Showing posts with label Comics I'd Write for Free. Show all posts
Showing posts with label Comics I'd Write for Free. Show all posts

Tuesday, March 15, 2011

Comics I'd Write for Free: Green Arrow

We're men, men in tights...I recently sold off my collection of Green Arrow comics, which, to be honest, wasn't all that many. I started reading the series because I was a teenager and Kevin Smith was teh awesome, and frankly, I think his two arcs--plus the Meltzer follow-up--were pretty good comics. They certainly paved the way for Ollie to become a powerhouse character with a fairly consistently-running series, which is more than can be said for a lot of otherwise good characters.

I liked Green Arrow as a kid, though I didn't have many comics with him. I've mentioned a few times that I grew up reading a stack of my mom's old World's Finests and Adventure Comics and so forth, and Green Arrow featured occasionally in those. Mostly it was the full-on Batman ripoff era, pre-beard, when he drove the Arrowcar and had an Arrowcave (and led me to think that every superhero except Superman had their own eponymous car and cave hideout). I know there was a Neal Adams-era Ollie in one of the Super-Sons issues, so I was definitely exposed to both. Admittedly, while I prefer the Adams costume, I'm an awfully big fan of the trick arrows. I don't care that they're not aerodynamic; they're awesome.

I don't often talk politics on this blog; I have another space for that. Suffice it to say that I'm a dyed-in-the-wool left-wing liberal hippie whatever. Recent less-than-stellar political events, like the one I thrust Superman and Green Arrow into a few days back have got me thinking about politics and comics, though, and have given me a revelation about Oliver Queen.

Green Arrow should be the liberal Punisher.

Now, when I say this, I don't mean that he should be going around killing Tea Partiers and polluters. I mean it in a more abstract way: the Punisher is a 'swift justice' wish fulfillment character, who goes after the sort of everyday criminals that we all occasionally think ought to just be weeded out entirely, and he does that. He skips the whole due process and fair trial issues and, with a pure certainty, plays judge, jury, and executioner. It's the same kind of wish fulfillment that we look for in shows like "Dexter;" we want someone to do the dirty work that we're unwilling to do ourselves.

Of course, there are good reasons that we're unwilling to do that dirty work, all centered around certainties that exist only in fictional settings and complications that don't. We can accept the Punisher's actions because we know he's right about the people he dispatches, because that's how the stories are written. Real life is messier. So, while the Punisher goes after mob bosses and drug dealers and arms dealers, there's really no one exerting that same swift justice on the corrupt business owners or cronyist politicians or dirty lobbyists or any of the other standard villains of a liberal tirade. And that's what I'd like to see from Green Arrow.

Here's the pitch: Ollie realizes that, after years of being involved in politics and living as a billionaire again, he's grown distant from the causes he used to champion. Realizing that voting and speaking out simply aren't enough these days, not when one side refuses to play fair and the other side rolls over at the slightest pressure, he sets out on a one-man cross-country campaign to set things right. Between his skills and his resources, he decides to become a real-life Robin Hood once more, a nobleman by birth who sides with the common man, fighting the battles that they can't, stealing from the rich and giving to the poor. He sets up a social networking page where fans and followers can suggest what problems are affecting them, and he'll put his brand of non-lethal justice to bear on those who would oppress and exploit the powerless. And so he rides his Arrowcycle out from Star City, driving where the Internet and his sense of justice take him, with his sights ultimately set on Washington, DC.

I think, given that, the rest of the story writes itself. The philosophical complications are obvious: Ollie is not perfect by any means, and his brash, hot-headed approach may result in complications he hasn't foreseen. Besides that, he has to deal with the ramifications that his actions will have after he leaves, and he's going to find that there are lots of problems that can't be solved with boxing glove arrows. He's also going to make a lot of powerful enemies, not to mention his normal cadre of enemies who would be all too willing to seek him out--or to use his new web presence to lure him into traps. Meanwhile, a lot of his allies aren't exactly thrilled with his newfound political crusade, and while they may confront him, he's perfectly willing to take them to task for their own apparent moral failings.

Is it a bit like "Grounded"? Sure. But the problem with "Grounded" isn't in the idea of a superhero going walkabout, isn't in the idea of an out-of-touch superhero getting back to his roots and ideals, and isn't necessarily in the idea of a superhero dealing with real-world issues. The "Hard-Traveling Heroes" arc of Green Lantern/Green Arrow did all that, to varying degrees of success, and is fondly remembered because of it. The problem with "Grounded" is in the idea that Superman fits into that mold, and in the smug, self-assured way that it was executed. The story I'm proposing would be exactly as tedious if it had the self-assured self-righteousness that "Grounded" exuded in those early issues, where even though Superman was an asshole, we knew that the writer wanted us to think he was totally right and profound. Of course, the flipside point is that Ollie thinks he's absolutely right, and has to be confronted with the reality that he often isn't. And Ollie has the kind of smug self-assured attitude that can work in that sort of story; not so much with Superman.

There's also the point to be made that, what with executing Prometheus, hiding out in the woods, and allowing his allies to torture supervillains, he kind of has lost his idealistic principles. There would be an actual in-story justification for his need to reacquaint himself with his politics.

So Ollie Queen finally lives up to his Robin Hood-style costume, finds a way to reconcile his wealth and his politics, and sets off on a cross-country tour that can weave in and out of the mainstream DCU seamlessly, dealing both with relevant social commentary and over-the-top superhero action. It can function as an ongoing overarching theme, as a finite story (with Washington, DC as the endpoint), or some combination of both.

And I'd write it for free.

Friday, October 29, 2010

Walking with Superman: Day 100

Today, The Fortress of Soliloquy brings you an exclusive three-page script preview of the milestone Walking with Superman #100! Check it out below the fold!


PAGE 1

PANEL ONE: Wide shot. Superman is standing atop one of the supports of the Bay Bridge, watching the sun sinking slowly toward the horizon through the San Francisco skyline. His back is to us, his cape is swaying slowly in the breeze.

1 CAP: San Francisco, CA.

2 CAP (SUPERMAN): What a beautiful city.

PANEL TWO: Closer on Superman's face. He's smiling.

3 CAP: I take it all in.

PANEL THREE: Split into many small panels, each showing some San Francisco locale or random resident or object, snippets of the things Superman is experiencing.

4 CAP: The people,

DIALOGUE (Unattached bubbles): I'll have the mahi-mahi.

SFX: Aurk aurk! (sea lion noise)

5 CAP: the sights,

DIALOGUE: Lombard and Laguna, thanks.

6 CAP: the smells,

DIALOGUE: DNA tonight?

SFX: Ding! Ding!

7 CAP: the sounds...

DIALOGUE: Over by Pier 39.

SFX: Thum-thump

PANEL FOUR: Close on Superman, looking surprised.

8 CAP: I hear it before I see him, of course. That's the way he is.

PANEL FIVE: Superman takes off toward the skyscraper at 201 Mission St.

9 CAP: Jimmy has his signal watch.

10 CAP: Lois calls my name.

11 CAP: J'onn has that telepathic link.

12 CAP: But when he needs to contact me...

PANEL SIX: Superman lands on the ledge, where Batman is perched, looking down at the city.

13 CAP: He just turns off the gadget that masks his heartbeat.

14 BATMAN: Took you long enough.


15 SUPERMAN: It's not exactly a spotlight, you know. I assume you're not here on vacation.

PAGE TWO


PANEL ONE: Batman holds out a small holographic projector, which displays dossier images of Carl Draper, Checkmate Pawn and former supervillain.

1 BATMAN: Checkmate security chief Carl Draper, aka "Deathtrap," and "Locksmith."

2 SUPERMAN: We've met.

3 BATMAN: Twenty-five days ago, he disappeared from his apartment.

PANEL TWO: Wide shot from behind Batman's shoulder. His holographic projector is now displaying a wide set of images of various Superman and Batman villains. Superman looks on from the other side of the translucent panorama, arms crossed over his chest.

4 BATMAN: Since then, there have been over two dozen similar disappearances.

5 BATMAN: Killer Croc, abducted during prison transfer.

6 BATMAN: Riot, vanished from his cell at Stryker's.

7 BATMAN: Bloodsport, never made it to arraignment.

8 BATMAN: Firefly, The Riddler, Parasite, Metallo.

9 SUPERMAN: And so on.

PANEL THREE: The hologram flips to an image of the Film Freak, tied up on the steps of the Gotham City Police Department building. He is unconscious and dressed in a gray jumpsuit.

10 BATMAN: This morning, the Film Freak was dumped on the steps of the Gotham City Police Department, dressed in a gray prison uniform. His identification listed the name Robert Stroud.

11 SUPERMAN: The birdman of Alcatraz?

PANEL FOUR: Batman looks Superman in the eye, and points at him in a somewhat accusatory fashion. Superman is skeptical.

12 BATMAN: On the day that you arrive in San Francisco. Not a coincidence.

13 SUPERMAN: And you think Draper is behind the disappearances? He's reformed.

14 BATMAN: If you call working for Checkmate reformed.

PANEL FIVE: Batman produces a small baggie of prescription pills from his utility belt.

15 BATMAN: Draper's rehabilitation involves a cocktail of strong anti-psychotics. I tested his most recent prescription refill. Placebos.

PANEL SIX:

16 SUPERMAN: This still doesn't seem like Draper's style. Where's the challenge in trapping prisoners?

17 BATMAN: I don't like it either. There are too many missing pieces.

PAGE THREE


PANEL ONE: Batman pockets his evidence, while Superman watches the sun setting over the ocean.

