SmartRemarks

Reviews of the movie Watchmen have been mixed: 65% positive on Rotten Tomatoes, for instance, and 56% positive on Metacritic. That’s not as uniformly negative as the secondhand buzz might indicate, but this is perhaps because the most prominent “establishment media” reviews have leaned toward the negative side:  e.g., Anthony Lane’s in The New Yorker, wherein he demonstrates his usual sarcastic derision for anything pop-culture-related, or A.O. Scott’s disdainful take in the New York Times. Many quite simply seem not to “get it”; they betray preconceived expectations of what a “super-hero movie” ought to be that obstruct appreciation of what this one actually is.

Reactions in”new media” seem generally more positive—e.g., Andre O’Hehir’s piece at Salon (“Dense, intense, tragic and visionary, this is the kind of movie that keeps setting off bombs in your brain hours after you’ve seen it”), or Keith Phipps’ in The Onion (“[it] keeps moving so assuredly, it’s nearly impossible not to get swept along… the film’s ambitious drive to create a dread-soaked alternate America and people it with flawed, recognizable heroes carries it along”).

However, by far the most interesting and informative opportunity to study the reactions to this film, both pro and con, inverts that pattern. Read the rest of this entry »

Tags: conservatism, movies, super-heroes, Watchmen

I followed Watchmen when it was first released, one issue at a time, back in 1986-’87, well before the collected edition appeared. It was must-read material at the time, and the month-to-month suspense was tremendous. In fact, I routinely ordered an extra copy or two just to pass around the dorm, as several friends of mine (not all comics readers beforehand) quickly got hooked on it.

It was groundbreaking then, and it still holds up today:  a formally innovative, intricately structured story, with a visual design that was painstakingly detailed and a backstory even more so. Self-referential, ironic, dark, and multifaceted, all its elements working together, both de- and re-constructing super-hero tropes in the context of real-world politics, psychological realism, and complicated moral themes. Alan Moore and Dave Gibbons set a high-water mark for what comics can accomplish.

And now, after a long and circuitous process of development stretching over 22 years, Watchmen has finally made it to the screen. I saw it last night.

Where are my socks? I think they got knocked off somewhere…

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Tags: DC Comics, movies, super-heroes, Watchmen, Zack Snyder

It’s been far longer than I intended since my last post. Sometimes time just runs away from you. So let me just toss off a few ideas that have crossed my mind in recent days, and get caught up…

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First off:  the wrangling in Washington over the new “economic stimulus package” has been interesting to watch. Obama has gone out of his way to be as “post-partisan” as promised, extending an olive branch to Republicans the likes of which Dems never saw under eight years of Bush, wining and dining them, inviting input… and in response they basically gave him the finger. (Although, anxious not to alienate a public who likes him, they tried to shift their ire toward the Democratic leadership.) And the usual suspects in the punditocracy backed them up.

Basically, the GOP’s goal right now seems to be to shrink the stimulus bill down to something so small and weak that it won’t be effective… and then to blame their opponents for its ineffectiveness. All while the country at large continues to suffer, of course.

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Tags: Battlestar Galactica, Congress, Dan DiDio, DC Comics, economy, Final Crisis, House of Representatives, Illinois, Legion, Obama, Republicans, Senate, super-heroes, television, Tom Geoghegan, unemployment

What.

The fuck.

Was that?

Seriously. Final Crisis #7 was every bit as crashingly disappointing as I feared it would be, and more so. Grant Morrison’s reach clearly far, far exceeded his grasp.

It certainly did exemplify a writing style he earlier described (warned? threatened?) as “channel-zapping,” though, and gods willing no one will ever be tempted to try such a style again. Morrison seems not to have considered just why the practice evolved in the first place—i.e.,  when people keep clicking that remote, it’s typically because they’re not interested in the random snippets they zap through along the way, but rather because they’re hoping (usually in vain) that something better will turn up that merits ongoing attention.

Further self-descriptions of his work? Well, there’s this…

I had the idea to develop an approach to comic narrative that would actually benefit from becoming entangled in internet fan speculation, gossip and research… I’ve always liked to leave resonant spaces, gaps and hints in stories, where readers can do their own work and find clues or insert their own wild and often brilliant theories. I’m often trying to create a kind of fuzzy quantum uncertainty or narrative equivalent of a Rorschach Blot Test effect, which invites interpretation.

and this…

Superhero comics should have an ‘event’ in every panel! We all know this instinctively. Who cares ‘how?’ as long as it feels right and looks brilliant ? …

I found myself wondering what it would be like if comics’ storytelling stopped aping film or TV and tried a few tricks from opera, for instance. How about dense, allusive, hermetic comics that read more like poetry than prose? How about comics loaded with multiple, prismatic meanings and possibilities? Comics composed like music? In a marketplace dominated by ‘left brain’ books, I thought it might be refreshing to offer an unashamedly ‘right brain’ alternative.

