Check out my dialogue with IDW Editor Mariah Huehner about Marvel Comics new GIRL COMICS on CSBG.
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The latest She Has No Head! column is up on CSBG. It’s Marvel v DC this week and it’s all about context.
Find the right female positive comic book for everyone on your holiday shopping list with this week’s ‘She Has No Head!’ Column at CSBG.
Rogue must be guest starring in in the new Black Widow book, because I came across this cover of her in one of my comics this week and….Oh, wait…nevermind. That’s just Black Widow, wearing the same unzipped to her stomach bullshit that Rogue wears now. Silly me.
Bonus points for the Black Widow costume being unzipped to her stomach while she’s out in the SNOW in RUSSIA trying to be a spy that is not noticed. Yeah, women totally do that. ALL the time. Jesus.
The Jilted League aka The Bimbo, The Bitch, and The Brain aka Olympia, Dina, and Val. Click to enbiggen! Words and Art by Kelly Thompson. Colors by Adam Greene. Thanks Adam!
Well, so much for that. I sent the ladies to deliver a message and as usual it’s lost in a sea of bitching and moaning. I hope they’re better superheroes than messengers…time will tell.
So here’s what’s going on with my novel, for those of you who have been asking (you precious but devoted few!). As some of you already know, I got an offer from an incredibly talented and powerful agent to work exclusively on the revisions to my novel with him. This essentially means we have both put in considerable time and effort on my book and are both hoping to work together, but we have not signed a contract. So officially, I’m working exclusively on revisions to my novel with this agent, but technically I do not yet have an agent. But don’t worry, this is not so uncommon as it sounds.
Anyway, sometime last June the agent and I came to this exclusivity arrangement at which point I began the painful process of waiting for his revision notes. They arrived in early August and I got to work quickly after they arrived. The notes were excellent – but much larger in scope than I had expected. I (finally) finished the revisions (which included cutting about 60 existing pages and adding 130 new pages) at the end of October. Upon finishing the revision I sent the notes back to the agent to get his feedback, at the same time I sent the revised manuscript to my writing group for a critique.
I have not yet heard back from the agent, though I hope to soon, but Wednesday night I got a very in depth crit from my writing group on the new draft. Now, I must tell you, it’s pretty scary to wait for a crit like that. You’ve been pounding away on your keyboard all alone in a room writing 130 new pages that could be brilliant or could be the worst dreck you’ve ever written, and while it seems like it should be obvious which it is, I have to admit that I am wildly inconsistent in how I feel about my work. I can write an amazing scene before lunch, pat myself on the back as if I’m a genius, go make a sandwich, come back in half an hour, look at the same scene and proclaim myself King of Hacks…the hackiest hacky hack to ever live. It’s quite a sight. So suffice to say, I really had no barometer about how those new 130 pages were working. Some days I felt pretty good about them, some days…not so much. And since not a single soul in all the world had read them yet…I was pretty anxious to hear what the group thought.
Overall, they really liked the new draft and the change in plot and arc (130 new pages – that’s definitely some changes). There were problems of course (there always are) and I haven’t yet had a chance to go through all four manuscripts to see their individual page to page notes (which can sometimes be a blow to the ego), but the response was overwhelmingly good…much better than I had expected. So I’m really happy today. And really grateful to have such a wonderful group of writers that are supportive and critical. Joining a writing group was hands down the best thing I’ve ever done for my writing.
So what does all this mean? It means that I’m not crazy (yay!) and that hopefully the agent I’m working with will feel similarly about the manuscript as my writing group did. I have no doubt that more revisions will still be needed (not to mention a strong edit – the ms is coming in at a bloated 419 pages right now) but hopefully the agent will be on board for the new direction…and sometime…sometime!…in the relatively near future we can sign a contract and get this book out on submission to publishers. So everyone, please continue to keep your fingers crossed – I know it’s already been about six months – but if you can hang on for three or four more I’d really appreciate it – and hopefully this thing will really get to go somewhere…and if I’m lucky…take me with it.
Thanks for all of your support…and know that by “support” I mean agreeing to buy at least 500 copies of the book each when it finally (hopefully!) sees publication. 
*Oh – and click here if you want to know “what happened LAST time” according to Dina in panel two.
