I was raised in a black, church-going, military family. My grandfather did 30 years in the Air Force, my mom did a few, my dad was in Gulf War I, I’ve had various relative enlist, and it seems like everybody I knew from high school is either married or joined some branch of the military. I guess all of this is just to say that I’m not coming at Amazing Spider-Man #574 from the position of a total neophyte or someone who doesn’t know nothing about nothing. I tend to pay attention to those things, if only because all three things are so close to my heart.

The crux of ASM #574 is that Flash Thompson was sent to Iraq, with the surprise revelation that he lost his legs rescuing a fellow soldier. The issue tells the story of Flash’s motivations during the story, even while massaging continuity (Vietnam quietly replaced with an unnamed jungle) and bringing the character up to date.

Overall, I really enjoyed the issue. Other than one hollow note (the origin of the name Flash comes from a high school date), this is probably Guggenheim’s strongest piece of writing to date. Careful attention is paid to the reality and treatment of the military in the book, including a desk-driving general and slang. These aren’t your cardboard cut-out soldiers. We don’t get the guy with the kid at home, or the crazy war-thirsty jerkoff. The little attention given to them paints them as just regular people.

It’s Flash’s story, though, and the issue is mostly told in the first person, as Flash tells his story to the general who is reviewing him for a Medal of Honor. It’s in an issue of Spider-Man because Flash is Spidey’s number one fan, and the text shows how Spider-Man has influenced Flash’s life over the years. When Flash needed a hero, his abusive father was found lacking. Instead, he looked to Spider-Man, resulting in iconic shots of Spider-Man versus the Sinister Six, or lifting a heavy thing, or fighting the Kingpin head-on, and so on, when Flash needed that extra motivation.

It isn’t clear in the text whether Spidey was on his mind during the action itself, or simply making parallels in the retelling, but both work thematically. Guggenheim is walking a fine line here, and could easily tip over into equating the exploits of Spider-Man, a fictional character, with the very real soldiers over in Iraq, Afghanistan, and elsewhere. Instead, I found that it was just a story about where heroism comes from.

Everyone has someone or something that they look up to. It’s that person in the back of your mind who inspires you, or whose memory you want to live up to, whether it’s What Would Jesus Do or I Wanna Be Like Mike. It’s a very human thing to look outside yourself for strength, and I think that this book does a good job of doing that. Flash’s father was abusive, so he was right out as far as heroes go. Spider-Man, however, was young, capable, and an easy target for a young guy who needed help. Flash latched on and became a huge fanboy. When he needed to push, he could look to Spidey.

I can see how this could ruffle some feathers, but I thought it was done perfectly respectfully. Nowhere is anyone but Flash’s motivations attributed to Spider-Man, and it’s always in an inspirational manner. It isn’t about how awesome Spider-Man is, but rather about how important heroes are to people, albeit illustrated on a very small scale.

This issue prompted me to put some real thought as to whether or not it was appropriate for comics, and superhero comics in particular, to address real world issues. One man’s “respectfully handled” is another man’s “complete travesty.” Why can we do World War II comics by the boatload, but more modern issues are taboo? Is it the time and distance that separates us and makes it seem less real? Is the War on Terror, or Insert Cause/Injustice/Action of Your Choice Here, somehow more real and troubling than the Big One?

I don’t think so, and I think this issue is a good reason why. If you can do your best to treat an issue respectfully, do the research (we can call it “due diligence” so we can pretend to be adults), and generally just put your best foot forward, I don’t think that any subject is taboo.

I believe that fiction is important. As much as I hate to quote a Superman comic to support a point, I have to say that one of my favorite Superman moments is in Action Comics #775, where Superman defeats the hot cynical superteam of the moment and says, “Dreams save us. Dreams lift us up and transform us.”

The fictional nature of something does not decrease its importance any more than relating something fictional to something real insults the real thing. Sometimes you have to push toward that fictional ideal to get the job done. Sometimes it’s your father, sometimes it’s Spider-Man. There is little difference between the two, and both serve different purposes for different people. Sometimes, dreams are just what you need.

