though he’s recently turned traitor and says he doesn’t really mid if it doesn’t come back). To his credit he has often called out and deconstructed unfair and disingenuous arguments against the Spider-Marriage.

Bob however is staunchly on the other side of that debate.

He’s even said the marriage was never good, came from an illegitimate place, that Spider-Mans imply should never be married and in fact argued that a late Slott era Spider-Man and MJ were more interesting than they were before.

Thus I find RD’s citing of Bob to back up his claims about who is ‘qualified’ to be a critic the height of irony.

But you know, that doesn’t necessarily hurt RD’s argument. Hell, Bob un-ironically believing in eugenics or intelligence testing for voters doesn’t necessarily hurt RD’s argument.

Nor does MovieBob’s weird, weird views on how society apparently punishes the Big Brains like himself of course. Although it’s so telling that an arrogant prick like RD would invoke the words of a ‘brother-in-arms’ like Bob.

No, what hurts RD’s argument is where Bob was probably coming from with his initial statement.

See I heavily suspect that RD’s claims about Bob are kind of stem from his interpretations of this video Bob made called ‘BIG PICTURE: PLOTHOLE SURFERS’. Noticeably that video cites this video by another Youtube film critic named Patrick Willems. Called ‘SHUT UP ABOUT PLOT HOLES’.

The sentiments of both videos explicitly or implicitly echo Big MacQuack’s. Everyone is wrong in how they are critiquing movies except them and people like them because they are ‘professionals’ because they went to school.

None of these arguments hold up to scrutiny both due to stuff I have mentioned above but also for various other reasons I’m not going to bother unpacking here. If you want a detailed look at why Chipman and Willems (and by extension RD) are full of shit there are several Youtube videos dissecting their points, particularly Willems’.

However, I’ve found the most detailed to be this video.

youtube

There is also this video where they more directly address Bob’s video.

Fair warning they are long and get less than PC, and yet they do address why the videos don’t hold up to scrutiny.

Self-taught critic

Here is a crazy thought, if you’ve watched all the Marvel movies and big releases every year, why SHOULDN’T that give you a potential insight when critiquing OTHER Marvel movies or big releases? Those things are competing against one another, they are broadly going for the same audience. If you familiarise yourself with them then it is not beyond impossibility that you could mentally play spot the difference in the storytelling and critically evaluate them. It’s almost like in consuming that media you have formulated a CRITERIA which you are then CRITICALLY judging similar such media against.

Hypocrisy

The best part about RD’s statements? He himself has never gone to film school. Nor has he gone to a school specifically teaching him how to analyse comic books nor write them.

By his own logic he has disqualified himself from partaking in critiquing any story, as he did with Life Story or Game of Thrones earlier on.

But the best part?

If you check out the thread this is from and observe the poster called Chase the Blues Away they often disagree. CTBA points out holes in RD’s arguments and subtly questions his reading comprehension. Entirely separately they also implied they felt GoT’s writing was illogical towards the end of season 8 as well.

Why is CTBA relevant.

Because they actually HAVE gone to film school!

Furthermore, on both Life Story and most other matters related to Spider-Man CTBA and myself have been on the same page, whether this entails agreeing with one another’s statements or by coincidence having similar positions.

Now me?

I NEVER went to film school nor did I study English literature formally beyond age 18. Oh, I’ve read bits and bobs about writing (my favourite being Russell T Davies’ book ‘A Writer’s Tale’). But I have no college level formal education on the craft of writing. My analytical skills were cultivated from my school experiences and a whole load of osmosis and practice.

I have also found myself often on the same page as another person who at least studied English at a college level. They are another poster on the same forum called MacGoblin, perhaps better known as the creator of the (now defunct) SpideyKicksButt website. For many people the site was THE best source of Spider-Man analysis on the web for over a decade.

MadGoblin still participates regularly on a podcast covering new Spider-Man issues and whether or not I agree with all his assessments the manner in which he analyses (with an eye upon continuity) is similar to myself and indeed all the other panellists on the podcast.

One of the former panellists on the podcast (who I have also been on the same page with more often than not) was called Donomark and he too studied English at a college level.

So that’s three people who meet RD’s arbitrary rules for who is a ‘real’ critic. And yet I (someone who doesn’t meet RD’s criteria) have come to mostly the exact same conclusions as they have through entirely independent analysis.

As have other people I know who didn’t study film or English Lit in college.

So, either I’m just an absolute prodigy, or RDMacQ, Willems and MovieBob’s criteria for who can and can’t grasp plot and characters is full of shit.

“A lot of the complaints I've seen is that Peter wouldn't or didn't do this in the original comics. But arguing "Peter wouldn't do this because in ASM #225, on page 11..." isn't pointing out the flaw in the story.”

As always RD is devoid of nuance or appreciating the complexities of things.

If in Life Story or any Spider-Man story in canon Peter acts in a way at odds with his established characterization which is DEFINED by ASM #225 then absolutely that’s pointing out a flaw in a story.

Case in point, here is this poorly drawn satire of Superior Spider-Man RDMacQ himself made:

Most of the gags at the expense of Superior Spider-Man in this page was made through the lens of knowing the characters’ past, of knowing what they did and how they acted in older stories.

The confusion over Crazy Town Banana Pants derives from Superior claiming Peter routinely said this when he in fact never did.

Carlie’s suspicions over Superior’s behaviour stems from he fact that the older stories have established how Peter acts and established that Carlie knows how he acts. Therefore Carlie not realizing the truth when she’s been told is illogical. That’s the gag from someone who’s stamped his foot on the ground and angrily refuted that human beings are capable of being logical.

The same is true of this next page too.

Captain America refers to ‘usual’ people involved with the Avengers (super scientists, etc.). Usual means there is a precedent and a precedent can only be defined via a pattern. A pattern of what? A pattern of older stories!

The second panel is bringing up the OLDER STORY ‘Ends of the Earth’ to prove the hypocrisy of Doc Ock

The final panel references SEVERAL past events. The Clone Saga. The Alien Costume Saga. Every time the Chameleon or another shape shifter has impersonated him. Kraven’s Last Hunt.

It’s also referencing the fact that MJ would KNOW about them and even goes really specific by referencing the events of a few pages of one specific issue of Kraven’s Last Hunt. Not the gist of the story, not the climax or the most famous moments. This one scene in the middle of everything else.

RD is using that very specific moment to draw a comparison between it and the events of Superior in order to point out how MJ is not acting consistently.

Almost like she’s, I dunno, OUT OF CHARACTER or something?

Oh, and or the record declaring Peter would or wouldn’t act this way because of ASm #225 p11 is bullshit because Peter isn’t even on that page.

“That's just spouting comic book trivia, which isn't the same thing.”

But referencing events in the middle of KLH which are hardly iconic and immediately memorable and pointing out how MJ didn’t act consistently with them in Superior Spider-Man?

Oh no, that’s NOT ‘spouting comic book trivia’.

Can you see the hypocrisy of this creature now?

Can you see how BROKEN it is to argue a character being established as acting a certain way by an older story DOESN’T mean it matters thereafter?

And he says I am bad at analysis, Jesus Christ.

“Knowledge of trivia isn't the same as understanding plot structure, foreshadowing, character development, or knowing or accepting that just because something happens in issue 1 doesn't mean it will stay that way throughout the entire book.”

First of all the sheer audacity of someone with such non-existent analytical skills to DARE fucking throw shade like this is astounding. That’s like Michael Bay trying to explain how you make a movie with substance.

Second of all he’s right and wrong here.

Knowing the history of the characters is not the same as knowing those things.

But that doesn’t render it trivia because it’s the fucking histories of the characters that define who they goddam are!

Everyone agrees Spider-Man would not have acted the way he did in One More Day right? And that MJ wouldn’t have acted the way she did in OMIT right?

Why? Why do people feel the characters would not behave that way?

Because they read older stories that depicted them acting in certain ways in certain situations that were then contradicted by OMD and OMIT.

You know like MJ not realising Superior Spidey wasn’t really Peter even though the situation was incredibly similar to Kraven’s Last Hunt and both entailed imposters pretending to be Spider-Man.

No, knowing the history isn’t the same as knowing all that other stuff.

But it is undeniably an integral PART of being able to analyse something because if the prior events don’t matter, if they are merely trivia (or worse trivia when he wants it to be but not when he doesn’t) then NOTHING matters.

Why the fuck should issue #1 matter when reading issue #2? Or issue #3 when reading issue #5?

