August Derleth is a writer both revered and reviled by mythos fans. While this man did the public service of founding Arkham House and keeping Lovecraftian horror alive, he also took it upon himself to take fragments that had been tossed aside by better writers and continue those stories after the writer's death as "collaborations." The back of my Horror Stories of Robert E. Howard collection includes an unfinished Conrad and Kirowan fragment entitled The House. My Nameless Cults collection includes a copy of The House in the Oaks, Derleth's completion of that fragment. This stroke of luck gives me the dubious honor of being able to compare both forms of the story and conclude that its for the best if writers leave unfinished works alone.
See, it wasn't actually Derleth's parts but Howard's that bogged the story down. This isn't a knock on Howard's skill, because the fragment is an unfinished unedited story. But what Derleth does for the first half of House in the Oaks is reprint all of Howard's fragment The House with only elaboration and no discernable pruning. By the time Howard stopped writing he had introduced Conrad, Kirowan, the mystery about the poet Justin Geoffrey, and the House. All necessary elements Derleth continued with when writing his story. Howard also introduced the artist Skuyler and the mayor of Dutchtown. Derleth kept both of these characters. They serve as exposition that could easily have been given by Conrad and disappear during the second act. And by that I don't mean disappear as characters are meant to disappear in a horror story, but they go off in their own directions and don't have any actual bearing on the plot.
Here's the thing: Robert E. Howard, H.P. Lovecraft? These guys aren't normally found in English books as masters of the art form of the short story but they damned sure knew what the hell they were doing with it. These old pulp mag writers either became experts at polishing and pruning and editing their works or they didn't get published. Even paid by the word they didn't waste a single one getting the point across. Every sentance drove the point of the story home by adding to the plot or by adding to the atmosphere. So when the legendary Robert E. Howard makes a story start with four characters introduced not all at once (as a group in an argument, as he did in Children of the Night) but one by one in their own separate elements, either he's going to fucking use four characters or he's going chuck a couple of them to tighten up the story later in the drafting process.
Derleth came up with a good story, I think. But it was a two person story. There was no reason for all four of them to go to the house as the story unfolded, or even for the other two characters to have appeared in person. The exposition from the conversations with the artist and the mayor could easily have been worked into things said by either Conrad or Kirowan. Conrad was already noted as having corresponded with the mayor, any exposition or permission the character gave in person could have been from a letter. Even Skuyler's big important moment when he tries to break into the house but was stopped by Conrad could easily have been transferred to Kirowan. (I've read nothing of the character to suggest he was above property damage under the circumstances). There was no reason to have those characters there other than because Howard introduced them. Derleth should have either made use of them or cut the last two pages from Howard's prose and started his own part earlier.
No doubt Howard fans would have cried out in horror at the butchering of his words, but when has that ever stopped a writer?
Personally, I'd have preferred if he just wrote his own story because while House in the Oaks actually turns out to be a good tale its hardly a satisfying end for a character like Conrad. In it, James Conrad finds himself preoccupied by the House and spends a night there. He is tormented by dreams and ends up dying after attempting to burn it down. He only explains the matter in a letter to his good friend Kirowan.
Now, an occultist who ends up becoming obsessed with a gateway to the next world is a very satisfying story provided that occultist has not already encountered other worlds on two--possibly three--distinct occasions and been close to other people who have also encountered those worlds. I could see this happening to a brand new character, but not freaking Conrad. There is, I supposed, the slightest basis for an argument that he's a different character because he's called James in this story and John in another. But 1) character names change in drafts and 2) he's best friends with a sensible narrator named Kirowan, a guy who is understood to accompany him on any stupid errand than he embarks on.
Anyone who can read knows this isn't a fitting end for Kirowan, so Derleth's story wouldn't have worked with the roles reversed either.
I'd even go so far as to say it wouldn't have worked with O'Donnel, because while O'Donnel would've burnt down the house I can't see him following it up with suicide. I can see him following it up by digging up the oak trees by hand and then hunting down the Geoffrey family to make sure the weird genes didn't get passed on. (Because when that sort of character loses his sanity, he takes a whole bunch of people with him.)
This story would've worked with any new character, or any unfleshed out names from Howard's series like Taverel or Clemants. It doesn't seem right to off Conrad that way, though.
Showing posts with label narrative mechanics. Show all posts
Showing posts with label narrative mechanics. Show all posts
Saturday, January 03, 2009
Monday, December 29, 2008
So it's come to this... blogging about writing.
For the sake of believable narration I've spent the past four days fiddling with wording in a story. I've got the normal problems, how to reveal the setting and the setup without seeming forced. On top of that, I've settled on first-person narration as the ideal point-of-view and the main character is a fourteen-year-old girl.
And to be perfectly honest, even back when I was a fourteen-year-old girl I had a great deal of trouble getting the impression of a fourteen-year-old girl across in my writing. It's my reading history. I started out with the antiquated children's fairy tales we all did, Alice in Wonderland, the Chronicles of Narnia but rather than make my way into more modern and realistic fair I cherished the dreamy atmosphere brought about by a slightly old-fashioned narrator. When I floundered around for older reading material I found myself hunting down Sherlock Holmes stories. I went the way of the goth otherwise, devouring Edgar Allen Poe and other Victorianized literature. Kept to the same fairy tales, though the interpretations I read continued to grow up. I burrowed into the depths of the nonfiction section of the library to consume acres and acres of classical mythology and world folklore, almost all of which is recorded in the antiquated style. When finally I broke free of that library to explore the deeper realms of horror I gravitated towards HP Lovecraft rather than Stephen King.
And somewhere through all of this I developed that sort of voice. That antiquated, slightly dusty voice to my writing (and yes, even my speaking at points) that is just tough to shake.
I know that old and creepy are all acceptably mainstream geekeries, and I'm not saying for one second that I'm the only one suffering from this affliction. (There's certainly enough of us to make it a geek stereotype.) It's just disconcerting to realize that this style of writing and speaking comes so naturally that it's your natural voice, particularly when placed against the voices you hear every day at work, the normal rythm and cadence of human conversation that suits the modern mainstream era and that capturing that is what's necessary to capture the character you're trying to write. It just feeds this paradox where if you write what comes naturally to you it sounds off when you read it back, but you can't seem to naturally write what sounds right when you read it back and I needed to stop and vent a bit about that.
This is ultimately why nonfiction comes more easily. The voice sounds somewhat academic and authoritative and sounds very natural when analyzing art and literature. As part of a work of fiction? Well, this voice was developed in the reading realms of fantasy and horror from narratives specifically aimed towards creating an atmosphere of fantasy and horror. It is not a character voice, at least not for fourteen-year-old girls who aren't already little goths.
Sticking to nonfiction won't do me any good if I want to be anything more than a one-story wonder, though...
Maybe I should go with third-person limited in the future. The normal, natural voice is easier to get across in small snippets of dialogue.
And to be perfectly honest, even back when I was a fourteen-year-old girl I had a great deal of trouble getting the impression of a fourteen-year-old girl across in my writing. It's my reading history. I started out with the antiquated children's fairy tales we all did, Alice in Wonderland, the Chronicles of Narnia but rather than make my way into more modern and realistic fair I cherished the dreamy atmosphere brought about by a slightly old-fashioned narrator. When I floundered around for older reading material I found myself hunting down Sherlock Holmes stories. I went the way of the goth otherwise, devouring Edgar Allen Poe and other Victorianized literature. Kept to the same fairy tales, though the interpretations I read continued to grow up. I burrowed into the depths of the nonfiction section of the library to consume acres and acres of classical mythology and world folklore, almost all of which is recorded in the antiquated style. When finally I broke free of that library to explore the deeper realms of horror I gravitated towards HP Lovecraft rather than Stephen King.
And somewhere through all of this I developed that sort of voice. That antiquated, slightly dusty voice to my writing (and yes, even my speaking at points) that is just tough to shake.
I know that old and creepy are all acceptably mainstream geekeries, and I'm not saying for one second that I'm the only one suffering from this affliction. (There's certainly enough of us to make it a geek stereotype.) It's just disconcerting to realize that this style of writing and speaking comes so naturally that it's your natural voice, particularly when placed against the voices you hear every day at work, the normal rythm and cadence of human conversation that suits the modern mainstream era and that capturing that is what's necessary to capture the character you're trying to write. It just feeds this paradox where if you write what comes naturally to you it sounds off when you read it back, but you can't seem to naturally write what sounds right when you read it back and I needed to stop and vent a bit about that.
This is ultimately why nonfiction comes more easily. The voice sounds somewhat academic and authoritative and sounds very natural when analyzing art and literature. As part of a work of fiction? Well, this voice was developed in the reading realms of fantasy and horror from narratives specifically aimed towards creating an atmosphere of fantasy and horror. It is not a character voice, at least not for fourteen-year-old girls who aren't already little goths.
Sticking to nonfiction won't do me any good if I want to be anything more than a one-story wonder, though...
Maybe I should go with third-person limited in the future. The normal, natural voice is easier to get across in small snippets of dialogue.
Saturday, December 27, 2008
Professor John Kirowan, Badassery 101
I think I've figured out just why Haunter of the Ring makes me so deliriously happy every time I read it.
Here's the Project Gutenberg text. The story is short and fun. Take a read and see if you can recognize just what in that story structure fills my heart with light and joy.
Need a hint? My first fandom--and by this I meant not only the first property that had me hunting down books in the library and searching for information on the internet but to this day the only property for which I will regularly read the fanfiction which are called pastiches in this fandom and the only property for which I will use the term "canon" when referring to the original published works--was Sherlock Holmes. I am so utterly attached to this property that not only do I have fond memories of the stories, I have fond memories of my experiences reading the stories. I still remember clearly stealing my brother's copy of Boy's Life magazine and happening upon the Classics Illustrated adaptation of "The Speckled Band." I remember absorbing takes on Hound of the Baskervilles in cartoon form on Saturday mornings with an interest that I didn't realize would soon be channelled into no less than twenty-four readings of the novel itself over the next sixteen years. I remember late nights at the Carbondale Library after Girl Scout meetings, waiting for my ride and sitting between the fiction shelves, reading and rereading the gigantic four-volume collection of the original fifty-six stories and four novels. I remember my English teacher being disgusted at my preoccupation with "junk literature" when he caught me skimming the course material for a Doyle-written story (in fairness, we'd studied "The Speckled Band" in an earlier year, so it wasn't a completely absurd expectation). I remember hunting down every pastiche in every bookstore in San Antonio just to get my hands on more stories of Holmes and Watson together (don't offer me the Laurie King stories, it must be Watson as the partner and no other). I remember my fascinated revulsion at The Last Sherlock Holmes Story and realizing that my being unable to put that book down in disgust, and my mentally assigning it to an alternate universe is what marked my interest as a full-blown fannish obsession.
