We Ponder the Ever-Growing Complexities of Superman and DC's "Rebirth" Event

It's no secret I wasn't a fan of much in the way of Superman comics since the launch of The New 52.  Somehow the character stumbled off the blocks, introduced in Justice League #1 as a showboat and almost a bully.  The history of the character never added up, what with DC's mishandled "we're five years in since Superman appeared" idea, a history they utterly failed to reconcile with pre-Flashpoint continuity despite their promises to the contrary.  The Superman title tried at the start.  You could feel George Perez try, get compromised again and again, and his abrupt departure and comments afterward about editorial interference jived with the inconsistency of what was on the page, not just in that title, but in many of the New 52 titles I tried out.

Over in Action Comics, Grant Morrison was given free reign to do as he pleased, and you could feel him trying to do something, working hard to try to seize the opportunity, but whatever he was trying to build with a blue-collar, working-man's hero in jeans and t-shirt was mis-appropriated to ill-effect by the end of the New 52 era and "Street Fighter" Superman in jeans and t-shirt almost a loud sigh that DC just didn't know what to do with the character they'd tried to assemble.

The comics just never quite worked.  I wish they had.  I can't say how much my waning interest in Superman comics took out my interest in comics in general.  If you've seen a major shift from comics to movies in my blogging - well, where do you suppose I'm spending my dollars and spare hours now?

Rebirth is DC Comics' latest line-wide reboot and an attempt to recapture what I'd characterize as the lost spirit of DC Comics.  Kicked off over the last month or so, they're basically ditching the line-wide decree to make their characters all more "edgy", rolling out all-new number 1 issues and trying to find their footing.  It won't solve a lot of the problems at DC as I haven't heard of a single person in editorial or publishing losing a job, and the guy running the Superman office at the moment is the same guy who was at the helm when the Superman line lost sales and went from 4 books to 2 (and those weren't holding steady).*

But all that aside - as Superman readers, what did we actually get out of Rebirth?

Well, man, they've certainly got their work cut out for them.

TL;DR: I Guess We Better Talk About that "Fandom is Broken" Article

if you are not pleased with what follows, Queen Elsa has some words for you...

Honestly, I have no idea if I was reading Devin Faraci back at BadAss Digest before it became Birth.Movies.Death., and I couldn't tell you exactly when I started seeking out his writing in particular.  Pretty recently, I guess, like maybe even in late 2015.

Well, a few days back it seems Faraci went and accidentally lit a spark under the butt of the collective hive-mind of the internet, and whatever was under that butt wasn't just flammable, it was atomic rocket fuel.  He wrote an article called Fandom is Broken, but I don't need to tell you this.  Because chances are, if you read this site, you've already read the article elsewhere.  It's certainly been making the rounds.  If you haven't read it yet, here's the link.  Go read it and then come on back.  These 1's and 0's will still be here floating in the interwebicon.  

Back?  Excellent.  We missed you.  How are you?

One more to read - it's that Onion AV article Faraci linked to, and it's also required reading.  Sorry.  So, off with you if you didn't read that, too.

Sigh.  So...  For this week I had already planned to write about the upcoming Ghostbusters film, the grousing going on about this new movie ruining some peoples' childhoods, and I thought I might outline why - frankly - that's a really weird stance to take on a 30+ year old movie that was never, ever going to be the same again no matter whether it starred the same four guys (which we should have just let go of since Raimis' passing), four other different guys, four women, four guinea pigs or four plates of nachos.

But we're not going to park it on Ghostbusters.  Oh, no.  Because these two article made me think about a few things, and, in ways big and small, I am certain I am part of the problem, too.  And so are you, buddy, so don't feel so smug.

At this juncture I think it's important to take a breath and have a moment of self-reflection rather than take to the twitters and prove Mr. Faraci absolutely correct by threatening him.

We Finally Read "Rebirth" and Here Is What We Think (SPOILERS)

I did not love every living word and panel of DC's mea culpa in comic form, but it made me realize how long it has been since I've read a new comic book from DC and didn't feel like I needed to just put it down and walk away.  If Rebirth succeeded on any level - it did not make me kind of sad while I was reading it, nor think "well, this is what they're doing these days, and the kids seem to like it, so I guess this is DC Comics now".  I got to just mostly enjoy a DC Comic, even enjoy the familiar frustration of "well, now how is THAT going to work?" as I looked at some of what the book was pitching as the new direction for DC Comics publishing line.