What does it matter if chapter 1 established our protagonist as an adult black man with a wife but by chapter 10, with no explanation they are a teenaged white woman claiming they’ve never been married?

Hey, chapter 1 is just trivia right. Why should that matter?

By the way, go ask Harry Potter fans if those little details are irrelevant and see how that goes.

He’s also (unsurprisingly) disgustingly disingenuous in his final point. Yes, things between issue #1 and issue #25 will change. But there is a world of difference between something changing via development vs. lazy contradictive writing.

Case in point, in ASM #1 Peter Parker doesn’t have a job, is a pariah at school and runs away crying from a failed adventure. In issue #25 he has a freelance job, isn’t running away crying and 2 ladies are interested in him.

WHAT? Isn’t this a contradiction? Doesn’t accepting this change mean you accept that issue #1 was mere trivia?

No, because between issue #1 and #25 we saw how and when Peter got a job, those two ladies became interested in him and we saw his skills, experience and confidence grow. The end result is that issue #25 was different to issue #1 because we’d been on a JOURNEY to get us there.

In contrast in ASM #700 Doc Ock is seemingly turned into a good guy because all of Spider-Man’s memories were beamed into his head, teaching him Uncle Ben’s famous mantra. But in Superior Spider-Man #1 he’s randomly reverted to what he was doing back in ASM #698.

So that stuff was just trivia? But that stuff was the resolution of ASM #700 and therefore the set up for Superior #1. The latter couldn’t exist without the former and yet it doesn’t make sense.

And you see that? You see how that cause and effect problem exists? Yeah, that’s PART of critiquing plot structure and foreshadowing. It’s ALMOST like the older stories aren’t merely trivia but actually very important and play a factor in the other forms of analysis RD listed off.

Not to mention, the idiocy of saying knowing the trivia doesn’t mean you understand foreshadowing. Motherfucker, the entire concept of foreshadowing is that you establish details in the present because you want to hint at readers about where the story is going to go later. It practically HINGES upon readers remembering that ‘trivia’.

If ASM #225 p11 had Spider-Man pass by a black cat and say ‘Boy that reminds me of Felicia Hardy.’ THAT would be foreshadowing for the next issue, but you couldn’t appreciate that UNLESS you remembered what happened in ASM #225 p11.

And the imbecility of bringing this shit up whilst referencing Game of Thrones too? As if Daenerys heel turn was actually foreshadowed and not just created from splicing old voice overs together in the previously segment of the show.

The next bit is in reference to Life Story again by the way.

“I mean, one of the best bits of subtle foreshadowing here is what happens with Peter and Reed's relationship. In issue 2, Peter reflects on how Reed pushed Sue away with his actions, and how he doesn't want to end up like that. But come issue 3, Peter ends up doing just that, despite his best efforts to the contrary and knowing what happened to Reed beforehand. That shows smart plot structure, which doesn't come out and yell at you "THIS IS IMPORTANT!" or hold your hand in any way. That shows that this story is pretty smart with the narrative choices that are being made.”

No it doesn’t.

Because the way in which Peter pushed MJ away contradicted his character and made no fucking sense. He had a mid-life crisis in spite of being well under 40 years old.

Also, you can have, by skill or by fluke, a dash of GOOD writing amidst your shitty writing.

A LOT of people would argue the podrace or Duel of the Fates fight in Phantom Menace were legitimately good sequences in an otherwise bad movie.

People broadbrush 90s Marvel as wall to wall trash but equally everyone praises Spider-Man 2099, Joe Kelly’s Deadpool run, Ron Marz’s Green Lantern run, etc.

Goddammit, 99% of all Doctor Who is fans celebrating the bits that were great amidst the bits that were bad. There are no end of Dr. Who stories were fans will praise the set design or costumes whilst shitting on the over all writing.

Shockingly a piece of media can have good AND bad elements!

Whenever someone says a story is good or bad they are almost always speaking OVERALL. A New Hope is OVERALL good. It’s not claiming there aren’t flaws to it.

Dan Slott’s Spider-Man run was OVERALL bad. Even I have said there are good elements to it.

But the mere existence of good elements doesn’t prove that something is overall one thing or another.

In Life Story’s case, let’s pretend RD is right. Then Zdarsky executed a good bit of foreshadowing.

Key word there: ‘bit’.

It doesn’t PROVE the over all story is smart with its narrative choices.

That’s such an utterly childish manner of analysis. ‘Well this bit is good that means everything else has to be good’.

Like how the fuck does doing a good bit of foreshadowing prove that Life Story wasn’t mischaracterizing anyone or knew how to tell a good alternate history story?

Shit, DAN SLOTT had foreshadowing, sometimes it was even competently executed. Didn’t mean it wasn’t happening within the context of mischaracterization.

Trust Bobby Mac to have no grasp of nuance.

“But rather than acknowledging that, instead we get stuff like being concerned with that because Gwen finds out Peter's secret identity at the end of issue 1, that therefore means that Peter is going to be hooking up with Gwen throughout the rest of the story, that this is going to be one big Peter/ Gwen book, that Chip Zdarsky is somehow a Gwen shipper because he wanted to just have her as a best friend in Spectacular, that MJ only having two lines in the first issue means her importance will be diminished overall, and that the whole series is going to try and be a rewrite to push that ship.”

None of the allegedly great foreshadowing RD spoke of above was in issue #1

Even if it was nobody could possibly have talked about that as a point of praise because the nature of foreshadowing is we wouldn’t have realised it was goddam foreshadowing until we finally GOT to the bit it was setting up in later issues

RD has been one of the most involved people in discussions about the Spider-Marriage, frequently clashing with a fell named Mister Mets on CBR and on the linked message board. He knows that Marvel from OMD onwards used to spite fans over OMD and the Spider-Marriage and that circa 2019 when Life Story was being released the latest of such instances had occurred maybe just 1 year earlier in Slott’s Red Goblin storyline. He also knows Zdarsky pissed in the well of the Spider-Marriage fans with his FCBD 2017 Spidey story which involved Mary Jane. So for a heavily burned and abused fanbase to suddenly be concerned that Zdarksy would be pushing an agenda was a totally natural and justified reaction to have at the time even if it was proven incorrect in the long run.

RD is being a shithead again. ‘Ugh, look at these overwrought FaNz. wHy CaNt dey celebrate the GUD stuff and not focus on the WRONG stuff’.The wrong stuff being Zdarsky shitting on the Spider-Man marriage, which he clearly did by breaking up Peter and Mj in the 80s when they didn’t break up then but he needed to ship Peter with Jessica Jones I guess

“Yet here we, two issues later, and Gwen is dead, Peter married MJ and now they have kids.”

And in LF #3 their marriage was in a toxic place and they split up. In issue #4 they get back together but only by Peter giving up being Spider-Man. Almost like the story was saying having a family and being Spidey are incompatible or something.

Shit issue #3 BEGINS with MJ griping about Peter.

“All the reactionary nonsense turned out to be for naught, since the story was going in a different direction, and just because Gwen was prominent early on didn't mean MJ wasn't going to play an important role later.”

It wasn’t reactionary nonsense it was entirely justified reactionary concern. People weren’t concerned that MJ wouldn’t be important but that Zdarsky would be pushing a pro-Gwen/anti-Mj agenda which he at least debatably did and certainly seemed to be doing in the first 3 issues.

“And yet we still continue to see that reactionary nonsense continue with decrying because Peter and MJ leave off on a bad note here, it therefore means the rest of the series will be an unending slide into misery.”

Which was proven partially true.

Issue #4 Harry dies, Peter quits like a coward.

Issue #5 Peter’s child is crippled, his identity is outted, ben Reilly dies and he becomes a fugitive as a super human civil war breaks out.

Issue #6 the world has turned to shit because of that civil war and the only way to fix it is for Spider-Man to die.

But again, he’s missing the point like the fool that he is.

People were concerned and upset BECAUSE the series split Peter and MJ up in the first place. Both because that defied the mission statement of the series but also because they know Peter and MJ WOULDN’T split up and the circumstances engineering it were fucking contrived shit.

“Which then unfortunately leads into bashing the creator himself, which I find incredibly unreasonable given the tremendous job Zdarsky is doing.”

He didn’t do a tremendous job.

Chase the Blues Away, the film school student, had been saying so and continued to say so after RD made this comment. So I guess by his own metric he was full of shit.

This is one of RD’s fundamental and fatal flaws. He’s a hypocrite. Everything is subjective unless it’s the shit HE likes or hates. Then it’s objectively good or bad.