1 SUPERMAN: So I suppose this means we're breaking into Alcatraz?

2 BATMAN: I don't see another option.

PANEL TWO: Superman turns back toward Batman. Superman is wary, Batman is almost eager, having pulled out his grappling hook.

3 SUPERMAN: And you realize that this is a colossal trap.

4 BATMAN: Of course.

PANEL THREE: Close on Superman's face, with an expression of staunch determination.

5 SUPERMAN: All right, then. Let's go.

PANEL FOUR: Large panel. Superman flies and Batman swings north across the city, toward Alcatraz Island, as night falls over the west coast.




WALKING WITH SUPERMAN #100
Script by TOM FOSS
Someone's been kidnapping the enemies of the World's Finest team, and all signs point to Alcatraz! Superman and Batman are breaking into the Rock, but what sinister secrets await them inside? It's wall-to-wall action in this landmark hundredth installment!
On sale OCTOBER 29 • 64 pg, FC, $3.99 US

Tuesday, August 17, 2010

Hey, check out this crazy thing I totally just found somewhere!

It's amazing the things you find just lying around in coffee shops. Take a look:
I WOULD
WRITE SUPERMAN
FOR FREE.

Crazy, right? I mean, I can't believe this got left out of the actual issue. Maybe they'll do a director's cut or something.

Thursday, December 03, 2009

December with the Doctor: Vwhat?

So, in my recent flurry of watching, listening to, and otherwise absorbing all things Whovian, I've purchased a couple of Doctor Who Magazines and I've finally gone back and read the first two IDW miniseries. The quality of the comics therein has been pretty mediocre1 (though I also got the collection of Grant Morrison stories, so that ought to raise my impressions a bit), but something has really stuck out to me: the TARDIS materialization sound. The onomatopoeia is typically rendered as "Vworp vworp" or "vwaarp vwaarp." Now, I'm all for distinctive sound effects--"snikt," "thwip," "bamf," etc.--but I'm also a little peeved when such sound effects are discarded (see: almost any time any of those has been rendered in film. I mean, is it really that hard to have Wolverine's claws make a metal-sliding-against-metal sound like "snikt"?).

So it's interesting to see the dissonance go in the opposite direction, from film to text. See, here's the TARDIS dematerialization sound:



I don't know about anyone else, but I certainly don't here anything in there that sounds like "vworp." It's certainly a difficult sound to render into text, but listening to it several times, I can't imagine translating it without some e's and probably a ch. "Vreeench" doesn't quite do it...maybe "vreeunnnnch."

But "vworp"?



1. This is, of course, excluding The Ten Doctors, which rocks my socks. I'm enjoying The Stalker of Norfolk too.

Thursday, October 22, 2009

Bat-Month: Bromance

I submit that this is less creepy than Bruce's cartoon relationship with Barbara.One thing I forgot to mention in the last post is another viable possibility1, a gay/bi Batman. Despite the jokes, I don't think there's any existing--or at least active or recent\--continuity where the evidence supports a gay Batman. It's something I'd be interested in reading (or writing, for that matter) as an Elseworlds or Earth-Whatever story.

In particular, I'm imagining a long-term (but ultimately not permanent) relationship between Batman and Superman (and before anyone mentions it, I'm aware of Midnighter and Apollo, but what I've read of The Authority hasn't really made me interested in reading more). It'd be an interesting mirror to modern portrayals of the World's Finest team, where despite initially distrusting each other and disliking each other's methods, they grow closer and forge a strong, solid friendship. In my scenario, they meet "on the job," and initiate the romantic relationship at the outset. The relationship would persist over the years, waxing and waning a bit in intensity, but ultimately ending with the duo having grown too far apart, having become too different to maintain the pairing. It wouldn't be a bitter ending--I don't think Justice League meetings would be particularly awkward--but it'd be an ending.

One interesting theme I think a story like that could explore would be the complicated politics of superhero dating--and the superhero "closet." It's one thing for people to realize (whether or not it was intentionally made public) that Batman and Superman were lovers; it's quite another for billionaire playboy Bruce Wayne to suddenly start dating farm-raised reporter Clark Kent. I think both would perceive the need to keep their relationship secret in order to preserve the masquerade. This would naturally cause tension, which would be a major contributing factor to the breakup.

There could be other intriguing elements as well...would this universe have a Robin? I envision a scene--a scene which ultimately leads to the "we need to keep this relationship a secret" talk--where Bruce and Clark are at the circus together, and Superman appears just in time to save the Graysons from falling to their deaths. Superman's sudden appearance in Gotham would raise questions, and with the papparazzi constantly hounding Bruce Wayne, it'd only be a matter of time before someone put the pieces together. Lois Lane's role in the story would necessarily be altered; while I think it'd be easy enough for her and Clark to develop the same friendly rivalry, once the news came out that Superman was the last homosexual of Krypton, I can imagine her putting the pieces of his identity together relatively quickly--unfettered by the blinders of unrequited love. Maybe there'd be the threat of a Lana Lang--or Pete Ross--tell-all book, revealing all of Clark's secrets to the public.

The more I think about this, the more ideas I get, and the more interesting I think this story could be. I guess this is how people become slash fic writers.


1. There's also the possibility that Batman is asexual, which again I don't think is
borne out by the evidence. It also would make the last couple of posts relatively short.

Sunday, July 12, 2009

Didn't this used to be a comics blog?

I've stuck with Superman through the thickest and the thinnest. As I've mentioned before, I've been buying every regular Superman title on the shelves since 1993. I've seen the demise of Adventures and Man of Steel, I've seen the rise and fall of Man of Tomorrow. I've read countless miniseries, from "Day of Doom" to "Metropolis" to "Superman's Nemesis Lex Luthor." I've stuck through good runs (Greg Rucka's incredible turn on Adventures, which got moderately derailed by various Crises) and bad (Steven T. Seagle's run on Superman, wherein every use of a superpower was accompanied by a caption naming said power). I can't tell you how many massive story arcs and crossovers and world-changing events I've seen (World Without a Superman, Fall of Metropolis, Trial of Superman, Final Night, DC One Million, Electric Superman, Our Worlds At War). I've been reading the New Krypton storyline, which excites me a great deal, and I'll be reading the Codename: Patriot storyline, which I'm not sure I could be less interested in.

In short, I can't think of many things that would cause me to actually drop a Superman book.

But I swear to Rao, if James Robinson kills Steel again, it might mean the end of my subscription to Superman1.

I've not been too impressed with Robinson's run so far. I haven't found too much to dislike specifically (though I can't recall if anyone's discussed yet what relationship the Science Police has with the Special Crimes Unit, and that bugs me), and hey, Mon-El, so there's at least some incentive for me to keep reading it, but there's nothing here that has blown me away like Starman did. Heck, that's a significant part of why I'm not buying "Cry for Justice"--not only has the JLA lost my interest recently (thanks, DC editorial!), but Robinson's recent work just hasn't done anything for me. That, and the art looks like it was done entirely with screenshots from "Mortal Kombat/DC Universe."

So really, Robinson's run is suffering from the crime of being mediocre. But this most recent turn, with the plot to kill Steel with Atlas...it bugs me. It bugs me because I really like John Henry Irons, and I'd like to see him be a major supporting character in the Superman books. It bugs me because there is a startling lack of people of color in the Superman family. It bugs me because this latest issue really had the feeling of greatness for awhile there. It took some shortcuts (all it took to shut up Fox News-style blowhard Morgan Edge was Jim Harper's word? Why hasn't anyone on the Science Police noticed Kent's absence?) but Mon-El's world-traveling superheroics, told in brief vignettes, were the stuff of genius. Every page could have been a full issue, if not a miniseries, and I would love to see someone explore those in greater detail. Heck, I'd do it for free.

So to end the issue with "by the way, Dr. Irons, you're worm food" left me with a sour taste in my mouth. I hope this is just the setup for (yet another) Crowning Moment of Awesome for Steel, but the current state of comics (and Robinson) have me concerned that it'll just be more fodder for Blackest Night.



1. In all honesty, it probably wouldn't. I'd stick it out just to see if it was some kind of stunt, but I'd be very cross about it. In other words, I'm a lying addict.

Wednesday, June 20, 2007

DC Comics I'd Write for Free: War of the Gods

Although I'd call it Crisis of Faith. "War" is such a Marvel term. So, I never read the original "War of the Gods," but by all accounts it's one of the worst crossover events in DC history, if not comics history in general. I think the idea was that the Greek and Roman pantheons fought each other, and in the end were merged together. Sounds riveting, right?
I got to thinking awhile back about religion and deities in the DCU. One of the best things about the DCU is its mythology. Somewhere along the line, between Rao and Rama Kushna, DC managed to develop its own vast and nuanced mythological tapestry, beyond just co-opting the pantheons of dead religions. You've got the Elementals, the Endless, alien pantheons, but the big one is the Order/Chaos duality. Dr. Fate, Hawk and Dove, Phantom Stranger, Princess Amethyst, Arion, Mordru, all connected...apparently some big Order/Chaos crossover war was supposed to go down at some point. When it didn't, the conflict between Order and Chaos got absorbed into the greater fabric of the universe.
So, the only known remaining Lord of Order following the Infinite Crisis is Amethyst (not counting Billy Batson, who has yet to grow into his role as Shazam's replacement). Magic is wild and untamed, and it's up to her to hold the fort. Sure, there are a few remaining Agents of Order, but they lack the power and scope to effectively stand against the overwhelming chaos of this Tenth Age of Magic.
With chaotic wild magic running rampant, you'd think the Lords of Chaos would have declared victory. And indeed they would have, if there were any of them left. As it stands, only one remains. The Child, longtime nemesis of Amethyst, is an ageless Lord of Chaos in the body of a child, a dark mirror to teenage Amy Winston in the adult body of Amethyst. Though chaos reigns in the world of magic, neither he nor Amethyst really have a foothold in the Tenth Age, and he knows that she will be martialing her forces to restore order to the universe. The only course of action is clear: he has to beat her to it. The time is ripe for Chaos to take the control it has sought since before the dawn of time, and lo, the universe will be consumed with entropy. Life and death and time will be meaningless, and the Lords of Chaos will be made greater than gods, greater even than the Seven. To that end, he enlists the help of two of the most chaotic beings ever to walk in this plane of existence: Loki and Robin Goodfellow.