It's been a few days, so I really don't think I need to explain what Rebirth is, except to my brother - so, Jason:  That New 52 thing I've been whining about the past few years?  Turns out sales have been plummeting line-wide for DC since the first year or so, and they've decided that maybe they went too far in the "grim n' gritty" comics direction, and now they're remembering that the idea behind superheroes is that they're a force for positive change.  So, starting here, DC is trying to wrap up the New 52 as a direction for the publishing line while remaining basically in continuity.  They'll start by renumbering most series (again) and remember that it's kind of a bummer to read about people in tights running about feeling miserable every second of the day, so, maybe stop with the endless Pyrrhic victories and mopey heroes.

The "Rebirth" brand at DC was never one of rebooting.  In both Flash Rebirth and Green Lantern Rebirth, continuity remained intact, but DC brought back longstanding characters and principles to characters and concepts that had strayed from the sort of Platonic ideal of those characters.  In Flash, we saw the return of Barry Allen full time for the first time since Crisis on Infinite Earths.  Wally, Bart, Jay and everyone else would be around, but Barry was our focal Flash - complete with a new backstory that didn't reflect the pre-Crisis DCU continuity (Nora Allen was murdered).  Green Lantern saw the return of Hal Jordan to the land of the living, the Parallax storyline transmogrified into epic space opera that spun out the colored rings.  Both of these I enjoyed.

Rebirth is not another Crisis.   It seems to be retaining the New 52 continuity, so far anyway, and is really not so much an answer as a gigantic question mark both from a story and editorial perspective.  Or, rather, a series of questions marks or possible paths for all of us who walked away from DC to consider what teasers from the books we'd be interested in pursuing with our dollars.

Everything from here below contains spoilers.  You're on your own if you keep reading.

On that whole "Steve Rogers is and has always been secretly an evil agent" stuff

I don't believe Steve Rogers has secretly been pulling the wool over our eyes or Marvel's hero who just raked in a billion dollars at the box office has actually been an Agent of Hydra all along or whatever it is Tom Brevoort, Marvel's personal Salacious Crumb, said to the New York Times.

Yes, Captain America was designed by two Jewish guys to punch Hitler in the face, and, yes, of course, if Marvel were actually turning him into a villain longterm, it'd be kinda gross.  But, y'know, comics.  I'm pretty sure it's some usual sci-fi comics monkeyshines, Cosmic Cube business or time travel or whatnot, and by tale's end, we'll all be back to normal.

What I'm irritated about is that I can't actually remember the last time I read a good Steve Rogers story about Steve Rogers being Steve Rogers.  Don't worry - it's not limited to Steve Rogers - I'm pretty sure DC hasn't had Superman as Superman in an in-continuity comic in at least four years, and before that we had Superman walking America (Grounded Part 1 = garbage, Grounded Part 2 = pretty darn good), Superman not being Superman for a year in the comics because New Krypton, Superman with no powers...  And, if I never felt like the New 52 Superman was Superman, well, it seems like DC is set to confirm that suspicion).

TL;DR: Balancing the Dark and the Light - Getting Real About How We Were Okay with "Dark" Comics

This week DC Comics's Rebirth event will once again re-set the DC Universe of comics for what will be the third reboot since 2005 (Infinite Crisis, Flashpoint/ New 52 and now Rebirth).   Even before the story broke this weekend about what Rebirth will contain, plot and character-wise, I had been thinking a great deal about the direction of media, what superheroes and stories are for, and how I've not felt particularly compelled to write up a bunch of posts upon, nor cast ad hominem attacks on those who enjoyed this year's blockbuster, Batman vs. Superman: Dawn of Justice.

Sunday night saw the premiere of Preacher on AMC, an adaptation of the utterly unadaptable Preacher comics from Vertigo's heyday back in the 1990's.  As the comics are numbingly brutal and , featuring a wide array of atrocities and blasphemous content, I'm frankly a little concerned about what happens in the media/ social medias if the show is a direct adaptation and if/when people actually start watching the show (the pilot was not a direct adaptation, and I'm not sure it did very well).  The content is not exactly the sort of thing that many folks here in the Bible Belt take kindly to, even as a Bible Belt perspective certainly doesn't hurt in contextualizing the overriding experience and meaning of the comic.  After all, one of the overriding themes of the book is cutting through hypocrisy wrapped in the cloth - something Texas does just about as well as anywhere (thus, your location).