Not to mention no one had been bashing the creator personally. He can’t grasp this either. He doesn’t grasp the distinction between bashing the work of a writer vs. bashing the writer personally.

E.g. he falsely claims I’ve sworn at him. I have sworn at him…here. On my own blog here I don’t feel the need to play nice.

On a public forum? Never. I’ve sworn in the course of conversations with him. I’ve sworn in regards to his argument but never sworn to attack him personally.

“Decrying Zdarsky as some form of hack because halfway through a six part story he's had the protagonist go through a rough time and that he is just putting out "Fan fiction," or- as I saw someone else argue- that the reason Zdarsky did this was because he himself went through marital troubles at one time in his life is just silly.”

It’s really not. He admitted that he wrote MJ in FCBD 2017 as his ex wife.

Fanfiction is exactly what LF was. Peter hooks up with Jessica Jones because…no given reason. It’d make infinitely more sense for that to have been Felicia but it was Jessica Jones. Zdarsky invents his own personal new spin on the Goblin who’s wearing kewl black because why not. He has characters randomly act in any way he wants for the story to happen regardless of how little sense it makes. That’s bad fanfiction 101. He has logic holes you can drive a truck through. FFS Russia launched nukes on America in issue #3 and this DIDN”T result in all out nuclear Armageddon. That’s amateuris

“Just like it's silly to say that D&B from GoT are purposefully destroying the show because they hate it and they hate women and they just want to move onto Star Wars,”

This is at worst a strawman.

At best an utterly myopic oversimplification.

The MAJORITY of people crying out against GoT season 8 weren’t claiming D&B were engaging in deliberate sabotage but rather they were ruining the series via their incompetence and RUSHING to get to the end.

Additionally the idea that they are misogynists is REALLY not a ‘silly’ argument. MANY people throughout the show’s history have made that argument, long before the popular opinion was that the show was bad,

A season 4 subplot that was heavily embellished (to the point of being called practically original) from the books entailed rogue Night’s Watchmen raping a household of women beyond the Wall. The most infamous line from the subplot was ‘Fuck them all to death.’

In that same season Jamie Lannister makes sexual advances on his sister Cersei even though she was saying no.

Sansa Stark, in a scene not in the books, was raped by Ramsey Bolton with the focus being upon Theon Greyjoy’s horror at the situation.

And of course there is ever so slightly a dash of gratuitous nudity involving women in the show.

Look, I’m not even saying for sure that D&B hate women or that that was at the root of how they fucked up Daenerys’ character in season 8.

But it’s idiotic to just dismiss the idea as wholesale silly as Smac a Mac is doing above.

“when in reality D&B were the reason the show got made in the first place and all those great female characters were brought to television for a wider audience to experience.”

Hollywood had been wanting to adapt George R. R. Martin’s books for years before he let D&B do it

Their first pilot was so bad they had to reshoot it.

They weren’t the reason we got those great female characters. Martin’s writing was why we got those characters and those good stories and why anyone wanted to make his books into a live action property at all.

Again, RD FAILING at nuance. A female character can have good writing AND bad writing. They can be good over all but drop the ball in certain moments. They can be great for 7 seasons but then fumble disastrously at the finish line. An opinion shared by all those critics that went to film school

Writers can be capable of doing good female characters even if they are misogynists. Writers who are not misogynists are capable of still being sexist at times. Friggin Stan Lee had sexist female characters in spite of also inventing Mary Jane who is lauded as a great female character even in the 1960s. Again, nuance. Mac Attac ain’t good at it.

“We can dislike or criticize a work without having to demonize the creators,”

It’s not demonizing D&B or Zdarsky to call them incompetent writers.

“and I think it's just become far too easy nowadays for people to rationalize their statements by making the creators themselves into remorseless villains, since that justifies them acting however they please in response.”

And it’s become far too difficult for me to stomach any more of this piece of shit.

*For what it is worth, these events are also listed on TV Tropes under the Face Heel Turn page:

Daenerys herself falls victim to this in the final seasons. Her actions in Essos had the purest of intentions: fighting against the Dothraki's misogyny and ending slavery in western Essos. Even her morally questionable acts still had these goals in mind. But when she set her sights on conquering Westeros, which is more or less a standard medieval European setting, her only goal was conquest. Even her claim that the Iron Throne is her birthright falls short since her father was killed due to his madness and love of burning things. Dany really doesn't help her case by burning alive any captive soldiers who don't side with her. This culminates with her slaughtering most of King's Landing's civilian population in the penultimate episode. Had the show started with the sixth season, there'd be no question that she is Daddy's Little Villain, her tragic backstory and past heroic deeds being a footnote at best.

**This is especially ironic as he’s accused me of doing the same.

Me, I’ve called people out or corrected them when they have gotten facts wrong. I’ve even said they don’t know what they are talking about. The difference is I’m not doing it just on principal as he is here.

I’ve never said someone doesn’t belong in the fandom or is not a real fan. Yet here RDMacQ is outright disqualifying people from having the legitimacy to critique comic books unless they’ve gone through what he deems the ‘appropriate steps’.

If I have told someone they are wrong or don’t know what they are talking about or don’t understand the material I have corroborative EVIDENCE to back it up. Their own statements prove that point.

E.g. RDMacQ doesn’t understand Norman Osborn’s character. Why? Because his statements contradicts the clear cut TEXT (not the subtext) of the source material. See? The source material is the EVIDENCE that supports my accusation. But RDMacQ doesn’t believe in analysis that way and has told me so himself.

***This laughable in he modern day and age where film criticism is so transparently ideologically driven as opposed to sincerely critiquing the merits of a film.

Hence why Bob Chipman and most other professional critics laud works like the Last Jedi which a fifth grader can see has little internal consistency.

#RDMacQ #Catharsis #Spider-Man #Game of Thrones #Dan Slott #Mary Jane Watson #Superior Spider-Man #MovieBob #Bob Chipman #daenerys targeryan

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thecomicsnexus · 5 years

Text

Jimmy Olsen, Superman's Pal, Brings Back the Newsboy Legion!

SUPERMAN’S PAL, JIMMY OLSEN #133 OCTOBER 1970 BY JACK KIRBY, AL PLASTINO AND VINCE COLLETTA

SYNOPSIS (FROM DC WIKIA)

Jimmy Olsen is paired with the new Newsboy Legion, the sons of the original boy heroes plus Flippa-Dippa, a newcomer, to investigate the Wild Area, a strange community outside of Metropolis.

The boys are given a super-vehicle called the Whiz Wagon for transport. When Clark Kent shows concern for Jimmy, Morgan Edge, owner of Galaxy Broadcasting and the new owner of the Daily Planet, secretly orders a criminal organization called Inter-Gang to kill him. But Kent survives the attempt, and later hooks up with Jimmy and the Newsboy Legion in the Wild Area.

The youths have met the Outsiders, a tribe of young people who live in a super-scientific commune called Habitat, and have won leadership of the Outsiders' gang of motorcyclists. Jimmy and company go off in search of a mysterious goal called the Mountain of Judgment, and warn Superman not to stop them.

THE BRONZE AGE OF COMICS

The Bronze Age retained many of the conventions of the Silver Age, with traditional superhero titles remaining the mainstay of the industry. However, a return of darker plot elements and story lines more related to relevant social issues, such as racism, drug use, alcoholism, urban poverty, and environmental pollution, began to flourish during the period, prefiguring the later Modern Age of Comic Books.

There is no one single event that can be said to herald the beginning of the Bronze Age. Instead, a number of events at the beginning of the 1970s, taken together, can be seen as a shift away from the tone of comics in the previous decade.

One such event was the April 1970 issue of Green Lantern, which added Green Arrow as a title character. The series, written by Denny O'Neil and penciled by Neal Adams, focused on "relevance" as Green Lantern was exposed to poverty and experienced self-doubt.

Later in 1970, Jack Kirby left Marvel Comics, ending arguably the most important creative partnership of the Silver Age (with Stan Lee). Kirby then turned to DC, where he created The Fourth World series of titles starting with Superman's Pal Jimmy Olsen #133 in October 1970. Also in 1970 Mort Weisinger, the long term editor of the various Superman titles, retired to be replaced by Julius Schwartz. Schwartz set about toning down some of the more fanciful aspects of the Weisinger era, removing most Kryptonite from continuity and scaling back Superman's nigh-infinite—by then—powers, which was done by veteran Superman artist Curt Swan together with groundbreaking author Denny O'Neil.