Ultimately I can say that Baker Street has possibly been the only fandom that has brought me nothing but joy in all its forms.
In addition to that, in the last few years a different set of classic short stories has captured my imagination. A boyfriend who will forever occupy a favored place in the Hall of Exes introduced me to a series not notable for its characters like Doyle's gift to the world was, but for setting and atmosphere. I'm speaking, of course, of the infamous Cthulu Mythos and Lovecraftian Horror/Weird Fiction setup which has had immeasurable influence on our modern science fiction, fantasy, superhero, and horror genres.
And without even going back to look at my collection, I can't help but recognize that Haunter of the Ring follows the Sherlock Holmes short story structure, but in a Lovecraftian horror setting. That's a recipe for joy for me.
(Needless to say, I do own the Shadows Over Baker Street collection and if anyone manages to write a comic book that combines Holmes and Watson with Green Lantern and King Arthur in a Lovecraftian horror setting I want to be buried with a copy. Get on it, Internet)
Take a look at it, readers. In the first act the narrator joins his best friend--the story's hero--to find that his friend has a distraught guest. The act is devoted to exposition as the guest reveals his problem--complete with homebrewed explanation that isn't even entertained by the hero--and hopes that the hero can make some sense of this insanity. The hero asks a couple of seemingly frivolous and distracting questions and agrees to look into the matter.
O'Donnel is narrating here, and I have to pause on noting the parallels so that I can say WHAT THE FUCK ROBERT E. HOWARD?!! HE'S AN EXPERT ON ANCIENT WEAPONS--ARE YOU FUCKING KIDDING ME!?!?! And those paragraphs on looking at the ruin of a good mind? That's just.. That's just so eerie. I'm utterly convinced--despite Evelyn's use of the name "Michael" rather than "John" in the next act--that this guy is the same guy who narrated Children of the Night (and Dwellers Under the Tomb) and that we have been tragically deprived of a kickass story where Kirowan and Conrad have to prevent crazed but badass weapons expert O'Donnel from murdering a bunch of innocent people. And even if Howard was not building towards such an epic tale of friendship and madness he fucking well should have been. The world must have this story, even if the author is beyond the veil. Someone with a ouija board needs to get on this right away.
Anyway, O'Donnel plays the role of "normal guy impressed by his friend" right away. He's pitying poor Gordon and commenting on Kirowan's impressive calmness and the traits that mark Kirowan as interested despite that calm. His narration is a little flowery at times in the way Watson's is. He plays the disbelieving voice when Gordon tells the story, draws out exposition from Gordon with his own comments and supplies vital social information.
Kirowan seems very Holmesian here. He's calm and soothing in a way that impresses the narrator. There's something in the description of how he poses his questions during this act that suggests Watson describing Holmes. It's how he cuts through the emotional parts with an even measured calm that O'Donnel seems to find incredibly relieving. The way his questions are set up show that he's focused on the problem itself and not the personal relationship between the Gordons. He only speaks up when he needs to get Gordon to give him the facts, he doesn't offer any explanations or any real comfort. O'Donnel describes Kirowan as calm until he gets a significant piece of information, then "Kirowan had suddenly come to life; it was as if something hard and steely had been sounded in him." This is comparable to Watson's usual description of Holmes as lazy and languid until his brain starts working, then he's like sharpened steel.
The second act introduces the other players in the problem, Kirowan asks more seemingly insignificant questions that the reader knows have a huge bearing on the case, and O'Donnel continues to be baffled and concerned for Gordon's mental health. Most importantly we meet Gordon's wife Evelyn and hear her side of the story. She's smartly brought two friends to back her up during this confrontation--one of which is a learned medical professional and the other of which just adds to the irrationality of the situation by threatening violence. The actual violence that speeds the plot comes from Evelyn, of course. The structure keeps to when the Holmes stories bring action into the mix, with a violent event at the end of the second act that spurs the heroes into action and the explanation offered in the third act. Standard mystery story stuff, of course, but bear in mind that Doyle pretty much made the model for the standard mystery story with his detective.
As Howardian female characters go (and I say this having not read the Red Sonya stuff), I have to say I'm impressed with Evelyn. She handles all of this really, really well. She knows she's in some sort of trouble and something weird's going on. It's incredibly upsetting and it's set her husband against her. So she grabs some allies of her own and tries to hash it all out reasonably. When she breaks down, it tends to be at points where its understandable to break down--right after she blacks out and finds her husband injured by her own hands when she comes to. Dr. Donnelly--who should know her better--displays some sexism towards her in his handling of the situation. And the other characters seem inclined to the sexist assumption that "Hey, women are just nuts, huh?" but they all stick to their knowledge of Evelyn as a woman who is most definitely not insane. Evelyn's sanity is driven home and even held up against the prevailing sexist attitudes at every opportunity. Her sensibility sounds like her defining character trait, which is really odd for a female character in this genre during this period. I have to commend Howard on this one.
But for all her strengths Evelyn DOES end up seriously hurting her husband. Well, perhaps because of her strengths as it turns out she's a pretty good shot. Fortunately, there is a doctor conveniently present and the duo are free to rush towards the villain's house for the final act and the explanation of the mystery.
And this is where John Kirowan breaks the tried-and-true Holmesian Detective story rules. He has a personal history with the villain. He figures out the crime not based solely on logic and evidence but on his memory of what happened to him. And the explanation is supernatural, a big no-no by Doyle's pattern.
There's nothing wrong with that, of course, because the third act proves Kirowan's verymuch not a Holmes clone. He's just a horror genre character who fits nicely into the story structure. Really the Mythos setting and anything similar is not a safe place to put a Holmes clone character, because that sort of detective lives, eats and breathes reason and order and there is no room for reason and order in a world with the Elder Gods.
Thing is, John Kirowan also breaks the rules of Lovecraftian Horror heroes by actually standing in the room as the vaguely described Thing Which Should Not Be appears to eat people. By standing I don't mean he stands frozen in terror and panic but that he stays there in full sight of the damned thing without screaming and fleeing or being utterly unable to scream and flee like he wants to. Hell, not only does he not scream and flee at the mere shadow of the Haunter, he actually manipulates circumstances so that the creature manifests in the very room he's standing in! He anticipates the Haunter's arrival without playing the role of evil crazed necromancer and getting killed by it. That's not just nonstandard in a Mythos story, that's certifiably badass.
That's not to say Kirowan doesn't go crazy in the last act. On the contrary, you can pinpoint the exact moment he botches his sanity check. I put it around the point he goes from just plain telling Vrolock how much he hates him to actively ranting like a James Bond villain. That only makes it all the more impressive to me because even when he loses his composure (and note here, he doesn't lose his composure to fear but to outrage) he still manages to lie and manipulate Vrolock into bringing about his own ruin.
Now there is quite a bit we can learn about John Kirowan from this story. He bears some outward similarities to the Great Detective even though he is not the same sort of character. He's a reasonable individual, but one with a definite interest in the supernatural and some serious ultraterrestrial experiences at his back. He has a very clear moral line that he won't cross but that he doesn't seem to worry about dancing on in the hopes of getting a shot at someone who has crossed it.
In Haunter, Kirowan comes out as a passionate and romantic character with a looming fridge in his past. It matches neatly with his emotionally charged narration in Dig Me No Grave. But in Dig and Children he covered that with an outward denial of the supernatural and just plain snapping at his friends. Here he covers it with the sort of self-control that extends to the other people in the room. That control is probably what makes him the person that someone like Gordon will run to when he's in trouble and doesn't know what else to do. O'Donnel seems to hang on this characteristic at several points in the narrative, and he presents it as a normal character trait of Kirowan's and not something unusual. This trait could explain just why in Dig it was Kirowan Conrad ran to in the middle of the night. Comparing the two stories I'd say at least part of this self-control is an unconcious, natural aspect of personality. Kirowan's own narration suggests that he's more likely to push out irritability than composure when he's agitated.
Here's the Project Gutenberg text. The story is short and fun. Take a read and see if you can recognize just what in that story structure fills my heart with light and joy.
Need a hint? My first fandom--and by this I meant not only the first property that had me hunting down books in the library and searching for information on the internet but to this day the only property for which I will regularly read the fanfiction which are called pastiches in this fandom and the only property for which I will use the term "canon" when referring to the original published works--was Sherlock Holmes. I am so utterly attached to this property that not only do I have fond memories of the stories, I have fond memories of my experiences reading the stories. I still remember clearly stealing my brother's copy of Boy's Life magazine and happening upon the Classics Illustrated adaptation of "The Speckled Band." I remember absorbing takes on Hound of the Baskervilles in cartoon form on Saturday mornings with an interest that I didn't realize would soon be channelled into no less than twenty-four readings of the novel itself over the next sixteen years. I remember late nights at the Carbondale Library after Girl Scout meetings, waiting for my ride and sitting between the fiction shelves, reading and rereading the gigantic four-volume collection of the original fifty-six stories and four novels. I remember my English teacher being disgusted at my preoccupation with "junk literature" when he caught me skimming the course material for a Doyle-written story (in fairness, we'd studied "The Speckled Band" in an earlier year, so it wasn't a completely absurd expectation). I remember hunting down every pastiche in every bookstore in San Antonio just to get my hands on more stories of Holmes and Watson together (don't offer me the Laurie King stories, it must be Watson as the partner and no other). I remember my fascinated revulsion at The Last Sherlock Holmes Story and realizing that my being unable to put that book down in disgust, and my mentally assigning it to an alternate universe is what marked my interest as a full-blown fannish obsession.
Ultimately I can say that Baker Street has possibly been the only fandom that has brought me nothing but joy in all its forms.
In addition to that, in the last few years a different set of classic short stories has captured my imagination. A boyfriend who will forever occupy a favored place in the Hall of Exes introduced me to a series not notable for its characters like Doyle's gift to the world was, but for setting and atmosphere. I'm speaking, of course, of the infamous Cthulu Mythos and Lovecraftian Horror/Weird Fiction setup which has had immeasurable influence on our modern science fiction, fantasy, superhero, and horror genres.
And without even going back to look at my collection, I can't help but recognize that Haunter of the Ring follows the Sherlock Holmes short story structure, but in a Lovecraftian horror setting. That's a recipe for joy for me.