Parker: The Hunter. Darwyn Cooke (Writer/Artist). Comic Books/Graphic Novels.
I have been salivating over this new Darwyn Cooke adaption of Richard Stark’s Parker for months, and finally, to “reward” myself for finishing my big novel revision, purchased it at Jim Hanley’s last week and then devoured it in one sitting – my preferred method – swallowing it whole – going back for second reads later.
It’s a beautiful book. I’m a huge fan of Cooke’s illustration/penciling work (see his many covers in my Top 100 list – including one in the Top 25), and this is no exception as it is picture perfect. Individual panels being matched in beauty by the overall pacing and muted color palette.
I have not read the original material, but I assume Cooke was fairly faithful, it certainly feels authentic. I think my main issue with the book, lies not in Cooke’s hands but in Stark’s hands (though I cannot be 100% sure without having read the original material) and that issue is primarily that I tend to have some drama with these kinds of noir/detective-y books. I love a good detective yarn, and who doesn’t love noir? But as a card carrying (and ranty) feminist, it’s easy for me to get my hackles up about the female portrayals in the traditional noir style. They’re always gorgeous femme fatales and bitches that would betray you for a nickle. And while I’m happy to read that character, I get a bit annoyed when that’s all there is. And in this particular story all we have are a betraying wife and a handful of hookers. Now I suppose it’s a given that Parker runs with a more criminal crowd, but it would be nice to see SLIGHTLY more variety there…and perhaps more importantly all the women here are portrayed pretty strongly as victims. So it’s even a step down from the ‘betraying femme fatale’ type, who though not exactly revolutionary, is at least a strong woman with a plan, whereas here we have more of the ‘worthless beautiful victim’ type. Boring. At least as drawn by Cooke they are stunningly beautiful images.
[SPOILERS}
The story sets up well with the badass master thief Parker penniless and looking it, but thumbing his nose up at offers of a ride. Once in the city he fakes an i.d. (much easier back in the day) and makes off with someone’s entire bank account. Well on the road to being all fixed up – clean (ish) and in a suit, he hunts down his old flame, that has betrayed him – ‘natch. Parker does away with her in an extra special way and moves on, following the trail to the man that set him up, betrayed him, stole from him, and got him sent to prison.
My one complaint in the story (other than the female characters issue) is that everything comes REALLY easy to Parker. I mean, I love that he’s the ultimate badass, but there’s very little tension in that there’s just no doubt in your mind that he’s going to get his man and come out the other side smelling like roses. He is perfection…well when perfection comes as revenge and badassitude. And because of that, because there is no weak link in his armor – perhaps his one weak link is his presumably now dead feeling for his wife – but since he offs her first it leaves him free of any weakness – there’s not a lot of surprise in how it all works out.
If I hadn’t been spellbound by Cooke’s artwork, and drawn panel to panel by the beautiful pacing, I think I would have noticed that the actual story was leaving me pretty cold. it’s a masterful feat for Cooke, which makes me appreciate him all the more, but regardless of the skill involved, I didn’t think of the book once after putting it down, there just wasn’t enough story to stay with me.
Ultimately it made for a beautiful but uneventful read.
4.0 Stars*
*on illustration alone I’d give it 4.5 stars easily, but for story, I’d give it a 3.0. I’m going to give Cooke’s illustration the upper hand and split the difference at 4.0
Apparently my angry cries of foul on Rogue’s bullshit new costume that is constantly unzipped to her navel have fallen on deaf ears. The evidence? The X-Men Legacy cover #232. SIGH. Oh comics. I don’t know why I continue to love you when you treat me so. I’m just glutton for punishment I suppose.
Brian Cronin over at CBR has been doing a Top Five Most Iconic Covers for individual characters, and it’s a really great idea (read: I wish I’d thought of it first). Like most idiots with an opinion I have often been disagreeing with some of his picks, but having learned first hand how hard it is to pick a “top” anything, I’ve been keeping my mouth shut. But he featured my girl Rogue this week and I can no longer be silenced!
The list isn’t even that bad, I think in my own list (see below) I have to use three of the five he uses, however the use of that Paul Smith cover as number one is just criminal. That cover is completely a Wolvie cover, not a Rogue cover and while the actual issue marks pretty big developments for the character and her evolution, the cover does not relay that same message. Epic fail.