The beginning of the Bronze Age coincided with the end of the careers of many of the veteran writers and artists of the time, or their promotion to management positions and retirement from regular writing or drawing, and their replacement with a younger generation of editors and creators, many of whom knew each other from their experiences in comic book fan conventions and publications. At the same time, publishers began the era by scaling back on their super-hero publications, canceling many of the weaker-selling titles, and experimenting with other genres such as horror and sword-and-sorcery.

The era also encompassed major changes in the distribution of and audience for comic books. Over time, the medium shifted from cheap mass market products sold at newsstands to a more expensive product sold at specialty comic book shops and aimed at a smaller, core audience of fans. The shift in distribution allowed many small-print publishers to enter the market, changing the medium from one dominated by a few large publishers to a more diverse and eclectic range of books.

JACK KIRBY

In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.

At this same time, Kirby grew increasingly dissatisfied with working at Marvel, for reasons Kirby biographer Mark Evanier has suggested include resentment over Lee's media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both write and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures volume two, as well as horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but in 1970, Kirby was presented with a contract that included such unfavorable terms as a prohibition against legal retaliation. When Kirby objected, the management refused to negotiate any contract changes. Kirby, although he was earning $35,000 a year freelancing for the company, subsequently left Marvel in 1970 for rival DC Comics, under editorial director Carmine Infantino.

Kirby spent nearly two years negotiating a deal to move to DC Comics, where in late 1970 he signed a three-year contract with an option for two additional years. He produced a series of interlinked titles under the blanket sobriquet "The Fourth World", which included a trilogy of new titles — New Gods, Mister Miracle, and The Forever People — as well as the extant Superman's Pal Jimmy Olsen. Kirby picked the latter book because the series was without a stable creative team and he did not want to cost anyone a job. The three books Kirby originated dealt with aspects of mythology he'd previously touched upon in Thor.

The New Gods would establish this new mythos, while in The Forever People Kirby would attempt to mythologize the lives of the young people he observed around him. The third book, Mister Miracle was more of a personal myth. The title character was an escape artist, which Mark Evanier suggests Kirby channeled his feelings of constraint into. Mister Miracle's wife was based in character on Kirby's wife Roz, and he even caricatured Stan Lee within the pages of the book as Funky Flashman. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts, appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers. The Superman figures and Jimmy Olsen faces drawn by Kirby were redrawn by Al Plastino, and later by Murphy Anderson.

Kirby later produced other DC series such as OMAC, Kamandi, The Demon, and Kobra, and worked on such extant features as "The Losers" in Our Fighting Forces. Together with former partner Joe Simon for one last time, he worked on a new incarnation of the Sandman. Kirby produced three issues of the 1st Issue Special anthology series and created Atlas The Great, a new Manhunter, and the Dingbats of Danger Street.

Kirby's production assistant of the time, Mark Evanier, recounted that DC's policies of the era were not in sync with Kirby's creative impulses, and that he was often forced to work on characters and projects he did not like. Meanwhile, some artists at DC did not want Kirby there, as he threatened their positions in the company; they also had bad blood from previous competition with Marvel and legal problems with him. Since he was working from California, they were able to undermine his work through redesigns in the New York office.

REVIEW

If you are a ninenties creature like me, you remember all these concepts very well, because they came back in the form of Cadmus in the superman titles of the “triangle” era. This is proof that Kirby left a big legacy on more than one company. It is sometimes hard to tell where Kirby starts and where other writers come in. It is hard to tell on his Marvel work at least (and Stan Lee would often take credit for Kirby’s work). So the Fourth World is a good place to check on the real Jack Kirby. Away from Joe Simon, away from Stan Lee.

Now, about this issue. As I said, I knew most of these things from the 90′s Superman titles (that was also the last time Jimmy Olsen mattered). But I have to imagine what it was like to new readers... Jimmy Olsen readers in particular, that a few months ago were reading about Superman trying to prevent Jimmy (an adult) from being adopted. I also have to have in mind that comic-book readers were probably very aware of who Jack Kirby was. The sixties were pretty much dominated by Marvel, and a big part of that success was because of Kirby. But, as I said before, Stan Lee would take the media and take credit for everything. So I am not sure how aware casual readers were with Jack Kirby.

If they weren’t, by this issue they probably were, as DC did a lot of fanfare about the fact that Kirby was coming to DC. Some people compared Bendis coming to DC to this period of time in particular. While there are similarities, it is too early too judge Bendis legacy at this point in time.

The story in this issue is ok. There are a lot of characters and plots being introduced. It’s the first appearance of Morgan Edge, the Wild Area, the Outsiders, the Newsboy Legion (Junior) and other concepts. It is important to remark that this Newsboy Legion is not the golden age version of that group. They are the sons of the originals (and they look pretty much the same... and dress the same). Flip is a bit weird, though. I am pretty sure he doesn’t need the scuba kit on all the time. I will be reviewing the original Newsboy Legion in the golden age reviews.

The art is better than the usual Kirby style, but as it was said above, Al Plastino redrew Superman and Jimmy’s faces. This was common practice at DC, as they didn’t want their most emblematic characters changing too much from issue to issue.

I give this issue a score of 8

#jack kirby #al plastino #fourth world #vince colletta #gaspar saladino #bronze age #dc comics #1970 #jimmy olsen #superman's pal jimmy olsen #newsboy legion #comics #review

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aion-rsa · 5 years

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Krypton Season 2: Every Superman and DC Comics Easter Egg

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Is there another show as packed with Superman and DC Comics lore as Krypton season 2? If there is, we haven't seen it!

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This article consists of nothing but Krypton season 2 spoilers.

Who would have ever thought that the best DC Comics show on TV would turn out to be a Superman prequel? Well, to be fair, it's either Krypton or the bonkers and bizarrely sweet Doom Patrol. But Krypton managed to avoid nearly every single prequel pitfall in its first season, and then raised the stakes and flipped everything on its head with a reality altering season finale that opened the door to even crazier storytelling in season 2.

Well, Krypton season 2 brought countless opportunities to dive ever deeper into Superman and DC Comics lore. We're here to help keep track of it all. Let's get to work...

Krypton Season 2 Episode 1: Light-Years From Home

Read our review of "Light-Years From Home" here.

- Before we start on this episode, it should be noted that there has been a six month timejump since the season one finale.

- The ceremonial robes Zod is wearing at the start of the episode as he gives his address feel slightly reminiscent of Jor-El’s “jailer” robes in Superman: The Movie. And while there were similar wardrobe choices in season one, it's always worth pointing out how this show pays tribute to that movie at every chance it gets.

The fact that now everyone (since the Rankless appear to have been gentrified out of existence) are now prominently wearing their house sigils and have adopted more uniform dress is again reminiscent of Superman: The Movie. The more colorful garb that Kryptonians have adopted in the wake of Zod’s “make Krypton great again” campaign is more reminiscent of how the planet was depicted until roughly the 1980s in the comics (and then again more recently).

- The speech that Zod delivers opens with “my fellow Kryptonians” and references “Kryptonian exceptionalism” as he justifies his imperialistic plan for Krypton...just in case you had any doubt about where this show views the kind of rationalizations that charismatic leaders offer for imperialistic adventuring throughout history.

And just to keep the focus on Zod for a moment, his plan to terraform other planets is reminiscent of his plan in Man of Steel, which itself referred to the imperialistic Kryptonian M.O. of years past. While Krypton isn't in continuity with Man of Steel or the DCEU, it's still a pretty cool connection.

- Adam Strange has taken to a more colorful wardrobe this season, including a red hoodie (which prompts Seg, later in the episode, to point out that “red’s your color!”) Indeed it is, as that’s the dominant color on Adam's costume from the comics.

- The moon of Wegthor was first mentioned in Superman #141 in 1961. It has appeared on film in Man of Steel (which Krypton still has a number of aesthetic similarities to) in Jor-El's era. I'm not gonna spoil it here, but if you click this link and look for the Wegthor entry, you'll get a glimpse of what might be on the way for this moon.

Wegthor never had a space elevator in the comics, but it's pretty neat that the Zod regime was able to whip this up in six months. The miners are extracting an element known as "solarium" which, as far as I can remember, doesn't have any kind of DC Comics counterpart.

- Not only is this the first time we’ve ever seen the surface of Wegthor in live action, this is also to the best of my knowledge the first live action depiction of Brainiac’s homeworld of Colu. It is...surprisingly lush. Also, I defy any future movie version of Brainiac to be half as perfect as Blake Ritson's portrayal and look on this show.

read more - Krypton Season 2: What's Next for Brainiac?