(Needless to say, I do own the Shadows Over Baker Street collection and if anyone manages to write a comic book that combines Holmes and Watson with Green Lantern and King Arthur in a Lovecraftian horror setting I want to be buried with a copy. Get on it, Internet)
Take a look at it, readers. In the first act the narrator joins his best friend--the story's hero--to find that his friend has a distraught guest. The act is devoted to exposition as the guest reveals his problem--complete with homebrewed explanation that isn't even entertained by the hero--and hopes that the hero can make some sense of this insanity. The hero asks a couple of seemingly frivolous and distracting questions and agrees to look into the matter.
O'Donnel is narrating here, and I have to pause on noting the parallels so that I can say WHAT THE FUCK ROBERT E. HOWARD?!! HE'S AN EXPERT ON ANCIENT WEAPONS--ARE YOU FUCKING KIDDING ME!?!?! And those paragraphs on looking at the ruin of a good mind? That's just.. That's just so eerie. I'm utterly convinced--despite Evelyn's use of the name "Michael" rather than "John" in the next act--that this guy is the same guy who narrated Children of the Night (and Dwellers Under the Tomb) and that we have been tragically deprived of a kickass story where Kirowan and Conrad have to prevent crazed but badass weapons expert O'Donnel from murdering a bunch of innocent people. And even if Howard was not building towards such an epic tale of friendship and madness he fucking well should have been. The world must have this story, even if the author is beyond the veil. Someone with a ouija board needs to get on this right away.
Anyway, O'Donnel plays the role of "normal guy impressed by his friend" right away. He's pitying poor Gordon and commenting on Kirowan's impressive calmness and the traits that mark Kirowan as interested despite that calm. His narration is a little flowery at times in the way Watson's is. He plays the disbelieving voice when Gordon tells the story, draws out exposition from Gordon with his own comments and supplies vital social information.
Kirowan seems very Holmesian here. He's calm and soothing in a way that impresses the narrator. There's something in the description of how he poses his questions during this act that suggests Watson describing Holmes. It's how he cuts through the emotional parts with an even measured calm that O'Donnel seems to find incredibly relieving. The way his questions are set up show that he's focused on the problem itself and not the personal relationship between the Gordons. He only speaks up when he needs to get Gordon to give him the facts, he doesn't offer any explanations or any real comfort. O'Donnel describes Kirowan as calm until he gets a significant piece of information, then "Kirowan had suddenly come to life; it was as if something hard and steely had been sounded in him." This is comparable to Watson's usual description of Holmes as lazy and languid until his brain starts working, then he's like sharpened steel.
The second act introduces the other players in the problem, Kirowan asks more seemingly insignificant questions that the reader knows have a huge bearing on the case, and O'Donnel continues to be baffled and concerned for Gordon's mental health. Most importantly we meet Gordon's wife Evelyn and hear her side of the story. She's smartly brought two friends to back her up during this confrontation--one of which is a learned medical professional and the other of which just adds to the irrationality of the situation by threatening violence. The actual violence that speeds the plot comes from Evelyn, of course. The structure keeps to when the Holmes stories bring action into the mix, with a violent event at the end of the second act that spurs the heroes into action and the explanation offered in the third act. Standard mystery story stuff, of course, but bear in mind that Doyle pretty much made the model for the standard mystery story with his detective.
As Howardian female characters go (and I say this having not read the Red Sonya stuff), I have to say I'm impressed with Evelyn. She handles all of this really, really well. She knows she's in some sort of trouble and something weird's going on. It's incredibly upsetting and it's set her husband against her. So she grabs some allies of her own and tries to hash it all out reasonably. When she breaks down, it tends to be at points where its understandable to break down--right after she blacks out and finds her husband injured by her own hands when she comes to. Dr. Donnelly--who should know her better--displays some sexism towards her in his handling of the situation. And the other characters seem inclined to the sexist assumption that "Hey, women are just nuts, huh?" but they all stick to their knowledge of Evelyn as a woman who is most definitely not insane. Evelyn's sanity is driven home and even held up against the prevailing sexist attitudes at every opportunity. Her sensibility sounds like her defining character trait, which is really odd for a female character in this genre during this period. I have to commend Howard on this one.
But for all her strengths Evelyn DOES end up seriously hurting her husband. Well, perhaps because of her strengths as it turns out she's a pretty good shot. Fortunately, there is a doctor conveniently present and the duo are free to rush towards the villain's house for the final act and the explanation of the mystery.
And this is where John Kirowan breaks the tried-and-true Holmesian Detective story rules. He has a personal history with the villain. He figures out the crime not based solely on logic and evidence but on his memory of what happened to him. And the explanation is supernatural, a big no-no by Doyle's pattern.
There's nothing wrong with that, of course, because the third act proves Kirowan's verymuch not a Holmes clone. He's just a horror genre character who fits nicely into the story structure. Really the Mythos setting and anything similar is not a safe place to put a Holmes clone character, because that sort of detective lives, eats and breathes reason and order and there is no room for reason and order in a world with the Elder Gods.
Thing is, John Kirowan also breaks the rules of Lovecraftian Horror heroes by actually standing in the room as the vaguely described Thing Which Should Not Be appears to eat people. By standing I don't mean he stands frozen in terror and panic but that he stays there in full sight of the damned thing without screaming and fleeing or being utterly unable to scream and flee like he wants to. Hell, not only does he not scream and flee at the mere shadow of the Haunter, he actually manipulates circumstances so that the creature manifests in the very room he's standing in! He anticipates the Haunter's arrival without playing the role of evil crazed necromancer and getting killed by it. That's not just nonstandard in a Mythos story, that's certifiably badass.
That's not to say Kirowan doesn't go crazy in the last act. On the contrary, you can pinpoint the exact moment he botches his sanity check. I put it around the point he goes from just plain telling Vrolock how much he hates him to actively ranting like a James Bond villain. That only makes it all the more impressive to me because even when he loses his composure (and note here, he doesn't lose his composure to fear but to outrage) he still manages to lie and manipulate Vrolock into bringing about his own ruin.
Now there is quite a bit we can learn about John Kirowan from this story. He bears some outward similarities to the Great Detective even though he is not the same sort of character. He's a reasonable individual, but one with a definite interest in the supernatural and some serious ultraterrestrial experiences at his back. He has a very clear moral line that he won't cross but that he doesn't seem to worry about dancing on in the hopes of getting a shot at someone who has crossed it.
In Haunter, Kirowan comes out as a passionate and romantic character with a looming fridge in his past. It matches neatly with his emotionally charged narration in Dig Me No Grave. But in Dig and Children he covered that with an outward denial of the supernatural and just plain snapping at his friends. Here he covers it with the sort of self-control that extends to the other people in the room. That control is probably what makes him the person that someone like Gordon will run to when he's in trouble and doesn't know what else to do. O'Donnel seems to hang on this characteristic at several points in the narrative, and he presents it as a normal character trait of Kirowan's and not something unusual. This trait could explain just why in Dig it was Kirowan Conrad ran to in the middle of the night. Comparing the two stories I'd say at least part of this self-control is an unconcious, natural aspect of personality. Kirowan's own narration suggests that he's more likely to push out irritability than composure when he's agitated.
Wednesday, December 17, 2008
Race and Reliability in Children of the Night
In the collection I have, the Children of the Night follows closely behind Dig Me No Grave. As far as I'm concerned it's one of the best stories in the book, and I believe it's a great deal more effective in scaring our generation than it was in scaring Howard's.
The Gutenberg Project has the full text of this story online, it's about 14 pages long if you want to take a few minutes so you can follow my thoughts. I must caution you, though, this is a horror story, and a good one. So it will make you uncomfortable. Also, a stronger than the standard 30s racism applies, consider this your trigger warning. And yes, I will give you thoughts on it below.
There are spoilers after the space, of course.
-----
-----
Freaky, huh?
Let's start with the small stuff first, we have a bunch of white men discussing race and ancient cults. They're having are argument over the shapes of people's heads. This leads into discussing the gobs and gobs of books on the wall, which leads into discussing ancient cults and the sleepytime mutterings of someone else's roommate who-may-have-not-been-completely-white-not-that-there's-anything-wrong-with-that.
Ladies and Gentlemen, we have Nerds.
There are three pairs of characters at the start, and the first pair--Taverel and Clements--are effectively ciphers. They're there to argue points that didn't fit the four more substantial characters.
The dialogue tells us a lot about the second pair. We learn that if Conrad had been a teenager in the 90s he would be buying clothes at Hot Topic and trying to replicate Glen Danzig's library in his bedroom. But he's a grown man in the 1930s, so instead he's gathered a group of nerds to awe with his collection of really weird, potentially dangerous forbidden tomes and ancient artifacts. This really doesn't contradict my impression of him from Dig Me No Grave. It only serves to reinforce that he has more curiosity than sense.
We learn that Professor Kirowan is a professor, and a skeptic, and he gets pretty irritable if you try to tell him you know more about the shape of people's heads than he does. He is still casually racist towards Asian people. He does, however, admit to not knowing all the answers. He won't allow that YOU know them instead, but he does allow that he's not omniscient. This doesn't actually contradict DMNG either, especially as Kirowan was more forcefully skeptical in that story when he was creeped out. Judging by that impression, he believed Conrad's hypothesis but a) didn't want to let anyone think he'd believe such a thing, b) didn't want the others believing such a thing, or c) was trying to convince himself he didn't believe such a thing. Really, the only new information about Kirowan is that the snapping and shouting at Conrad in the last story wasn't necessarily because he was scared, but because he's irritable.
The last pair gets fleshed out in the narration, directly and indirectly. Through narrator John O'Donnel we learn that Ketrick is a mild-mannered introvert who comes off as a cold fish but may or may not secretly have a sensitive nature. He isn't sure about Ketrick's nature, as he's concentrated so much on tracing Ketrick's Welsh bloodline because the man just doesn't look white enough to him. It's bothered O'Donnel enough that he's actually discussed it with a Professor at the university, and concluded that there must be some Asian somewhere in the blood. Yes, benefit of the doubt suggests that this could have come up in a class discussion involving both Ketrick and O'Donnel and genetics, but I can't shake the image of O'Donnel crouching and running around campus, whispering in the ears of blond-haired and blue-eyed faculty "He just doesn't look Welsh. Something's off about the eyes." Why can't I shake that image? Because three paragraphs about Ketrick's pedigree suggests the narrator might be just a tad preoccupied with it.
