I think I decided I was done with so-called “facsimile” comics, but I was still open getting more comics. These two 100-page Giant comics for $5 each
got my attention in the solicitations for the week. At Wal-Mart a couple of years ago, DC offered
a large square-bound comic for $10. I
didn’t pick it up because the stories inside were all random recent reprints
and most seemed to be continued. In
other words, it was just a tease.
These new Giants featured half new material and half
recent reprints. I had, long ago,
advocated for something sort of like this.
I posted this position on my MySpace blog ten years ago. (Yes really, and I wasn’t the only person
blogging there.)
From 2-1-09
I
propose for Marvel and DC the publication of their monthlies in a standard
magazine
format. Specifically four titles each,
coming out about one every
week. The price point should be about $5 to $6 and
it has to be sold on the
newsstands.
Marvel:
Spiderman, X-Men, Avengers, Universe (Featuring Ironman, Hulk,
Captain
America, etc. on a rotating basis)
DC:
Superman, Batman, JLA, Universe (Featuring Wonder Woman, Flash, Green
Lantern,
etc. on a rotating basis)
Each
issue contains three full-length stories per issue: a standalone story, a team
up
story, and a chapter of a limited series story.
The
Standalones: Experimental, new talent, alternate takes, low-key character
development
or interaction, or just a good short story.
The
Team-ups: In the solo books, this is pretty obvious. In the team books,
feature
a story with just two or three characters. These stories should probably
not run
for more than two or three issues.
The
Limited series: The centerpiece of each issue, a chapter of a multi-part
storyline. These stories should not probably not extend
more than six issues, if
for no
other reason than, if the story is bad, it least it hopefully won't cost you
regular
readers. If it's good, it leaves you
room for a sequel.
Oh, but
wait. There's more to this.
These
stories won't build on each other, like a serial, but would be independent of
one
another,
both within the titles and between them.
I know this is counterintuitive
to how
the comics industry runs now.
Realistically, stories are just fodder for the
trades
anyway. The goal is to produce more good
stories, not shoveling out
more
monthly filler in-between the epic-mega crossovers, which have made
superhero
comics distasteful and impenetrable to anyone not collecting regularly.
If you
want a major event, do it in the Avengers or the JLA book with a bunch of
guest
stars. Resist crossover epics between
magazines and overbearing
continuity
between stories in the magazines. That's
how the current audience
for
comics was bred, and how everyone else with any interest in superheroes
was shut
out.
There
needs to be a core continuity of characters, teams, and major events.
These
guidelines should be loose, sketchy, and brief.
They should establish a
character's
personality and how they got that way, so that there can be some
consistency
between different writers and artists.
Writers can place stories
whenever
they wish in a character's life, as long as it doesn't change that core
continuity
(barring a few Elseworlds or What If sort of tales).
Won't
this keep the characters from really ever changing? As opposed to how
things
work now? How lasting is any change in a
comic book? I hate to make
this
comparison, but why not look at Archie Comics?
The gang is always in high
school. The love triangle between Archie, Betty, and
Veronica is never resolved.
The
characters never really change. Hardly
anybody ever complains, and there are actual Archie fans that quibble over
continuity. (I'd be tempted to pitch a
change to the digest format for Marvel and DC, but the effect on the artwork
would way too detrimental.)
The
point being, if Marvel and DC's superheroes are meant to on-going
characters
that don't age or die, then anal retentive continuity needs to go.
Freed
from the tyranny of having to match up with decades of old, outdated
baggage,
the characters can always be written within current society or even
placed
in a retro or future setting. As long as
there is a core origin and some
reference
is made to the time frame, anything goes, as long as it's a good story.
Where
does this leave the friendly, neighborhood comic shop? Nowhere.
There
are some
big stores that will stay in business selling comics and those that have
diversified
into other fields, but as for the rest, I can't think of a graceful way
exiting
the business.
Would
this idea really sell? Well, at least
I'd try out more comics in this format,
which is
more than I can say for the current one.
Back to 2019, things have changed. The MCU movie series has made superheroes
more popular than ever. Unfortunately at
the same time, “floppies” have gotten more expensive than ever. All their stories are completely intertwined
and, let’s face it, are unreadable because of the real world agendas of the
writers and publishers. It’s the best of
times and the worst of times.
I also posted a version of this on an Archie Comics fan
website. (The website crashed and wiped
out everything I’d ever posted there. So
much for, “The Internet is forever.”) I’d
pitched for a couple of magazines, one for Archie and Jughead and one for Betty
and Veronica. There’d be rotating
features for other characters. They did
actually do it, after a fashion, with their Married Life With Archie series. However, it only focused on
adult Archie. They only “rebooted” their
continuity with their floppies instead.
Archie did publish Marvel reprint digests for about a year. It was an interesting experiment. It was kind of uneven, but had potential.