- The Sunstone crystal that Seg is carrying around “contains the energy of a 10 billion year old yellow sun.” For comparison, our actual yellow sun is just under half that many billions of years old.

- Seg saying he’s “got a bad feeling about this” is reminiscent of one of Han Solo's favorite expressions in Star Wars.

- Lobo is here! The character was created by Roger Silfer, Keith Giffen, and Mike DeCarlo in the pages of Omega Men #3 way the hell back in 1983. Initially a somewhat throwaway baddie, Lobo grew to prominence in the pages of Giffen and JM DeMatteis' brilliant Justice League International, before evolving into a full-blown (and beloved) parody of everything that was wrong with comics in the late '80s and early '90s. We have a much more detailed history of Lobo right here.

The character you're seeing on screen here is a perfect distillation of everything that made Lobo such a sensation when he reached his peak popularity, from dropping trademark phrases like referring to himself as "the Main Man" or his go-to expletive of "frag" (not to be confused with "frak"). Syfy is betting big on the Main Man, as they've already commissioned a Lobo spinoff TV series.

Amusingly, Adam asks Lobo if “the rest of the Kiss Army” are on the way, which is downright hilarious. Fans have also pointed out the similarities to Rob Zombie, who in turn was inspired by Kiss.

Krypton Season 2 Episode 2: Ghost in the Fire

Read our review of "Ghost in the Fire" right here.

- One of the weapons Lobo uses to threaten Seg and Adam appears to be the kind of mace usually favored by Hawkman. We've been promised Thanagarians for a long time on this show, and I think we're due for some kind of Hawkman appearance. I really hope it happens this season.

- Lobo mispronounces Seg-El’s name as “Siegel” which is no coincidence, as Seg is named for Superman co-creator Jerry Siegel.

But since we're talking about Lobo, he rattles off a whole bunch of Lobo-esque facts and history in profane, rapid-fire fashion.

He mentions the Church of the Triple Fish God, which Lobo was indeed the custodian of during DC's excellent 52 weekly series in 2006-2007.

He says his name translates to "he who devours his enemy’s entrails and thoroughly enjoys it," which is straight out of the comics.

He specifically mentions killing his parents, but also makes oblique references to actually having killed the entire Czarnian race with genetically engineered "scorpion rattlers," again...accurate.

- The name "Flamebird" is invoked for the first time this season (it was mentioned as a codeword by Jax-Ur during season one). Flamebird was a superheroic identity adopted by Jimmy Olsen when he would go on crime fighting adventures with Superman in the bottle city of Kandor. Since then, a number of other characters (most Kryptonian in origin) have used the name and costume. But I believe this is the first time the name has ever been associated with a Raoist creation myth. It will be interesting to see if this show ever decides to explore Flamebird as an identity.

- The idea that Kryptonian physiology can adapt to the rigors of the Outlands is cool, and speaks to the overall adaptability of the species. After all, Kryptonians are powerless under a red sun, but under a yellow sun gain "powers and abilities far beyond those of mortal men." So this little tidbit of info about how adaptable Kryptonians are seems like a subtle piece of worldbuilding to help explain why Superman is able to do what he does on Earth. It's a nice touch.

- The poor guy that Lyta beats the absolute crap out of is named Lor-Ran according to the credits. Perhaps you, like me, got excited thinking his name was Lor-Van, which would make him a relative of Lara Lor-Van, who would be Seg-El's daughter-in-law, or more succinctly, Superman's mother. But you, like me, would be wrong.

Krypton Season 2 Episode 3: Will to Power

read our review of "Will to Power" here.

- Brainiac's home planet of Colu looks amazing and weird from the outside, as it should.

- The green/corrupted Fortress as Seg’s "mind palace" to indicate Brainiac's control of him is a nice touch.

- The architecture on Krypton is starting to look more and more like the kinds of structures seen in Superman: The Movie.

Krypton Season 2 Episode 4: Danger Close

read our review of "Danger Close" here.

- During the flashback, Kem is repeating a joke/fable about Rondors that we heard during season one.

- Also, as we see the first meeting between Lyta and Seg, it looks like the binding scarf has House of El colors (ala Val’s costume)

- “A little short to be a Sagitari” is a reference to the first Star Wars movie. When Princess Leia first meets Luke Skywalker he’s wearing a stolen Stormtrooper uniform, and she remarks that he’s “a little short for a Stormtrooper.”

- The silver sheets on Lyta’s bed are reminiscent of the silver sheets on the Fortress of Solitude bed in Superman II. If you go by Superman Returns continuity, that is likely where Superman and Lois’ child was conceived, so perhaps this encounter between Seg and Lyta is where little Dru is conceived. Well...at least that's what I thought until it turned out this Lyta was likely a clone.

- Adam’s anxiety about a version of the future where it appears that time and the universe have just come to a halt makes me wonder if this show will indeed somehow tie into the version of Crisis on Infinite Earths coming to the CW DC shows. It’s extraordinarily unlikely, I’ll admit, but I can’t rule it out completely.

- We see Cor-Vex in a cradle containing shiny red, blue, and yellow blankets, which is once again reminiscent of how baby Kal-El was swaddled in Superman: The Movie.

- They’ve played the whole “Zod is from the future and Superman’s greatest enemy” so chill on this show that when he speaks in familiar turns about the Phantom Zone “that horrific place” it’s easy to forget that he would indeed know.

Krypton Season 2 Episode 5: A Better Yesterday

read our review of "A Better Yesterday" here.

- When Jayna talks about Dru-Zod being unwilling to stop “until everyone kneels before him,” well...you know that this is once again a wonderful reference to Terrence Stamp’s most famous Zod catchphrase.

- It is purely coincidental that Jax-Ur says “whatever it takes” here, and her context is completely different from that of Avengers: Endgame, of course.

Krypton Season 2 Episode 6 Review: In Zod We Trust

read our review of "In Zod We Trust" right here.

- Jax-Ur has been a sympathetic character throughout this series, but with her murder of Lyta, her heel turn is more or less complete. Sure, the character still has redeeming qualities (as do all villains on this show), but now you can see how she eventually ends up exiled to the Phantom Zone and menacing Superman on Earth.

- Kryptonian names in this episode include Tai-Un, Ton-Re, and Taz-Ran. As far as I can tell, none of these are from the comics, although Taz-Ran does call to mind an earlier episode’s Lor-Ran, so perhaps they’re related. It’s also a slight anagram of “Tarzan” who was created by Edgar Rice Burroughs, who also created Jon Carter of Mars, a character who had a profound influence on the creation of Adam Strange.

- There’s another, although far more nebulous (and coincidental) connection with one of those names, though. Ton-Re calls to mind the name Tomar-Re, a Green Lantern Corps member who patrolled Space Sector 2813. Tomar-Re wasn’t Kryptonian, but DC felt compelled at one point to explain why the Green Lantern Corps were unable to stop Krypton from exploding. Well, it turns out, they TRIED, and Tomar-Re had planned to stabilize Krypton’s unstable core using, you guessed it, Stellarium, the same mineral that is being mined on Wegthor. Anyway, there’s no actual connection between Ton-Re and Tomar-Re, I just thought that was worth pointing out.

- The Codex plays a major role in this episode, and it was the primary driver of the Man of Steel movie, which this show continues to resemble in little ways, even though they exist in different corners of the DC multiverse.

Krypton Season 2 Episode 7: Zods and Monsters

read our review of "Zods and Monsters" right here.

- Doomsday’s origin story was first told in Superman/Doomsday: Hunter Prey by Dan Jurgens and Brett Breeding. That was the direct sequel to the famed Death and Return of Superman story, although there, Doomsday’s origin was a little different. Instead of being a Kryptonian undergoing a procedure to produce the perfect soldier, he was a small creature, fired off into an inhospitable environment to be killed over and over again, until, after 30 years, he evolved into Doomsday.

Here, there are two Kryptonian scientists creating Doomsday. One is named Wedna-El, a name that does indeed have roots in Kryptonian history. Wedna Kil-Gor was the mother of Val-El in the comics, and first appeared in The Krypton Chronicles limited series in 1981, which, of course, has some influence on this show.

The other is Van-Zod, and while as far as I can tell that name has never appeared in the comics, Van is a common Kryptonian name. There was, however, a Van-Zee, a resident of Kandor who adopted the superheroic identity of Nightwing (no, not Dick Grayson).