Of course, this being John fucking Conrad's house the conversation has to lead to some sort of trouble and it comes from a little flint hammer that is carelessly passed to the one guy who doesn't look completely white. And here's where the 30s horror story pattern breaks. From even what O'Donnel can see, the hammer itself twists in of Ketrick's hand and forces him to knock O'Donnel on the head. Ketrick doesn't suddenly turn murderous on holding it. He doesn't reveal himself to be a big bad villain out to kill O'Donnel all along. He innocently swings the thing and finds his arm wrenched in the wrong direction.
The story's even open for the interpretation that O'Donnel's past-life flashback may have been brought on by the combination of him and the hammer, not Ketrick and the hammer.
Either way, O'Donnel wakes not as a nerd in her nerd friend's study, but as a badass warrior from a race of badass warriors. But as Aryara he's allowed his five friends to be slaughtered by the "Children of the Night" who have creepy yellow eyes and look like little trolls. As readers we're treated to a few pages of violence, bloodlust, angst, tribalism and barbaric vengeance before O'Donnel returns to his five living friends in the present day.
And what could be more natural--after returning from a past-life in which you allowed your five closest friends to die-- than to immediately try to kill one of your five closest friends in the present time?
I suspect that may be one of the things about this story that drive home the insanity of the protagonist. In Howard's horror stories there is a lot of shuffling back and forth between lives, and a lot of people-who-aren't-white-enough-for-the-narrator being bad guys, and a lot of actions that thinking person would consider signs of insanity. There's narrative justification for those actions usually. Usually Howard does make the guy-who's-not-white the bad guy. The past life shifts in other stories have obvious parallels (see People of the Dark, where three people who have met in a past life meet again and get to redo a disastrous encounter in a modern setting). Howard's narrators are usually reliable and their impressions are backed up by the actions of the other characters.
John O'Donnel's impressions are not backed up here. Ketrick performs no actions that justify the narrator's suspicion. The one point that WOULD justify the suspicion, the swinging of the hammer, is blamed on the hammer and not Ketrick. The parallel of the scenes even falls short of O'Donnel's impression, because the past-life friends were all killed by an outside attack--it wasn't four of them betrayed by the fifth who happened to be bad. All five were victims.
When O'Donnel comes out of his fugue, he reads Ketrick's regret as insincere based on his eyes. Ketrick's eyes are the trait that makes O'Donnel suspicious, and we have nothing besides them to suggest that he's insincere, and we have everything about O'Donnel's past life experience to suggest he wouldn't be rational when dealing with Ketrick.
It's obvious the man is an innocent, and O'Donnel is irrational.
I can't say for sure that Howard didn't mean for his protagonist to be heroic, and maybe I just get the imrpession because I'm commuting from Lovecraft-land where unreliable and insane narrators are the norm but O'Donnel strikes me as the bad guy in the piece. If Howard had intended for him to be heroic, he fucked up. And this writer specializes in making characters I would not like in real life seem pretty heroic, so I'm not inclined to think he fucked this up. I can only conclude we're supposed to see O'Donnel as having gone completely bugfuck insane and the racism in the narrative was there on purpose to back this up.
In that vein, I can't imagine Howard had anywhere close to an idea how terrifying reading an insane, unreliable narrator rant about the regality of the Aryan race would be to future generations. Not in 1931. This story must have more effect now than it did back then.
But the scariest element in this story isn't the Naziesque rantings. It's how easy the break was. Here O'Donnel may have been a bit preoccupied with his one particular friend, but otherwise he was just at the normal level of clueless racism for his generation. Then he gets hit with the hammer and has a very strong hallucination/past-life memory (depending I suppose on whether you ask Conrad or Kirowan exactly what happened to him) and suddenly he's plotting the death of a completely innocent person because that guy doesn't look like he's from a pure Saxon bloodline. Suddenly a seemingly harmless casual prejudice that could have been nursed without adversely affecting the rest of the world turns into a violent psychosis.
Think of the last time you thought something along the lines of "I can't change his mind but he'd never do anything to actually hurt someone" and then just try to tell me this story is not fucking horrifying.
The Gutenberg Project has the full text of this story online, it's about 14 pages long if you want to take a few minutes so you can follow my thoughts. I must caution you, though, this is a horror story, and a good one. So it will make you uncomfortable. Also, a stronger than the standard 30s racism applies, consider this your trigger warning. And yes, I will give you thoughts on it below.
There are spoilers after the space, of course.
-----
-----
Freaky, huh?
Let's start with the small stuff first, we have a bunch of white men discussing race and ancient cults. They're having are argument over the shapes of people's heads. This leads into discussing the gobs and gobs of books on the wall, which leads into discussing ancient cults and the sleepytime mutterings of someone else's roommate who-may-have-not-been-completely-white-not-that-there's-anything-wrong-with-that.
Ladies and Gentlemen, we have Nerds.
There are three pairs of characters at the start, and the first pair--Taverel and Clements--are effectively ciphers. They're there to argue points that didn't fit the four more substantial characters.
The dialogue tells us a lot about the second pair. We learn that if Conrad had been a teenager in the 90s he would be buying clothes at Hot Topic and trying to replicate Glen Danzig's library in his bedroom. But he's a grown man in the 1930s, so instead he's gathered a group of nerds to awe with his collection of really weird, potentially dangerous forbidden tomes and ancient artifacts. This really doesn't contradict my impression of him from Dig Me No Grave. It only serves to reinforce that he has more curiosity than sense.
We learn that Professor Kirowan is a professor, and a skeptic, and he gets pretty irritable if you try to tell him you know more about the shape of people's heads than he does. He is still casually racist towards Asian people. He does, however, admit to not knowing all the answers. He won't allow that YOU know them instead, but he does allow that he's not omniscient. This doesn't actually contradict DMNG either, especially as Kirowan was more forcefully skeptical in that story when he was creeped out. Judging by that impression, he believed Conrad's hypothesis but a) didn't want to let anyone think he'd believe such a thing, b) didn't want the others believing such a thing, or c) was trying to convince himself he didn't believe such a thing. Really, the only new information about Kirowan is that the snapping and shouting at Conrad in the last story wasn't necessarily because he was scared, but because he's irritable.
The last pair gets fleshed out in the narration, directly and indirectly. Through narrator John O'Donnel we learn that Ketrick is a mild-mannered introvert who comes off as a cold fish but may or may not secretly have a sensitive nature. He isn't sure about Ketrick's nature, as he's concentrated so much on tracing Ketrick's Welsh bloodline because the man just doesn't look white enough to him. It's bothered O'Donnel enough that he's actually discussed it with a Professor at the university, and concluded that there must be some Asian somewhere in the blood. Yes, benefit of the doubt suggests that this could have come up in a class discussion involving both Ketrick and O'Donnel and genetics, but I can't shake the image of O'Donnel crouching and running around campus, whispering in the ears of blond-haired and blue-eyed faculty "He just doesn't look Welsh. Something's off about the eyes." Why can't I shake that image? Because three paragraphs about Ketrick's pedigree suggests the narrator might be just a tad preoccupied with it.
Of course, this being John fucking Conrad's house the conversation has to lead to some sort of trouble and it comes from a little flint hammer that is carelessly passed to the one guy who doesn't look completely white. And here's where the 30s horror story pattern breaks. From even what O'Donnel can see, the hammer itself twists in of Ketrick's hand and forces him to knock O'Donnel on the head. Ketrick doesn't suddenly turn murderous on holding it. He doesn't reveal himself to be a big bad villain out to kill O'Donnel all along. He innocently swings the thing and finds his arm wrenched in the wrong direction.
The story's even open for the interpretation that O'Donnel's past-life flashback may have been brought on by the combination of him and the hammer, not Ketrick and the hammer.
Either way, O'Donnel wakes not as a nerd in her nerd friend's study, but as a badass warrior from a race of badass warriors. But as Aryara he's allowed his five friends to be slaughtered by the "Children of the Night" who have creepy yellow eyes and look like little trolls. As readers we're treated to a few pages of violence, bloodlust, angst, tribalism and barbaric vengeance before O'Donnel returns to his five living friends in the present day.
And what could be more natural--after returning from a past-life in which you allowed your five closest friends to die-- than to immediately try to kill one of your five closest friends in the present time?
I suspect that may be one of the things about this story that drive home the insanity of the protagonist. In Howard's horror stories there is a lot of shuffling back and forth between lives, and a lot of people-who-aren't-white-enough-for-the-narrator being bad guys, and a lot of actions that thinking person would consider signs of insanity. There's narrative justification for those actions usually. Usually Howard does make the guy-who's-not-white the bad guy. The past life shifts in other stories have obvious parallels (see People of the Dark, where three people who have met in a past life meet again and get to redo a disastrous encounter in a modern setting). Howard's narrators are usually reliable and their impressions are backed up by the actions of the other characters.
John O'Donnel's impressions are not backed up here. Ketrick performs no actions that justify the narrator's suspicion. The one point that WOULD justify the suspicion, the swinging of the hammer, is blamed on the hammer and not Ketrick. The parallel of the scenes even falls short of O'Donnel's impression, because the past-life friends were all killed by an outside attack--it wasn't four of them betrayed by the fifth who happened to be bad. All five were victims.
When O'Donnel comes out of his fugue, he reads Ketrick's regret as insincere based on his eyes. Ketrick's eyes are the trait that makes O'Donnel suspicious, and we have nothing besides them to suggest that he's insincere, and we have everything about O'Donnel's past life experience to suggest he wouldn't be rational when dealing with Ketrick.
It's obvious the man is an innocent, and O'Donnel is irrational.
I can't say for sure that Howard didn't mean for his protagonist to be heroic, and maybe I just get the imrpession because I'm commuting from Lovecraft-land where unreliable and insane narrators are the norm but O'Donnel strikes me as the bad guy in the piece. If Howard had intended for him to be heroic, he fucked up. And this writer specializes in making characters I would not like in real life seem pretty heroic, so I'm not inclined to think he fucked this up. I can only conclude we're supposed to see O'Donnel as having gone completely bugfuck insane and the racism in the narrative was there on purpose to back this up.
In that vein, I can't imagine Howard had anywhere close to an idea how terrifying reading an insane, unreliable narrator rant about the regality of the Aryan race would be to future generations. Not in 1931. This story must have more effect now than it did back then.