DC Comics gets a new logo. So... this means... what, exactly?

Blah blah blah...

DC Comics has a new logo.

It's certainly not as "we might sell paper like Dunder-Mifflin" as the last DC Logo.  Or as hopelessly detergent-label-like as the prior.  But there's not a lot of standards to go with in this realm.  The big, chunky red Marvel logo isn't really... much of anything, either, so let's not get too excited in the compare and contrast department.

the logo that screams "'fun', as defined in Appendix C of the PDF attachment in Tuesday's email"

Like a lot of other folks, I looked at the new one up top and said "huh, interesting they went Bronze Age with it".  Because a bit of a throw-back to those early 1970's logos DOES say what you want to say to fans about respecting the past, and the fun of that past - something DC hasn't just had a problem with, but has aggressively trampled over the past 5 years.  But it IS new-er-ish.  They're not just endeavoring into a revival of a period which is remembered fondly, but would make no sense in 2016.  Mostly, unlike the DC Fold, it's also squarely not the sort of thing that would look at home on a box of 3.5" diskettes in 1994, either.  But maybe a loaf of bread from a company that hasn't changed it's packaging since, well, 1974.

In Memoriam Watch: Justice League - The New Frontier (2008)

With the passing of Darwyn Cooke, I had my quick appreciation write-up, and on Sunday, as I was eating my oatmeal and pondering the fact I had to work all afternoon, Jamie pitched watching the animated version of Cooke's comics classic, Justice League: The New Frontier (2008).

For a while there, I was purchasing every single new DVD WB Animation pushed out as DC got into the feature-length animated film business.  These days I limit my actual purchases (my last purchase being Flashpoint, which seemed as good a place to jump off DC Entertainment in many-a-ways), but I have a pretty good run of Batman, Superman, Green Lantern, Wonder Woman and Justice League videos.  And, as I type this, why the hell didn't they ever make a Flash movie?  It seems like an obvious fit.

But I don't think I'd actually watched this disk in something like 6 years.

20th Anniversary of DC Comics' "Kingdom Come"

This month marks the 20th anniversary of the release of the first issue of Kingdom Come, the prestige 4-issue, oft re-issued, comic by creators Alex Ross (artist) and Mark Waid (writer).

It's extremely difficult for me to state how much of an impact this comic had on me as a reader at the time of it's release.  In fact, I'd argue it was one of the comics that came out at a particular time in my life that tilted me from an interest in comics and enthusiastic readership to... whatever it became.  Further, I'd say that Kingdom Come stands as one of the key books that pushed me from thinking Superman was pretty neat to...  whatever my deal is with The Man of Steel today.

By 1996, I just wasn't that interested in superhero comics.  It seemed like a lot of books were trying to pull things off that weren't working, and, honestly, at age 21, glancing over the covers - a sense of creeping embarrassment hit me for the first time in my life in regards to comics.  Not for the hobby or comics themselves, but it seemed that, in the mainline superhero books, writers and artists and the companies themselves had a vision they were trying to execute, and that vision felt like a 13-year-old trying on their dad's suit thinking they could con the bank into giving them a loan.

By '93, a brave new world of tough, militaristic, snarling characters had flooded the shelves.  New publishers had arrived with fully formed concepts and universes, clearly either inspired as "extreme" versions of existing characters, or taking their cues from the artwork on heavy metal album covers (which, you know, how could you fault them?).  And at DC and Marvel, familiar characters were getting changed and rebooted (see: Azrael Batman) to reflect the times.  To me, the stories themselves lacked anything resembling narrative sophistication or substance, taking a Canon Films approach to violence and vitriol and mistaking it for maturity.  The plots were sophomoric at best, and adding spiked shoulder pads to pre-existing characters did nothing to sell me on their new grittiness.  I'll never forget cackling my way through the 1994 Dr. Fate reboot, Fate, wherein the hero turns the all-powerful helmet of Dr. Fate into a knife.  So he can cut things!  To the extreme!*

Meanwhile, Karen Berger had set up Vertigo at DC and was putting out Hellblazer, Shade: The Changing Man, Animal Man, Swamp Thing, The Invisibles, and, of course, Sandman and Sandman Mystery Theatre.  I didn't think I had to look too far to see characters who were telling me they were for older readers - they simply were the sophistication (or what passed for it) that felt like the proper heirs to the Moore legacy.