These two chaos-bringers craft a plan, a grand scheme in which even the mightiest of gods will be mere pawns. Loki traverses the worlds of Midgard, disguised as various mortals, sowing the seeds of doubt and certainty among the mortal population. He whispers into the ears of thousands, "you don't need faith; you know God exists. The Spectre, that angel from the Justice League, they prove it," "maybe Christianity isn't the right way. Ares and Wonder Woman fought in these streets, and what about those New Gods? When's the last time Jehovah showed his face on Earth?" or "Superman's not a god, and he's beaten so-called angels and demons before. Maybe all the religions are wrong, maybe these gods are just aliens or something, not deities to be worshipped."
Meanwhile, Robin Goodfellow takes a more immortal route. He visits first the gods of dead worlds, reminding them of their lost grandeur. "Mistress X'Hal, once you were the most feared goddess in this sector. You juggled worlds in the palms of your hands. Now, even the few survivors of Tamaran cannot find the time or effort to follow the old rituals, to engage in prayer and tribute to you," "Poor Rao the Forgotten, you have but two children left in this universe, and they barely see fit to use your name as an epithet. They say that you were duped by Despair, that she might feed off your eternal misery. They say you couldn't even get her advice right, and that only sweetens the taste," "Where is H'ronmeer? I came to this place seeking the glorious and terrible Lord of Fire, not these cold embers masquerading as a god."

And so it begins. The gods of forgotten worlds and lost cultures decide that they deserve better than dwindling into obscurity. They want power, and that means they need respect and fear and tribute. Naturally, given the species and religious diversity, many of these gods set their sights on Earth. Other gods oppose this interference; their ways are meant to be mysterious and invisible to mortals. The remaining members of the Quintessence are split on the issue--Highfather and Ganthet stand against those who wish to meddle in mortal affairs, Zeus recalls his long-lost glory days, and hopes to restore them. The Phantom Stranger, as he is wont to do, sides with neither group, instead deciding to stand with humanity and help the mortals who will inevitably be caught in the crossfire.

All this, and one deity appears to be missing. Zauriel returns to the Silver City for answers. What he finds shocks him. The Presence is silent, and there's a rift in the angelic host the likes of which hasn't been seen since the Rebellion. The angels are totally without guidance, and are torn on the issue of interfering in the world of men, and further torn on whether they should oppose the other gods in general, or become yet another faction seeking praise and faith from their dwindling followers.

The gods begin their assault, so to speak. X'Hal threatens the Tamaranean survivors to worship her or be killed. Starfire rebels, but finds that her sister has become X'Hal's newest high warrior-priestess.

Rao pleads with Kal-El and Kara, but his Last Son rebukes him to stand with humanity. Kara, though, looks into the red sun and sees the warm glow of home and the promise of power and glory to eclipse her brother. She accepts the offer, with the promise of a New Krypton bestowed upon her in return for obedience. Her first orders: to reunite the Cult of Kon-El, and to turn their beliefs toward a greater emblem. What happens when dozens of lost, emotionally unstable human teenagers find themselves gaining abilities far beyond those of mortal men?

H'Ronmeer finds audience with J'onn J'onzz, but the god of art and fire and death cannot triumph with only one adherent, particularly one with loyalties as divided as J'onn's. So he frees the White Martians from Stasis...

And this is to say nothing of the multitudes of Earth gods. Olympus is torn apart by civil war, with the Wonders caught in the middle. Thor is rampaging through Scandinavia, battling Frost Giants as he tries to reignite the long-dormant viking spirits in the modern Norwegians. He is unaware of his mischievous brother's presence in this world. The gods of India have staked their claim, while Pele rises to seek new sacrifices.

And gods spurned or forgotten begin revoking their gifts and bestowing them upon others. Lobo tries to kill the 99 gods of Czarnia, but slightly less than midway through the massacre, the remaining 48 get angry and revoke his amazing abilities. The now-powerless Lobo must chase down the human biker gang who ride with the Main Man's enhanced strength and regenerative abilities, and then must contend with the gods of his dead culture. Long-forgotten gods of inquiry and innovation find no home on logical Colu, so they bestow their gifts on scientists across the universe, for good or ill. The Green Lantern Corps finds itself divided when thousands of its members are forced to choose between the Guardians and the promises of their worlds' deities. Will the Guardians declare themselves gods? Will they join the fracas?

Earth's Elementals feel the danger to the planet, and rise up to quash it. Animal Man, Red Tornado, and Swamp Thing, among others, find themselves drawn into the struggle to preserve Earth, even at the cost of humanity.

And in the middle of this pandemonium, Neron seeks the throne of Hell, and will usurp as many souls as possible in order to attain it.

Compared to mortals, the Justice League and their allies are like demigods. But what can they do against omnipotent forces? Will they discover the truth behind this chaos before the universe falls into entropy? Will they find a way to pacify the countless gods of thousands of worlds before Earth is torn apart? How will the DC Universe overcome its...Crisis of Faith?

Naturally, this would be a massive crossover, requiring all sorts of long-term planning. Ideally, it'd spawn a number of spin-offs, like a Lobo miniseries, a Zauriel book, an Amethyst series, and maybe even a new Aztek. It'd require a major suspension of the wall between DC and Vertigo and various blessings from Neil Gaiman to reference and potentially use various members of the Endless. I certainly wouldn't mind seeing the matter bleed over into books like Hellblazer for a tie-in or two, just to remind the Vertigo-ites that they're still intimately tied to the DCU. With a detailed plan and the right creative teams, I think it would make for an interesting look into the grand mythology and theology of the DCU, with potentially wide-reaching repercussions. Of course, it'd never see the light of day.

...But I'd write it for free.

Thursday, June 14, 2007

I'm tired of General Zod

Kneel before--ah, I give up.General Zod is not a good Superman villain.

People have such fond memories of "Superman II," of how awesome Terence Stamp was as the villainous Kryptonian mastermind, of how bone-chillingly cool it was to hear him spit out those three infamous words, "Kneel before Zod."

People also think that Tim Burton's "Batman" was the pinnacle of celluloid superheroics. If people would actually go back and watch those movies, they'd find just how unreliable memory can be, particularly when blinded by the primary-colored glare of superheroes on screen.

The line "Kneel before Zod" has a lot of cool potential. Jay proved that in "Mallrats." It's just a shame that only Jay has ever used that potential. It's not that Terence Stamp is a bad actor, he was just working with what the script and director gave him, which was a catchphrase. I don't think a scene goes by where he doesn't say "kneel before Zod" or "kneel before me." Used once, it's "Luke, I am your father." Used twice, it's "Snakes. Why'd it have to be snakes?" Used as often as Zod uses it, it becomes "Yeah, that's the ticket!" or "Simmer down now." A cool line becomes watered down into a lame catchphrase.

So people remember Zod as a badass, when he was actually kind of lame and one-dimensional; I think people recall the cold, calculating, menacing villain from the first few minutes of "Superman: The Movie" as if he retained that sort of power throughout the sequel. I wish he had.

Now, the Donner Cut of "Superman II" remedies quite a lot of this. Zod doesn't overuse the phrase, and comes across as a stronger villain because of it. But until a year ago, the only person who'd ever seen the Donner Cut was Richard Donner, and yet Zod's reputation as a menacing, intimidating villain, rather than an impotent pull-string doll, has persisted for twenty years, against all logic.

In the post-Crisis universe, especially in recent years, it seems like every writer with a major storyline has tried their hand at recreating Zod. There was pocket universe Zod, Phantom Zone fake Krypton Zod, confusing Pokolistan Zod, and even more confusing Phantom Zone "For Tomorrow" Zod. More recently, Busiek and Johns mentioned Admiral Dru-Zod in "Up, Up, and Away," and now Donner and Johns have introduced Zod and his cronies yet again (but we'll get to those later). I guess there's been a Zod in "Smallville," as well, but since I'm still somewhere in the last episodes of the Fourth Season, I haven't quite run into him, and don't particularly care. Each of our previous Zods had some potential for coolness, each one got their requisite "kneel before Zod!" speech bubble, each one turned out lame. I personally thought that Pokolistan Zod was pretty cool, but they decided to kill him rather than have an evil superpowered monarch running around in the DCU. I guess that would horn in on Black Adam's schtick.

Three dead Zods, one left floating out in the Phantom Zone, and who knows which ones are still in continuity? Why is every Zod, at least in the modern era, a miserable failure?