But the scariest element in this story isn't the Naziesque rantings. It's how easy the break was. Here O'Donnel may have been a bit preoccupied with his one particular friend, but otherwise he was just at the normal level of clueless racism for his generation. Then he gets hit with the hammer and has a very strong hallucination/past-life memory (depending I suppose on whether you ask Conrad or Kirowan exactly what happened to him) and suddenly he's plotting the death of a completely innocent person because that guy doesn't look like he's from a pure Saxon bloodline. Suddenly a seemingly harmless casual prejudice that could have been nursed without adversely affecting the rest of the world turns into a violent psychosis.
Think of the last time you thought something along the lines of "I can't change his mind but he'd never do anything to actually hurt someone" and then just try to tell me this story is not fucking horrifying.
Monday, July 03, 2006
So We Only Get One Question
The night before Kalinara left for HeroesCon, she asked me if I wanted her to ask Dan Didio anything for me. I had three questions, and told her one was infinitely more important than the other two.
Why was this particular question so important?
Because I was absolutely convinced that no one at DC had even had the idea to do this.
See, I'm a big believer in ingrained cultural sexism. I think empathy and respect, these need to be taught. Our culture simply isn't set up to teach empathy to women. Everything is masculine, everything is for boys. That's why "sissy" and "throw like a girl" and such as insults. When we're raised, we're taught to identify with the masculine. That's where the traditional values of society are placed. You need to teach yourself to identify with the feminine. You need to teach yourself to value the feminine viewpoint.
That's why I stories are set up that way. Male heroes, the story revolves around them.
And I really don't understand why having this viewpoint shaken puts people on the defense. I mean, that's what Feminism's for, to shake the narrow viewpoint that centers on the male. To focus on the female for a change. It's not considered a revolutionary philosophy anymore, but really it is. The point is to change the basic wiring of society. To make Women the Norm. It's not anything against men. It's just to introduce another way to view things, a way that doesn't center on men.
So, when I see the unconcious cultural sexism, I like to call it out. I like to single out cluelessness and make people think about it. Because if you're dealing with a good hearted person, I really think they'll go "Wait, I didn't think about it from that point of view," and think differently from that point on. It's revolutionary in a little way. Sometimes it puts someone on the defense, sometimes I get caught up in my point of view, sometimes we lose our tempers, but sometimes.. Sometimes it works.
And I don't think comic book writers are bad people. I just don't think they've looked at it from the other angle. We all get stuck in our boxed stories, our rotes, our formulas, our viewpoints. Rather than be defensive, we should welcome a fresh idea!
But I digress. My point was, I really don't think that Dan Didio or his massive creative writing factory are bad people. Not at all.
I really honestly figured that they'd just never thought of what I had. And I figured, if we got it out there, it might just happen because no one had thought of it before.
So, being unable to go myself, I asked Kalinara to prove it for me. And, like the wonderful friend she is, she used her one chance to ask my question:
Nor do I have a problem with Alex DeWitt's death, or the Green Lanterns being angry and white-knight about it -- because that rings true. Men react that way. Especially heroes.
It's not even that we have this horrifically misogynistic villain who specifically seeks out female characters and hurts them, not because he wants to get at them personally but because he thinks that is the best way to hurt their male relations, and he's not a Wonder Woman villain.
Because that's a kickass concept for a Wonder Woman villain.
And to be honest, while he's just too perfect as a Wonder Woman villain, he does work elsewhere. He can be a Green Lantern villain fine without bothering me.
No, the problem, is that every time I have seen him up against a female character -- He Has Won.
I saw him fight Wonder Girl in Battle for Bludhaven, and he beat the crap out of her.
He fought a depowered Arisia in Guy Gardner: Warrior and killed her.
He fought Alex DeWitt in what is possible the most one-sided fight in Green Lantern history, and, while she put up a fight (a better fight than Cassie Sandsmark did), she had no chance at all.
To be fair, as far as I know, he's never been up against Wonder Woman, Queen Hippolyta, Artemis, Supergirl, Black Canary, Huntress, Batgirl, Power Girl, Manhunter, Donna Troy, Lady Shiva, a live Katma Tui, Brik, Boodika, Soranik Natu, or even Jade. He's never to my knowledge fought a fully-powered, fully-grown, non-civilian woman.
Because he's Kyle's villain. He's Guy's villain. He's a generic Green Lantern villain and there are no female Green Lanterns on Earth. This I understand.
But here we get back to the proper structure of the story, and the payoff. The sexist jerk who offends/hurts/threatens a female character in Act I needs to have his ass handed to him by the same female character in Act III. Not by her boyfriend, or her brother, because that's the male protector fantasy. No, it has to be by her.
And if she should die in Act I, well, if the villain's actions are based on misogyny he still needs to have his ass kicked by a woman.
I've got no problem if a writer decides to write his characters equal, treat his female character the same as his male characters and not make a distinction -- as Ron Marz seemed to be doing in Witchblade when he wrote Sara as Kyle. Kyle's has his victory, when he was personally insulted, taken by the guest star. No problem.
But when you introduce a villain that is marked as evil because he is sexist, a sexual predator of some degree (the sexual harassment in Witchblade #89), you've just brought the inequality of gender into it. And to complete a satisfying story to a female viewpoint, that inequality needs to be refuted.
The Sexist Asshole in Act I Must Have His Ass Handed to Him By a Woman in Act III.
Because if it's just a man, then it's the fulfillment of the male fantasy alone -- the WhiteKnight Protector and the injured female becomes a prop.
Even women, though, get raised with the male viewpoint and need this shaking up sometimes. I was truly surprised when I first realized it, but it fell into place and explained some of my vague disappointment with some stories.
So, I didn't figure that by not understanding this little rule I've outlined, and by being used to the typical White Knight Protector cycle, that the writers were bad people. I figured they genuinely had never considered this. So, a simple, innocent question might change things.
How did they react? According to Kalinara:
It's sad, but I get a vain, self-centered pleasure out of being right -- even about things like this.
Besides, this is Greg Rucka who answered. He probably started plotting it in the back of his head with Sasha or Renee or Kathy right there because we know he lives vicarously through them. And I just have to wait and I'll get to finally see this jerk get beaten to a bloody pulp by a superheroine for all his stupid sexist little comments. And it will be immensely satisfying.
I am a bit disappointed, as this does mean that Kalinara's hypothesis that Phantom Lady will get to hurt him in Battle for Bludhaven #6 is wrong.
Oh well, it'll come. Maybe it'll be a resurrected Katma Tui or Arisia. That would be downright awesome. Or Soranik cutting her teeth on him. Or Brik -- Hehehe, I'd like to see him just try and hurt Brik.
(Of course, this is no excuse not to keep calling out the little things like this. If anything, it tells us it works.)
In the meantime, we get to see him piss off Hal Jordan.
Why was this particular question so important?
Because I was absolutely convinced that no one at DC had even had the idea to do this.
See, I'm a big believer in ingrained cultural sexism. I think empathy and respect, these need to be taught. Our culture simply isn't set up to teach empathy to women. Everything is masculine, everything is for boys. That's why "sissy" and "throw like a girl" and such as insults. When we're raised, we're taught to identify with the masculine. That's where the traditional values of society are placed. You need to teach yourself to identify with the feminine. You need to teach yourself to value the feminine viewpoint.
That's why I stories are set up that way. Male heroes, the story revolves around them.
And I really don't understand why having this viewpoint shaken puts people on the defense. I mean, that's what Feminism's for, to shake the narrow viewpoint that centers on the male. To focus on the female for a change. It's not considered a revolutionary philosophy anymore, but really it is. The point is to change the basic wiring of society. To make Women the Norm. It's not anything against men. It's just to introduce another way to view things, a way that doesn't center on men.
So, when I see the unconcious cultural sexism, I like to call it out. I like to single out cluelessness and make people think about it. Because if you're dealing with a good hearted person, I really think they'll go "Wait, I didn't think about it from that point of view," and think differently from that point on. It's revolutionary in a little way. Sometimes it puts someone on the defense, sometimes I get caught up in my point of view, sometimes we lose our tempers, but sometimes.. Sometimes it works.
And I don't think comic book writers are bad people. I just don't think they've looked at it from the other angle. We all get stuck in our boxed stories, our rotes, our formulas, our viewpoints. Rather than be defensive, we should welcome a fresh idea!
But I digress. My point was, I really don't think that Dan Didio or his massive creative writing factory are bad people. Not at all.
I really honestly figured that they'd just never thought of what I had. And I figured, if we got it out there, it might just happen because no one had thought of it before.
So, being unable to go myself, I asked Kalinara to prove it for me. And, like the wonderful friend she is, she used her one chance to ask my question:
"Will we ever see Major Force beaten by a woman?"It's not that there's anything wrong with the concept of Major Force as a psychotic misogynistic villain. It's a fair idea, and it works.
Nor do I have a problem with Alex DeWitt's death, or the Green Lanterns being angry and white-knight about it -- because that rings true. Men react that way. Especially heroes.
It's not even that we have this horrifically misogynistic villain who specifically seeks out female characters and hurts them, not because he wants to get at them personally but because he thinks that is the best way to hurt their male relations, and he's not a Wonder Woman villain.
Because that's a kickass concept for a Wonder Woman villain.
And to be honest, while he's just too perfect as a Wonder Woman villain, he does work elsewhere. He can be a Green Lantern villain fine without bothering me.
No, the problem, is that every time I have seen him up against a female character -- He Has Won.
I saw him fight Wonder Girl in Battle for Bludhaven, and he beat the crap out of her.
He fought a depowered Arisia in Guy Gardner: Warrior and killed her.
He fought Alex DeWitt in what is possible the most one-sided fight in Green Lantern history, and, while she put up a fight (a better fight than Cassie Sandsmark did), she had no chance at all.
To be fair, as far as I know, he's never been up against Wonder Woman, Queen Hippolyta, Artemis, Supergirl, Black Canary, Huntress, Batgirl, Power Girl, Manhunter, Donna Troy, Lady Shiva, a live Katma Tui, Brik, Boodika, Soranik Natu, or even Jade. He's never to my knowledge fought a fully-powered, fully-grown, non-civilian woman.
Because he's Kyle's villain. He's Guy's villain. He's a generic Green Lantern villain and there are no female Green Lanterns on Earth. This I understand.
But here we get back to the proper structure of the story, and the payoff. The sexist jerk who offends/hurts/threatens a female character in Act I needs to have his ass handed to him by the same female character in Act III. Not by her boyfriend, or her brother, because that's the male protector fantasy. No, it has to be by her.
And if she should die in Act I, well, if the villain's actions are based on misogyny he still needs to have his ass kicked by a woman.