I’ve personally known people who were big on the Punisher, Sgt Rock, or (X character) who spent some time in Iraq. We didn’t spend a lot, or really any, time talking about how the adventures of Clint Barton helped them in the field, but people generally have pet heroes, or tattoos of heroes, for specific reasons. One guy in Iraq using Spider-Man as inspiration? I can buy that.

(WE CARE A LOT!) About the gamblers and the pushers and the geeks
(WE CARE A LOT!) About the smack and crack and whack that hits the streets
(WE CARE A LOT!) About the welfare of all you boys and girls
(WE CARE A LOT!) About you people ‘cause we’re out to save the world! Yeah!
Well, it’s a dirty job but someone’s gotta do it

— Faith No More, “We Care a Lot”

I’m going to do a little history lesson here. While yes, it is about Venom, for this first part, it’s more about me, my interest in comics and this very site.

We all have our stories about how we got into comics. Whether it be because someone lent you a copy of Killing Joke or your father read you issues of Rom: Spaceknight when you just a kid, we all have something to say about it. For me, it was sometime in early 1994. In our neighborhood, we had this place called The Great American Party Store which had party supplies and was THE place to go every October for Halloween costumes and decorations.

They also sold comics and as I looked through the area out of boredom, I came across Venom: The Madness #3.

I may not have been into comics, but thanks to television and videogames, I knew who Venom and Juggernaut were. Juggernaut was that awesome domed dude from that X-Men cartoon that I watched all the time and Venom was that bastard who would randomly jump out and attack me in the Genesis Spider-Man game. I never was able to beat him on the Daily Bugle level. Still, I found his evil Spider-Man design magnetic. When I saw this cover, it blew my mind.

Venom’s a good guy now? And he’s fighting the Juggernaut?! This rules!

What, I was 13 at the time. What do you expect?

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SkottieYoung.com: Business Isn’t the Same

I hate to admit that in some ways, I’ve become the guy who talks about the music of his youth is so much better than what the “kids” today listen to. But dammit, I’m right!!!!

I can remember running home after school to try and catch the 1 hour of hip hop they would play on tv. I loved it. It was so new and different that everything else and I craved it before I knew what a craving was. I’m not going to pretend that I know why it spoke to me so much or say I was ahead of the curve on anything. I just loved it. KRS-One, Public Enemy, Nice & Smooth, Special Ed, Eric B & Rakim, 3rd Bass, Big Daddy Kane… I could keep listing names all day. It just felt fun, and energizing. One of my favorites of those days was Eric and Parish…EPMD. Get the BoZack. You got to Chill, Crossover, Headbanger, on and on and on and on. I remember being heart broken when they broke up but got my smile back in ’97 when they brought it back. They really frame the sound that I remember as a kid growing up.

Skottie Young is one of my favorite artists. That New Warriors miniseries he did with Zeb Wells was definitive, and Marvel really needs to give him an Amazing Spidey arc. Click through to check out his blog.

It’s not easy being a Venom fan. Or, to be more specific, it’s not easy being a fan of Eddie Brock. I’m more or less saddled in with him for life because in the end, he’s the guy who got me into comics and is instrumental to this site’s existence all together. That’ll be a story for another time. Maybe I’ll finally get around to that series of articles about his history next week. I’m getting nowhere with the next Deadshot’s Tophat installment anyway.

Now, I’ve read through the 5 years of Venom being the Lethal Protector (fun fact: reading almost every Venom appearance from the 90’s is so torturous that the Republicans now believe I’m qualified to run for office). It wasn’t a good series, but like all failed comics, it’s at least interesting when you look at what went wrong. What went wrong is Venom’s flaw as a concept. Esther made a post about ailed characters who can never fix what’s wrong with them (note: who the hell is Esther?). Rogue can’t touch, Babs can’t walk, Peter Parker can’t be happy, and so on and so forth. At least those guys have strong characteristics and rich histories. Venom isn’t allowed to have that.

Most of Venom’s 90 run worked like this: a writer would use him for a blatant crossover story and occasionally introduce a new dynamic to the character. He’d give Venom some direction and a little bit of promise. After that storyline, said writer would leave and be replaced with someone else. That guy would toss all of that development out of the window for the sake of writing his own wicked crossover story and it all starts over again.