It's a combination of factors, really. The first is feasibility: a murderous villain with the exact same powers as Superman is too dangerous to keep around, too hard to write stories about. You know, it's the same complaint that you hear about Superman so often, except with a little more reality behind it. Superman is among the most powerful people on the planet. He has taken over the world on at least one in-continuity occasion. What would stop an evil Superman from doing it himself? How many people would he kill? What could the DCU do to stop him? As cool as the idea is, it just defies a little too much logic. We saw what happened with this scenario in the four-color abortion that was "World War III," and even there Black Adam was bound by some sense of honor and morality, eclipsed though it was by his rage. Imagine if instead of anger, he'd gone about his task with cold ruthlessness and calculating intelligence. It'd make for a (potentially) fantastic story, but not for an ongoing character. They'd have to depower him (as they did in "Superman II" and with Black Adam in "52"), kill him (as they did with Pokolistan Zod) or imprison him where he can't escape...for now (as they did with the Phantom Zone criminals, Cyborg Superman repeatedly, Doomsday repeatedly, and Superboy-Prime). Essentially, we'd end up with a villain that you can only pull out every once in awhile, who is super-powerful and causes a major universe-wide event every time he escapes. Such a villain either becomes tedious (because every takedown ends up being roughly the same) or watered-down to the point of uselessness (see: Cyborg Superman, Doomsday).

This isn't to say that you can't have powerful villains. After all, Zod's whole point is that he's a dark mirror of Superman, with the same powers and an evil streak. We've got that character in Bizarro, with one caveat: Bizarro's lack of intellect and backwards thought process are enough of a hindrance, and his intentions usually aren't so much "evil" as "poorly-conceived," that he doesn't become difficult to accept as a character. We recognize that there are reasons why he hasn't made a bid for world domination, why he doesn't rampage through Metropolis on a mindless killing spree (or at least, he didn't until Johns and Donner got hold of him). Such reasons don't exist in Zod. The super-powerful evil characters tend to require some obvious flaw or defining character trait that keeps them from being unbelievable; Doomsday was mindless, Cyborg was enraged and vengeful and relatively fragile, Black Adam has a strict code of honor, Darkseid doesn't concern himself with the petty affairs of mortals, etc. Zod, given his powers and intellect, given his defining drive to kill Superman and rule the universe, given his ruthless efficiency and his complete lack of ethics, has no such restrictions on his behavior, and our disbelief-suspenders break under his weight.

The second problem is Superman's rogues gallery. There's Lex Luthor, Brainiac, Metallo, the Parasite, Bizarro, Kryptonite Man, Mr. Mxyzptlk, uh...Toyman, Prankster, Silver Banshee...Live Wire...Bloodsport...and we're already into C-List territory. Superman's list of enemies has always been kind of anemic if you omit the Fourth World characters. There's the mental villains (Luthor, Brainiac) the physical villains (Metallo, Parasite), the magical villains (Silver Banshee), and few (if any) who can provide both a mental and physical challenge to Superman. Sure, Luthor keeps pulling out the armor, but when's the last time Superman and Brainiac got into a fist-fight? When's the last time Metallo displayed something like intelligence? Mr. Mxyzptlk comes close, but he can only show up every 90 days, and he lacks ambitions beyond screwing with Superman. These days, Mxy's not even really malicious (and don't get me wrong here, I hope the Rucka characterization sticks, because it's the best development Mxy has seen since the Simonson/Bogdanove days).
So, the writers exhaust their story options with the A- through D-listers in the first few issues, consider reviving Intergang, consider a trip to Apokolips, and eventually settle on General Zod. Why not? He's a smart guy, but with the same powers as Superman! How can you lose?

Then, inevitably, they do lose, because bringing in an iteration of Zod paints the story into a corner. He has to die, get depowered, or get banished to the Phantom Zone, or to some equally out-of-the-way prison, all of which has been done before, recently and repeatedly. And then you're left with trudging out the A-list villains again and repeating the cycle.

The other problem is nostalgia. Nostalgia has built General Zod into not only a cool character, a badass, but also a major part of Superman's rogues gallery. Before "Superman II," he was a footnote in Superman history. Even afterward, thanks to Byrne's purging of the Kryptonians, Zod didn't show up until Superman killed him, and then stayed a ghost and a memory for years after. Recently, for whatever reason, people have started seeing Zod as an essential part of the Superman mythos, and a character that every writer has to put his spin on. Maybe it's because of the fact that, at any given time, there is no Zod running around active in the DCU (since they always end up killed or Phantom-Zoned), or because of the limited nature of Superman's villains. Maybe it's because the Cyborg Superman has been gone for several years, except for the recent appearances in Green Lantern.

There's a thought. Pre-Crisis, there was a steady stream of Phantom Zone villains to menace the Man of Steel. Post-Crisis we had an early Zod, whose visage haunted Clark for a few years. Then Cyborg hit the scene and became the evil Superman du jour. Cyborg was another character who they set up as a "big story" villain, but who invariably had to be taken care of in a relatively permanent fashion at the end of the story. He was destroyed in Engine City, he was tossed into a black hole, he was merged with the Source Wall, he was trapped in the Elite's spaceship and dropped to the bottom of the ocean...I'm blanking on how they 'killed' him at the end of "Superman/Doomsday: Hunter/Prey." It's a shame that so many of their fights have gone the same way, because he's a villain with a lot of potential. They've never really done much with the fact that his fleshy parts have Superman's DNA, and they've barely examined the extent of his ability to control and inhabit electronics. The best story I can remember featuring him, except for the whole Reign of the Supermen saga, was one where he disguised himself and started teaching art at some high school. No supervillainy, except that he told the students how much he disliked Superman, and more or less why. Then, of course, big blue busts in and 'rescues' the children, looking more than a little like the villain that Henshaw made him out to be.

Anyway, at least Henshaw always had an out. He could be imprisoned or whatever, sure, but his ability to transfer his consciousness to electronic devices allowed him a perfect escape clause. One that the Zods simply don't have. We can accept "my consciousness hitched a ride on a passing space cruiser" a lot more easily than "a black hole/nuclear explosion/transdimensional warp breached the Phantom Zone, and we just happened to be there!" Who needed Zod when you had the Cyborg?

But, the Cyborg got overused to the point of severe lameness. By the time he showed up in "Ending Battle" he was a joke, and was dispatched without fanfare. With Cyborg out of the picture, writers turned to the next best option for a dark mirror of Superman: Zod. And so we ended up with a long and meandering plot about the superpowered ruler of Pokolistan, which ended in a weird and anticlimactic battle and the revelation that the Metagene is powered by the yellow sun, which has been mercifully forgotten.

So, when it comes down to it, is there anything salvageable about General Zod? I'll admit, I had high hopes when the newest version showed up. See, one thing I like about Zod is that he fits in well with the Superman-as-Christ-Figure Monomyth model. See, Zod is only Superman's enemy by default; his real beef is with Jor-El. The things that seem to stay fairly consistent between versions of the Kryptonian General Zod are the fact that he was a high-ranking officer--perhaps even the highest-ranking leader of the Kryptonian military--and he led a rebellion against the ruling body of Krypton, hoping to usurp the council's rule. With his rebellion thwarted, Zod and his cohorts are punished, condemned by Jor-El to eternal living death in a realm that he discovered, that he essentially made, the Phantom Zone. Once Zod escapes, he finds that he is unable to exact his revenge upon Jor-El or to seek the thrones of Krypton, so the sins of the father are visited instead upon the Last Son.

So, if I haven't made it obvious enough, Zod is a Lucifer figure in our little allegory here. Lucifer, the left hand of God, rallies a third of the angels to do battle with God and usurp his position. God condemns Lucifer and his angels to Hell for eternity. Eventually Lucifer ends up trying to tempt Christ in the desert, offering him the world. Following this model, the perfect Zod story would feature the General offering Kal-El a space in his dominated world, and Kal-El naturally resisting.

And now, we've got a return of our Lucifer figure, and this time he has a son, who has been effectively adopted by Superman, who has recently returned from a lengthy absence. We've got a rather interesting Armageddon scenario here, or we would if the writers and artists would ever get their act together to finish the damn story.

Anyway, that's my favorite thing about Zod, that it ties in so perfectly with the whole Monomyth thing, which is one of my favorite things about Superman in general. I know people probably get kind of uneasy when I talk about this sort of thing, if only because of how clear it is that Superman is a Moses figure, especially given his Jewish origins. I'll have to do a post on that, delving deeper into the Monomyth and the various connections between Moses and Jesus (and Superman, natch). Short answer: you can't be a Christ figure without being a Moses figure; Moses is a Monomythic hero, and all Christ figures are a subset of the Monomyth. I've seen some pretty convincing cases made online for the idea that Superman is less "Christ figure" and more "Jewish concept of the Messiah," and while I have yet to do the requisite research there, it seems pretty solid.

I've gone off on a tangent again, haven't I? Back to the main thread, I think it would be interesting to increase the similarities between Zod and Superman, to make Zod more of a "through the glass, darkly" character. Imagine, for instance, that Superman defeats Zod and his cronies, and turns the Phantom Zone projector on them. Ursa and Non are condemned to eternal nothingness, but something goes wrong with Zod. Perhaps he's got a shard of Jewel Kryptonite in his pocket. He vanishes and awakens to see a world of stark, empty whiteness around him. He sees Ursa and Non with him, floating in the empty void, but then has a seizure, a sudden spasm, and finds himself in Siberia, alone and freezing. His essence is split between two worlds, the Phantom Zone and our realm, just as Kal-El's essence is split between humanity and his Kryptonian heritage. Earth-Zod suffers from partial amnesia, and his powers are greatly diminished (Golden Age Superman levels, or slightly less). Phantom-Zod blacks out for long stretches of time, and remembers his time on Earth only in a haze. But split though he is, forced to walk among humans and Kryptonians, he is still driven by the same megalomaniacal desire, the same zealous quest for dominance and revenge, even if he can't quite remember what he wants revenge for, or who from. Zod uses his abilities to gain prestige and recognition in the small, isolated, decimated towns in which he has found himself. He begins building an army, gaining territory, developing his own tiny nation-state. General Zod could be something like DC's Dr. Doom, I think, pulling a few ideas from Pokolistan-Zod. And while Superman remains more or less oblivious to the fact that his most powerful enemy is still active on Earth, Zod is beginning to put the pieces together. And meanwhile, this split between realms is threatening to tear both our universe and the Phantom Zone apart.