Never a model of humility, in the same interviews Morrison attempts to compare his writing to TV and film works like Lost and Donnie Darko, and dismisses the critics of his recent work as “lazier readers” and/or “a particularly jaded minority on the internet.” Sorry, but I count myself as part of the large and devoted fan followings of the examples he names, and of many similarly “complex” works—not because they’re stylistically complex, though, but because they tell well-structured, emotionally compelling stories—and FC isn’t even in the same ballpark. “Disjointed” is the word that’s come up more than any other in reviews of Morrison’s writing in recent months, but this issue takes the adjective to a whole new level. Morrison’s effect—indeed, apparently his intent—was to have his story swallowed up by its own lacunae, and that simply doesn’t make for a satisfying reading experience.

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Tags: continuity, Darkseid, DC Comics, Final Crisis, Grant Morrison, super-heroes, Superman

My single overwhelming impression of this issue:

Wow, that was crap.

Again.

I kind of enjoyed issue #5, enough to be hoping for an upward trend as this story neared the home stretch. Apparently that was too much to hope for, though. (Which perhaps shouldn’t be a surprise, given the book’s multifarious agenda to be simultaneously a big accessible “event” story, a sequel to Jack Kirby’s New Gods work, a sequel to the classic Crisis on Infinite Earths, a thematic capstone to Grant Morrison’s body of super-hero work, and a thematic capstone to Dan DiDio’s chaotic tenure as DC’s executive editor.)

What did we actually get in this penultimate issue? Well…

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Tags: Batman, continuity, Darkseid, DC Comics, Final Crisis, Grant Morrison, Green Lantern, Legion, super-heroes, Superman

The other day, veteran comics writer Bill Willingham (also co-author of the recent and justly berated DCU: Decisions, and one of the relatively few outspoken conservatives in the industry) wrote an online essay about the current state of super-hero comics. He complained of some recent trends… but also took things a step further, equating his complaints with political allegiances, and setting off a bit of a tempest in a teapot.

From his original essay:

…DC’s greatest icon, Superman, one of the handful of fictional characters known throughout the world, no longer seems to be too proud of America. He still finds occasion to mention he fights for truth and justice, but no longer finishes that famous line with, “…and the American way.” …

Marvel’s legendary patriot Captain America, in a comic book story published shortly after 9/11 spent a good part of the issue apologizing to the super terrorist he was battling about all of the terrible things America did in its pursuit of the cold war against the Soviets. “(But) we’ve changed. We’ve learned,” he whines. “My people never knew!” Then again, at least ol’ Cap was fighting the bad guy, so maybe there’s still hope.

Except that In another later appearance, in a different title (same company) Captain America willingly goes along with a government cover-up of a incident that resulted in massive civilian casualties. He not only goes along with it, he doesn’t even bat an eye when asked to do so. …

Those are but two examples of the slow but steady degradation of the American superhero over the years. The ’super’ is still there, more so than ever, but there seems to be a slow leak in the ‘hero’ part. … Old fashioned ideals of courage and patriotism, backed by a deep virtue and unshakable code, seem to be… well, old fashioned.

Full disclosure time. I’m at least partially to blame for this steady chipping away of the goodness of our comic book heroes. In my very first comic series Elementals, first published close to thirty years ago, I was eager to update old superhero tropes, making my characters more real, edgier, darker — less heroic and a good deal more vulgar than the (then) current standard. Elementals was one of the first of what was later dubbed the ‘grim and gritty’ movement in comic books. And to complicate my confession, I’m still proud of much of that early work. At least my crass and corrupted Elemental heroes still fought, albeit imperfectly, for the clear good, against the clear evil.

What can I say? When I was young and foolish I was young and foolish. In hindsight I should have realized then what is so obvious today. In any industry, especially one as inbred and insular as the comics world, one excess feeds another. Of course we didn’t think of it as excess. We called it stretching the boundaries. Pushing the envelope. Doing a bigger and better car chase in this one than they did in that one. And every other cliche we could summon to our defense. “If they got away with having their hero accidentally kill his opponent in that book, then we’re going to outdo them by having our guy purposely kill someone in ours!” And so on, until today an onscreen (and quite graphic) disemboweling of a superhero’s opponent is not only allowed, it’s no big thing.

Don’t get me wrong. All is not completely dire in the comic book industry. For the most part superhero stories still involve the good guys battling the bad guys for identifiably good causes. And even in that story mentioned above where Captain America participates in the sinister cover-up, under the pen of the same writer, a few issues later he resurrects a shade of his former self (summons his inner John Wayne if you will) and tells an evil alien invader he’s fighting, “Surrender? Surrender??? You think this letter on my forehead stands for France?” (The letter is an ‘A’ for America, of course.) Good one, Cap.

