Let me start this off with a quote from Common’s “Sixth Sense,” just so that you don’t get what I’m saying twisted.
Some of that shit, y’all pop to it, I ain’t relating
If I don’t like it, I don’t like it, that don’t mean that I’m hating
Plain talk: Racists and sexists make for terrible villains.
Wonder Woman’s next big story arc is about the Manazons. They were introduced in DC Universe Zero over the course of three pages where a couple gods are sitting around and watching Wonder Woman. They reveal the Manazons and say something along the lines of “Never send a woman to do a man’s job!”
Lame.
The thing with villains these days is that we basically have two types. One type has two or fewer dimensions. They cackle and kill and are basically evil. Depending on the writer, this is the Joker and Magneto. Their gimmick is that they are evil. If they are part of a group that once called itself “Evil” or “of Doom” or something like that, they are probably part of this group. This is a holdover from the days when (bang, pow) comics were for kids.
The other kind of villain is the kind who is more three dimensional. He has a goal beyond just wrecking shop, or at least some kind of personality that makes him more than someone who just wants to kill everything ever for whatever reason. Claremont’s Magneto pretended to be this guy, Lex Luthor is this guy, Two Face is this guy when written popularly, and Prometheus started out as this guy. They aren’t evil for evil’s sake– they are evil for a (occasionally good) reason.
Which one of these villains do you prefer? The nuanced one or the black & white one?
I don’t mind evil villains. Joker is frustrating, but fun when Harley Quinn is around to take away from the “RARR EVIL” stuff. But, I think that evil villains are a cheap writer’s trick at this point. With the skill of writers these days, we should be able to have villains that don’t instantly inspire revulsion in the reader. We should be able to mix it up.
I’m only picking on the Manazons because it’s the most recent example. Their gimmick is that they were put into action by two gods who straight up say that women are less capable than men. What decent person is going to be able to say “Hey, this guy is really interesting. I wonder what would happen if they win?”
What happens if the Manazons win? A bunch of women are banished to the kitchen, and even then, they know that men cook better, anyway.
What’s the point? Where’s the depth? Racist sexist villains are cheap. When’s the last time you were like, “Boy, the Red Skull sure is an interesting character! His methods suck, but I can understand where he’s coming from!”
Racism and sexism are bad words. This is partly why people who are (rightly or wrongly) accused of sexism or racism get so upset at the very idea of being such. The only people who accept those labels are people who will never change. Everyone would like to be past the use of them. Racists and sexists are Bad People. Who wants to be a Bad Person?
Tossing these traits onto a bad guy is just another way to make him more unlikeable without actually writing scenes that illustrate that. It’s telling, not showing, and it is cheap like a dinner at a friend’s house or a date at the communal TV room in your dorm. It’s lazy.
Seeing a brand new villain immediately go into “mulatto” or “whore” talk immediately kills any connection I might have had. Now, he’s just a regular old bad guy. A regular, old, uninteresting, boring, cliched, terrible bad guy.
Give it a miss. You can have bad guys without using these shortcuts. I can’t believe how tired I am of seeing cheap cookie-cutter villains. It takes me out of the story instantly. and it just feels hilariously lazy.
I’m not asking for a moratorium, but at least give me another reason to hate these dudes beyond “Ha ha, he said nigger.”
LISA: What exactly happened with the Paul Cornell interview and the last couple of questions that were removed from the site?
MB: Glad to fill you in, Lisa. A question was asked that was poorly phrased and perhaps not thought out as well as it could have been beforehand, and the exchange was then regrettably missed in the editing process. We apologize to anyone who was offended.
There is really no excuse — it was a bad judgment call on Ben’s part and we certainly should have caught it before it was posted. We obviously always try to be thorough when proof reading an interview, but this one unfortunately slipped through the cracks.
That said, as soon as it was pointed out to me, the passage was removed.
“So, yeah, you’ve got this Arab chick… she gonna blow any dudes up?”
“I heard that there’s a black guy in the comic. Which white girl is he trying to get with? Does he play basketball at all?”
“This Asian girl you have on the team… I’m just gonna put this out here, see if I can get a response. Two words. Happy. Ending. Hey? Yeah?”
Faiza is one of the most interesting new characters to come out of Marvel. Cornell gave an awesome interview about her a while back that sold me in basically one paragraph.
Thanks, Newsarama interviewer Benjamin Ong Pang Kean, for reducing her to being the “British Muslim” who is probably gonna kill some dudes while screaming about infidels and building mosques.
Nasir “Nas” Jones is one of the best rappers alive.