Darwyn Cooke Merges With The Infinite - #RIPDarwynCooke

Just yesterday we heard that Darwyn Cooke had entered palliative care in the last stages of cancer, and by the time I went to bed, the internet was telling me we that we have lost Darwyn Cooke, comics artist and writer.

2016 seems intent on taking my favorite artists from the world before their time.

It seemed to me Cooke was properly appreciated by comics enthusiasts, and a favorite in the creator community as a solid guy.

His art is making its way around the internet, and you won't have to look far for the next 72 hours to see all of us posting our favorite pieces.  I'll focus here on his DC work and his work with Richard Stark's Parker novels.

Perhaps the best known of his works is DC's New Frontier, the Jet Age re-imagining of the origin of the Justice League of America, featuring all the mainstay players and some more-forgotten characters of the JFK/ pop explosion era of DC.  If you've never read it, it's available out there in print and digital.  And, it was adapted into a feature length cartoon film a few years back.

Cooke's art tilted toward iconographic cartooning, and fit no house style at DC, even as it clearly fit the aesthetic and mood of the DCU on the sunniest of days.  Both retro and modern, his style borrowing heavily from the pop-art style of late-50/ early-60's illustration, with the nuance of line to manage expression and convey more in a face than 95% of comics artists.

During an era when DC Comics and comics in general are on a swing back toward projecting a world view of fire, chaos, and gnashing teeth for all of their characters, Cooke still found a place in the comics world to show a DC Universe infused with hope.

Signal Watch Reads: The Caped Crusade - Batman and the Rise of Nerd Culture (audiobook, 2016)

Here's what I know after reading Caped Crusade: Batman and the Rise of Nerd Culture (2016) - I would love to spend a couple hours at a bar with author Glen Weldon knocking back a couple of cocktails and talking comics.  

The book is a perfect compliment to the sort of discussion we've been having here at The Signal Watch the past few years, from our Gen-X Recollection Project (still ongoing!  Send in your posts!), to trying to contextualize what we see in movies of the past and present as seasoned dorks.  

As a matter of course, I've read a few Superman retrospectives, but very few feel like an honest conversation.  Les Daniels' works read like what they are - honest if fairly sanitary historical accounts of the rise of Superman in all media.  The very-well-selling Larry Tye book felt like a lot of research into something the author felt would move books but for which he had little personal affinity and seemed surprised that Superman wasn't the character he remembered from his years watching The Adventures of Superman.  Author Tom De Haven has the strangest relationship with Superman, having written a full novel re-imagining the character from the ground up (in ways that often seemed far, far off the mark), and then a sort of retrospective that made it clear - he kinda hates Superman.

But aside from Les Daniels and a few excerpts in books like Ten Cent Plague and Men of Tomorrow, I haven't read up as much on Batman.  I actually heard of author Glen Weldon when he put out a book called Superman: The Unauthorized Biography.  I purchased the book, but hadn't read it as I had a stack of books I was making it through.  Still haven't read it, honestly, aside from the first few pages, which had me cackling in recognition of someone who truly knew their Superman.  But, two days after I picked up the Superman book, Weldon announced on twitter his Batman book was coming, and as I'd just finished the Tye Superman book, I figured - I'll just wait for that one.

I really can't recommend Caped Crusade enough.  This is a "run, don't walk" sort of recommendation.  

Marvel Watch: Daredevil Season 2

If you think my movie watching has slowed to a trickle, you'd be right.  We're still neck deep in TV and baseball right now.  I haven't even watched my BluRay of The Force Awakens quite yet, but I did lose all of last night watching the disk of bonus material (totally great, btw).

We also blitzed our way through Daredevil Season 2, or as close to a blitz as you're going to get out of us.  We basically finished the series in about 2.5 weeks, which is really fast for us, even for a 13-episode series.

