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So... Three years after being introduced with much fanfare, Batwoman finally gets her own feature (and cover) in this week's Detective Comics. For the character who is supposedly DC's most prominent gay character, her profile has been extremely low. Heck, Obsidian gets more panel time. Not to mention Renee Montoya, who has assumed the identity of The Question, is a much better-established lesbian character. Then again, she gets the back-up feature in Detective, which they might as well name Lesbian Comics. It is Pride week, after all.

I'd be thrilled with all of this, except that after years of Batwoman making cameos and being Montoya's damsel in distress more often than anything else, what do we get when Batwoman takes center stage? Do we see the strong character hinted at from time to time? I mean, really, it takes some guts to assume the Batman's symbol, even when he's MIA.

No, we don't. Apparently Kate Kane is from a military family, and her father, whom she addresses as "sir", is supplying her and monitoring her during her superhero adventures. And to top it off, what is driving her? Her feelings as a victim from that time when the followers of the Crime Bible ran a sword through her near the end of "52".

I was hoping to see a strong, self-made woman. An analogue to Batman. I did not want to see some girl running missions for her dad and freaking out over having been a victim two years ago.

What a disappointment.

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Current Mood: disappointed

ixat_totep
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OK, when you run an issue of people reacting to a major event, it's customary to do so *AFTER* the major event has been printed. Read more... )

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Current Mood: WTF

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So DC's Final Crisis has come to an end. And while there is much about the story that I like, both my overall reaction and the sales numbers as compared to Marvel's Secret Wars tell me that this event was ultimately less than a complete success. There are numerous reasons for this, including several things that probably didn't impact the success much but nonetheless tick me off. I'm going to post my analysis in several parts because it's just too long and wide-ranging. This first part just covers the basics of why an event structured like Final Crisis would have trouble, ignoring most of the actual story content.

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Last month's issue of X-Men: Legacy was the first of Carey's run (both before and after the title change) with which I've been truly disappointed. It's long been accepted wisdom that Juggernaut's redemption the only positive element in Chuck Austin's otherwise execrable run on Uncanny X-Men and later X-Men. It was well executed, gradually happening across the entire 30 or so issues of the run. There were several significant points and little twists, and at no point did he stop feeling like the Juggernaut. Cain was never really the most die-hard mutant terrorist or criminal. He mostly was either pissed off at Professor X or was roped into things by his long-time friend Black Tom Cassidy. So he was a relatively believable candidate for redemption, and it worked very well. So why does Carey feel the need to go back on this story?

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Current Location: writing desk
Current Mood: disappointed
Current Music: Bob Dylan Live in 1966

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So I was looking at the cover of "Astonishing X-Men: Ghost Boxes" #2 trying to decide if that was supposed to be Emma or Storm (and really, should that ever be a question one has to give thought to?) when I decided that despite looking relatively white and blonde, the big hoop earrings meant she must be Ororo. The facial structure actually looks a bit more like Ororo than Emma to me anyway. The clothes are no help- the corset suggests Emma but the patterns, fringe, and general complexity of the design are much more Storm.

And then I looked at this week's Astonishing X-Men #28. And there's Emma, wearing big hoop earrings. WTF, people! Does Emma really look like a big hoop earring type of woman? I think not.

Don't get me wrong. I think Simone Bianchi's art is gorgeous and inventive, and it's just as much of a reason for me to buy AXM as Warren Ellis's writing. But Emma needs to step off the page and give him a little talking to. I'm just sayin'.

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Current Location: desk
Current Mood: perplexed
Current Music: New Pornographers

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Seriously, DC. WTF? You bring back Spoiler after treating her horribly. Chuck Dixon essentially uses the plot that fandom had long since settled on as how to bring her back. Tim's having trouble dealing, which makes perfect sense. There's something weird going on with Spoiler and Batman where Batman's giving her secret missions, which makes a lot less sense but whatever. So... Dixon's abruptly gone, what should we do with Spoiler?

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Current Location: desk
Current Mood: angry

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OMG Astonishing X-Men: Ghost Boxes #1 gives us steampunk X-Men in an alternate San Francisco (Emma, Scott, Hank and Logan, led by Emma). It is absolutely glorious with painted artwork, and I want want want MORE of this. Sadly it is only 8 pages (and the whole issue has only 16 pages of story for $3.99- WTF?) but all four characters are *perfect*. I'm not even such a huge steampunk fan normally (I think it's cool but I don't go out of my way for it). But somehow this comes together beautifully (and reminds me of Planetary in all the best ways). I somehow don't think we'll see more of them, as this two-issue tie-in miniseries seems to be about showing glimpses of alternate worlds off to the side of the main plot, but I hope I'm wrong. And I need icons.

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Current Mood: enthralled

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Daring Mystery Comics #2 (February 1940) [published by Timely a.k.a. Marvel]
Normally I wouldn't spend the time to comment on two consecutive golden age comic issues. But Daring Mystery Comics #2 is effectively a completely different series from issue #1- the two issues haven't a single feature in common. If anything, #2 is even more of a mess than #1, lacking any feature as strong as Joe Simon's Fiery Mask. Simon contributes two characters here, but one is a generic jungle hero and the other (The Phantom Bullet) rolls several ideas into a rather incoherent story. The best feature in this issue is probably Will Carr and Maurice Gutwirth's The Laughing Mask (now appearing in The Twelve along with Mr. E, also from this issue). Apparently I'm not the only one who thought the Laughing Mask was a good character, as he's one of two features that reappear in issue #3 (and #4). However, in those issues his distinctive greek comedy mask that gave him such an interesting look is replaced by a generic superhero cowl, and he's renamed The Purple Mask. Once again Daring Mystery Comics takes the route least likely to attract loyal readers.

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Daring Mystery Comics #1 (January 1940) [published by Timely a.k.a. Marvel]
Timely Publications exploded onto the comics scene in late 1939 with Marvel Comics #1, a book that introduced two of the most popular and unusual characters of the Golden Age: Carl Burgos's Human Torch and Bill Everett's Sub-Mariner (who still gets the occasional mini-series today). It also had a pretty solid range of backup stories, from the relatively basic non-powered superhero the Angel to the typical cowboy and jungle heroes. All of this was delivered by Funnies, Inc., a studio that wrote, drew and packaged comics for various publishers. With such a tremendously successful debut, Timely naturally went about launching a second title, again hiring Funnies, Inc. to produce it. So the first issue of Daring Mystery Comics appeared during the same month as Marvel Mystery Comics #3 (the "Mystery" had been added with the 2nd issue). And despite one good feature (The Fiery Mask, now appearing in The Twelve) one really has to wonder how the same team could have produced both debuts.


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Current Mood: accomplished
Current Music: Soundgarden: "Spoon Man"

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I did not ever expect to encounter the term "sex club" in an issue of Uncanny X-Men.

That is all.

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Current Mood: bemused

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