I've got no problem if a writer decides to write his characters equal, treat his female character the same as his male characters and not make a distinction -- as Ron Marz seemed to be doing in Witchblade when he wrote Sara as Kyle. Kyle's has his victory, when he was personally insulted, taken by the guest star. No problem.
But when you introduce a villain that is marked as evil because he is sexist, a sexual predator of some degree (the sexual harassment in Witchblade #89), you've just brought the inequality of gender into it. And to complete a satisfying story to a female viewpoint, that inequality needs to be refuted.
The Sexist Asshole in Act I Must Have His Ass Handed to Him By a Woman in Act III.
Because if it's just a man, then it's the fulfillment of the male fantasy alone -- the WhiteKnight Protector and the injured female becomes a prop.
Even women, though, get raised with the male viewpoint and need this shaking up sometimes. I was truly surprised when I first realized it, but it fell into place and explained some of my vague disappointment with some stories.
So, I didn't figure that by not understanding this little rule I've outlined, and by being used to the typical White Knight Protector cycle, that the writers were bad people. I figured they genuinely had never considered this. So, a simple, innocent question might change things.
How did they react? According to Kalinara:
Well, I asked during the lightning round, so it was kind of funny because it was all "Yes! No! Ehhhhnnn! (buzzer noise)" then I asked and there was a very obvious stall.
Like in the old cartoons...the record getting pulled off?
And there was a sort of group stutter and Rucka says something like "Uh...sure...why not? Just...might have to wait a few years..."
And Didio recovers and quips something like "beaten by a woman? Sure! He can be just like the rest of us!"
It's sad, but I get a vain, self-centered pleasure out of being right -- even about things like this.
Besides, this is Greg Rucka who answered. He probably started plotting it in the back of his head with Sasha or Renee or Kathy right there because we know he lives vicarously through them. And I just have to wait and I'll get to finally see this jerk get beaten to a bloody pulp by a superheroine for all his stupid sexist little comments. And it will be immensely satisfying.
I am a bit disappointed, as this does mean that Kalinara's hypothesis that Phantom Lady will get to hurt him in Battle for Bludhaven #6 is wrong.
Oh well, it'll come. Maybe it'll be a resurrected Katma Tui or Arisia. That would be downright awesome. Or Soranik cutting her teeth on him. Or Brik -- Hehehe, I'd like to see him just try and hurt Brik.
(Of course, this is no excuse not to keep calling out the little things like this. If anything, it tells us it works.)
In the meantime, we get to see him piss off Hal Jordan.
Monday, November 21, 2005
Jade is Wormfood.
As I wantonly traverse cyberspace in search of amusement, my thoughts turn more and more to DC Comics. And everywhere I roam, one question keeps coming up:
Who's next on the chopping block?
DC is doing a "Housecleaning." Geoff Johns is on a murder spree. Seriously, this crossover is a bigger bloodbath than Eclipso. Day of Vengeance #1 alone had a body count of over two hundred! Infinite Crisis #1 killed half of a superteam. Infinite Crisis #2 featured the death of an entire villain team. In February, we see 6 different covers featuring hero-hero battles (and 2 covers with a hero in the foreground and another in the background coming up behind them menacingly!). We are outright promised blood in Rann-Thanagar War: Infinite Crisis Special and Supergirl (and I had better get it!). Several prominent titles will not be on the shelves come March. There has never been a better time to kill a Superman! And you know not all of those people headed to the center of the universe with Donna Troy are not coming back.
Now, I'm not sure about the specifics above -- what's hype, what's panic, what's misdirection...etc... but I am sure of one thing:
Jennie-Lynn Hayden-Scott, formerly known as Green Lantern VI (or IV, depending upon who you count!), best known as Jade, is not coming out this one alive.
(Those of you unfamiliar with Jade should check here and here to learn about her history in a more objective manner)
Everyone knows there are risk factors that lead to a character's death. These have no realistic connotations. It's not like people in comic books would actually die as a result of their own actions! But, there are certain things that make comic book readers think "Expendable."
So, without further ado, here are Jade's Risk Factors:
1) Mythos Placement -- The only Green Lantern franchise hero not currently carrying the Green Lantern name.
2) Costume -- Does not wear a Green Lantern symbol. (Even Alan wears something close)
3) Power Level -- Is vastly less powerful than her father. Is considerably less powerful than a full-fledged Corpsman (or full-fledged female Corpsman like Brik -- Yes, I hate saying Corpswoman, Chairwoman, Congresswoman...etc... It's silly. we can say Mankind, can't we? And Human without saying Huwoman? Well, why can't I just be a repairman instead of a repairwoman? Save a syllable, please!)
4) Origin -- Try explaining her parentage: "Well, her father was the Golden Age Green Lantern, who is unconnected to the Corps, and her mother was a Flash Rogue with multiple personalities who fought the Golden Age Flash, but then reformed and fell in love with green Lantern, but then left him after their wedding night and bore him twins. She put them up for adoption, which is why Jennuie has a different last name than her father. Now, her brother..."
5) Infinity Inc -- The Infinity Inc characters are often screwed with: depowered, sent to prison, made into villains...etc..
6) Open Identity -- Secret Identities are becoming considerably important right now. It's possible that One Year Later there will be very few public identity heroes operaring on earth. Jade is a former supermodel and a public superhero. Even with a mass mindwipe, her skin color makes her very hard to hide. She's obviously not normal.
7) Gender -- Name aside, she is still a Female Lantern. Of the female Green Lantern we've met: Katma Tui and Arisia are dead, Boodika and Laira are currently held captive, Boodika lost her hand, Adara committed suicide, Brik and Amanita spent a good deal of time in slavery, and Soranik Natu was captured by the villains in the first issue she appeared in.
8) High Risk Love Interest -- Romantically linked to a male Earth Green Lantern.
Green Lantern lovers rundown: Alex DeWitt (deceased), Donna Troy (depowered, deceased, recently resurrected as a Harbinger-like character, which means instant obscurity once this is all over), Torah Olafsdotter (deceased), Katma Tui (deceased), Arisia (deceased), Carol Ferris (brain regularly taken over by space aliens)
9) High Risk Personal Connection -- She has slept with Kyle Rayner. The Kiss of Kyle Rayner is the Kiss of Death. But this goes beyond romance.
Kyle Rayner personal contacts rundown: Alex DeWitt, Donna Troy (who also had been broken up Kyle for a year or so before she died!), and Adara (a one-night stand!) have all pushed up daisies at some point. (But, hey, at least Kyle still talks to them from time to time!) Ganthet (home planet destroyed within a week of meeting the boy), Alan Scott (strongest will in Earth history, taken over by the Starheart, taken over by Brainwave Jr), Guy Gardner (went without problems for a while but eventually lost his business in Rebirth), John Stewart (lost the use of his legs twice!), Terry Berg (beaten to the edge of death), Kyle's mother (Home destroyed, Son broke all contacts -- but she's still alive). Kyle's father (went into hiding from the government shortly after the boy was born!) This poor guy is cursed! I'd like to comfort Kyle during his times of personal loss, but I can't afford the insurance payments. Putting your arm around his shoulders costs you more than racing NASCAR.
10) Unvirtuous Woman -- While Kyle was in space, risking life, limb, and soul in an attempt to make the universe a safer place, she found another guy. She then slept with this other guy, without even sending Kyle so much as a "Dear John" note. That's not cool, folks. It was totally within her power to send word to Kyle to "Call now, or don't come back at all," via John Stewart. The "He never called" excuse doesn't work, because she could have at least sent word rather than let him come home to such a bad surprise!
11) Skill Level -- She is generally portrayed as a mediocre Lesser Lantern. True, some writers give her decent moments, but she plays Damsel in Distress far too often for a woman who was born with even watered-down Lantern powers, and has been in "the business" this long.
The first run I saw her in, she got her butt kicked by Fatality and had to be saved by still-rookie Kyle. My sister and I dropped the book, because it seemed truly ridiculous that a woman who'd had powers all her life would need saving from a guy who'd only had powers a few months. But, this has been the skill level she is commonly shown at.
In Outsiders, she has been present every time a team member gets hurt. Usually, when you have a Lantern, you're safe. They are major powers who should be able to protect their buddies. Apparently, Jade can't.
She has no feats under her belt, and even John Stewart, the most ignored Green Lantern of all, has a few feats. Hell, even Guy Gardner's girlfriend Ice was able to use the ring in a totally unexpected manner, and heal another person! I mean, it's one thing to see Hal or Kyle on a bad day get their butts handed to them, because you know if the moon is going to shatter and fall into the planet they can stop it (with a little help from Wonder Woman), but you have your doubts when it comes to Jade. She really doesn't really have anything. And with her powers, that's ridiculous. It's like they came so naturally she felt no need to work on them or push herself, and so comes up short behind the boys. A poor showing, especially for the only female Lantern we've seen in the last decade. Thankfully, Brik is back (She's got that sweet-natured, but still strong thing that Ice had going on), and Soranik Natu seems promising.
12) Redemption -- She's been mopey and cranky in most appearances. In Return of Donna Troy, she obsessed over Kyle as soon as she realized he might be nearby (nearby being, within a couple of light years). Showing regret for her treatment of him? Laying the groundwork for a heroic sacrifice saving her ex-boyfriend's life?
13) Impact (Characters) -- Yes, ladies and gentlemen, the dreaded Refrigerator rule. Who's death will spread more angst among the surviving characters? Captain Comet, or Jade? Hawkman (who dies as a hobby), or Jade? Despite being thoroughly unlikeable in recent appearances, Jade still has a lot of strong bonds to exploit.
Kyle, despite her actions, still loves her enough to care about her feelings, and leave her his apartment. Her death, especially during a battle he is at, would serve to screw him up even more!
Her brother, Todd Rice, Obsidian, is fanatically devoted to her (He met her in Infinity Inc long before her current characterization), and is at the hero/villain crossroads. Her death could inspire him to become a hero again, or drive him back to madness.
Her father, Alan Scott, feels he is a worthless father. Imagine if his daughter dies in front of him.
She is the team-leader of the Outsiders, and no doubt her dying would affect the Outsider/Titans characters.
Donna Troy would feel tremendous guilt about bringing a rival out there to die.
The newer members of the Green Lantern Corps would find it extremely sobering to see a person with similar powers die horribly in front of them.
And, of course, her break-up with Kyle is what divides him and his former mentor, Alan Scott. Blame for her death could cause a greater split (if she died because of a percieved mistake) or the shared grief of her loss would forge their bond even stronger than before.
