Chad Nevett on New Avengers #58:

Yeah, here’s the thing: not killing bad guys doesn’t make you better than them, it makes you a fucking pussy. It makes you responsible for everything negative they do after that point. No grey areas, no moral questions, no debates about what’s heroic and what’s not. […] I hate superhero comics for pretending that letting villains live is somehow the morally superior thing to do, because it’s not.

If you listened to the Fourcast! this week, and you should have, you’d know that I agree with every word Chad says. I wanted to have a longer excerpt, but it’s a pretty short review. Go read it.

Greg Rucka and Matthew Southworth’s Stumptown opens with two gunshots and ends with a revelation. What lies between those pages are clever world and character-building, a problem to be solved, the introduction of multiple threats to Dex, our heroine, a couple of reveals, and an all-around fine grasp of craft.

Stumptown feels like Ed Brubaker and Sean Phillips’s Criminal. Not in tone, of course, since Criminal is positively lurid at times, but in a more nebulous way. It feels like a book these guys are doing because they believe in it and enjoy it, rather than being paid by someone else to tell new stories about old characters. Though I will say that the lettering does remind me of Criminal, with its ragged edges and raw look.

Rather than resembling Criminal‘s “No way out but the hard way out” world, Stumptown feels much more like a Chandler novel, and Dex fits an oft-quoted Chandler piece:

The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor — by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.

Dex is flawed (she gambles), but she is also honest and caring and a woman of honor, as we see over the 35 pages of Stumptown. When confronted with someone who is scared, she reacts in a way that a hero should. Dex is just a little offbeat enough to seem real.

The characters Dex encounters in the book show that she’s been around for a while. It paints a picture of a shared history without being overbearing or too cute about it. Ansel, her brother, is well known around town, and many characters express concern about his welfare. It actually comes off a little like they don’t quite trust Dex all the way and want to be sure that she’s actually taking care of business. I like that Rucka left it open enough to give us some wiggle room to figure these things out.

The art’s good. Not great, but good. It’s pretty raw and scratchy, and reminds me quite a bit of Michael Gaydos. Southworth excels at conversation scenes and the use of space, giving Stumptown a very tense and claustrophobic feel. Places look and feel real. There’s a wide shot on a rich man’s house that looks excellent. However, Southworth’s not so great on action scenes, though those are few and far between in this issue. The scenes look a little too stiff, a little too posed, for my tastes.

I really like Southworth’s willingness to let the character’s faces do the acting. A crinkled eyebrow, slumped shoulders, and a sheepish smile go a very long way with me. My hands-down favorite panel in the book is the one where a character steps back into a doorway after leaving a room and places both hands on the doorframe. It speaks volumes.

Stumptown #1: it’s a good read and a good start to the series, with an engaging script by Rucka and solid art by Southworth. I could go for a more kinetic feel to the action sequences, but this doesn’t seem like that kind of book so far. If you like the feel of Gotham Central or Alias, this is basically what you’ve been waiting for since both of those were cancelled. Fans of Criminal should also be pleased, though this one’s on the opposite side of the law.

…is three months away. I know.

I’ve had a revelation over the past few months. I don’t really have any interest at all in doing another 28 day marathon talking about black people and comic book characters/superheroes. I just don’t care, for a variety of reasons too deep to go into today but which will undoubtedly leak out over the next few months.

However, that doesn’t mean I don’t want to represent. I just want to do it differently than I have before. Comics, and real life, shouldn’t be about the characters. It should be about the creators.

So, a request. Help me out. Drop a comment here or email me with the names of black writers, artists, colorists, editors, whatever. Superheroes, webcomics, mopey comics, indie comics, coloring books, whatever. I want to know. Also, specify if they are actively working or if they’re a classic creator and where I can see them in action.

I’m not exactly sure what I’m doing next year, but I have a vague idea. So, help me help you by helping me gather information. I don’t/can’t read everything, so no suggestion is too dumb or too obvious.

Except I guess Priest or Hudlin or McDuffie. Don’t recommend those guys to me. I already know about them.

Let’s get it.

but he writes the best Superman this side of Grant Morrison.

From JLA/Hitman, a two-issue miniseries that came out a couple years back. Words by Ennis, art by McCrea. DC, get to trading the rest of Hitman asap and include this, thanks.