There are some fun touches with the costumes in these flashback sequences. For starters, they’re both “ancient” and also kind of art-deco sci-fi. There’s a touch of the Flash Gordon serials about their looks, and of course Flash Gordon was a massive influence on Superman in general and Krypton in particular in the early comics. But also, Wedna’s “S” has a hint of the Man of Steel version of the logo about it, as well as a little of the Earth-2 Superman.

But there’s lots going on in the (relative) present of this episode, too...

- Seg’s pep talk to Nyssa is the most Superman-esque moment the character has ever had, and Cameron Cuffe pulls it off brilliantly. You could imagine Kal-El himself pumping up Flash or Green Lantern with something similar, and it’s the inspirational power of the members of House El that count for a lot. The wink he throws in at the end helps, too, a nod to the early Max Fleischer Superman cartoons, the George Reeves TV series, and many comics from Superman’s first 50 years.

- And, of course, we have the “Cor-Vex is now Jor-El” moment, which needs little (if any) explanation. But again, Seg has a big moment, and his speech to the newly named Jor is reminiscent of the one Marlon Brando’s Jor-El gives to baby Kal-El before launching him into space.

- They even give us a hint of the John Williams theme there. Krypton has been wise not to deploy that too often, but when they do, it matters.

- Seg finally gets to wear the “S” and you can tell Cameron Cuffe relishes it. Nice touch that he has to open his jacket to show it off.

Krypton Season 2 Episode 8: Mercy

read our review of "Mercy" right here.

- The Black Mercy has been teased since the earliest episodes of the show, and is the subject of Alan Moore and Dave Gibbons’ all time classic Superman story “For the Man Who Has Everything.” For more on that story and other Alan Moore Superman tales, click here.

Here, as in that tale, Lyta begins to see through the facade of this “perfect world” and her own anxieties cause it to collapse and escape the Mercy’s influence.

During Lyta’s fantasy, Seg’s white ceremonial gear makes him look an awful lot like Brando’s Jor-El at the beginning of Superman: The Movie.

Incidentally, the Black Mercy was also the subject of an episode of Supergirl, although they didn’t lean into the body horror of it all the way they do here.

- A number of space sectors are rattled off. Sector 2813 is indeed Krypton’s sector (and neighbors are own (2814). Others mentioned include 2683 and 2684, although I believe only 2684 has ever actually been shown in the comics. Don’t forget, kids, it was the Guardians who divided the universe up into sectors, so this show is basically tempting us with some Green Lantern action down the road, and we need to see it.

Krypton Season 2 Episode 9: Blood Moon

read our review of "Blood Moon" right here.

- Doomsday’s utterly R-rated slaughter (not to mention his murder of Kem) feels straight out of the character’s comic book appearances...but bloodier.

- Adam mentions “the only person” who could potentially stop Doomsday. Three guesses who that is.

- And we finally get to see the destruction of Wegthor. It’s impressive that something that has long been a kind of Silver Age Superman trivia answer gets such weighty, dramatic, and effective treatment on TV.

Krypton Season 2 Episode 10: The Alpha and the Omega

read our review of "The Alpha and the Omega" right here.

- Annnd after all those other sectors were mentioned in episode 8, we finally get a shout out to our own home, Sector 2814! Of course, that’s where Brainiac is taking poor, innocent Jor-El...

- Val tells Seg that Kem will be remembered as “Kem-El.” In the comics, well...Kem-L was the creator of the Eradicator, and he wasn’t as nice a guy as our beloved Kem.

- As far as I can tell, all of Adam’s stuff about his home life here is entirely created for this show.

- Seg’s perfectly delivered, “General, would you care to step outside?” is a wonderful homage to one of the all time great Christopher Reeve line deliveries in Superman II.

- Oh, and while we’re talking about Superman movies where General Zod was the villain, you’ll note that Seg had a chance to break Zod’s neck here, but didn’t...unlike a certain OTHER Superman movie…

- Zod being subjected to the Black Mercy he had been using on others feels very much like the end of “For the Man Who Has Everything” which ended with Mongul under its influence, and living out his own fantasies of conquest.

- Adam Strange not only finally gets his jetpack, but gets something resembling his comic book costume!

- Lobo's return would indeed seem to set things up for his solo TV series, or at least for his continued presence on Krypton Season 3 (which as of this writing hasn't been renewed...but it had better be!).

- Nyssa ends up on Rann...and spots winged troops flying overhead, presumably the cause of the carnage she sees. Are those Thanagarians, the Hawkmen who have long been known to go to war with Rann? Or...are they Darkseid’s Parademons? The Omega symbol in blood on the cave wall could speak to the latter.

We wrote about this crazy scenario (and more threads from the finale) in more detail right here.

Spot anything we missed? Let us know in the comments or hit me up on Twitter!

Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.

Read and download the Den of Geek SDCC 2019 Special Edition Magazine right here!

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Mike Cecchini

Aug 14, 2019

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movieiwatchedtonight · 7 years

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Monthly Movie Recap: May 2017

Monthly Movie Recap: May 2017 It was one of those months that it was nearly over before I realized that I hadn't seen any movies yet! I did see Guardians of the Galaxy on opening night with Amy, but then I didn't see another movie till my group of friends and I saw Everything, Everything for my birthday. Then with my parents the next night I saw Baywatch. So only three this month but between both my brother and I's birthdays,finals, graduation, and starting my new job that's not too bad. Guardians was by far my favorite, then Baywatch, and least was Everything, Everything. Guardians of the Galaxy: Vol 2:

Now I remembered little to none of the first movie, I think I only saw it full out once but I didn’t really need to to understand what was going on here. Side story; but the only time I’ve seen the first movie was in Disneyland back in 2014 before it was officially released in this really cool 4D theater. Also let’s keep in mind that I’m a casual comic book movie fan so I’m not really basing my opinions on anything other than my enjoyment.

I was able to see it twice. I went to a preview screening that my local theater does (and brought my best friend Amy as well) on the Thursday before it came out and then again on Sunday in a old small town theater in Jacksonville. (Completely unrelated but one theater showed the Thor trailer and one did not)

The first time I really was just paying attention to the story and just enjoying it (which I did) and the second time I actually took notes. Here’s some of the general notes about the movie that I wrote down from my second viewing:

- There’s a new intro where it shows movie characters rather than flipping through comic book pages. Not sure which one I like better, though I don’t mind the new one

- I love the opening scene. Am I biased because I’m from Missouri and I love the 80s? Maybe

- Also James Gunn is from Missouri; St.Louis more specifically so I love it. Fun fact Sean Gunn went to SLUH for high school

- An odd thing to love but I love all the colors, especially at the end (more on this later)

- Is Awesome Mixtape Vol.2 actually awesome? Yes. I personally prefers over Vol. 1

- Hey the dad from Sky High is here too

- Baby Groot needs a car seat

- Some lines were predictable but that’s every movie. One I really didn’t care for was when Ego tells Peter he’s just like everyone else and Peter says “what’s so wrong with that?”

- Also thought that sometimes jokes weren’t needed, a moment can just be a moment

- “Spacesuits for emergencies, or for fun”

- Ego’s planet was so pretty ( why does it remind me of the emerald city?) but was there really a need for a museum type show about why and how he formed the planet

- Kicking and messing with Baby Groot? Not okay

- Baby Groot dancing to basically the whole song Mr.Blue Sky while everyone else is fighting a giant space monster? Very okay (and so adorable!)

- Okay but like we kind of knew Ego was the bad guy the whole time, right?

- “You’re like Mary Poppins!” “Is he cool?” “Yeah he’s cool” “I’m Mary Poppins!!”

- Didn’t mind that they used The Chain twice because I love that song but we could have fit Fox on The Run in there somewhere

- I agree, Baby Groot is too adorable to kill

- I don’t know what Cheers is either Gamora, but if I did I’m sure it would have been a cool reference

- “I thought Yondu was your father.” Turns out he was

- Why do I love Sean Gunn’s character so much? I’m not even really sure I know who he is or what his purpose was besides getting the ship ready but I loved him. Especially when he asks Nebula what she’s going to do with her cut of the money (units?) and she tells him about wanting to kill her sister and buy a bunch of weapons and he’s just like “I meant like a pretty necklace, or a hat, something the girls would aw at”

- “They killed all my friends"😭

- Yondu’s arrow is so cool, Hawkeye should get himself one of those.

