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This Week in Panels: Week 39

June 20th, 2010 Posted by Gavok

Almost running a little too late on this one, but work and Toy Story 3 kept me busy today. If I could give any warning about this week’s comics, it’s this: don’t check out Age of Heroes if you have any interest in the Young Masters whatsoever. Even though they take up 2/3 of the cover, they do even less than the Dark Reign miniseries that created them. Seriously, two pages of aimless dialogue. That’s it.

Age of Heroes #2
Brian Reed, Chad Hardin, Victor Olazaba and various others

Atlas #2
Jeff Parker, Gabriel Hardman and Ramon Rosanas

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New Avengers Finale raised a lot of questions…

May 25th, 2010 Posted by david brothers


words by brian bendis, art by brian hitch or maybe stuart immonen, the credits aren’t clear

The biggest being what is going on with that baby. That kid is like five years old.

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This Week in Panels: Week 19

January 31st, 2010 Posted by Gavok

A fine set of comics this week. Ah, it’s good to have Batman & Robin and Frankencastle Punisher around.

Batman and Robin #7
Grant Morrison and Cameron Stewart

Captain America Reborn #6
Ed Brubaker and Bryan Hitch

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This Week in Panels: Week 10

November 29th, 2009 Posted by Gavok

A good variety of panels this week. Granted, it may not be the greatest thing that I’ve been reading Clone Saga out of pure nostalgia mixed with curiosity, but that’s still better than hermanos reading Jeph Loeb’s Hulk for whatever damn reason.

Amazing Spider-Man #613
Mark Waid and Paul Azaceta

Arkham Reborn #2
David Hine and Jeremy Huan

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“Their capacity for evil so evident and prevalent”

November 5th, 2009 Posted by david brothers

I wanted to revisit and expand on the “HEROES DON’T KILL” post from yesterday, since it prompted some conversation.

My biggest problem with HEROES DON’T KILL as a hard-line rule is that it stems from the days when comics were meant for children and suffered under the tyranny of the Comics Code. Heroes must be pure and heroic at all times, and killing was right out. For children, that’s fine. Simple morality tales are an easy way to introduce the social contract. What’s racism? Racism is bad. What’s war? War is bad. And so on.

The problem is that comics grew up with their audience, and writers started stretching the limits of believability in an attempt to appear grown up. Every time a villain broke out of jail, he’d have to do something worse to top the previous story. Joker evolves from the Clown Prince of Crime to the Thin White Duke of Death, and every breakout spreads death and decay by the dozen. Norman Osborn goes from a guy who killed a girl once and wanted to run the underworld into a scheming plotter capable of faking several deaths, ruining even more lives, and torturing whoever he likes.

At a certain point, in the quest to give heroes something to fight against, the creators of these comics have made the heroes look like failures. Batman: Arkham Asylum, the recent video game, is an excellent example. No matter what he does, or who he rescues, nothing he does matters. You can idly rescue a couple of asylum patients and workers in the game, but when you re-enter that area, whoops, look at that, they’re dead. Sometimes you get there in time to see an inmate beating their brains in, but it’s too late to save them. It makes Batman look inept, like all he can do is stand there in his long johns trying to hold back an unstoppable tide of pure evil.

It’s not any better in the comics. Villains break out of jail, murder a few people, go after the hero, and then go back to jail. Eighteen of our months later (if we’re lucky, and we usually aren’t) and they do it again. And again. And again. The body count rises, the hero thinks about all the lives that have been lost and feels bad about it, and then does the exact same thing again. Lather, rinse the blood off your hands, and repeat.