It’s as plain as the chipped tooth in his mouth. Illmatic is one of the top five best albums ever. It’s that good. New York State of Mind, to pick one song, is infinitely quotable (“I never sleep, ’cause sleep is the cousin of death” “Rappers I monkey flip ’em with the funky rhythm I be kickin'” “I got so many rhymes I don’t think I’m too sane/ Life is parallel to Hell but I must maintain” “Never put me in your box if the shit eats tapes”). If I tried, I could probably kick half the rhymes on the album with an instrumental.
The problem with coming out swinging on your first try is that your second looks lame by comparison. So it was with Nas– basically every album has been seen as lesser than Illmatic, to the point where Nas released Stillmatic. I’d say that Hip-Hop is Dead is his closest to Illmatic and a thoroughly awesome album.
The thing about Nas is that he’s scary clever and intelligent. It’s like if Tupac had kept up with the tone of his first album (Brenda Had a Baby, for example) with a bit more black power in. He is a sick storyteller. He isn’t the free-association kind of storyteller like Ghostface is. He’s in the Rakim school of telling stories– really straightforward and just in the mix. Ether is still basically the anatomy of how to make a diss song.
(If you’ve ever seen me make reference to spitting ether or ethering someone, just know that I’m not talking about the chemical.)
What I’m saying boils down to Nas is smart. The corollary to that is that he should know better.
Case in point, from King Magazine (vaguely nsfw, bikinis):
Do you remember the first time you were discriminated against because you were black? The first time I opened up a Superman comic book. The first time I saw Flashdance, with the light-skinned, beautiful bitch who’s chasing after some white cat, which…I don’t have nothing against interracial relationships—love ’em, actually.
This is Nas’s career in a nutshell. He’ll hit you with something profound and then follow it up with something off-kilter. “The first time I opened a Superman comic book.” “The first time I saw Flashdance, with the light-skinned, beautiful bitch.”
He’ll drop The World Is Yours and then hit you with Hate Me Now. He’ll go from Nasty Nas to Nas Escobar. Illmatic to It Was Written. He put One Mic, one of my most favorite songs ever, on an album with Braveheart Party, a song so bad that Mary J Blige asked for it to be removed from the second pressing of the album. Braveheart Party makes me want to fight Nas. One Mic makes me want to hang out with him and chop it up.
Nas’s next album is called Nigger. I trust him and his skill, particularly lately, to be able to pull it off. The first single is harsh, but I’m digging it. It took me a minute to open up to it.
What will it say about the record industry if Def Jam drops you, 10 albums deep, over a single word? That starts a revolution. It sparks something within the hip-hop community, within the streets, within the people outside the streets. It raises an eyebrow to the situation, you know? Nobody wants to deal with the word “nigger,” because what comes with the word “nigger” is a whole history where you show so much injustice, and you show so much that has not been fixed yet. So it’s a scary thing. But it’s also uncomfortable when I’m dealing with it. Like, no one can tell me what to do. None of the black leaders, none of these motherfuckers, record companies, none of them can tell me what to do. Because you can’t stop what I want to do, you understand?
Nas is smart. Nas is stupid.
I say that this is Nas’s career in a nutshell, but it’s also bigger than that. It’s emblematic of a bunch of black men all over the country. Actually, let me dial that back– I am right there with Nas.
I’m not perfect. Sometimes I slip. Sometimes I roll my eyes at certain things like “*smh*, white people.” Sometimes I look at something and the only comment I’ve got is “That’s mad niggerish, man.” Sometimes I want to just box the entire internet’s ears and and scream on someone.
I’m smart. I should know better.
It’s a constant struggle. This is why I don’t like snarky things– it’s too easy. Anyone can toss off six sentences of ill will without really looking at something. I try to keep from doing it if only because I hate it. I force myself to think things over. I force myself to adjust to new information. I force myself to produce real content, for good or for ill.
I love Nas. I don’t want to be Nas.
From Nas’s verse on Kanye West’s “We Major”:
I heard the beat and I ain’t know what to write
First line, should it be about the hoes or the ice?
Fo-fo’s or Black Christ? Both flows’d be nice
Rap about big paper or the black man plight?
Nas knows what I’m talking about. (Kanyayo does, too, but that’s another conversation.) You can go low brow or you can go high brow. I can talk about ice or black man’s plight, which one do I pick?
I like Luke Cage and Storm. At the same time, I hate Luke Cage and Storm and everything they represent. They’re two sides of the same coin– the dangerous thug and the whitewashed safe one. The problem is that that coin represents a false dichotomy.