–Brendan McCarthy Spider-Man. Click or else.

-I have a hate relationship with horror movies, but this essay by Lauren Davis over on io9 about what makes great horror is excellent.

I have to confess, it’s very hard for me to watch horror movies. It’s not that I don’t enjoy the occasional scare, and it’s not that I’m worried about ghosts and monsters following home (although I will confess to a mild fear of zombies). No, it’s just that when the body count starts rising, I start feeling, well, sad. I don’t come out of the theater pumping with adrenaline; I’m too distracted thinking about the people who died and the loved ones they’ve left behind.

Absolutely a must-read.

-You know what’s more exciting than Marvel joining Disney or whatever it was that happened to DC? The Comics Journal reorganizing. Good interview at CBR:

Groth: I see this is an opportunity to create a true web version of “The Comics Journal,” to in effect combine the virtues of both the web and print as I understand them, which is to say, a single “place” where readers can come and expect a consistently intelligent, idiosyncratic, combative, and occasionally clashing conversation about comics and cartooning. Over the past few years I’ve noticed smarter critical commentary on the Net, but it’s scattered all over the place, buried in the usual mountain of frivolous, tepid, dimwitted, unreadable fanboy drivel. There’s no single website you can visit and anticipate a range of interesting sensibilities on an equal footing, so one of my goals is to distill the best criticism and journalism we can into a single site.

I’ve never actually read an issue of TCJ, though I’ve kinda always meant to. I expect to be alternately infuriated at and elated with the content they come up with. Don’t let me down, guys! (Also if you could make past issues, like TCJ 298 for example, available as PDFs for people who don’t really have room in their tiny San Francisco apartments, that’d be great. Muchas smooches.)

-Savage Critic doubleheader! Jog goes in to great effect on the art in the Greg Rucka/JH Williams III Detective Comics (and JHW3 is the coolest initials in comics since edex), and David Uzumeri drops some bombs on the writing.

My own feelings on ‘Tec are complicated. I like the art more than the story, which feels a little pat, so I don’t buy it monthly. However, once the hardcover drops? Ooowhee. I’ll be on Amazon like a shot.

-Tucker Stone looks at comics criticism and kicks some knowledge:

Comics doesn’t have Tastemakers, maybe they did once, but that time is gone. It’s always been a fractured landscape anyway–initial chunks of comics criticism doled out in fanzines or fan clubs, with the occasional academic polemic turned out for audiences in the low hundreds–and the Internet was able to finish the job of fracturing quicker than it’s been able to on music and film. We all do it, you, me, the guy at the store–reading only those who agree with us up until they say something we don’t like, we burn bridges, blog ourselves, trusting no one. After all, That Guy likes Guggenheim’s Blade series–what’s he know? That Girl’s favorite comic last week was some manga about dating–all the smart kids know it was the GI Joe/Cobra Special!

His point about controlling the critique that exists is a good’un.

-Keeping it in the family, Nina Stone has a beautiful slash brutal takedown of Gotham City Sirens.

Mr. Gag Reflex is apparently not over being dissed by Joker, and so the plot is about him taking his breakup feelings out on Harlequin, the Joker’s ex-girlfriend. I don’t know how this completely relates to the issue before, but maybe it means that the Joker and Harlequin aren’t actually over. To be honest, I don’t really care if I ever find out. It took too many pages of overwhelming art to tell this story. Let me explain.

Really, it’s good. Click thru.

-The Funnybook Babylonians want you to call in and leave obscene messages listener mail. Ask question, share an anecdote, and they might just play it on the show. Tell them I sent you.

I usually never dress up for Halloween- didn’t as a kid, had no interest in it as an adult. This year, though, I was shanghai’d into it by Ron Richards of iFanboy and James Sime of Isotope. So, you know, I put on a costume. It wasn’t my fault, they would’ve killed me.

Esther, however, actually enjoys Halloween. She was supposed to come over to record an episode of the Fourcast! this past Saturday. Imagine my surprise when I opened my door and saw, not Esther, but Clark Kent! And in the process of changing to Superman, no less!