Then Larry Hama took over for the rest of the run, which is interesting for the fact that the final few arcs were based on Venom fighting for amnesty by working for a corrupt government group that’s implanted him with a bomb if he gets out of line. Doesn’t that sound familiar?

Not like they’ll ever follow up on that connection. You see, Venom is a malleable character against his own will. Nobody cares enough to do anything meaningful with him. No matter how many girlfriends he’s given or how many moments of clarity he gets, every single writer after will disregard it all because Venom’s their pet dollar sign with fangs and a hate-on for Spider-Man. No more, sometimes less.

There’s almost some kind of sad tragedy to it. Some kind of Groundhog Day curse, but without the hilarity of Chris Elliot.

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The Hembeck Challenge, which I found via blake-reitz.livejournal.com. I think that ADD and some others did this a few years back, too, only those had panels. Here’s mine. Just for fun, each group has a theme. Some are obvious, others are not. Guess them and win a no-prize.

1.) Harley Quinn
2.) Isabel “Dizzy” Cordova
3.) Brubaker/Stewart/Cooke-era Catwoman
4.) 355
5.) Mary Jane Watson
6.) Misty Knight
7.) Colleen Wing
8.) JLA/Superman-era Natasha Irons
9.) Aunt May
10.) Cassandra Cain/Batgirl

11.) Moses Magnum
12.) Brother Voodoo
13.) Princess Zanda
14.) Blade
15.) Glory Grant
16.) Shades & Comanche
17.) Hannibal King
18.) DW Griffifth

19.) Luke Cage
20.) Spider-Man
21.) Black Panther
22.) Hawkeye
23.) Captain America

24.) Captain Marvel
25.) Captan Marvel
26.) Captan Marvel
27.) Mary Marvel
28.) Quasar

29.) Jubilee
30.) Cyclops
31.) Wolverine
32.) Beast
33.) Rogue
34.) Gambit
35.) Psylocke

36.) John Blaze
37.) X-Man
38.) David Banner
39.) Tony Stark

40.) Nat Turner
41.) Percy Carey

42.) Ed Brubaker
43.) Brian Michael Bendis
44.) Frank Miller
45.) Ann Nocenti

46.) Thinkin’ Lincoln
47.) Saturday Morning Breakfast Cereal
48.) Dr. McNinja
49.) Dinosaur Comics
50.) Kate Beaton

What If THIS Was the Fantastic Four is a comic that nearly passed me by. For whatever reason, my comic shop didn’t even get it in until I got wind of it and had it ordered for myself. It’s a good thing it got on my radar, because it’s a classy issue and well worth the read.

It’s about the New Fantastic Four sticking together as a team, which has been done before. While that wasn’t a bad issue, this one goes in different directions. Not just the optimism and the opposite use of Dr. Doom, but the 90’s story barely included Ghost Rider at all, while here he takes center stage.

The true story of the issue is this: it was meant to come out with the other What If issues around December. Mike Wieringo, the artist, was seven pages into drawing Jeff Parker’s script when he passed away. Rather than leave the comic alone, many of Wieringo’s artist friends got together and finished the comic themselves. Art Adams, Stuart Immonen, Humberto Ramos, Mike Allred and many others help tell the story of four loners joining together in snazzy black and blue tights. Plus it has a Mini Marvels page about them at the end!

If anything, the comic gives me one of my favorite sequences in recent history.

Though there are a couple snags. Parker forgot that Daniel Ketch was Ghost Rider during the New F4 storyline and had Wieringo draw Johnny Blaze. They kept it that way so as not to mess with Wieringo’s art. Then we have a scene later in the book where Skottie Young depicts Dr. Doom’s face with his mask off. Last I recall, that’s supposed to be one of the big no-no’s in comics.

I really need to redo that Top 100 list. Probably after the next batch come out. They’ve really been on the ball with these lately.