I think a story like that could salvage General Zod's character, turn him into something other than a one-trick pony. I like the idea that floated somewhere near the edges of the Action Comics Annual story, where Zod is something of a religious fanatic (persecuting Jor-El for heresy, for instance), and it would be interesting to see a semi-amnesiac Zod forming a militant vaguely Kryptonian cult, especially one with a mad-on for Superman. But in any case, this kind of story would introduce some weaknesses into Zod's character, allowing him to remain active in the universe without being a total disbelief-breaker. And we could build some new rogues out of it; some kind of creature might be spawned from the breach between realms, an entity of Phantom Zone energy with wisps of personality from Zod and other criminals in the Zone, for instance.

And I'd write it for...oh, sorry. Wrong type of post. Anyway, to sum it all up, Zod's not the great badass villain that everyone seems to remember. In fact, he's really pretty lame. He's got some potential, but it doesn't quite outweigh the fact that he's too powerful and too belligerent to be a regular recurring villain. He needs some characterization and some weaknesses if he's going to be anything more than an Event-villain.

And it would be nice to bring him up to "regular recurring villain" status. Superman has enough Event-villains, and even counting them, his rogue's gallery sucks. It is, quite frankly, one of the worst in comics. Superman needs some new villains, and good ones this time. Ones that aren't so-mysterious-that-no-one-cares, like Ignition, or vixens-with-hearts-of-gold, like Encantadora and Scorch. Obsession was nice, while she lasted, and there are a few other recent creations who could reasonably become recurring villains, but we need some new blood in the Superman Revenge Squad, because characters like Riot and Barrage simply don't cut it, and never really did.

But please, if you must use General Zod, try your best to do something new with him. Because we've all seen "Superman II," and we don't need to see it all play out the same way again.

Thursday, April 12, 2007

Bad idea!

No, I'm not talking about Penance or organic web-shooters again.

I was skimming over yesterday's post, when I got an idea for a story. A Fantastic Four/Spider-Man team-up story, in fact. See, the amazing wingless Wizard has reformed, and has decided to put his anti-gravity technology to good use. In addition to selling the technology to a variety of civilian and military installations, he has united the tech with unstable molecules to create a new generation of high-tech fabrics, which he specifically designs for use by the superhero and law enforcement communities. But it's when he releases the space-age fabric to civilians as his own clothing line that his career really takes off. Athletes everywhere are buying Wittman brand shoes, athletic supporters, and bras. "When it comes to quality, nothing's higher than Wittman's." "This Valentine's Day, skip the Whitman's Sampler. Let her sample some Wittman's."

Months pass, and it seems like everyone in New York is wearing Wittman's clothes. The Wizard has become an overnight success. That is, of course, until legions of superheroes, law enforcement officials, military craft, athletes, and well-supported women start storming the Baxter Building. The Wizard has teamed up with (insert Marvel villain with mind-control technology here) in a mad bid to destroy his enemies and take over the world! Now, Ben Grimm, Reed Richards, and Spider-Man must hold their own against every trendsetter in New York City, including their own allies and family members who have been dominated by the Wizard's mind-controlling gravity-defying fashions!

Actually, now that I type all that, it doesn't sound so bad...

Wednesday, November 15, 2006

DC Comics I'd Write for Free: Martian Manhunter

Don't mess with this man's Oreos.Okay, so it's not a "My ideal" post, but that's forthcoming. Most of my current ideas for J'onn are better suited for this sort of post anyway.
The folks in my previous post on Mr. J'onzz had a lot of neat ideas, most of which revolved around stripping away most of J'onn's powers, or at least emphasizing them in a different way. Now, much as I think it'd be interesting to read about a ghostly grim detective-superhero who hunts criminals because their minds hurt him, that doesn't really jive with my impressions of Martian Manhunter (although it would make a really neat Spectre comic). When people talk about J'onn these days, there's really only one phrase that's consistent: J'onn J'onzz is the heart and soul of the JLA. The last MM series screwed up twice with this fact. First, it took him out of the JLA setting, but then it only really used superheroes for his supporting cast. It had the brilliant idea of exploring his many disguises, all over the world, yet never really developed any supporting cast in any of those places. It talked about J'onn's pre-Modern Age superheroic career, but never really did anything with it (despite the way it intimately connected him to the DEO and Cameron Chase). It tried to give him a rogues' gallery, but after goofy missteps like Bette Noire and Antares, it mainly just stuck to Justice League villains. It went in-depth into Martian history, detailing the psychic plague that killed the Green Martians, the origins of the White Martians, and the connection between the Martians and the Saturnians, but...well, it was boring. Really boring.
So we've seen the mistakes that previous series made: bad Rogues' Gallery, supporting cast of superheroes, overfocus on alien heritage...basically, all things that fail to make the character human and relatable. All things that the current series has in spades. So, it seems to me that the best thing to do would be to do pretty much the opposite, but to do it in a way that retains J'onn J'onzz as a character.

First, we strip down his backstory to the essentials, and we can blame it on a Superboy punch. Without doubt, the best Martian Manhunter has ever been was in the JLA animated series, and in New Frontier. So let's take some cues from that, shall we?
J'onn J'onzz was a Manhunter on Mars, which was essentially their equivalent of a police officer. Due to the nature of Martian society, however, this meant mostly keeping the White Martians and alien visitors in check; the peace-loving Green Martians rarely broke the law or caused disturbances. The telepathic Martians were all connected mentally, all thoughts shared in a public mental network; only when they sought privacy did Martians cut themselves off from the collective, and then they usually still maintained connections with their family, or only cut themselves off for short periods of time. Martians were not used to silence. Martians each had a "public" form and a "private" form, as detailed in the last series, and lovers merged their forms, connecting both on a psychic and physical level; this could be sexual or merely comforting, depending on the relationship between the participants.
Eventually, a plague struck the Green Martian population, spreading through the merging that was normal to Martian life. J'onn cut himself off from the collective as H'ronmeer's Curse consumed the Martian race in mental and physical fire. He hoped to save his family from death, he tried to find a cure, but his daughter K'hym became infected at school. He chose to cut himself off from his family, while his wife M'yri'ah comforted the girl, and both were consumed in H'ronmeer's flames. J'onn watched Martian society collapse around him, until every last voice was silenced, and then he wandered the silent orb, performing funeral rites where he could, trying to find survivors. Days, weeks, years later--driven slightly mad from the silence, J'onn couldn't be sure--he was ripped from Ma'aleca'andra by Dr. Saul Erdel's transportation beam. The doctor suffered a fatal heart attack shortly after J'onn's arrival, but not before communicating to him a warning to stay away from fearful humans.
J'onn was lost, confused, lonely, and angry in this mid-1950s America, but there was one tiny bit of hope. He could hear it, a soft undercurrent of mental activity, like a half-tuned distant radio station. The people of Earth were not telepathic, but he could still hear them, he could still hear more than the silence, and it was slightly comforting to the alien.
J'onn lived in Erdel's laboratory, educating himself on human society by telepathically learning their language and watching television. He left the place invisibly on a few occasions in those early days, trying to observe these strange humans in their natural habitat. Martians knew of life on this world, but were forbidden from interfering with it after the great crime of the White Martians. As such, he had given humans little thought. After a week or so, the police came, responding to concerns about Dr. Erdel's sudden diappearance. J'onn hid, but among the officers who discovered the scientist's body, he could hear something, a voice slightly louder than the rest, standing up in the undercurrent. Denver Police Officer John Jones, barely more than a cadet, who had a difficult time keeping his lunch down when he saw the body, was very slightly telepathic, though he likely did not know it. J'onn was intrigued, and so he shadowed the officer.
Several years passed; John rose through the ranks to become a detected, unknowingly assisted by his own latent telepathy and his invisible alien companion. J'onn felt a kinship with this man, another officer of the law, and while he had initially latched onto him for some remnant of the companionship of his people, while he had tried to remain aloof and separate out of fear of being hurt emotionally, he had really grown to care for Jones. So, when an unexpected ambush left John Jones dying in J'onn's arms, the Martian took his form to continue the investigation and bring his would-be killers to justice. He continued in the John Jones form for years, gaining a reputation for being efficient and insightful, but also cold and humorless. He tried to keep himself from getting too close to anyone emotionally; everyone he'd been close to had died, and he was afraid of losing anyone else. He worked as a police officer up until he found himself falling in love with his new partner. He could not bring himself to make that jump again, and so he finally laid John Jones to rest.
After this, he bounced around from identity to identity, keeping himself moving so he could not develop deep emotional connections with humans. This lasted until Superman appeared, and he saw that humans could accept aliens. So, J'onn became the Martian Manhunter, and was an instrumental figure in starting the JLA.
And things here proceed much the way we know them. The Justice League gave J'onn a family, something he had not had since leaving Mars. Moreover, he did not have the same worries about this family; they were not vulnerable the way that his other families had been. Finally, after decades on Earth, J'onn J'onzz began to loosen up. He gained friends, felt a new connection to humanity, and developed a deep love for a certain sort of cookie. Through all the incarnations of the JLA, all the ups and downs, J'onn stuck with it. Initially, it was out of fear and co-dependence; J'onn felt that he needed the League, but eventually as he became stronger emotionally, as he developed, it became the League that needed him.