14) Impact (Fans) -- She is someone that writers feel safe screwing with. This is what changed her image from that of a promising addition to the Green Lantern mythos, to the lady described here and here. Aside from old Infinity Inc fans (Fear of who's wrath didn't keep Obsidian, Nuklon, Fury, Hector Hall, Northwind..etc... from being screwed with constantly), she won't likely be missed. But, since not that many people remember Infinity Inc, she tends to be reguarded at best as eye-candy/romance fodder and at worst as a selfish slut.
Fourteen Risk Factors. Her number's up. Another Guinevere bites the dust.
Let the celebration commence!
Who's next on the chopping block?
DC is doing a "Housecleaning." Geoff Johns is on a murder spree. Seriously, this crossover is a bigger bloodbath than Eclipso. Day of Vengeance #1 alone had a body count of over two hundred! Infinite Crisis #1 killed half of a superteam. Infinite Crisis #2 featured the death of an entire villain team. In February, we see 6 different covers featuring hero-hero battles (and 2 covers with a hero in the foreground and another in the background coming up behind them menacingly!). We are outright promised blood in Rann-Thanagar War: Infinite Crisis Special and Supergirl (and I had better get it!). Several prominent titles will not be on the shelves come March. There has never been a better time to kill a Superman! And you know not all of those people headed to the center of the universe with Donna Troy are not coming back.
Now, I'm not sure about the specifics above -- what's hype, what's panic, what's misdirection...etc... but I am sure of one thing:
Jennie-Lynn Hayden-Scott, formerly known as Green Lantern VI (or IV, depending upon who you count!), best known as Jade, is not coming out this one alive.
(Those of you unfamiliar with Jade should check here and here to learn about her history in a more objective manner)
Everyone knows there are risk factors that lead to a character's death. These have no realistic connotations. It's not like people in comic books would actually die as a result of their own actions! But, there are certain things that make comic book readers think "Expendable."
So, without further ado, here are Jade's Risk Factors:
1) Mythos Placement -- The only Green Lantern franchise hero not currently carrying the Green Lantern name.
2) Costume -- Does not wear a Green Lantern symbol. (Even Alan wears something close)
3) Power Level -- Is vastly less powerful than her father. Is considerably less powerful than a full-fledged Corpsman (or full-fledged female Corpsman like Brik -- Yes, I hate saying Corpswoman, Chairwoman, Congresswoman...etc... It's silly. we can say Mankind, can't we? And Human without saying Huwoman? Well, why can't I just be a repairman instead of a repairwoman? Save a syllable, please!)
4) Origin -- Try explaining her parentage: "Well, her father was the Golden Age Green Lantern, who is unconnected to the Corps, and her mother was a Flash Rogue with multiple personalities who fought the Golden Age Flash, but then reformed and fell in love with green Lantern, but then left him after their wedding night and bore him twins. She put them up for adoption, which is why Jennuie has a different last name than her father. Now, her brother..."
5) Infinity Inc -- The Infinity Inc characters are often screwed with: depowered, sent to prison, made into villains...etc..
6) Open Identity -- Secret Identities are becoming considerably important right now. It's possible that One Year Later there will be very few public identity heroes operaring on earth. Jade is a former supermodel and a public superhero. Even with a mass mindwipe, her skin color makes her very hard to hide. She's obviously not normal.
7) Gender -- Name aside, she is still a Female Lantern. Of the female Green Lantern we've met: Katma Tui and Arisia are dead, Boodika and Laira are currently held captive, Boodika lost her hand, Adara committed suicide, Brik and Amanita spent a good deal of time in slavery, and Soranik Natu was captured by the villains in the first issue she appeared in.
8) High Risk Love Interest -- Romantically linked to a male Earth Green Lantern.
Green Lantern lovers rundown: Alex DeWitt (deceased), Donna Troy (depowered, deceased, recently resurrected as a Harbinger-like character, which means instant obscurity once this is all over), Torah Olafsdotter (deceased), Katma Tui (deceased), Arisia (deceased), Carol Ferris (brain regularly taken over by space aliens)
9) High Risk Personal Connection -- She has slept with Kyle Rayner. The Kiss of Kyle Rayner is the Kiss of Death. But this goes beyond romance.
Kyle Rayner personal contacts rundown: Alex DeWitt, Donna Troy (who also had been broken up Kyle for a year or so before she died!), and Adara (a one-night stand!) have all pushed up daisies at some point. (But, hey, at least Kyle still talks to them from time to time!) Ganthet (home planet destroyed within a week of meeting the boy), Alan Scott (strongest will in Earth history, taken over by the Starheart, taken over by Brainwave Jr), Guy Gardner (went without problems for a while but eventually lost his business in Rebirth), John Stewart (lost the use of his legs twice!), Terry Berg (beaten to the edge of death), Kyle's mother (Home destroyed, Son broke all contacts -- but she's still alive). Kyle's father (went into hiding from the government shortly after the boy was born!) This poor guy is cursed! I'd like to comfort Kyle during his times of personal loss, but I can't afford the insurance payments. Putting your arm around his shoulders costs you more than racing NASCAR.
10) Unvirtuous Woman -- While Kyle was in space, risking life, limb, and soul in an attempt to make the universe a safer place, she found another guy. She then slept with this other guy, without even sending Kyle so much as a "Dear John" note. That's not cool, folks. It was totally within her power to send word to Kyle to "Call now, or don't come back at all," via John Stewart. The "He never called" excuse doesn't work, because she could have at least sent word rather than let him come home to such a bad surprise!
11) Skill Level -- She is generally portrayed as a mediocre Lesser Lantern. True, some writers give her decent moments, but she plays Damsel in Distress far too often for a woman who was born with even watered-down Lantern powers, and has been in "the business" this long.
The first run I saw her in, she got her butt kicked by Fatality and had to be saved by still-rookie Kyle. My sister and I dropped the book, because it seemed truly ridiculous that a woman who'd had powers all her life would need saving from a guy who'd only had powers a few months. But, this has been the skill level she is commonly shown at.
In Outsiders, she has been present every time a team member gets hurt. Usually, when you have a Lantern, you're safe. They are major powers who should be able to protect their buddies. Apparently, Jade can't.
She has no feats under her belt, and even John Stewart, the most ignored Green Lantern of all, has a few feats. Hell, even Guy Gardner's girlfriend Ice was able to use the ring in a totally unexpected manner, and heal another person! I mean, it's one thing to see Hal or Kyle on a bad day get their butts handed to them, because you know if the moon is going to shatter and fall into the planet they can stop it (with a little help from Wonder Woman), but you have your doubts when it comes to Jade. She really doesn't really have anything. And with her powers, that's ridiculous. It's like they came so naturally she felt no need to work on them or push herself, and so comes up short behind the boys. A poor showing, especially for the only female Lantern we've seen in the last decade. Thankfully, Brik is back (She's got that sweet-natured, but still strong thing that Ice had going on), and Soranik Natu seems promising.
12) Redemption -- She's been mopey and cranky in most appearances. In Return of Donna Troy, she obsessed over Kyle as soon as she realized he might be nearby (nearby being, within a couple of light years). Showing regret for her treatment of him? Laying the groundwork for a heroic sacrifice saving her ex-boyfriend's life?
13) Impact (Characters) -- Yes, ladies and gentlemen, the dreaded Refrigerator rule. Who's death will spread more angst among the surviving characters? Captain Comet, or Jade? Hawkman (who dies as a hobby), or Jade? Despite being thoroughly unlikeable in recent appearances, Jade still has a lot of strong bonds to exploit.
Kyle, despite her actions, still loves her enough to care about her feelings, and leave her his apartment. Her death, especially during a battle he is at, would serve to screw him up even more!
Her brother, Todd Rice, Obsidian, is fanatically devoted to her (He met her in Infinity Inc long before her current characterization), and is at the hero/villain crossroads. Her death could inspire him to become a hero again, or drive him back to madness.
Her father, Alan Scott, feels he is a worthless father. Imagine if his daughter dies in front of him.
She is the team-leader of the Outsiders, and no doubt her dying would affect the Outsider/Titans characters.
Donna Troy would feel tremendous guilt about bringing a rival out there to die.
The newer members of the Green Lantern Corps would find it extremely sobering to see a person with similar powers die horribly in front of them.
And, of course, her break-up with Kyle is what divides him and his former mentor, Alan Scott. Blame for her death could cause a greater split (if she died because of a percieved mistake) or the shared grief of her loss would forge their bond even stronger than before.
14) Impact (Fans) -- She is someone that writers feel safe screwing with. This is what changed her image from that of a promising addition to the Green Lantern mythos, to the lady described here and here. Aside from old Infinity Inc fans (Fear of who's wrath didn't keep Obsidian, Nuklon, Fury, Hector Hall, Northwind..etc... from being screwed with constantly), she won't likely be missed. But, since not that many people remember Infinity Inc, she tends to be reguarded at best as eye-candy/romance fodder and at worst as a selfish slut.
Fourteen Risk Factors. Her number's up. Another Guinevere bites the dust.
Let the celebration commence!
Monday, September 12, 2005
Comic Reviews for Sept 8th
Last week was a mostly mainstream week again. I picked up a couple of trades, but DC Crossover Crisis Mania is sucking me in like a Black Hole of Metaplot. I'm enjoying the ride, though. Hoping for a strange new world of wonders on the other side, as opposed to a bleak existance as a bunch of shredded particles like many DC fans are expecting.
Mild Spoilers Below
Superman #221 -- I'm the reverse of a regular fan here. I picked up Superman issues and The OMAC Project because I'd heard they would be tying into Wonder Woman. I was pleasantly surprised by the quality of the Superman books, and so this month I picked up the next issues of all of the Superman books to see how they were doing.
The last two issues (Action Comics #830 and this one) of the Superman line that I've read were narrated by supporting cast members. Out of 3 issues of non-Crossover Superman books in 10 years (Although to be perfectly honest, the last Adventures of Superman should count as part of the crossover), that's not promising.
Now, don't get me wrong, spotlighting supporting cast is wonderful at times. But I notice a tendancy to spotlight supporting cast as a method of characterizing the main character. Jimmy speaks about Superman in glowing generalized terms, and talks about learning from him -- "He continues to astonish me" "I learn about selflessness, decency, the sometimes unfortunate laws of physics, and most of all, the meaning of heroism."
To take an example I enjoyed more -- Lois in the narration of Action Comics #830 tries to impart a fraction of the wonder at being married to Superman to the reader. This is a really good piece of writing, so true to life that you could see the wife of a perfectly normal human being say it. However, preceeding this issue, it helps to highlight by repetition the deficiencies in that technique in Superman #221.