Marvel’s Mythos series is pretty interesting. They’re 32 page one-shots that re-tell, and sometimes re-adjust, the origins of a few Marvel heroes. They don’t fit into any ongoing series, so the collection will likely come in the form of a “Marvel Mythos” premiere hardcover sometime over the next year, hopefully. From the first solicit:

AN ALL-NEW SERIES OF PAINTED ONE-SHOTS FROM MARVEL, RECAPTURING THE EARLIEST DAYS OF OUR GREATEST HEROES! The first of a series of quintessential, stand-alone, done-in-one stories by Paul Jenkins and Paolo Rivera, MYTHOS: X-MEN takes readers back to the formative days of Xavier’s School for Gifted Youngsters, and recounts the first encounter between the nescient, teen-aged X-Men with their ultimate nemesis, Magneto! Filled with new detail and nuance, the MYTHOS books are also the perfect starter set for those readers new to the Marvel cast of characters, or to those who known them only from movies and television cartoons!

The line-up thus far has been pretty much par for the course. X-Men, Hulk, Spider-Man, Ghost Rider, Fantastic Four, and Captain America. The books haven’t really functioned as direct movie tie-ins, save for maybe Ghost Rider or Fantastic Four. Instead, they’re quick primers on the character that also serve as a light continuity patch. Characters are modernized and origins are retooled for the modern day. The FF were given their powers on a space station, instead of fighting Russkies, for example. Come to think, their origin is probably the most changed.

Usually, this is the exact kind of story I’m not interested in. Continuity Comix? Give it a miss. For some reason, though, I’m really digging them. I think it’s because they feel like a throwback. They’re like the backups that used to show up in Marvel comics, like “Here’s the secret of Spider-Man’s webshooters!” or “Here’s the layout of the X-Mansion!” Paul Jenkins and Paolo Rivera make it work, though.

Rivera’s art is fully painted, but still manages to come with enough of a retro flair to make it reminiscent of old comics. He uses a color palette that isn’t garishly dayglo, nor is it Alex Ross-y. It’s not subdued either. It feels just right. His facial expressions come through clearly, in part due to the large size of the panels giving him room to work. Johnny Storm’s casual embarrassment, the Congressman’s bemusement, and Sue Storm’s complete and utter lack of surprise at her little brother’s antics all are true to life. You can recognize them on sight. I also love that they included the schematic of the old school Baxter. I love seeing that stuff.

Paul Jenkins caught a lot of flack post-Civil War: Frontline. You’d think the man hadn’t written a good comic in his entire life, the way some people talk. However, looking back, he’s got The Sentry, Inhumans, and he had a killer run on Spider-Man. His last issue of Spectacular Spidey, with art by Mark Buckingham? That was one of the best issues of Spider-Man in years. It was pitch perfect.

The core of all of those stories that Jenkins did so well on lies in the relationships he puts on display. Ben and Peter, Norman and Peter, Black Bolt and his subjects, Black Bolt and Medusa, Sentry and his wife/friends, and so on. He’s putting in similar work on the Mythos books. They are about the origins, yeah, but more about the choices, or lack thereof, that led to the origins and the choices that followed. Reed desperately trying to talk Ben down, or Captain America thinking about the men he served with and the things he missed, are what makes these books so good. Johnny Blaze making the decision to sell his soul and Peter Parker’s rage and shame at realizing he caused the death of his uncle are more crucial scenes that succeed.

I started this post with the intention of talking about the Captain America book, but got way off track. The Cap book is a good one because it focuses on Steve Rogers, not Cap. It’s about his life, his dreams, and his regrets. I’d challenge anyone who thinks that Jenkins doesn’t “get” Captain America to read it. I’m willing to bet that you won’t come away with that feeling. This page alone is dead on. I love the dual Nick Fury appearances… and is that milk Cap is drinking?

The Jenkins/Rivera team is a great one. They’re telling tales that you’d think were inessential, but are actually really good. I’m hoping Marvel does the series justice when it collects it. I’m hoping for an oversized HC, myself, but that’s because I’m addicted. I also kind of want Jenkins to get a crack at the Fantastic Four for a while, too.

Also, this cover is basically the definition of awesome. I didn’t even catch the detail on the shield when I first picked up the book.

Ka-pow.

A week ago, back when I posted my report on Comic Con, I mentioned this one comic issue that was so absurd it nearly knocked me over. The review was originally going to be up today at PopCultureShock, but that’s going to have to wait for next week. It’s not that I’m not about done with it, because I am. It’s just that with last week’s Comics From the 5th Dimension article, I sent it in a little too late and hermanos sat on it a little too long, so it just got put up for this week.