So, that's quite the backstory, but you wouldn't need to know that. You'd just need to know that J'onn is a Martian, a family man, and despite being a fantastic detective and one of the most powerful beings on the planet, he can still be overcome by the tiniest flame. His fear of fire has shifted back and forth over the decades, and recently it has tilted back toward physical rather than mental. Fire is once again his kryptonite, and not his phobia.

So, that brings us up to the current day. J'onn has taken some time away from the League, away from his pervious identities, and away from Martian matters, in order to forge the bond with humanity that for so long he avoided. He has now had the experience of decades of human contact and many human friendships, and feels comfortable opening up to the people of Earth in a way he never has before. John Jones strolls into the sunny Los Angeles suburb of Forest Bay and settles down in a cozy little subdivision, opening up a private detective agency in the city.

Why L.A.? Because there ought to be more west coast superheroes, and because it takes J'onn away from the JLA and mainstream DCU heroes, while still keeping him in range of the DEO and that source of conflict (need I remind you that a different Manhunter operates out of L.A.? And that she's good friends with one Cameron Chase?). Besides that, suburbia, as far as J'onn thinks, is a far better way to connect with humanity. After all, he'll get to know his neighbors, rather than just being in a sea of anonymous people. He's wrong, of course, but that's what happens when your only exposure to suburban life is 1950s television.

There's more to it, naturally. J'onn was drawn to Forest Bay, feeling a malevolent alien presence there. His job on Mars included keeping the alien population under control, and old habits die hard. When a routine surveillance of an unfaithful husband turns up a Lovecraftian cult trying to bring an alien god into our dimension, it suddenly becomes apparent to J'onn that there's more to the suburbs than meets the eye.

The plot and cast ought to be pretty straightforward, in a way. I see it as part sitcom, part Silver Age superhero madness, part "Men in Black." Among the people in the neighborhood are a team of undercover DEO agents masquerading as a slightly-too-normal family, the alien cult of J'lss'wrz the Unfathomable, a small but active chapter of a certain gentlemen's club with unconventional views about race and the flammability of crosses, and John's next door neighbor, a single mother trying to raise two normal children (one of whom is half-Daxamite). John immediately runs into conflict with the LAPD and the FBPD; he ends up with a somewhat-unwanted partner/Girl Friday; and he discovers a district of L.A. populated by displaced aliens trying to get by on Earth, a district which exists under the strict scrutiny of the DEO, which brings J'onn into conflict with them. Being one of the few black people in the suburban community raises a few unwanted conflicts as well, and teaches J'onn a little bit about the uglier side of human nature. He joins a support group for people who are the last survivors of their respective homeworlds, a tongue-in-cheek poke at the sheer number of "last sons" floating around the DCU (Maxima, the Omega Men, J'onn, Superman & Supergirl, Fatality, Guy Gardner). He quickly discovers a fundamental truth about humanity: everyone has secrets, and people are never quite what they appear to be on the surface.

And occasionally, we'd have a done-in-one flashback to some of the J'onn's adventures in the old days, as he sought something to remind him of home and family. Like when he found faith healers in 1960s Argentina using technology from an ancient White Martian outpost to work their miracles (with disastrous results), or when the Justice Experience fought their Earth-2 doppelgangers, or when he masqueraded as a farmhand in a small Kansas town, in hopes of finding proof of an alien spacecraft that may have crashed there years before.

So we have Choco-munching detective/superhero John Jones, trying to get in touch with his human side in suburbia, and to find closure to his life on Mars. Meanwhile, he finds himself surrounded with alien weirdness, human secrecy, and more than a little supervillainy, and tries to find his place in all of it. It pays homage to his long history in the DCU, explores the conflict between his human and alien natures, and leaves plenty of room for detective work and superheroic action. Doesn't that sound a little more like J'onn J'onzz than "brooding leader of angry Martian refugees"? Sure, it's stealing a little from Shadowpact and X-Factor, but those are good, fun comics for a reason. And hopefully the dissonant combination of aliens, secret societies, superheroics, and suburbia would make for a fun, interesting comic.

And I'd write it for free.

Tuesday, September 26, 2006

Marvel Comics I'd Write for Free: Civil War

Civil War, in case you haven't heard, is Marvel's latest attempt to parallel events in the real world. Unfortunately, it seems that they their job too well, and entered into a Civil War without an exit strategy.

All throughout the lead-up and duration of this series, Marvel's higher-ups have said that they're not endorsing either side, that neither group is "right." Meanwhile, Tony Stark's behind-the-scenes manipulation of longtime friends and colleagues, the pro-Registration side's willingness to play Odin and dance with devils, and Captain America's mere presence on the anti-Registration side, have told a very different story, a tale of clearly-defined good and evil, and no amount of panels where Tony Stark wonders about his choices or where Cap looks like a fanatic, will change that.

Then, there's all the smaller problems. Why are all the intellectuals on the pro-Registration side? Why are Tony Stark, Peter Parker, and Reed Richards acting so wildly out of character? And the one that's bugged me ever since I read Illuminati: how the hell can you justify the Stamford incident?
The new New Warriors may be a relatively inexperienced team, they may be in it more for the fame and money than they should, but of the four members I see on that team, three of them (Namorita, Night Thrasher, and Speedball) have been with the team since its inception, and have battled cosmic-level threats to the world. They routinely battled with the Sphinx (who at one point gained the ability to warp reality, as I recall), former Galactus herald Terrax the Tamer, and other fairly major villains. They've earned the right to some respect. Nitro, on the other hand, is something of a D-list villain, a character I hadn't even heard of until I picked up the Essential Official Guide to the Marvel Universe, whose power is "exploding" and whose only claim to fame is being involved in the death of Captain Marvel. This isn't a Year-One Power Pack going up against Dr. Doom, this is a group of fairly experienced heroes going after a lame villain. How is it that they were so "out of their league"? How is it that they could be blamed for the incident, that they "should have known better," and called the Avengers or some such nonsense? Last I checked, there wasn't a superhero phone tree. Is Spider-Man supposed to stop and call up the X-Men when Juggernaut starts rampaging through Times Square? How exactly does the hierarchy proceed? If Galactus shows up, do you call the Fantastic Four or the Avengers? I mean, the Avengers have more firepower, but the FF's got the experience. The idea that the New Warriors should have stepped back and called for help, that they were out of their league fighting freakin' Nitro, is beyond absurd.

No, Civil War started on the wrong foot and simply hasn't recovered. Here's how it should have gone.

First off, the Illuminati was a dumb idea which should have never been. It's elitist, it's vaguely racist, and it's another one of those "a dark secret from the earliest days of [insert character]'s history comes to light" plots that has been used, reused, and overused since Identity Crisis (see also: Gwen Stacy, Barry Allen, Professor Xavier, Thomas Wayne, etc.). Besides that, a major crisis, almost infinite in its scope, results from the dissolution of the relationship between the universe's primary heroes...seems to me that it's been done before.

The difference, of course, is that DC exploited a relationship that already existed, they didn't do a "JLA: Trinity" one-shot to set it up first.

What we do instead is a one-shot or brief miniseries (no more than 3 issues) about the new wave of "superhuman chic" sweeping the nation. Shows like the New Warriors and X-Statix have become increasingly popular, and every network wants to cash in. Meanwhile, the Masochist Marauders (from Spectacular Spider-Man #21--teens who fake muggings in order to get beaten up by superheroes) are a Jackass-style Internet sensation, and copycats have sprung up all over the country. Deaths due to radiation poisoning and other attempts to re-enact superhero fights and origins have been steadily rising. Rising up the bestseller charts is "The Capedemic: How So-Called Superheroes Endanger us All," a book which proposes the idea that the number of averted disasters and saved lives simply doesn't make up for the danger inherent in superheroes' existence. Finally, premiering this season on Fox: "Big Shoulders," a reality show about a new team of teenage superheroes operating in Chicago, the 'Chicago 7.'

Next, one tragedy isn't going to set the wheels in motion. There ought to be a series of events, and the first involves the Hulk. Things can go down pretty much the way they happened in Illuminati--Hulk rampages through a small midwestern town, completely unstoppable for the several minutes before heroes and Hulkbuster Units can arrive to bring him down. Midwestern politicians come under pressure to stop the spread of metahuman-related violence. When it was primarily an issue for New York, it was a different story, but superhuman menaces have begun popping up with more frequency in California and in various states across the country. S.H.I.E.L.D. is pressured by Congress to do something about the Hulk, hoping to use that as a stop-gap procedure, taking attention away from the metahuman problem. They go to the Avengers, telling Iron Man "he was on your team, he's your responsibility." Tony brings together Captain America, Hank Pym, Wasp (the only original Avengers left), Doc Samson (who knows the Hulk best), and Reed Richards ('cause he's a smartie), along with a somewhat sedated Bruce Banner. Bruce understands the problem at hand and agrees that he's simply too dangerous to continue roaming around the country. Tony suggests placing him on an orbital platform--he has several satellites in various places around the solar system that could be easily and remotely modified. They settle on a research satellite orbiting Mars. Bruce will be provided with all the amenities of home, and the self-replicating nanotechnology will ensure that any damage done by the Hulk is strictly temporary. Meanwhile, a research team on Earth will step up their quest to cure his condition. They send Bruce up, but he never makes it to the satellite. It's not clear who or what caused the malfunction.

Barely a week goes by before the Abomination breaks out of prison and ends up in St. Louis. The first superheroes on the scene are the Chicago 7, three weeks into the new season. The event goes live, with producers hoping to turn it into a publicity stunt. It works: Abomination stomps the rookie heroes, and their inexperience only makes things worse. Hundreds die, the property damage is astronomical, and all in the fifteen minutes it took for a Quinjet and several S.H.I.E.L.D. hovercraft to arrive from the East Coast. Within days, a superhero registration bill is circulating around Congress.