So here’s MY list:
5. Andy Kubert
As discussed on my Best 100 Covers post, as an adult and as an artist, I kind of hate this cover for a lot of reasons, but as a 16 year old girl, my heart literally went all ‘pitter pat’ in my chest and didn’t stop for, like, YEARS. And independent of my personal feelings, this relationship was a major part of Rogue’s 90’s storyline, and affected her character hugely both at this point in time and (for good or ill) pretty much the rest the character’s life thus far.
4. Walt Simonson
Cronin is right that this cover is iconic because of the “hope you survive the experience” homage that at this point had become classic and iconic on its own, but perhaps it’s even more iconic because in Rogue’s case it was a more accurate statement than ever before. Although, perhaps they should have changed up the meme to read, “Welcome To The X-Men Rogue…Hope The X-Men Survive The Experience” considering the fact that the entire team tries to quit on principle when Xavier lets her in.
3. John Romita Jr.
This is a great cover, and a great issue, that was a huge development in Rogue’s growth as a character. It foreshadowed great things for the character and managed to be a milestone issue for both Rogue and Storm. Neither of them would ever be the same after this issue – and that is the mark of a great comic – and this cover conveys that feeling – which is the mark of a great cover.
2. Marc Silvestri
This Genosha storyline was a big turning point for Rogue, both emotionally as she battled the unexpected side effects of losing her cursed powers; and perhaps even more importantly, it spotlighted the relationship with the Carol Danvers personality living inside of her. This was the first arc (if I recall correctly) that Rogue and Danvers agreed on an uneasy peace, if only for their combined survival. And it kicked off a fantastic ongoing storyline about their constant battle for control of Rogue’s body.
1. Jim Lee
And here’s where control of that body comes to a head, more than thirty issues later. This milestone issue featured the final and long awaited separation of Carol Danvers and Rogue with surprising results after Rogue was shot through the Siege Perilous by Dazzler (you bitch Dazzler). This issue is important both because it truly highlights how much our heroine has changed, and because as a result of this issue, there are new rules for Rogue and Danvers. They’ve been permanently separated, but Rogue has retained the powers. For good or ill this changed Rogue’s direction and is a critical arc in her evolution. It’s also gorgeous, but you guys know I’m a fan.
Ironically, I think that this cover to X-Men Classic #77…
…really proves my point about why Cronin’s pick of X-Men #173 is a real miss. The cover above, a re-imagining by Adam Hughes of the original Paul Smith X-Men #173 cover is a pretty great example of a Rogue cover…with the positions reversed like this (i.e. Rogue in front instead of back) it works as a Rogue cover, but would you ever in a million years put this on a list of most iconic Wolverine covers? No way. Now of course Wolvie has more iconic covers out there than just about any other Marvel character, but still, I’m sure you can see my point.
Just for fun here are a few of my other favorite covers featuring Rogue. I wouldn’t call them all iconic, but I would call them all awesome. It’s a little bit shocking actually, how few powerful and truly moving covers Rogue has, she’s been a fan favorite for a long time, and it’s really not evident in looking up her covers…
Someone at DC deserves a raise (probably Mark Chiarello) because the limited 12 issue run Wednesday Comics is the best idea (and the best execution of said idea) I’ve seen in a very long time. These beautiful, full color newsprint broadsheet style comics, each telling 16 individual full page on-going weekly stories by some of the most talented writers and artists working in comics today are quite frankly…awesome.
The real genius of the project comes from DC Art Director Mark Chiarello approaching some of the absolute best writers and artists in the industry and simply asking them what character and story they would most like to tell given the opportunity. That freedom to tell any story, to take on any character, without having to worry (so much) about all the other stuff – like heavy editorial interference (etc.) had absolutely breathtaking results. The authors and illustrators love for the characters and story is not only palpable, but contagious.
EXCERPT FROM MARK CHIARELLO’S INTERVIEW WITH NEWSARAMA:
MC: I think that’s an astute observation. In comics, creators are often asked what they would want to do with a certain character within certain boundaries, but this is “what do you want to do?” from the very start.