Last night's post should give you an idea of the regard in which I hold the source material of Daredevil comics produced by Frank Miller in the early 1980's.  But, to be truthful, I haven't read them in over a decade.  That's all right.  The show only references them loosely, doing what Marvel has done so well so often over the past decade: keeping the origins largely intact, remembering who the characters are at their core (and not in the squishy "well, which canon?  who are you to say this isn't Superman?" way DC has done), and boiling down stories to work better in the medium in which they're appearing.

Daredevil Season 1 carried the burden of the origin and establishing their corner of New York not just for Daredevil, but - as it turned out - for Jessica Jones and Luke Cage.  In all honesty, I thought both Daredevil Season 1 and Jessica Jones Season 1 could have been tighter.  They seemed to be 8 or 9 episode shows spread out over 13, and that meant a lot of filler.

I think those of us who watched Daredevil S2 can agree, if this season had an issue, it wasn't that not that we were hoping it'd pick up the pace a bit.

Frank Miller Takes Over the World

I have an employee who is into geek-culture stuff in a way that doesn't include actual comics.  She likes horror movies, Army of Darkness, and watches the TV shows and movies based on comics.  She just finished watching Daredevil (so say we all), and she was wearing a Teenage Mutant Ninja Turtles shirt with art from the 90's cartoon while she was talking to me about the show.

"You know," I said, "Teenage Mutant Ninja Turtles is a by-product of Daredevil."
She eyed me, somewhat skeptically.
"Frank Miller made ninjas cool in comics via the Daredevil comics run they're adapting for the show.  After that, ninjas were everywhere in comics, but Miller did them best.  It was the 1980's and Eastman and Laird were drinking beer and figuring out what might be popular for a comic and, hey, NINJAS.  The 'Teenage Mutant' part is referring to some X-Men stuff.  New Mutants, I think."
The look of skepticism was giving way to a bit of fear.
"Yes, I think you can argue that Bruce Lee started the craze, but in comics, I point to Frank Miller."
"Okay."
"Yeah," I said, refusing to let it go.  "The crazy turtle uses sai, right?  Elektra!  That's Miller.  What's the name of the bad guys the Shredder works with?"
She felt a trap.  "The Foot?" she ventured.
"Uh huh.  And the name of the ninjas in Daredevil?"
"...the Hand?"
"Right.  Now... let's talk about how Frank Miller is responsible for Batman v. Superman."
She was not impressed.
"Directly or indirectly, Jack Kirby and Frank Miller are responsible for everything in media right now," I concluded.
I don't think she bought a word of it.

In general, I'd argue the conversations the comics kids are having online these days don't seem to talk so much about what's happening in their comics as they do the characters in broad strokes, undergrad 101 media criticism of race and gender (which I welcome) and the creators, like they're following demi-celebrities who might talk back to them.*

Happy #NationalPetsDay with Krypto and the Super Pets!

Here at The Signal Watch, we have a Super Affinity for pets.  We've got our own two little geniuses at home making our lives more colorful every day.

Back in the Silver Age, National Comics introduced a dog named Krypto to the Superman mythos.  Supposedly sent in advance of a baby Kal-El in a test rocket, Krypto arrived on Earth around when Superboy was making a name for himself in Smallville.  The comics made their usual bends in logic and soon Krypto was appearing in both Superboy and the adventures of grown-up Superman.

Slam Evil Watch: The Phantom (1996)

In 1989, Michael Keaton put on a terrible-looking rubber cowl with ears, got dropped onto fantastic looking sets with Jacks Palance and Nicholson, Jerry Hall and Kim Basinger, and the world went bat-shit.  Warner Bros. made a ton of money off not just the movie, but the merchandising.  Batman, overnight, became America's favorite superhero.

All the studios scrambled to see what else that looked like a comic books that they could exploit, but without spending a ton of money (this was a pre-CGI era).  And for about 10 years, man, there was a lot of stuff coming out.  A lot of stuff of varying quality.

I'm actually a fan of The Shadow from 1994 or so, and I love Disney's The Rocketeer.  Both super fun movies, even if The Shadow kinda hams up, then softens up the whole concept.  Marvel, for their part, laid some eggs in their straight to video Captain America and Punisher films, circa 1990.

During this era, a vision in purple spandex strode onto screens across America.  And, for reasons I cannot put into words, felt compelled to see this movie then and a few times since.  The Phantom (1996)!!!