Now, this is about where my two ideas for this story diverge. For this first one, I'll accept the basic premise that it's an ideological war between Captain America and Iron Man, except, you know, without the idiocy.

Captain America makes a public speech against the bill, and the act's supporters need a spokesperson from the costume crowd. They end up picking Iron Man, due to his prestige and sway with the superhero community. Tony is torn, and as much as he may agree with Captain America, he can't help but wonder if maybe the act would be a good thing. He reads through the text several times, he speaks with the drafters and S.H.I.E.L.D. executives about the logistics. Everything would remain more or less the same, really. The superheroes would register with S.H.I.E.L.D., who would provide them with training and license cards, similar to the Avengers Membership Cards. The registered heroes would have the option of becoming S.H.I.E.L.D. employees, which would allow them to do their usual superheroing and civilian living, as long as they took the occasional S.H.I.E.L.D. mission. For this, they would receive a stipend and benefits (health insurance and life insurance are a bitch for the capes-and-tights set). All this information would be kept absolutely secret, and only top S.H.I.E.L.D. brass would have access to it.
And those who refused to register? If apprehended, they would be offered the chance to register. If they continued to refuse, they may be charged a fine, and they might face some time in prison.

Tony turns to Peter Parker for moral guidance. Peter's feelings about S.H.I.E.L.D. are mixed, and he's never been on the best of terms with the general populace. He and Tony have a long conversation about the matter, with Peter mostly playing the anti-registration side. That is, until Tony wonders aloud how many innocent lives might be saved if young superhumans had the proper training. Peter thinks back, back, to how a little professional training might have allowed him to reach Gwen Stacy in time, or to catch her without killing her, how a that extra edge against Doctor Octopus might have let him save Captain Stacy, how if he had gone to S.H.I.E.L.D. instead of the TV station, he might have been around to stop that robber...
It becomes clear to Peter that superheroes have been given great power, and the registration act is merely asking them to accept the responsibilities that come with such power. He joins Tony in support of the Registration Act. Tony immediately sets out to get the best and brightest in the superhero community to figure out the logistics, to ensure that security, training, and enforcement all works out with the heroes' best interests in mind. Hank McCoy won't return his phone calls.

Meanwhile, the X-Men are placed in a difficult situation. Cyclops and Wolverine and their ilk see the Act for what it is: a broadened version of the Mutant Registration Acts that have circulated around Congress for years. Cyclops considers coming out in opposition, but fears that it may draw unnecessarily negative attention to the dwindling Mutant community. Supporting the Act, however, would be outright hypocrisy, and would go against everything Xavier ever stood for. Not wanting to make the school a fort against the United States government, he declares official neutrality on the subject. Wolverine is understandably upset by this and leaves the mansion in protest.

The Act passes, despite Captain America's public speeches in opposition. Things initially appear to be going well. The superhero-related shows that started much of this ruckus have been quietly cancelled, superheroes are registering voluntarily by the dozens, and the anti-registration heroes? Reed Richards registers, as do Sue and Ben, but Johnny Storm refuses and leaves the team. Sue is still unsure about the whole thing, and Ben just won't talk about it, but both recognize that their public identities and publicly-known headquarters make it difficult to make a stand against the Act. Reed just hopes to oversee the registration operations, to ensure that identities are actually kept secret from prying eyes, and that the superhero training goes well, that all this will ultimately help the superheroes' cause.

It starts with Night Thrasher (and why not? Rather than needlessly kill him off, let's give him a purpose), who is in the process of battling a minor supervillain (I dunno, someone like Nitro, I suppose), when a police officer tries to arrest him. NT tries to tell him that he doesn't have time for this, but the cop draws his gun and insists. Night Thrasher knocks him out, then does the same with Nitro, leaving the supervillain in handcuffs with a power inhibitor collar on. NT escapes, but now is wanted for assaulting a police officer in addition to refusal to register. The scene plays out across the country: Hercules has to shrug off bullets from both sides while he stops a Hydra terror plot in Times Square, Darkhawk finds himself on the wrong end of a SWAT team after stopping a school bus from going over a bridge in San Francisco, and finally, some trigger-happy security guard fires at Speedball during a bank robbery/hostage situation, and the ricochets from his kinetic field kill two innocent bystanders. The media picks up the story nationwide, using Speedball as the prime example of why heroes need to register, how dangerous the anti-registration heroes are, and why young people shouldn't be allowed to operate as superheroes. The atmosphere shifts; first police are recommended across the country to use riot teams to apprehend rogue superheroes, then S.H.I.E.L.D. teams are dispatched onto regular superhero patrols. Iron Man offers his services to help round up the unregistered heroes, in hopes that he can take control before they start using lethal force in these apprehensions. Things are clearly spiraling out of control.

Meanwhile, Captain America has become the hero of the anti-registration movement. He steps into this role naturally, finding them across the country and running a sort of underground railroad for anti-reg heroes. Things with Cap proceed pretty much the same as they have in the regular series, what with him assembling his Secret Avengers and continuing their superheroic duties in secret. The only difference is that some of the heroes, particularly some of the younger ones, are chafing under Cap's cautionary ways. They want to break out and really fight back, but Cap doesn't want to start an all-out war with the American government. These dissenting heroes--including Black Cat, Jack Power, Deathlok, and War Machine (assuming all of them are still alive)--begin sneaking out of the base and causing anti-government havoc. Cap tries to hold together his Secret Avengers, despite the growing schism, but more and more of his team are choosing proactive methods over reactive ones. Of course, those methods are being spun by the media and the government to increase the furor over the issue, and it's quickly nationwide martial law on unregistered superheroes.

Tony Stark decides that this needs to end quickly; he realizes that the situation has long been out of his control, and he assembles his team to set a trap for Cap's Secret Avengers, in hopes of stopping the madness before America becomes a superhuman police state. The battle goes poorly for both sides; two of the Young Avengers and Dazzler are captured, while Sue Storm defects to Cap's side.
Cap and Tony don't fight, not really. Tony explains his position, how he just wants to help, he wants to wrest control of the system back from the government, and he can't do it alone. Things are out of his hands, and the vaguely anarchist actions of the Secret Avengers are only making things worse. Cap tells Tony that he's not trying to take down the government, he's just trying to hold his team together, and it's breaking apart under the pressure. He's disappointed that Tony would stoop so low as to set a trap for them, and he doesn't want to fight, but he's not going to back down. The Registration Act is wrong, and if Tony can't see that with S.H.I.E.L.D. patrols hunting down superheroes in the streets, then there may be no hope at all. Cap tells Tony to call off his troops, that this can still end peacefully, but Iron Man morosely looks away and pulls his mask back down. "I'm sorry, Cap. I can't do that." He fires his repulsor-ray, but finds it deflected back at him by Captain America's mighty shield. Cap calls for a retreat, while Iron Man's enforcers press on. They teleport away, with help from the Invisible Woman, and return to their base.
Back in the hideout, licking their wounds, the Secret Avengers have a breakdown. Cloak is pissed, and he leads the proactive heroes out of the hideout. Captain America is watching his resistance fall apart, and he wonders how it got to this point. Maybe Tony's right, maybe it would be better if they sat down with the pro-Registration folks and hammered out a compromise. Around that time, a young and idealistic superhero by the name of Gravity awkwardly steps up to Captain America, clumsily salutes, and introduces himself, saying how much of a pleasure it is to meet him, and how it was his shining example, his steadfast adherence to the ideals that make this country so great, which inspired him to put on a mask and tights and fight the good fight. Captain America shakes the young man's hand, and is suddenly reassured that he's doing the right thing. He thanks the lad, and solicits volunteers to go after their black sheep.

The splinter Avengers, however, aren't doing so hot. Following a raging Cloak, they decide to raid the S.H.I.E.L.D. prison facility where their teammates are being held, in hopes of causing serious damage while they're at it. They successfully break into the prison, not realizing that both the captured heroes and various villains are temporarily being held in the facility. The ensuing melee decimates that base's S.H.I.E.L.D. forces, and the splinter Avengers barely escape with their lives...the ones who manage to escape, anyway. The team's wounded, with S.H.I.E.L.D. on their tails, a dozen supervillains on the loose, and no place to run. With nowhere else to turn, Cloak's team makes a deal with the nearest available devil, Wilson Fisk. In exchange for releasing him from prison, they need a base of operations and the resources to recouperate and take down the Act once and for all.

This latest raid on S.H.I.E.L.D. facilities has the government steaming. The casualties are fairly low, and they managed to recapture several of the villains and a couple of the splinter Avengers, but the collateral damage was deemed unacceptable. They decide on their own to settle this once and for all. Each one fitted with an inhibitor collar that can be activated by remote, and will detonate if removal is attempted, the new Thunderbolts squadron is unleashed, with orders to find and capture the Secret Avengers, by any means necessary. When Iron Man protests, he and his team are placed on lockdown.

And that brings us right up to the end of issue four or so. Excluding neutral parties like the X-Men and the Thing, we have four distinct factions: Captain America's Secret Avengers, fighting nobly against the Registration; Iron Man's enforcers, defending the Act for the good of the nation; Cloak's crusaders, teaming with a supervillain in order to take down the government; and Maria Hill's S.H.I.E.L.D. and Thunderbolts, who want their order on their terms. The logical continuation would see Iron Man and Captain America's teams uniting to corral their rogue factions, and the future of the Act could go either way, depending on how brave Marvel wants to be. Moral ambiguity abounds, and with the right treatment both of the moderate sides can look like they're doing everything for the right reasons, while the fanatics can act fanatical without going wildly out of character. There's no need to compromise Captain America and Iron Man for a story like this, no need to senselessly slaughter minor characters, and absolutely no need to clone Thor.