Later, I went to a party. While there, I saw not just Superman, but Superman hanging out with The Shade! And wait, Han Solo was around, too? Luckily, Chunk Kelly was on hand to photograph both the teamup of three titans and dynamic duo.

My buddy Star St. Germain also had a pretty awesome costume. We somehow managed to see each other once the whole night, so no pics of us together.

If you got costumes, let’s see ’em.

Guess who’s back, back again… Tell your friends, will you? The rundown:

-A special introduction, courtesy of Joe, a Funnybook Babylonian. Thanks fella!
– 6th Sense’s 4a.m. Instrumental
-I explain the new and improved Bruce Banner to Esther. A little smarter, a little meaner, a little more interesting.
-We talk some about James Bond: Polestar, a Titan Books release. These dusty old newspaper comics have better than your recommended daily alliance of boobies and violence, usually in equal parts.
-The next segment was intended to be a discussion of what makes a good comic for grown-ups, but it segued and mutated and warped into just a discussion of what we like and don’t like about adult books. It’s a little rambly, but there are some gems in there, and hopefully it’ll provoke some conversation.

If you’re curious to see some crudely-drawn cartoon breasts, check out these two non-consecutive pages from the book:

Queen and country, luv!

Subscribe to the Fourcast! via:
–Podcast Alley feed!
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Key words: Dustin Nguyen, Halloween short story, Batman, Geto Boys.

Click or be turned into a pillar of salt.

For reference:

The video scared the life out of me as a kid.

More artists should do this. Someone turn Ghostface’s “Run” into a comic strip, please.

From Typhoid #4, the last issue of Ann Nocenti and John Van Fleet’s 1996 miniseries from Marvel Edge:

Typhoid Mary is one of my favorite comics characters and was created by one of my favorite writers and one of my favorite artists. This is a good scene that illustrates exactly what she is. Mary, Typhoid, Bloody, and Mary Walker. Virgin, Whore, Femme Fatale, and Human. Parts of a whole.

I can’t figure out my favorite part of this scene. It’s either when Mary Walker wakes up and puts the gun in her mouth (“here’s to lightening the load”) or the way she switches from Mary to Typhoid to Bloody in quick succession on the next page. Bloody’s justification for killing speaks volumes, too, with shades of Ennis’s Frank Castle lurking in her words:

“You wanted to know why killers kill? What a stupid question. Did it ever occur to you that some people should be dead?”

I dug this mini a lot. I’ll have to work up a real review for it, because it’s really very interesting from a variety of viewpoints. But honestly, I really, really want Ann Nocenti to do some more comics. These are fascinating, and since the blogosphere has a decently-sized feminist faction, I’d like to think that we’d get some interesting discussion of her old work out of it.

This book also convinced me that, like Noh-varr, Bendis has no qualms about taking older, previously-established characters and sanding them down until they fit into the fictionsuit he needs to make his story work. Typhoid Mary goes from representing corruption and beauty and social pressure and imbalance to being… Generic Loopy Crazy Chick With Her Boobs Out. Noh-varr goes from Angry Dane McGowan Bent on Fixing Earth By Force to Confused Baby Hero, Easily Led Around by An Obvious Villain. It’s really soured me on his writing. It feels so lazy, like it’s sucking all the potential out of these wonderful things just to have them in a story.

There were a few pinups in the back of the book. It blew my mind that Howard Chaykin did one:

“Tune your ear to the frequency of despair, and cross reference by the longitude and latitude of a heart in agony.

Listen.”

Gav threw in a brief mention of it on Sunday, but I wanted to come back around and reiterate exactly how unbelievably stupid Brave and Bold 28 was last week. Uzumeri hit ’em up earlier this week, so consider this “Bomb 1st,” a second reply.

In brief, the comic is about the time the Flash took a trip back to the Battle of the Bulge and hung out with the Blackhawks. There’s some typical comic book science tomfoolery to make it happen (involving light that travels slower than light speed), of course, and that’s dumb, but not as dumb as the main story. Barry Allen, Flash, is torn. He’s in a war zone, he has a plot device injury that keeps him from running at full speed (though he is clearly still faster than everyone else), and the Blackhawks want him to shoot up some Nazis. So he thinks, mopes, and then takes a uniform out of a supply box and shoots up some Nazis. Why is it okay to do this? “Because Barry Allen, American, can do those things in the uniform of his country, which is at war.”