- Baby Groot getting crushed by rocks (?) and has no idea what else to do so he just starts crying, that broke my heart

- Cute little space family

- Screw Ego for putting the tumor in Meredith’s brain. I hate him

- Ok but Peter building Pac-Man was so cool

- “I’m going to make some weird shit!”

- I wish I knew what was so important about the batteries that the gold girl kept trying to kill them for stealing them

- The gold people’s little remote controls spaceships had arcade sounds and I loved it

- So many credit scenes that were about the movie (the Peter and Groot scene was my favorite)

- Also when Rocket, Baby Groot, Yondu and Kraglin were jumping through all the worlds (the part where Stan Lee has him cameo) I thought it would have been cool to like flash Asgard, just an idea

- I’m a sucker for friends choosing to become a family

- So did Peter lose his immortality and God qualities when they killed Ego? Or not?

- The scene where Ego and Peter are playing catch is emotionally manipulative

- I’m also a sucker for power group shots and there’s a good amount of them, enough to make me happy

- Baby Groot trying to get the fin but he keeps coming back with different things was so cute. Brings back a desk; “we told you it was this big!”

- My favorite arrow scene was when it hit the lights out and then killed all those people and all you could see was the trail of red glow

Now back to what I said earlier about colors. I have a personal theory, that at least for me, bright colors matter. I mean I often find myself re watching movies like The Avengers or Captain America: Civil War (which isn’t overly colorful but is bright) but not movies like Captain America: The Winter Soldier or like Batman vs Superman: Dawn of Justice because they’re just dark. Like literally have a dark color palette. I don’t know if that makes any sense but this movie was full of colors and it was beautiful.

This may be a movie series where I prefer the second one over the first. They’re both good but I really like Vol. 2. I love the music in it so much, defiantly more than the first movie.This is definitely worth seeing in theaters and not waiting till it comes out later. Also wish I would have seen it in 3D because there’s a couple scenes that I bet look amazing in 3D! Especially the funeral scene, I bet that’s awesome in 3D! With all the colors and pretty lights.

Watch again: YES I will for sure see it again in theaters, hopefully 3D, and this will be a movie I preorder the DVD

Watch the sequel?: it’s a marvel movie, so of course, I’ll watch Vol. 3 as well as anything else remotely related to this movie

Baywatch: I thought this movie was alright. I definitely laughed and thought some parts were funny and I wouldn't go out of my way to not recommend it to someone. It's not going to be a summer favorite or anything but who doesn't love Zac Effron? I think my favorite part was definitely the High School Musical reference and just the whole name thing was funny to me and my parents. I didn't not enjoy this movie, it had me laughing a decent amount but I know it's not going to be like a classic comedy for me or anything like that. It’s a typical good summer comedy. I'll probably watch it again and most likely will get it on DVD but I don't think I'll go see it in theaters again.

Watch again: Yeah, I would watch this movie again but I don’t think I ever seek after it or get a craving to watch it again.

Watch the sequel?: Yeah, again I think I would. I enjoyed the first one enough to watch the second one, should one be made. Everything, Everything: I was not a fan of this movie. I mean it's one of those movies you go into knowing it's going to be far fetched and ridiculous but I just couldn't get on board with this movie. I went with about six friends to see it, Amy and I sat next to each other and just ripped the movie apart. I mean we made fun of everything, she described us as the old guys from the muppets (Statler and Waldorf). The movie wasn't as bad as we made it out to be, but I still didn't really like it. I knew it would be out there but like it was so out there. Now I never read the book, I do own it, and it's in my personal library, but I haven't had the chance to read it yet so I can't say how accurate it was to the book. I did like something's about it, I like the little twist where Maddy discovers that she was never really sick, and I liked the actor who played Olly (Nick Robinson) I thought he was pretty good. I also really loved the scene where he taped all the pictures of the ocean on her window and said something along the lines of “Every ocean deserves to be seen by you” that was really cute and I do really love that moment from the movie. I did also like how the movie made me think differently, like how we as people put so must trust into the people we love because we love them, we just believe everything they say is the truth because so far they haven’t proven us otherwise. That’s kind of scary, like to think that we just trust the people we love so easily, and we really could have no idea what's actually true and what isn’t. So in summary, I didn’t love the movie, but I liked how it got me thinking deeper.

Watch again?: Not on my own, no. The only way I see myself watching this movie again is if I’m with a group of people who want to.

Overall: May was a bus month and I didn’t see as many movies as I would have liked to, but with it now being summer vacation, I should be able to catch up for what I missed in May in June. I love that I got to see Guardians on opening night, that was really cool and a great way to start the summer movie season.

Next Month: June is a jam packed month for movies. So excited for Wonder Woman!! Also I feel like I might be alone in this, but I’m actually really excited for Baby Driver as well! As for kids movies, I’m actually going to Disney World the week Cars 3 is released so I plan on seeing it down in Orlando and Despicable Me is one of Amy’s favorite movies so we’ll go see the third on for sure. I will 100% be skipping out on 47 Meters Down, no thank you. Book of Henry has my interest because I’m slightly confused by it. Basically June is the hot spot for summer movies and with my theater having 5$ Tuesdays and 5$ student Thursdays, I hope to see as many as I can

#2017 #monthly movie recap #may 2017

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davidmann95 · 4 years

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All-Star Superman #2

A scant year to the day since part 1!

All evidence to the contrary I actually have always wanted to go back to this, especially since I keep getting asked if I’ll do so and it stirs my omnipresent sense of guilt over my lack of productivity, and also the last year has not resulted in a mass turnaround of people realizing it’s a for-real good book and not just comfort food so this remains necessary. This isn’t going to be quite as in-depth as the first go-around - both that as the introductory issue and that as the introductory recap had a lot of groundwork to lay - but still plenty to cover, as this issue sets up Lois and Superman’s arcs for the series, which is rooted (amazingly, especially right off the bat, given the book’s reputation of being about how amazing Superman is) in how badly Superman’s let his fears and shortsightedness poison the most important relationship in his life.

If the first issue is the big classic Superman material - Superman saving the day from the monster! Lois and Clark and the rest of the Daily Planet crew! Lex Luthor’s sinister schemes! A ticking clock to doom! - this scales all the way down to the uncomfortably, stiflingly intimate. Classic archetypal Superman stuff gives way to the most Silver Age issue: casual huge ideas, relationship drama, misunderstandings, last-minute reveals that recontextualize the entire issue, and baaaarely latent psychodrama bubbling up at the edges. In service of that the visual framing here is not unlike a stage play, a limited set of physically connected locales as a pair of figures bounce off one another. Quitely and Grant’s work is therefore comparatively subdued next to issue #1, keeping to traditional panel layouts and wide or medium shots with a background color palate of mostly blacks and whites and grays with a handful of other colors popping out...until Lois starts to lose her shit at the end of the issue and we get close-ups and full black and white panels and eerie glowing and dutch angles and that unsettling abstract image of her clenched teeth, as the story starts to squeeze us like Lois’s gut.

She’s right to be unsettled for that matter; she’s alone on Superman’s turf (the one issue where that’s the case other than #6, and that one’s about how Smallville stopped being his home), the weird antiseptic alien lair of the ultimate super-hobbyist, and all the baggage of their relationship is spilling out into the open as she has less and less reason to think the best of this odd man who’s been lying to her for years. Unlike the Silver Age tales this is referencing, she’s absolutely on the money with her complaints about him: he’s been dicking around with her forever and thinks it can all be okay now (His little “What?” on the second page when she bursts his bubble says it all), and he’s awkwardly overcompensating trying to fix it.

While the Fortress tour serves to peacefully acclimate us to how utterly bizarre Superman’s world really gets past the traditional rescues (the little cubic starfield we don’t know the meaning of yet, trophies are floating rather than physically suspended, the glowing flowers in Lois’s room, “The Phantom Zone map room’s pretty dull unless you can see radio-negative anti-waves”), Superman himself is...humblebragging isn’t the right way of putting it, but it feels like he’s working way, way harder than he ever will again in this book to be cool and impressive and assuring. He’s a dope in love, but he can tell something’s up and that super-brain of his isn’t putting the obvious pieces together, or noticing that this is just putting her off further and further until, like Bluebeard’s wife before her, she stumbles through the threshold of the door she was never meant to, even of course in the end he’s still Superman and there’s a perfectly good reason. Not a good enough reason, however, for her accusations at dinner to not hit home - his mind may be expanding, but he’s still way up his own ass here in a genuinely unpleasant way that’ll be elaborated on momentarily. For now he’s left stammering that she should trust him and it’s limp and phony, especially compared to his big entreaty for someone to trust him in #10 (which’ll be right after he finally comes clean with her); while Superman may not be considered a savior figure by his friends in here the way he often is in the mainline comics Lois seems to be the only one who doesn’t look up to him at least a little bit, but that clarity means she’ll call him out where no one else will.