What’s even worse is the sliding scale of acceptable killing. Sentient beings from computer monsters to aliens? Murder at will. However, a guy who has, over the course of maybe six months at most, shot down an airplane full of civilians to see if a hero would catch it, ordered the death of several American citizens, hired mass murderers and villains under false pretenses, engaged in military actions in foreign lands, and placed scads of people who are loyal only to him in various sensitive places in the federal government? That guy is strictly off-limits.

msmarvel28-01msmarvel28-02wahwahwhiner

See? Ms. Marvel is three things here. Creepy, smug, and a hypocrite. Why is it okay to kill aliens and not humans? Is that where “Thou shalt not kill” stops? “You weren’t born in Peoria, you’re fair game?”

It’s the hypocrisy that bugs me more than anything. When Hawkeye says that the Avengers should kill a man who has killed Spider-Man’s girlfriend, kidnapped his child, ruined the life of a good friend, created a vicious cycle of hate that infected Peter’s best friend Harry and his son, faked Aunt May’s death, and tortured Spider-Man for days… Spider-Man’s reaction, realistically, shouldn’t be to whine about how heroes don’t kill ever ever ever no matter what.

I’m not saying that all heroes should be bang bang shootem up all the time. That’s stupid. There are several perfectly good reasons not to kill someone, and killing would ruin the charm of certain characters. I don’t think Superman should ever kill anyone. Spider-Man, as the ultimate street level everyman hero, probably shouldn’t kill anyone, either.

(though back when i cared about that sort of thing, i realized that the one instance where spidey would kill would be if and when norman snaps, kidnaps MJ, or maybe Baby May, and it’s his last choice. he’d do it, and he wouldn’t feel good about it, but he wouldn’t regret it, either.)

But, to pretend that heroes should never kill, while their enemies continually up the ante and stack atrocity on top of atrocity and shoot past irredeemable and on into genocidal… you start to notice the guy behind the curtain. That’s when you realize just how the sausage is made and start caring less and less. Black Adam has millions of deaths on his resume. Vandal Savage destroyed Montevideo. Deathstroke’s blown up Bludhaven, and, along with Cheshire, nuked the capital of Qurac. Mongul destroyed Coast City.

At some point, you have to weigh your peace of mind and so-called moral high ground against thousands upon thousands of lost lives. And sometimes… it’s worth the sacrifice.

And that’s why the hard-line HEROES DON’T KILL is childish to me. It’s applying a black and white morality to a situation that doesn’t fit it any more. Back when Spider-Man was created, Doc Ock was killing people mainly by accident. Green Goblin just wanted to run the mob. Now? Now villains completely undercut the hero by simply existing, and every time we get one of the “I’m better than you, I don’t kill” scenes, or the scenes where the hero fights hard to save a villain’s life so that he can sleep soundly at night… well, I roll my eyes.

All I want is to see some nuance and maturity when taking on the idea of heroes killing, rather than heroes with barely a leg to stand on preaching directly at me. It’s not clever, it’s not smart, and we’re not children. Garth Ennis got it with his portrayal of the Punisher. It’s not even hard or really very complicated. Sometimes, the hard choice, the bad choice, the unreasonable choice, is the best possible choice to make. Sometimes you have to do bad to do good.

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Manichean Murder Machine

November 4th, 2009 Posted by david brothers

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.

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This Week in Panels: Week 6

November 1st, 2009 Posted by Gavok

Here we go with the biggest week yet of this. Big week for Punisher and Ares, so if you like badasses with skulls on their chests, there you go. Ambush Bug was apparently an almost complete rewrite of what was supposed to be #6, so the panel in question isn’t supposed to say, “This is how funny the comic is.” It’s more, “They’re telling the truth and joking about them joking about it doesn’t stop it from being bad.”

Ambush Bug #7 (of 6)
Keith Giffen, Robert Loren Fleming, Art Baltazar and Franco

Anti-Venom: New Ways to Live #2
Zeb Wells, Paulo Siqueira and Chad Hardin

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This Week in Panels: Week 1

September 27th, 2009 Posted by Gavok

This is a new idea I decided to play around with. Rather than write up reviews of every little thing we read every week, we would simply try to get our point across via This Week in Panels. Each week, the collective of 4th Letter would post panels from various comics that have come out that we’ve read. Good or bad, we’ll try to portray them through one panel and let you draw your own conclusions. No gigantic spoilers or anything like that. Just an attempt to show you the essence of what the comic is all about.