Before Comics Were Cool - The Gen-X Recollection Project: David Rossi

I can't tell you how gratifying I'm finding this whole Gen-X Recollection project.  One of our first submissions was from a new friend from Denmark, and another from a person I'd only met once in the flesh, but that I spent plenty of time chatting with online (and Stuart is tops, people).  Then the flurry of submissions from friends from all across my lifespan.  I've been doing this blogging thing for a while, and this is one of the most fun things I've ever done here.

And now we have an entry from someone from the twitter-verse who I was kind of aware had a fascinating background, but hadn't put all the pieces together.

David Rossi is not someone I know in person, but he is a man who may have lived one of my lifelong dreams: working in a Star Trek Future.

Dave has had many roles when it comes to actually working on Star Trek.  But, I'll let him tell you about that himself, and how he got to that point.

Then, I'm going to ask him how many Captains chairs he's secretly sat in.

Editor's Note:  As a plaid-wearing Superman fan, I approve of Dave's whole aesthetic here

Dave Rossi
Los Angeles, CA via Buffalo NY
51 Years Old
Married, 2 kids.

I’ve worked at Paramount Pictures for 25 years, 14 of those on the Star Trek franchise, starting as a Production Assistant and ending as an Associate Producer. I also served as Supervisor of Star Trek Projects for Executive Producer Rick Berman, who created the position for me when he realized all the Trek knowledge in my head was actually valuable! I also co-produced the Star Trek Original Series Remastered project.

I’m still an avid Star Trek fan, Sci-Fi fan, Comic book collector, tabletop game player (It’s all about the Heroclix!). I am loving what Jason Aaron, Tom King, Geoff Johns, and Greg Pak are doing with their titles, and I think it’s a magical time to be a fan of these inspiring characters and their stories.


Before Comics Were Cool.

My father was a WWII veteran, and not much of a dreamer, unlike his youngest of 5 children, me. I had discovered Star Trek when I was in my 6’s, which profoundly changed my life. No one “got it.” None of my siblings, not my mom, certainly not my father. In fact our interactions on the subject went something like this: I’d be prone on the carper, head propped up on palms watching Star Trek with rapt attention. My father would walk in and say, in his deep voice, “Who’s winning?” to which I would reply, proudly, “Captain Kirk always wins.” My father would then say something pithy like “Now that you know that, turn the baseball game on.” It was a little game we would play I guess. Whenever it happened, I would use that tiny opportunity to try and imprint on him that what was happening on the TV was important, to me anyway. And I never thought he understood.

Deadpool Watch: Deadpool (2016)

This movie came out some time ago and everyone else has already seen it.  So, what to say?

I guess I really, really can't believe this movie got made at all.  It's kind of a shock to know Fox was willing to go this bananas not just with a superhero movie, but a feature film in general.  The past few years, really since Guardians of the Galaxy was a hit, I've been feeling pretty good about the uptick in exploring diversity of content under the Marvel and DC banners.  Part of why I've not bought the idea of "superhero fatigue" is, well, absolutely gigantic box office when most of these movies arrive, but because all of us longtime comics readers know that the comics themselves are no two alike, on a good day.  There's a reason DC and Marvel each own stables of thousands of characters and it's not just because the artists like drawing different suits.

We're now well past the point of me going to see "superhero" movies about characters I've never really read, and seeing pics of Bumbershoot Scratchnsniff dressed up as Dr. Strange online this weekend will get me right back to the theater to check out that dude.

To be honest, I've always thought of Deadpool from the comics as one of those things that people tell me is funny, but when I look at it, it felt like a collection of tired jokes Gen-X'ers told each other (Ha!  Bea Arthur!  HA!), and some lightweight racism (the word is "chimichanga"!  Ha ha ha!  Sigh.) increasingly mixed in with internet memes and pop culture references.  It was like a less surreal Ambush Bug.*  I got that some folks liked it, and that's great!  It's terrific to see a mix of comedy and action working that consistently.  And, I suspect, this sort of thing would have been hilarious to me as a 20-year-old dude.

So, I hadn't planned to see the movie, but about a week after it came out, The Admiral and I were pouring some wine (he's had a lot of practice at it at this point), and he says to me, "Have you seen this movie Deadpool?"
And I said, oh so cautiously, "Ah.  You know.  Not yet."
He looked around and then said "I took myself to see it on Wednesday.  That movie is hilarious."