It isn’t that simple. Very, very few things are black and white. Racism and sexism definitely aren’t as simple as racist/not racist or sexist/not sexist, no matter how hard people on both sides of the argument try to make it seem that way. 99% of people are Nas– stuck in the middle. Smart and stupid. Gifted and wasted talent.
Pedro of FBB and I talk pretty much daily, and one thing we often talk about is how the level of discourse online and off embraces dichotomies way too easily. People want to be able to point and say “That’s wrong” and be absolutely right. It’s the “Manichean murder machine” that The Invisibles talks about. Nine times out of ten, it isn’t as simple as with me/against me. Real life is not in black and white. Real life is in shades of gray. I feel like it’s important to take that into account when writing.
On the one hand, Lil Wayne is the dude who coined “Bling bling.” On the other, he’s dropped incredible verses on “Georgia… Bush” and Rich Boy’s “Ghetto Rich” remix. (“Fuck being like Mike, I wanna be like pop/ Then I picked up a mic, I wanna be like ‘Pac/ Please put down the pipe, you don’t need that rock/ Please put up a fight for the kids that watch/ Us in the spotlight, and then they mock/ But caskets get closed and then they drop.”) David Banner can drop “Like A Pimp” or “Play” (NSFW) and then be that dude who basically did a better job raising money for the Hurricane Katrina support effort than the US government?
Is T.I. the idiot who got caught trying to buy illegal guns, or is he the guy who stays working with single parents and Boys & Girls Clubs, trying to make life easier for them?
This is what I think about. I write for a living, so I take this writing thing pretty seriously. I want to be sure that I’m on point, because my words reflect who I am. I’m not afraid to pull back and tell myself “It’s just comics,” but I’m not going to be that guy who is talking out of the side of his neck and end up looking like an idiot.
I hadn’t realized it until I sat down and thought about it, but Nas was probably the first “conscious” rapper I heard. I’m saying, I knew PE and KRS and them, but I know Nas way better than I know them. Maybe that’s why he’s so prominent in my mind. I heard KRS and PE. I paid attention to Nas.
I could talk about the man and his career all day. I’m not entirely sure why I’m writing about Nas on my comics blog and I don’t entirely know where I’m going with this. He wanted to draw comics as a kid, though, which ties into my usual point that black people reading comics isn’t a new or remarkable thing. Don’t call it a comeback new trend, ’cause we’ve always been here. Pay attention.
Basically, Nas and L-Boogie would be the best duo in music ever.
Best Reality-Based Work
Laika, by Nick Abadzis (First Second)
The Magical Life of Long Tack Sam, by Ann Marie Fleming (Riverhead Books/Penguin Group)
Satchel Paige: Striking Out Jim Crow, by James Sturm and Rich Tommaso (Center for Cartoon Studies/Hyperion) Sentences: The Life of MF Grimm, by Percy Carey and Ronald Wimberly (Vertigo/DC)
White Rapids, by Pascal Blanchet (Drawn & Quarterly)
Yyyyyyyyyyyyyyeah! Congrats to Percy Carey and Ron Wimberly. I’ll have more Eisners talk later this week.
david: I want to start a new line of faux Golden Age comics like Congo Bill and Tarzan
david: about one lone white dude standing vigilant against the dark skins of the inner city
david: Compton Bill
pedro: ha ha
pedro: compton bill is awesome
pedro: oh god
david: i might have ot make another cover 🙁
pedro: i want that comic so badly
pedro: but compton bill should be about an old dude who joins the bloods
pedro: it’s the only way to survive in the neighborhood
For those who do not get the joke: Tarzan, Congo Bill, every jungle girl movie ever, Jungle Book, and other stories were essentially all about what Rudyard Kipling called “The White Man’s Burden.” Bringing peace, light, knowledge, and lots of guns to countries populated by brown skins and shooting them until they give up.
Sorry, that was a little cynical. I don’t read Kipling for the same reasons I don’t read Lovecraft. Let me let wiki tell it:
At face value it appears to be a rhetorical command to white men to colonize and rule people of other nations for their own benefit (both the people and the duty may be seen as representing the “burden” of the title). Because of its theme and title, it has become emblematic both of Eurocentric racism and of Western aspirations to dominate the developing world.[8][9][10] A century after its publication, the poem still rouses strong emotions, and can be analyzed from a variety of perspectives.
The trope of “One Lone Lantern-Jawed White Guy (and possible Jaguar Skin Clad Lady Friend) Kicking Savage (or Gorilla) Butts In Africa” used to be a common one in movies (hello 10,000BC how are you doing while I am over here not watching you) and even more common in fiction.
I just thought I’d update it a little bit. You know, revamp, reboot, and relaunch with a new #1. It was brought on by this, wherein we find out that James Robinson is getting a new Justice League series and introducing a ’90 year old Congo Bill.