Doesn't that sound like a better comic? And I'd write it for free.

Choose Sides!

Thursday, March 23, 2006

Marvel Comics I'd Write for Free: Stingray

Dr. Walter Newell is an oceanographer. He is also a superhero. Like Quasar, he has one of the best costumes in Marvel Comics.
No oceanographer has better fashion sense

He's Stingray, and he's the star of another comic I'd write for free.

I'll admit, this passion is based entirely around his costume. Everything I know about Dr. Newell is from the Marvel Handbook and various websites. Naturally, I'd want to do a good deal of research to discover his personality before I dove into this comic (get it?), but that's all details, right?

A new resort is opening a few miles off the coast of California, not far from San Francisco. The artificial island, using technology from the Avengers' Hydrobase, will provide affordable housing, beautiful beaches, and a friendly community to its inhabitants. While it appears to be just a small island resort, the land conceals a floating underwater city, just beneath the surface of the water, with ample room for a variety of shopping and housing needs. Pacificana is the newest project from SimeCorp and its philanthropic president Cole Lawrence.

Among the amenities available to the islanders is the University of Pacificana, a small, selective school specializing in aquatic studies (marine biology, oceanography, underwater basketweaving, etc.). Dr. Walter Newell takes a high-paying tenured position as head of the oceanographic department, and moves to Pacifica in the first wave of residents, along with his wife and newborn son. The location and facilities offer him previously undreamt-of chances for research and teaching, and the job security and stability will certainly be a boon to his growing family. But this veritable paradise isn't exactly a utopia, and it quickly becomes apparent that Dr. Newell will be fighting for more than just the attention of sleepy freshmen. Corporate espionage and sabotage threaten the community, but do they originate from outside, or from within the highest echelons of SimeCorp? Who is the Naiad Action League, and why are these sea spirits demanding alimony from some men in Pacificana? Why are townspeople are becoming enthralled by whales' songs, and why have so many children started growing wings on their ankles? Will rampant pollution destroy the town? Are those...pirate ghosts?
Walter Newell juggles a family life, research, teaching, and superheroics as he combats various oddities and disasters as Stingray, official protector of the floating city!

Doesn't that sound like fun? And I'd do it for free!

Tuesday, March 07, 2006

DC Comics I'd Write for Free: Wonder Woman

Do I contradict myself?
Very well then....I contradict myself;
I am large....I contain multitudes.
--Walt Whitman, Song of Myself

Looking to the SkyI want to write Wonder Woman.
I've read a good deal lately on Wonder Woman's inconsistent characterization. Each writer offers a different take on her: compassionate mother figure, brutal warrior, peace-loving diplomat, idealistic superheroine, naïve outsider, wise mentor, ineffectual damsel in distress, kung-fu spy, etc. For some, this presents a problem. After all, you can count on some constants in depictions of Superman and Batman. Wonder Woman doesn't have nearly as many of those constant traits. People ostensibly don't know how to handle her.

So, like Geoff Johns, I'd recognize this difficulty and turn it into a plot point, perhaps even a strength.

See, Wonder Woman's powers are derived from a micro-pantheon of patron goddesses (and god): Demeter, Aphrodite, Athena, Artemis, Hestia, and Hermes. Some tend to see this as the sort of relationship that Captain Marvel has with his benefactors. Cap has powers that mimic the abilities of Solomon, Hercules, Atlas, Zeus, Achilles, and Mercury; he's never really shown to interact with any of those figures, or derive his powers from those characters directly. Wonder Woman has a far more interactive relationship with her powers' sources. They directly impart their abilities to her, and they can remove them at any time.

Now, the thing with Pantheonic gods and goddesses, from Greco-Roman to Celtic to Babylonian, is that they are typically multi-aspected. One aspect of Athena was the Goddess of Wisdom, another was the Goddess of War, that sort of thing. This multifaceted nature of the gods and goddesses is compounded by the fact that, in the DCU, the Greek and Roman pantheons were amalgamated, so that Hermes and Mercury were united into the same figure.

This was the world-shattering result of War of the Gods. Say what you will about Infinite Crisis, but there's no way that the result of it can be any less important.

Anyway, while the Greek and Roman gods were mostly the same, this still adds another layer of aspects onto their characters. DC's fascinated with this idea of aspects; it was a huge part of Sandman, and it really ties into the legacies and superheroic pantheons that populate the universe.

So, Wonder Woman derives her powers from these patron goddesses, each of whom is somehow multi-aspected. She doesn't have the same sort of strict delineation of powers that someone like Captain Marvel does; at least on some level, many of her abilities are derived thematically. She takes her fighting prowess, wisdom, and strength in part from Athena, but she derives some of those abilities and her connection with nature from Artemis. What this leads to is a Wonder Woman who herself has several aspects, in some fashion.

I'm not saying that "warrior Wonder Woman" and "mother figure Wonder Woman" are somehow different characters; all these traits are part of her personality and lifestyle, to some degree or another. But like any religious person, her beliefs have shaped her personality. Part of that belief system includes praise and glorification through action. One worships Athena not just by praying to her, but by being valiant and worthy in battle. One worships Hestia by keeping strong ties to home and family, not just by kneeling at her altar. When Wonder Woman goes into battle, she is engaging in an act of worship to (at least) one of her patron goddesses. If she would do less than throw herself wholly into the battle, it would be a half-hearted, insincere prayer. Doing less than her best would be disrespect, even blasphemy. Traits that are naturally part of her character, like her warrior spirit or familial compassion, are exaggerated in certain circumstances because she is praying to one or another of her patron deities.

So, the pitch: the oracles are silent. The altars have dimmed. The gods have left this realm, and Princess Diana is left feeling emotionally and spiritually lost. She continues her quest for justice and peace, but the rituals and prayers seem hollow, now that she knows there is no one listening. She searches her soul, searches herself, but she is only left with questions and uncertainty. Once she took solace in knowing that everything was ultimately left to the Fates. Now, she wonders if her patron deities imbued within her not just their abilities, but aspects of their personalities.

Diana is not the only one with these questions: other pantheons have seen the power vacuum left by the abdication of the Greco-Roman deities, and seek to exploit it. Wonder Woman's existence and prominence brought a great deal of attention, and consequently power, to her patron pantheon, while other deities struggle to maintain their existence and even a modicum of their godlike abilities. Some believe that they may be able to influence Wonder Woman as her matronly patrons did, and thus draw power from the attention and belief granted to Diana.

Meanwhile, other down-on-their-luck gods and goddesses have banded together to create their own champion to inspire the world and draw faith and power. Unfortunately, what they inspire is of little concern to these capricious gods.

So Wonder Woman finds herself caught between manipulative deities on one side, trying to change who she is, a dark holy warrior on the other side, and her own personal crisis in the middle. Throw in some added complications from Heracles and the Marvel family, and I think I'd have a pretty full, interesting run.

And I'd do it for free.

Wednesday, February 08, 2006

Marvel Comics I'd Write for Free: Quasar

I'm not a Marvel Zombie, really. Not anymore. I can't say why for certain; I guess I just like my heroes a little more iconic and primary-colored than Marvel typically offers. Sure, I love Spider-Man as much as anyone, but most Marvel comics just don't draw me in the way they did when I was younger.

That doesn't mean I don't still love some Marvel characters, and it certainly doesn't mean I don't have ideas. Thus starts a new feature here at the Fortress: Marvel Comics I'd Write for Free. I'm sure a DC version will pop up eventually.

So, the first Marvel comic I'd write for free is...
What, no Kirby Dots?

Quasar

I don't know much about Mr. Wendell Vaughn, Protector of the Universe. I've read maybe three issues of his title, and I think I've seen him in a half-dozen appearances altogether. But, man, look at that costume! That's one of the best costumes in comics, period. I've read more about Wendell than I've ever seen him in comics, and he really intrigues me. It'd be easy to write him off as the Marvel Universe Green Lantern, but he seems more than that. He's the Protector of the Universe; he alone has a jurisdiction that, in DC, is now patrolled by 7200+ space policemen.

And yet, he seems like such a nice, down-to-Earth, happy-go-lucky fellow.

So here's my proposal for a Quasar series: superheroic space opera meets Robert Kirkman or Dan Slott. "Green Lantern Team-Up," if you will. Wendell Vaughn is like Spider-Man without the bouts of depression and insecurity; Kyle Rayner without the vanity, brashness, and arrogance. He's always smiling, always helpful, and always friendly; the kind of guy you'd absolutely hate if he wasn't so damn likable. With his Quantum Bands and his fantastic costume, he patrols the spaceways, getting involved in every sort and scale of cosmic pandemonium.

I'd want to ape the Kirkman/Slott style of fun one-issue stories, building pieces of some greater story arc. Quasar would naturally be facing various moral and ethical dilemmas, the "scratch the surface to find social relevance" sort of sci-fi that seems sorely lacking these days.

But my favorite part of this idea would be the Earth trips. To close off each arc (i.e., once per trade), Quasar would make a trip back to Earth (since most of his action would take place in outer space). He'd inevitably get involved in some crazy brouhaha, face the running joke that the Avengers roster is totally different from the last time he visited, and he'd cap off the trip with chili dogs with Spider-Man.

Cosmic adventure. Superheroic fun. Hilarious action. Chili dogs. And I'd do it for free.