So, if The Admiral liked it, how bad could it be?  I mean, the man won't let you drop the f-bomb in his actual presence, but up on the screen, everything's fair game, and he does have a ridiculously good sense of humor, so, we checked it out.

I dunno.  I found it really fun.  It was kind of what I needed this weekend.  It's a big, splatterfest R-Rated murder revenge picture, and it's not like I don't have a place in my heart for those sorts of movies from time to time.  And it is genuinely funny.  Someone finally wrote a movie that fits Ryan Reynolds' snappy delivery and jittery-kid antics, threw a CGI mask over his face, gave him Colossus as a straight man, and I basically had no complaints.

Well done, makers of Deadpool.  And god bless ya for hiring Gina Carano.  I don't know who she was supposed to be, but that was fun.



*Keith Giffen's 1980's wise-cracking, 4th-wall breaking character who was a thorn in the side of the DCU, but who never had, really, an ounce of popularity

That Supergirl/ Flash Meet-Up on CBS's "Supergirl"

Pick a tone, DC Entertainment.

I was never a fan of the "two heroes meet, fight, realize it's all a mistake and then go off to fight a common threat" trope of comics.  So, yes, just seeing the title of Batman v Superman: Dawn of Justice literally told me everything I didn't need to see in the WB opus (now down over 70% in ticket sales from last weekend).  It literally makes no sense for a person dedicated to improving things for other people to start a conversation by throwing a punch at someone else's head.  Frankly, it always kind of diminishes whatever I'm reading when the writers get lazy and that's the path they follow.

Yeah, even "Superman meets Spider-Man".*

I've been a fan of The CW's The Flash since episode 1, and I continue to enjoy the heck out of that show.  From this DC nerd's perspective, this is how you update a character and make the concept work in another medium with different needs than the comic page or context of National Comics in the Jet Age.  If you're going to change up Barry's origin story a bit, this makes sense, and I like the family with which they're surrounded Barry, both the Wests and his "work family", made up of repurposed C and D listers.

The show is far from relentlessly cheerful - villains are a threat, and we've had two seasons with serious arcs casting a shadow over the events of everything else.   But the core characters don't wallow in self-imposed pity parties and comply with the notion that being a jerk is a prerequisite to intelligence or depth of character (it seems Arrow is continuing to struggle with how to dig themselves out of that hole).  Barry and Co.'s ability to keep on going and improve things for themselves and the world is at the heart of what I like about ongoing superhero comics.

I wrote more than one post regarding the rocky start to CBS's Supergirl, but at some point the show started getting a grip on what it is and could be.  Once it dropped some of the standard soapy TV tropes and got on with the business of superheroing, it's been on a gradual incline of watchability.  They dropped the lame "nice guy" storyline for Win, and, to my great satisfaction, the seemingly one-dimensional character of Cat Grant (played by Calista Flockhart) blossomed immediately into a mentor character for Supergirl and her alter ego.  And, of course, the long game of naming Hank Henshaw as leader of this DEO business pulled a switcheroo and turned out to be a huge highlight of the season as the character turned out not to be the ridiculous Cyborg Superman but Martian Manhunter.**

I never disliked the cast of Supergirl, but CBS applied a lot of old-hat tricks, believing they knew how to make the show work for the broadest audience, but it seemed outdated and a drag on the show's velocity.  And, while I'm not sure we're getting a second season (it hasn't been renewed so far as I know), a second season could get down to brass tacks and be quite fun.  Plus, they've said Lynda Carter could play the President next season, which this site heartily endorses.  It could be a lot of fun.

And there's that word.  Fun.

Before Comics Were Cool - The Gen-X Recollection Project: Jim D.

My very first memory of Jim D. is from an evening when I waiting for my Intro to Screenwriting class to start, and this guy behind me said "Hey!  Hey!  Are those comics?" about a pair of comics I had out on my desk.  No idea what they were.  Probably JLA, Invisibles or Preacher at the time.
"Yeah," I said, holding them up.  In film school, I was not much of a talker with people I didn't know.  UT is large, often impersonal and the film department could be competitive in the way everyone scrambling for scraps can be a bit un-fun.
"I used to read comics!" this guy said.  "Marvel!"  I think he mentioned Avengers by name.
This piqued my interest.
We began chatting and the guy was decidedly talkative in a breezy way, and decidedly not a blowhard film school jerk.
After that, we sat together in class, and pal'd around in the subsequent class, and then we both graduated.  He went to law school, I remained in Austin, being a non-lawyer.