That’s what I did when I did Solo, I picked the artists, like Tim Sale, for example, and just let him go. As an artist myself, I can tell you that you’re very rarely asked to do what you really want to do – historically, I think every comic book company could take a bit of a lesson from that. I don’t think someone called Alan Moore and Dave Gibbons and said, “We’ve got this idea called Watchmen that we’d like you to take a go at.” That sprung from them.
Emphasis mine. And what a great lesson that is. I hope that Chiarello quote gets posted on the walls of corporations everywhere.
I didn’t read all of the stories, mostly because some characters just interest me more than others – for example despite Dave Gibbons being an utter genius I’ve just never been that interested in Kamandi. There are a few cases where the format does not work to the authors’ advantage such as in the Wonder Woman strip. Ben Caldwell’s Wonder Woman has perhaps some of my favorite illustration work in the entire series, but the layout for the story is overly complicated, too small, and confusing, making it nearly impossible to read. At some point (issue #2?) I gave up on reading Wonder Woman…but that’s the great thing about Wednesday Comics…where one story fails one person or another, there is still so much left to choose from and to still get incredible enjoyment (not to mention your money’s worth) out of a single issue.
Above: Caldwell’s Wonder Woman – beautiful!
The art across the board is fantastic, although Amanda Conner, Eduardo Risso, Joe Quinones, Brenden Fletcher, Rob Leigh, Kyle Baker, and Lee Bermejo stand out as particularly exceptional.
My personal favorites are Batman (natch), Superman, Green Lantern (shocking! I’ve never thought of myself as a Hal Jordan fan), Flash, Deadman, Metamorpho, and The Demon and The Cat Woman. I’m not usually a fan of the silliness of super pets but Palmiotti’s Supergirl is a nice breath of fresh air in the usually so serious superhero world and Conner’s cartooning for Supergirl really cannot be beat.
Above: Amanda Conner’s Supergirl
I think one of the things that Wednesday Comics also nails, without perhaps even trying to, is their success in capturing the nostalgia of a simpler time. I’m not that old (okay, I’m sorta old) but I never really had the true youth experience of reading superhero comics in the newspaper like many others, but I can still appreciate the format and it somehow still reminds me of my childhood, which given all the screw ups in comics these days is really one of the reasons I always come back to them. Better memories of simpler times in my life…and my perceived belief that that meant a simpler time in the world at large.
Above: Eduardo Risso’s Batman
Today (9/23/09) marks the last issue of the twelve week, twelve issue run. The finale in a great experiment that I hope DC will make a habit of – perhaps every summer for the rest of my life? Or better yet, perhaps they can find a way to translate what made these stories so refreshing and wonderful to their regular books…now wouldn’t that be a sight?
You can pick up Wednesday Comics #1 – 12 at your local comic book store – or if you’re having trouble tracking some of the issues down, you can find them on Amazon (some are already above cover price – so don’t delay). Also, below the jump you can see the writer and artist for each of the strips.
thanks to pasrimonia for the awesome ‘batgirl for batgirl’ poster image.
All signs point to the new Batgirl not being Cass. And the most recent hints suggest it is either Steph (The Spoiler) or a combination of two or three women (possibilities that seem to include : Cass, Steph, Babs, or Misfit) taking up the cowl together…which is an interesting idea, but I admit I’m not really on board, mostly because I just don’t understand why it’s not Cass straight up and with no ‘battle for the cowl’ bullshit.
I feel like the fans really love her and have long embraced her, but DC just somehow never has, and I don’t know why.
I guess the only thing I’m truly glad about is that it doesn’t LOOK like the plan is for it to be Barbara – which I would hate. There’s speculation that because of dropped hints that they wanted to bring her back as Batgirl and changed their minds. I would love if this was true, because it suggests that they do listen to fans (everyone loves Barbara, but almost nobody wants her back in the Batgirl uniform) or at least to themselves when they realize something isn’t right. The bottom line is that Barbara has so evolved beyond being just Batgirl. Barbara is so much more as Oracle and she can’t go backwards in time…which is what it would be for her to put on the Batgirl uniform again.
Anyway, let’s be all scientific like and look at the hints:
There were the three images released as Batgirl teasters, and each of them are basically different costumes, and thus suggests different women…which I guess is where we’re all getting idea that it will either be a team up of multiple women donning the cowl, or at least a battle to be the one and only.
The first (and my favorite of course) is pure Cass (although a bit heavy om the boobage).