Hopefully Esther starts responding to my emails so we can have more DC representation.

Amazing Spider-Man #606
Joe Kelly and Mike McKone

Blackest Night: Superman #2
James Robinson and Eddy Barrows

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Today’s Mathematics: De Likkle Comic Man Dem

June 19th, 2009 Posted by david brothers

Two instances of dumb ways to write “ethnic” characters, one counter-example, and a brief explanation.

The first two! On the left, we have Brother Voodoo Brudder Voodoo. On the right, we have the Shaolin Scientist Squad. From New Avengers #53 (Brian Michael Bendis and Billy Tan) and Punisher #6 (Rick Remender and Tan Eng Huat), respectively.

bruddashaolin

A counter-example for Brudder Voodoo, from Gambit #9 (John Layman and Georges Jeanty):

ishuz

A brief explanation:
Brother Voodoo was needed to fill a role. As part of filling that role, he’s got to talk with a comic book Carribbean accent, I guess. Even though he hasn’t been portrayed as talking like that recently, nor originally, I believe. But, you know, he practices voodoo, and voodoo dudes need to have that authentic accent. Never mind that he’s a psychologist and Haitian ex-pat who’s been living in the States for years– he needs to be de likkle Claremontian stereotype, brudder. Just so you know he’s foreign.

The other is the Shaolin Scientist Squad, who are kind of like an evil Sons of the Tiger, I guess. My problem with them? Having Chinese villains refer to a “Great Western Satan” is like having a Jewish villain screaming about how Captain America is merely an avatar of Yacub, maker and creator of the Devil. GWS is something I’ve only ever seen in regards to Islamic extremist rhetoric, most notably courtesy of Iran a couple decades ago, not Chinese.

Nah, son. You got to do better.

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Changing Things Up and Going From There

August 24th, 2008 Posted by Gavok

A few months back, I suppose inspired by the internet anger at One More Day, Tom Brevoort made mention on his blog how puzzled he was about part of the reaction. Back when The Other happened, people were annoyed as hell that Spider-Man had those crazy new powers, like his newfound wrist spikes. Now that they’ve gone back to webshooters and removed his new powers from the table, people are angry again. Why is that?

It brought me to realize that change in comics has two parts. One is the change itself. The other is the use of that change. Why was everyone annoyed? Because even though The Other was over-hyped and boring, it’s amplified when you realize that they hadn’t done anything with it. Peter David tried to use the spikes here and there in his Friendly Neighborhood run, but that was pretty much it. Not only did The Other make his powers seem stupid, Marvel made no effort to make us believe otherwise. They just shrugged and gave up on it.

It makes me think of how some people generalize The Death of Superman. Some say that any real comic reader knew that Superman would be back in a short time and that the whole thing was rather pointless. In that over-simplification, you ignore how that entire story (maybe without all the mourning issues) brought so much to the Superman mythos. First, it gave us a villain who, while used badly over the years, is still considered an iconic monster. One Superman villain was redesigned into a more fearsome and recognizable form, while another was redesigned into an interesting tweener character. Then we got two new superheroes with staying power and the groundwork for Hal Jordan’s descent into madness.

Hell, look at Hal Jordan! I mean he’s so handsome and dreamy and—sorry. Look at how many people frothed at the mouth at Green Lantern: Rebirth and the first few issues of his series. Without the return of Jordan, there wouldn’t be Sinestro Corps and the two Green Lantern series wouldn’t be nearly as fantastic. It paid off in the end.

I’m going to take a moment to look at four changes in comics, each an example of one of the four possibilities. A good change that worked out, a bad change that didn’t, a bad change that paid off and a good change where the ball was dropped. Maybe this will be a series. I don’t know.

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