As has been mentioned before, Jim and I kept up after graduation via email, and he got me started on all this blogging business.  After years of legal blogging, he's recently returned to blogging about pop culture, music, etc..., and we highly recommend his site.

This is a cross-post from Jim's blog, so if the formatting is a bit wonky, I'm tried of playing with the html he sent my way, but I'm glad he sent it.





A few years ago, I found myself wandering the streets of downtown Athens, Georgia on a lazy Saturday morning. After dutifully visiting the local record shoppes, I chanced across Bizarro Wuxtry, an old school comic book store located on College Avenue. A wonderful mess, the place offered its customers the opportunity to sift through immense piles of back issues, nostalgia drenched toys and collectibles, and other miscellaneous pop culture debris. As I strolled through the store that day, I suddenly caught sight of an issue of Elson's Presents Super Heroes Comics, the cover of which is depicted above. I was instantly taken aback, as I had been searching for this particular comic book for a number of years. This issue - apparently published in the very early 1980's when "Elson's Gift and News paid DC to repackage some of [its]ácomics" - was the very first comic book I owned. I don't recall very much about the circumstances surrounding its initial acquisition, but I suspect that my father purchased it for me as a gift during one of his business trips. Some Googling confirms that the Elson's franchises catered to business travelers during that time period. Somewhere along the way, my original copy of the issue was lost to the ages (likely misplaced during a move or otherwise purged from my possessions during some vainglorious effort to achieve a more minimalist existence). But three decades later, there it was again, sitting atop a pile of comic books and beckoning to me. Of course, I bought it and relived a few moments of my lost youth.

Before Comics Were Cool - The Gen-X Recollection Project: Jason C.

We are thrilled to have the participation of Jason C. here for the Gen-X Recollection Project.

Jason is a recently published author, a former co-worker, a former collaborator from my days at Comic Fodder, holds a PhD in English, a software developer and all around good guy.  Oddly, before I met Jason, I'd read part of his dissertation as it made the rounds in the geek-o-sphere as he discussed DC Comics as a collaborative shared universe through the lens of Crisis on Infinite Earths.  It was an odd moment when Jason and I were first chatting at work and I realized he was the guy who wrote that dissertation.*

Also, it turned out Jason was in grad school at the same time as my boss and they're pals.  Sometimes Austin, TX is a very small world.

Recently, Jason published his first novel, Old Green World. which is very reasonably priced at Amazon.

But, enough about me.  Here's Jason's narrative of how things went down.

I don't remember my first comic, but I'll tell you the first comics that I remember. A crisis happened every summer, late in the summer, around when the pool was getting routine. The Justice League would visit every year with the Justice Society. The Justice Society were the old heroes, the aunts and uncles and grandparents from World War II. It was a family reunion. The Justice League lived on Earth-1, and the Justice Society on Earth-2, but they would travel to see one another through a dimensional portal. When the portal went wrong, it was a crisis. The portal always went wrong. Every year.

ed. note:  Owl Man's original costume is insane

DC Comics details #DCRebirth, we look at Superman and... So many questions (not necessarily in a good way)

Thank Hera, WW is back in gold.  But what's with the blue boots on Supes?

Over the weekend at something called WonderCon, DC Comics used the Comic Convention platform to do what they used to do back before videogames and movies gentrified CCI/ San Diego - they actually delivered some fairly large comics news.

It's no secret to retailers or readers that DC Comics' line of titles has been in a creative hole of despair for going on 5 years, and sales have taken a related major nose-dive in the past two years despite incentive covers and as much Harley Quinn as DC could print.  The ill-conceived Convergence event of Summer 2015 gave anyone on the fence the opportunity to get the hell out of there, and, abandon DC they did.

It wasn't too hard to figure that after DC moved to the new West Coast offices many things would change, that the real-world stresses of moving would put any ability to react to sales issues on the back burner, but, once everyone was settled, they'd immediately begin planning.

The final product of a few months of brian-storming is now revealed:  DC Comics Rebirth.

So, what is Rebirth?