You know who I want to see? Waller’s kids. I don’t want them becoming superheroes, but I’m kind of curious as to how Waller has managed to protect them so well with all the dirt that she does and people she has pissed off. Is everyone afraid of the woman? Even crazy loons like the Joker? Actually, it would be interesting to see what Waller would do if one of her kids pulled a Proteus. Would she be able to take her own child down? The only tie left to a husband who was brutally murdered? Given the interesting ways that so many writers at DC have examined family ties, I think it would be a good story.
I can tell you exactly what happened to her kids.
Amanda Waller is a true patriot. She is willing to do the raw and dirty things in order to keep someone else from having to sully themselves. She is damned of her own accord, and she is okay with that. It needs to be done, and if she is the one who has to do it, she definitely will perform to the best of her ability.
Therefore, the absolute last thing she wants is for her kids to have to follow in her footsteps. That’s a standard thing for parents, isn’t it? They don’t want their kids to make the same mistakes or face the same issues that they did. They want their kids to have a brighter future, usually by any means necessary. Parental instinct at work– your kids come first.
So, Waller did a few things once she got into the position we know and love. She made herself available for the dirty jobs, the ones that no one else wanted or could stomach, and then she used that knowledge to secure her children’s future. It isn’t quite blackmail– she’s in a position where blackmail would be a little too obvious. All she has to do is ask for something, and the men in power will stop, think about what she knows, and give it to her. She doesn’t just know where the bodies are buried– she’s got the receipt for the backhoe that dug the hole. So, in a effort to do what all parents attempt to do, Waller looked out for her kids first. I have a few theories.
1. Her surviving family are set for life, though she rarely sees them. College careers funded, houses bought, incredible credit score established, health insurance for life, and so on. No get out of jail free cards. Definitely not. She raised them better than that, and they know better than to get arrested ’cause the only thing worse than getting arrested is to have to call your mom while she’s sleeping, or even worse, at work, and telling her you’re in jail.
(She rarely sees them because it wouldn’t be right. She loves them deeply, but her work has left her hands filthy. She isn’t guilty, and her self-righteousness never cracks, but this goes back to the wanting better.)
2. Cabrini-Green isn’t the same place that murdered her husband and daughter. She took care of her family, and the next step is taking care of business. It’s the exact opposite of our Cabrini-Green. Intelligent federally funded social services hit Cabrini-Green hard in the DCU and turned the place around, all of which was masterminded by a flunky who is at least three offices removed from the desk of one A. Waller. That’s the smokescreen– true patriots don’t need credit. They don’t need praise. They just do. Cabrini-Green took too much from her, so, like Bruce Wayne, she’s going to ensure that that never happens again.
3. If one of her kids went bad, I think that she would have to be the one to put them down. She gave them all the chances in the world, and it is her responsibility to punish them. She wouldn’t like doing it, and it’d probably lead to either a (temporary) break down or retirement. A break down would be the worst thing to possibly happen to her, because when she comes back from that break down, she’s going to overcompensate.
That is when she calls Batman and is like “Meet me at the spot and bring those kid sidekicks of yours. It’s on. We’re going to fix everything.”
Just as an interesting side note, Amanda Waller is either from, or at least lived in for a while, Cabrini-Green, Chicago. You know who else is a world changer from Cabrini-Green? Or rather, “The Green,” as she knows it?
This is the Amanda Waller/Martha Washington theme song. (Will my crush on L-Boogie ever go away? No, I don’t think so.)
And because I’m on a Nas kick, this song is hot. (I’m so glad Nas is back to being good. It was looking dire to be a fan of Nasty Nas for a minute there. Hip-hop is dead… long live hip-hop.)
A Muslim, Faisa’s faith is very important to her. “I have two aims here: to make her a real person and not someone who has to represent the entire British Muslim world all the time — I think superheroes are too prone to being standard bearers for whole communities — and to make her an everyday religious person who you won’t hear anything religious from until it would naturally come up. Which is hardly ever. She’s not going to be letting anyone down, though. She’s the young hero who will win through. And we’ll play out some of these pressures and fault lines in the comic itself. I want people to adore her, not to be pleased she’s there as part of a quota system.”
There are a few things I like here:
1. Paul Cornell is a great writer, judging by the Wisdom miniseries he did a year or so ago. His new book looks great.
2. Pakistani female character written by a great writer.
3. Religion treated as religion is treated in real life. There are few people in life who are representatives of their religion (or race) and go around talking like “Well, in Leviticus 2:10, blah blah blah.” I can’t wait to see this.