These two Giant comics are, I think, a better idea than a
standard-size magazine. Mostly, it has
to do with the format of the original comics and the size of the pages that the
artists work with. They’ll still fit on
a magazine rack. Certainly, the price
point is great, but I’m sure it was just done for promotional purposes. (By the way, back in the day, DC did do
regular 100-page comics, so this is a throwback to that.) If it was all new material, it’d be more
expensive. I still like my idea of doing
four titles a month with a mix of ongoing and standalone material. So, I liked everything about these books,
except the content.
Batman 100-Page Giant #1
First up, the new Batman versus Clayface story was the
best in the issue. It was a good story
and well-drawn. But, it was deeply
ambiguous about Batman’s heroic nature.
Clayface seemed to be the one administering vigilante justice. Just a question, does the current Batman not
know how to shave? Bat-stubble looks
strange.
The new Batwoman story also questioned Batman’s/Bruce
Wayne’s method of justice. (Shooting an
immortal villain into orbit seems a bit ridiculous as a means of incarceration.) Batwoman promised to be an advocate for
criminal’s right, while punching the guy into wet concrete to immobilize
him. This story is here to promote the
new CW Batwoman TV show. The character
looks cool in costume, but just doesn’t have Batman’s backstory to make her a
worthwhile character. She’s just a
gender biased dilution of the concept, much like what Marvel has done to
Spider-Man.
Two other stories involved reprints of the Court of Owls
storyline. The Batman story seemed
absurd with the amount of tech he’s using.
It makes you question why he doesn’t have jet-boots and replusor beams
in his hands. (Seriously, why doesn’t he
have a flying suit like Ironman?) The
Nightwing story again questioned Batman’s actions and teachings. These stories were okay, but were just a
teasing slices of larger stories.
There are Harley Quin stories in both comics. She’s got a new movie coming out with the
Suicide Squad. She might be DC’s most
popular female character. (Wonder Woman
is just better known.) Strangely, in the
Batman book, Harley is a straight-up evil psychotic in this origin story. Here, she targets children for mass
murder. I’m not sure this is how I’d
want my valuable IP being portrayed were I a DC executive. This story left a really bad taste in my
mouth.
Villains 100-Page Giant #1
The first new story was again good with a somewhat
ingenious Joker plot to cause chaos.
Just like in the real world, the Joker has a Twitter (-ish) account,
like actual terrorists and various racist organizations. (Alex Jones and Milo Yiannopoulos are still
banned.) However, there it was
again. There was this deep-gray
questioning Batman’s existence and methods.
The current writers seem to question why there’s a Batman. I’m not entirely sure if the writer was doing
an elaborate satire on government welfare with this story or was bemoaning a lack
of it. Take your pick.
Next up was a new Deathstroke story. He has a contract on Jimmy Olsen. It’s still the real Jimmy here, not the fake Jim Olsen from the Supergirl TV show. Supergirl shows up to save him, but Deathstroke does accomplish his mission.
Then there’s another new Harley story. This time she’s getting assistance from the
Huntress in hunting down a villain. The
captions even acknowledge that sometimes she’s good and sometimes she’s
bad. She looks more attractive here and
does take out a bad guy. He was mean to
her in high school and had to die. This
was feminist revenge porn, not terrible, but it is what it is. The other story was reprint, so this more
heroic version might be the more current take on Harley in the comics.
Strangely enticing was this ad for a Harley Young Adult
graphic novel. I looked it up. It features Harley in high school with Poison
Ivy and the Joker as a bunch of teen anarchists.
I think the writer should be sued by this guy from a few
years ago who pitched a Gotham High animated show. Over the weekend, I was at Barnes & Noble
and ran into a Raven YA graphic novel out in the aisles. I guess there’s a whole YA superhero
franchise in the works. She’s a teen
girl in high school with magic powers and a demonic father. I thought I saw the rest of the Teen Titans
as regular students playing D&D with her in one scene. (That’s probably a misunderstanding on my
part.) The artwork was good, but not
fully colored. Interesting. I’ll think about it, but only if I don’t have
to go into the Kid’s section to pick it up.
The reprints were origin stories for Darkseid,
Reverse-Flash, and Poison Ivy. The
Darkseid one skipped over a bunch of stuff and seemed to show him triumphant
over Superman in the end (unlikely, I should say). The Reverse-Flash origin was really good, but
again incomplete in showing how he actually became a villain. Lastly, Poison Ivy’s origin was beautifully
illustrated, but here again, she’s a villain because she was wronged by the men
in her life and wants revenge on them.
She’s basically portrayed as an eco-hero, who kills bad people (just
men).
These two books were disappointing overall. In some places, it’s the disturbing content. In others, it’s the incompleteness of the
stories presented. They look good, but
don’t “taste” good. I do like this
format. DC could do more and better with
this sort of presentation. Editorially,
they need to not undermine their heroes.
They should draw a line to show who the superheroes are, how they are
different from the villains, and what their role is in society. It’s okay to question things, but you have to
provide some sort of answer.
No comments:
Post a Comment