It works out. I do need to spend some more time on this site, especially with all the stuff I have planned. For one, with the Iron Man movie coming out tomorrow, I have to write its own little counterpart to the Spider-Man 3 Deleted Scenes article from a year back. Remember to check back for that.

In the meantime, check out Kountdown to Final Kombat, the top ten list of why I’m looking forward to Mortal Kombat vs. DC.

The weekend of chunky guys dressed like Colossus and hot women dressed as Slave Leia has come to an end. I myself had a great time, spent with hermanos from this very site and a whole bunch of guys from Funnybook Babylon. Sadly, Thomas “Wanderer” Wilde deemed himself “too broke” to consider joining us and Hoatzin would have probably involved a gigantic plane ticket paid in rare diamonds, since he’s from Europe. I don’t know. I really have no grasp on how that type of thing works. Besides, Hoatzin seems to have vanished from our planet. What happened to that guy?

This one movie sent the other movie into space.

Day One

Last year I got to New York the day before the con started, which allowed me enough rest and whatnot. This year I had to come in the first day of the event and kill time until David Uzumeri came in from Canada, since he was in charge of dealing with the hotel. I walked straight from the Port Authority bus terminal to the Javits Center, which tired me the hell out.

After getting my swanktastical press pass, I met up with hermanos and Joseph of FBB. They were at a panel starting up that was a screening for a new Will Eisner documentary. Since I was tired from all that walking, I decided to stick around and watch it. I found it interesting in the sense that I honestly didn’t know all that much about Eisner, which is almost a sin if you’re a comic fan. The four of us (David U. showed up towards the end) mostly agreed that while it had some fantastic stuff in there, such as taped conversations between Eisner and guys like Kirby, the sum of it was incredibly dry.

Shortly after, we went to the panel on online journalism, with guys from Newsarama and CBR there. It wasn’t as good as the comic blogging panel from last year and mostly focused on arguing over criticism vs. getting press releases. Once that was done with, I was rested up enough to do some wandering.

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The next Comics from the 5th Dimention column should be up soon. The big drawback about writing for PopCultureShock rather than here is that you can’t have your stuff up instantly. Them’s the breaks.

I plan to one day write my own comic series. I’m currently trying to move my gears forward on that. That said, I still find myself thinking about what kind of DC or Marvel-owned series I would love to write if I had the chance. Stuff like an Eradicator on-going where he stations himself in Coast City as a way to make up for and investigate the human feeling of guilt he suffers from his failure to protect the city from Cyborg Superman and Mongul. Or a Juggernaut series where he’s on the run from SHIELD, all while showing the parallels of the Superhuman Registration Act and being the avatar slave of Cyttorak.

There’s one comic concept that came to me the other day. What If occasionally had sequels, most of them not very good. Having read so many issues and having some of them so nestled into my memory, the continuity nut in me always compares some issues to events that happened after the release date. Sometimes it’s just to laugh at the continuity screw-up, like how Alicia Masters in What If the X-Men Lost Inferno was really a Skrull and the writer didn’t know it yet. That revelation gums up her part in the story.

Sometimes I realize how much more interesting stories become when you toss in delayed retcons and new pieces of canon. For instance, there’s the issue What If the X-Men Had Died on Their First Mission, where the New X-Men team (Wolverine, Storm, etc.) go to Krakoa to save the original X-Men and they all die. Xavier beats himself up over it, Moira comforts him and eventually another X-Men team is created. It was a good story, but compare it to what we know now. Deadly Genesis showed the other X-Men team that died fighting Krakoa. When they failed, Moira was angry, so Xavier erased her memory of the events. Put the two stories together and it’s pretty fucked up. Xavier deserves to feel bad. His Krakoa mission would have cost him three X-Men teams, totaling at 17 mutants. Then you have Moira trying to keep him from being suicidal, not knowing what a bastard he really is because the son of a bitch removed it from her memory.

What would have happened when Vulcan came back to Earth, not only forgotten, but now without his brothers? Now that would be a sequel issue worth reading.

I think back to other What Ifs that lead to a new status quo and how vastly different things would have been if they continued the story and met up with the events that were destined to happen. I think a handful of them could make for a good limited series.

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