Across the next two pages it’s all laid out, and we get to the roots of where things have gone wrong between the two of them. Lois is paranoid, certainly, the panels are literally squeezing in on her, but with Superman seeming so out-there and alien like never before she would have every right to be even sans alien chemicals. But notably there remains throughout a part of her assuming the best of him wondering if maybe this is just another big misunderstanding or that he’s simply been mutated by the solar overexposure. And in her heart of hearts, she admits that maybe she wants this to be another big damn trick with a completely sensible justification, because the alternative is that this is the new normal and she has to accept that he’s a flawed mortal man. It’s ugly and it’s mean - especially since she likes Clark - and it’s human as hell in the worst, most understandable way. It’s not going to be until said mortality is staring her in the face that she’ll be able to accept it.

Superman, meanwhile...someone could write a thesis on these panels as an articulation of the Superman/Clark dynamic. The Mirror of Truth is actually preexisting, centerpiece of a Jerry Siegel/Curt Swan joint in Action Comics #269 that was later adapted into the Superman newspaper strip where Lois uses it to figure out Superman is Clark Kent until he tricks her into believing the mirror can lie, after which he tosses it in a volcano; here it’s survived, and curiously shows him as Superman rather than Clark, when in the original tale it displayed Kent even though that was fully the era of Clark as a disguise. In here too it’s Superman who’s the ‘true’ identity of the two and which this time is reflected in the mirror, yet as in #1 it’s Clark who says what he’s truly feeling. In that light, the final panel of the abandoned glasses reads like nothing so much as Superman using the mirror as affirmation that the truth of the solemn, steadfast Superman identity gives him licence to deny the uncomfortable emotions his squishy human farmboy side is dredging up, ‘lying’ to him in a way he had to fake in the source material. Those emotions however knock right on the door of what he can’t grasp here: Clark’s so wrapped up in his own head trying to do the ‘right’ thing that he’s overlooking how his attempts at self-sacrificing selflessness are hurting the people around him. Throughout the series he’ll come to rely on others, first at his lowest points with Jimmy and the Bizarros, until at last he comes to invest true trust in Lois, and the Kandorians, and Leo Quintum, and even Lex.

For now though Lois is deep in a hole, a brief but memorable meeting with the Unknown Superman of 4500AD - everything Superman seems to be becoming to her even before she wonders if it’s literally him, cryptic and masked and with a big ‘ol question mark right on his chest instead of the familiar comforting logo, even his gutbuster of a question reinforcing his distance from a recognizable human experience - leading her all the way to reimagining her Silver Age ideal happy ending of marriage and family with Superman as a Cronenbergian horror. It’s still a Superman story, it turns out he had the very best reason possible for wanting to keep her in the dark, but right through to the end he remains just a little condescending in his reassurance, and his gift of essentially bringing her up to his ‘level’ isn’t going to solve the problem. While the next issue lets us see the two of them properly in love, it won’t be until the elephant in the room comes out that they can come to terms.

Additional notes

* God Quitely is so good. Look at the way the seatbelt curves in the first panel! Lois’s bemused little disbelieving smirk!

* Pages 2-3: Aurora Borealis?!

* Lois is the only character other than Superman who gets to have actual narration (in both cases as looks at their in-text writing), the only one whose viewpoint is thus privileged in the same way as his.

* The key is the realization of this series’ aesthetic in a nutshell: the old-school idea in a sleek, shiny, clever new way that doesn’t take away from the fantastical toyeticness of it all. For that matter, the key is the centerpiece of a later bit with Superman that could be fairly described as the long-term goal of the book book as Morrison’s hoped-for perennial: “One day some future man or woman will open that door, with that key. When they do, I want them to know how it felt to live at the dawn of the age of superheroes.”

* This is A. The first note of a larger DC universe existing offscreen, something that I’ll go into more when discussing #8, B. A brilliant, concise, fun little summation of his place in Superman’s world, and C. Absolutely hilarious given Morrison suggested in his exit interview that this could be seen as much later on in the same universe as All-Star Batman & Robin The Boy Wonder, which entirely rewrites the tone of that moment.

* Already discussed the key but the muscles in Superman’s hand tensing a bit at picking it up is another great detail.

* The glimpse of the Fortress here is excellent: the statues of his friends and enemies instead of pictures because he does things bigger with the yellow electric something crackling at the end of it, the off-model but curious-looking robot appearing to glance at Kandor (are it and the bigger robot with the seats on top of it trophies, or Superman Robots with different designs tasked for specific purposes?), the classic Bad Penny Good For One Crime, the Legion time bubble that establishes his time-traveling credentials for later, the Titanic where he and Lois will dine when their relationship hits a proverbial iceberg, and most strikingly the space shuttle Columbia, his apparent rescue of which I have to imagine is a reference to Astro City’s Superman analogue Samaritan debuting by averting the Challenger disaster.

* It’s next issue that has my actual favorite Superman/Lois moment of all time, but “When we’re married fifteen years, when I’m sagging and he looks just the same, will he still meet me and say things like...” “These are for you. I picked them on Alpha Centauri 4.” is right up there.

* The technological aesthetic of the Fortress is so different than P.R.O.J.E.C.T., sleek and solid and cleanly-lit and antiseptic, beautiful and advanced but a little cold in its own way. As stuffed with wonder as this place may be, there’s something hauntingly empty about it, suiting both the tone of the issue and as a physical embodiment of Superman’s emotional state. The one part that goes against it is the forbidden room, it even has beakers and test tubes to sell the mad scientist vibe...though if you were to stretch it, it much more close resembles the human technology seen at P.R.O.J.E.C.T., and this is meant as a gift for one.

* The cosmic anvil made it along with the key into the CWverse, Lois used it in Elseworlds! I may not be expecting All-Star quality from the upcoming Superman and Lois, but it’s good to know the powers that be are using it as a reference point (beyond how it inspired Supergirl’s take on Cat Grant, a connection I discussed in a post that seems to have vanished into thin air). The whole page is perfect, Superman at his most joyfully benign and beautiful and godlike; it’s the one bit where Lois’s skepticism cracks a touch watching him feed his adorable little Lovecraftian abomination from beyond the stars.

* While he never appears physically aside from a statue Brainiac hovers over this series from beginning to end in name and deed, the ominous ultimate enemy of Superman’s past, the great trial overcome even as the scars forever remain. Morrison mentioned in the exit interview that he didn’t appear in here because he and Quitely already used him as the villain of JLA: Earth 2, but that if he had it would have borrowed Superman: The Animated Series’ take on him as a Kryptonian AI gone rogue. Personally I like his place in here as-is, a little totem parallel to the Justice League references indicating the breadth of Superman’s history between putting on the cape and Luthor’s final scheme.

* A pair of minor notes: Lois points at Superman with the pointy fork when asking him pointed questions, and while it’s not immediately clear on first read she does in fact ask the Unknown Superman exactly 3 questions (“Kal Kent?” “Will Superman and I ever marry and have children?” “What do you mean?”) before he replies with his own, as promised.

* “Oww.” and “Tickles.” literally could not be more perfect Superman moments.

* Worth taking a moment to marvel at just how many future plot elements are seeded here. There’s the obvious bit of Superman thinking about having a partner setting up the next issue, but we also for issue #6 have our first look at Kal Kent and Lois wondering “What if (the Unknown Superman) was really (Superman)?” when Clark will indeed pose as him, for #10 we get our first look at Qwewq, and for #11 not only is the Sun-Eater introduced but so is Robot 7′s malfunction as a result of Luthor’s tampering.

* The structure of the series according to Morrison is a solar cycle, beginning and ending at midday with nightfall in the center. If last issue was the sun at its brightest we begin the descent here, with Superman remaining larger-than-life and ultimately trustworthy but with his classic persona and habits held to an additional, unflattering degree of scrutiny.

#All Star Superman #Superman #Lois Lane #Grant Morrison #Frank Quitely #Jamie Grant #Phil Balsman #Art #Silver Age #Clark Kent #Batman #All Star Batman & Robin the Boy Wonder #Fortress of Solitude #Astro City #DCTV #Brainiac #Opinion #Analysis

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