Brave and the Bold: Comics That Insult Your Intelligence!

This story is really and truly the most offensively bad piece of crap I’ve read in ages. In pursuit of trying to make a point about “The Greatest Generation” and when it is okay to kill, JMS wrote the kind of story that mixes black and white morals/moralization, superheroic problem solving (hit it til it’s dead, leave a smug moral on its corpse), and a complete and utter lack of perspective.

I have a number of problems with the story, not the least of which is the lunacy of mixing superheroes and real world disasters. However, for the purposes of this post, number one is that Barry Allen steals a uniform and firearm from a box of supplies and pretends to be in the army for “weeks.” Impersonating a soldier is a crime. Impersonating a soldier and killing people is undoubtedly several orders of magnitude more illegal than just impersonating a soldier. Even dumber is Blackhawk insisting that this is war, and people kill or get killed during war, so start killing or get killed. Guess what Blackhawk: prisoners of war exist for a reason.

Soldiers aren’t just some guy who put on a uniform and decided to go shoot some patriotic bullets at infidels. They are specifically trained in a variety of disciplines, from combat to communication to inter-army relations. There are rules and regulations that they must follow, both in the UCMJ and wartime law. Those rules protect soldiers. However, soldiers are not civilians. Barry Allen is a civilian. Civilians who attempt to fight during wartime are unlawful, and should be arrested, tried, and possibly drawn up on war crimes, depending on what they’ve done. Barry Allen using his superhuman powers against normal humans while pretending to be something he’s not? I’d call that a war crime.

Basically, war isn’t a game of pickup basketball at the park. You don’t get to play shirts vs skins just because you take your top off and tighten your high tops. You get to sit on the sidelines, shut your fat yap, and hope for the best.

Second is the central conceit of the book, the question of “when is it okay to kill?”, is ridiculous. Pro-tip: we’re not children. Reducing a problem to an either/or situation works for children, because they don’t have the capacity to understand that the world is made of shades of grey. For kids, there are good guys and there are bad guys. For adults, it is never that simple. “When is it okay to kill?” is dumber when you consider that Barry Allen is a police officer in his civilian life. If anyone should have an opinion on that, it should be Barry. And it shouldn’t be an opinion as turgid and hamfisted as “Because Barry Allen, American, can do those things in the uniform of his country, which is at war.”

There are a number of very valid positions to take on the question. I’m sure we all have opinions on when, or if, it is okay. But, hey, Barry’s a superhero, so there must be a black or white answer. And that answer is “It is okay to kill when you jump through an unnecessary hoop to justify it to yourself in the name of specious logic and self-righteousness.”

After more garbage that you’ve seen in every time travel story ever (“Do we win? In the future, is it worth it?”), a bit more pontificating (“But the country is still the country. It has its flaws, and it isn’t always right, but it’s still intact. And I guess that’s all that matters,” he says, as he looks off into the distance), we’re left with the money shot of all World War II stories: a character looking off into a graveyard and re-affirming that “they were the extraordinary ones.”

My rawest, most honest reaction to this scene was “blow me.” You have a character who can move at superspeed, if not run during the story. He throws a thousand bricks and incapacitates a German unit in a matter of seconds. By the end of the book, he can move at light speed again and goes home, safe and sound. And he’s looking at the graves of the eighty thousand people, people who not thirty seconds ago were within arm’s reach, and thinking about how extraordinary they were?

That’s stupid. I’m stupid for reading it, JMS is stupid for writing it, and DC is stupid for publishing it. It’s not just stupid, it’s insulting. This is why superheroes have no business in World War II tales. There was nothing stopping the Flash from saving those lives. If he can put on a stolen uniform and shoot Germans willy-nilly, any idea of a temporal paradox is out the window. Not using his powers at the Battle of the Bulge is as stupid and patronizing as Superman insisting that he shouldn’t do anything more than beat up giant monsters. Because Flash could have saved them, but didn’t, their lives are on his head.

Keep superheroes out of World War II, and keep JMS out of my comics. Whatever goodwill he had from when he did Spider-Man with JRjr is burnt out and chased out. He’s terrible. I can’t think of the last comic I hated like I hate every single solitary inch of this one.