It's wasted characterization.
We really don't need to hear it.
He's Superman.
We know he's awe-inspiring.
We know he's a miracle.
We know he's a hero.
That's what makes him Superman, silly. Everybody knows that!
If we did somehow forget momentarily, and needed to be reminded, it would be far more effective to show us that he is an awe-inspiring, heroic miracle, or a miraculous, awe-inspiring hero, or a heroic, miraculous inspiration...etc...
Less is more for Superman narration. The splash that accompanies Jimmy's "meaning of heroism" comment (Page 6, Pg 11 counting ads), for example, is a nice piece of Ed Benes art that would stand up on its own as an example of Superman's heroic behavior. No need to stick cliched narration in the background to characterize Superman.
Or is this to characterize Jimmy? Well, I get that he's in awe of Superman and greatly admires him. Not only is that Jimmy Olsen's basic characterization, but its written all over his face in that very panel.
Anyway, I think Mark Veheiden overdid it on the narration for this story. I could have been a very nice Jimmy Olsen spotlight, if not for all of the little narration boxes gushing needlessly about Superman. If you read through the story and ignore all of the narration, the same point is made. Even better, because it is made without subjecting you to so many cliches. This is just more of the unfortunate wordy tendancy of comic book writers, most likely inspired by the success of Kurt Buseik's childlike wonder in and Astro City, and James Robinson's lyrical hero-worship in Starman. But those writers knew, for the most part, when to step back and let the pictures and dialogue tell the story. Their works were considerably more enjoyable for it.
This issue wasn't enough to justify buying another of Verheiden's issues for me. I'll stick with Action Comics, though, because Ms Simone has the golden touch right now -- which brings me to...
Villains United #5 -- The cover is very impressive. It features Deadshot and Catman fighting in free-fall. When you open the book, the first page is a splash that reinforces it perfectly, and helps carry the impression of a falling fast fight throughout the entire book. This is Gail Simone's writing -- being thrown out of a window and taking the bad guy (or, in this case, other bad guy) with you. Even the calm moments where people are planning or catching their breath are loaded with electric excitement. I ended this book unable to sit still for anticipation of the next issue.
I've heard Gail Simone's name thrown around on message boards for nearly every female character in comics, but the character this women needs to write is The Flash. Her pacing and energy are just what the Fastest Man in the World needs!
Ultimate Spider-Man #82 -- was ultimately unimpressive. More Black Cat? I can't bring myself to care very much. This book may be next on my chopping block.
Gotham Central #35 -- The only DC book without a Metaplot sighting! Of course, this is going to change in the near future.
I think Stacy's developing a little crush on the Boy Wonder here. That is so cute. I like Stacy here. A child-woman like her can get very irritating very easily, and dwnright offensive when handled badly, but in Gotham Central she's set off by the bleak landscape and contrasted by Maggie, Rene', Romy and Josie. Rucka plays her sweet nature up only rarely, and when it has a definite effect on the plot. He manages to make her very endearing and naive.
I also love Rucka's characterization of Robin. Tim Drake's a much more likeable boy here than we see anywhere else today. But he's still sly, he's playing Stacy's naivete to get a rare insight inside the GCPD. Not that I can fault him for it -- this mystery seems like a very personal attack on him on the surface (though I'm sure there's a completely different motive), and Bat-jerk has gotten them all kicked out of the precinct here. It would be a interesting replacement for the Batman-Jim Gordan relationship, if it were a Robin-Stacy relationship that got the Gotham vigilantes their inside info.
The Manhatten Guardian #4 -- This issue is all exposition, and takes us deeper into the mystery connecting the Seven Soldiers than any other issue in this series so far. He also made me seriously like Jake for the first time (I must admit, I was reading for the subway pirates at the beginning) here in the last two pages.
And now, for today's Sentance I Never, Ever, in a Billion Lifetimes Thought I'd Hear Myself Day: I badly want more Newsboy Legion flashback stories.
More Ali Ka-Zoom! In this, and in Zatanna #3, he was just plain cool.
Warning though, Guardian #4 is considerably more of a cliffhanger than Shining Knight #4 was. You will buy Seven Soldiers #1 if you enjoy this.
Fell #1 -- I started off not liking this (Despite the initial laugh at the first panel), but gradually changed my mind during the read. It was a good mystery, totally self-contained (in 16 pages!), that introduced enough of Detective Fell's little corner of the genre that I'd be willing to read more. And Ellis manages to do it without shortchanging characterization or plot for the sake of more setup. I'll buy a second issue of this. I wish there was more out like this.
That's all for now, I bought a couple of trades, but those are weekend reads. Until next time, I leave you with something fun to listen to:
Click on Instrumental when you go here.
Mild Spoilers Below
Superman #221 -- I'm the reverse of a regular fan here. I picked up Superman issues and The OMAC Project because I'd heard they would be tying into Wonder Woman. I was pleasantly surprised by the quality of the Superman books, and so this month I picked up the next issues of all of the Superman books to see how they were doing.
The last two issues (Action Comics #830 and this one) of the Superman line that I've read were narrated by supporting cast members. Out of 3 issues of non-Crossover Superman books in 10 years (Although to be perfectly honest, the last Adventures of Superman should count as part of the crossover), that's not promising.
Now, don't get me wrong, spotlighting supporting cast is wonderful at times. But I notice a tendancy to spotlight supporting cast as a method of characterizing the main character. Jimmy speaks about Superman in glowing generalized terms, and talks about learning from him -- "He continues to astonish me" "I learn about selflessness, decency, the sometimes unfortunate laws of physics, and most of all, the meaning of heroism."
To take an example I enjoyed more -- Lois in the narration of Action Comics #830 tries to impart a fraction of the wonder at being married to Superman to the reader. This is a really good piece of writing, so true to life that you could see the wife of a perfectly normal human being say it. However, preceeding this issue, it helps to highlight by repetition the deficiencies in that technique in Superman #221.
It's wasted characterization.
We really don't need to hear it.
He's Superman.
We know he's awe-inspiring.
We know he's a miracle.
We know he's a hero.
That's what makes him Superman, silly. Everybody knows that!
If we did somehow forget momentarily, and needed to be reminded, it would be far more effective to show us that he is an awe-inspiring, heroic miracle, or a miraculous, awe-inspiring hero, or a heroic, miraculous inspiration...etc...
Less is more for Superman narration. The splash that accompanies Jimmy's "meaning of heroism" comment (Page 6, Pg 11 counting ads), for example, is a nice piece of Ed Benes art that would stand up on its own as an example of Superman's heroic behavior. No need to stick cliched narration in the background to characterize Superman.
Or is this to characterize Jimmy? Well, I get that he's in awe of Superman and greatly admires him. Not only is that Jimmy Olsen's basic characterization, but its written all over his face in that very panel.
Anyway, I think Mark Veheiden overdid it on the narration for this story. I could have been a very nice Jimmy Olsen spotlight, if not for all of the little narration boxes gushing needlessly about Superman. If you read through the story and ignore all of the narration, the same point is made. Even better, because it is made without subjecting you to so many cliches. This is just more of the unfortunate wordy tendancy of comic book writers, most likely inspired by the success of Kurt Buseik's childlike wonder in and Astro City, and James Robinson's lyrical hero-worship in Starman. But those writers knew, for the most part, when to step back and let the pictures and dialogue tell the story. Their works were considerably more enjoyable for it.
This issue wasn't enough to justify buying another of Verheiden's issues for me. I'll stick with Action Comics, though, because Ms Simone has the golden touch right now -- which brings me to...
Villains United #5 -- The cover is very impressive. It features Deadshot and Catman fighting in free-fall. When you open the book, the first page is a splash that reinforces it perfectly, and helps carry the impression of a falling fast fight throughout the entire book. This is Gail Simone's writing -- being thrown out of a window and taking the bad guy (or, in this case, other bad guy) with you. Even the calm moments where people are planning or catching their breath are loaded with electric excitement. I ended this book unable to sit still for anticipation of the next issue.
I've heard Gail Simone's name thrown around on message boards for nearly every female character in comics, but the character this women needs to write is The Flash. Her pacing and energy are just what the Fastest Man in the World needs!
Ultimate Spider-Man #82 -- was ultimately unimpressive. More Black Cat? I can't bring myself to care very much. This book may be next on my chopping block.
Gotham Central #35 -- The only DC book without a Metaplot sighting! Of course, this is going to change in the near future.
I think Stacy's developing a little crush on the Boy Wonder here. That is so cute. I like Stacy here. A child-woman like her can get very irritating very easily, and dwnright offensive when handled badly, but in Gotham Central she's set off by the bleak landscape and contrasted by Maggie, Rene', Romy and Josie. Rucka plays her sweet nature up only rarely, and when it has a definite effect on the plot. He manages to make her very endearing and naive.
I also love Rucka's characterization of Robin. Tim Drake's a much more likeable boy here than we see anywhere else today. But he's still sly, he's playing Stacy's naivete to get a rare insight inside the GCPD. Not that I can fault him for it -- this mystery seems like a very personal attack on him on the surface (though I'm sure there's a completely different motive), and Bat-jerk has gotten them all kicked out of the precinct here. It would be a interesting replacement for the Batman-Jim Gordan relationship, if it were a Robin-Stacy relationship that got the Gotham vigilantes their inside info.
The Manhatten Guardian #4 -- This issue is all exposition, and takes us deeper into the mystery connecting the Seven Soldiers than any other issue in this series so far. He also made me seriously like Jake for the first time (I must admit, I was reading for the subway pirates at the beginning) here in the last two pages.
And now, for today's Sentance I Never, Ever, in a Billion Lifetimes Thought I'd Hear Myself Day: I badly want more Newsboy Legion flashback stories.
More Ali Ka-Zoom! In this, and in Zatanna #3, he was just plain cool.
Warning though, Guardian #4 is considerably more of a cliffhanger than Shining Knight #4 was. You will buy Seven Soldiers #1 if you enjoy this.
Fell #1 -- I started off not liking this (Despite the initial laugh at the first panel), but gradually changed my mind during the read. It was a good mystery, totally self-contained (in 16 pages!), that introduced enough of Detective Fell's little corner of the genre that I'd be willing to read more. And Ellis manages to do it without shortchanging characterization or plot for the sake of more setup. I'll buy a second issue of this. I wish there was more out like this.
That's all for now, I bought a couple of trades, but those are weekend reads. Until next time, I leave you with something fun to listen to:
Click on Instrumental when you go here.
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