Along with many others, I’ve come to the conclusion that we’ve gone too far, but not irreversibly so.

So, finally to the point of this note. … It’s time to make public a decision I’ve already made in private. I’m going to shamelessly steal a line from Rush Limbaugh, who said, concerning a different matter, “Go ahead and have your recession if you insist, but you’ll have to pardon me if I choose not to participate.” And from now on that’s my position on superhero comics. Go ahead and have your Age of Superhero Decadence, if you insist, but you’ll have to pardon me if I no longer choose to participate.

No more superhero decadence for me. Period. From now on, when I write within the superhero genre I intend to do it right. And if I am ever again privileged to be allowed to write Superman, you can bet your sweet bootie that he’ll find the opportunity to bring back “and the American way,” to his famous credo.

For now, I invite others in my business to follow suit, as their own consciences dictate. We’ll talk more about this later.

As I said above, not all comic stories are about superheroes. Comics are a medium, not a genre. There’s still plenty of room for gray areas, stories of moral ambiguity, and the eternal struggle of imperfect people trying to find their way in a bleak and indifferent world. I plan to continue all of that and more in my Fables series. But for me at least the superhero genre should be different, better, with higher standards, loftier ideals and a more virtuous — more American — point of view.

As you might expect, this definitely got people talking.  Read the rest of this entry »

Tags: Bill Willingham, Captain America, conservatism, DC Comics, Marvel Comics, super-heroes, Superman

Okay, it came out over the holidays, but I’m just getting to writing about it now.

This issue and the previous one have to fill a number of slots:  they make up “What The Butler Saw,” Grant Morrison’s installment of the “Last Rites” short tales closing out the current era of the Bat-titles; they’re Morrison’s coda to his own current run on the character, and a sequel (of sorts) to “Batman R.I.P.”; they’re a summary of the entire career history of the Batman, and an examination of his motivations along the way; and they’re a crossover with Final Crisis, detailing what happens to Batman therein and leading back into issue #6 of said Big Event.

And they work satisfyingly on every one of those levels. I’ve been critical of much of Morrison’s recent work, on Batman and elsewhere, but I very much enjoyed this story.

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Tags: Batman, continuity, DC Comics, Final Crisis, Grant Morrison, super-heroes

The first six pages of Final Crisis #5 were the highlight of the series so far for me. They take us to Oa, following up on the status of Green Lantern Hal Jordan (not seen since issue #3 back in August). Unlike the brief, hit-and-run scenes that have characterized so much of this series to date, the sequence stays with its subjects long enough to clarify why and how Hal was framed and arrested, and to clear his name in a dramatic confrontation with Alpha Lantern Kraken (possessed by Granny Goodness), moving the plot markedly forward with some spot-on character moments along the way. It all leads up to a classic line—melodramatic but oh-so-evocative—as a Guardian enjoins him, “You have 24 hours to save the universe, Lantern Jordan.”

This is why I love comics.

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Tags: Darkseid, DC Comics, Final Crisis, Grant Morrison, Lex Luthor, super-heroes

Slate reports that psychologists at UC Berkeley have been using Barack Obama’s speeches (among other stimuli) to study the causes and effects of a previously neglected emotional realm, dubbed “elevation.” Jonathan Chaidt of the University of Virginia, who coined the term, describes it thusly:

Powerful moments of elevation sometimes seem to push a mental ‘reset button,’ wiping out feelings of cynicism and replacing them with feelings of hope, love, and optimism, and a sense of moral inspiration.

It’s that sense of transport, that lump in the throat, that great oratory can evoke. It is, almost literally, an uplifting feeling.

Done badly, it rings hollow and artificial, and only serves to affirm our cynicism. Done well, however, it appeals to something deep within us.

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Tags: Grant Morrison, humanism, morality, Obama, psychology, Superman

Hot on the heels of Grant Morrison’s dramatically anticlimactic ending of “Batman R.I.P.” comes Batman #682, the first of two parts of “Last Rites,” Grant’s coda to his current run on the title.

In a drastic change of pace from what has come before, this issue basically offers a retrospective, a recap of (the first half of) the Batman’s career. Of course, Grant Morrison being who he is, it’s not as simple as that… it’s presented as a stream of consciousness, cryptic and disjointed, impressionistic. From all appearances the memories depicted are those of Bruce Wayne… but just to complicate things, the narration comes courtesy of Alfred the butler, and there’s at least one scene in which Bruce isn’t even present.

(The art, too, is different; Lee Garbett’s work is serviceable, but no better than Tony Daniel’s.)

What the issue doesn’t offer, despite the promises of publisher and editors, is any sort of narrative “bridge” whatsoever explaining how Batman got from the end of “R.I.P.” to the beginning of Grant’s other current opus, Final Crisis, with which this tale crosses over.

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Tags: Batman, continuity, DC Comics, Final Crisis, Grant Morrison, super-heroes