For today, my old historical eNovella is free on Amazon:
And don’t forget, the Kindle app is free as well.
For today, my old historical eNovella is free on Amazon:
And don’t forget, the Kindle app is free as well.
Many thanks to fellow Ohioan-expat Jocelyn Eikenburg for the interviewing me, and for appreciating my meager writings.
Previous: DC Comics 2000s – Gail Simone
Goodreads Shelf: Marvel
Back in my twenties, the prime of my life. Although I said I swore off Marvel, it didn’t take long for me to get back into the so-called ‘House of Ideas.’
It was Joe Quesada in the 2000s who headed the new era of mature storytelling for a certain biggest American comic company. He did away with the archaic comics code authority stamp, that self-censorship system imposed during in the 1950s ‘juvenile delinquency’ scare, Quesada was right to disregard, and mainline Amero comics became more like PG-13 films or prime-time television dramas. DC followed suit eventually as well, took them long enough.
I particularly had to take notice when Grant Morrison was invited to write New X-Men. That changed everything. By the by, Morrison’s first for the company (at this time, never mind the 90s Skrull Kill Krew), was Marvel Boy. Totally awesome, with high concept ideas such as a humanless corporation villain and interstellar immigration policies. And a Fantastic Four miniseries illustrated by Jae Lee.
So, while I was already there I decided give some other X-Men a go. Chris Claremont went to X-Treme X-Men, after his return didn’t work out. I gave it a chance. Chuck Austin in Uncanny was, unfortunately, considered among the worst runs ever.
Geoff Johns on Avengers, as said.
Then, Mark Waid got to write Fantastic Four! A lot of fun, and joined by the late Mike Weiringo of Flash fame. The first family of the Marvel Universe were seen as ‘imaginauts,’ as they explored time and space and other universes. Doctor Doom got a bit of an occultic retcon, and it was well done indeed. I love when Fantastic Four is done right.
Earth X came out in 1999, but I read the graphic novel a year or so later. Created by Alex Ross initially (written by Jim Kreuger) following DC’s Kingdom Come, the dystopian premise was a future in which everyone has super powers except for Captain America.
Jim Kreuger followed it up with Universe X and Paradise X, and I read all with great anticipation. Kreuger told a sort of final chapter to the Marvel Comics saga, revealing every secret character by character, giving a bittersweet farewell to everyone from Spider-Man to Galactus…
(Do prepare to see a lot of pics with Captain America standing there inspiringly, in this blog)
Meanwhile, the next big thing was to be the Ultimate Universe. Starting with Ultimate Spider-Man — written by Bendis whom I rarely cared for — it was a separate reality that was supposed to reboot everything for the sake of newer readers. Unburdened by decades of continuity, the Ultimate universe started anew with fresh modern takes on the various franchises.
Marvel Millar wrote Ultimate X-Men, and it was not good at all. Millar is an interesting writer; he’s pretty much a hack and yet a very entertaining hack. These days he’s only concerned with making comics to serve as movie pitches, such as Kick-Ass and Secret Service.
There was one masterpiece that stood out. Ultimates, by Millar and brilliant artist Bryan Hitch. That is, specifically the 13-issue Ultimates and sequal 13-issue Ultimates 2.
There wouldn’t even be the Avengers film phenomenon if not for Ultimates.
Millar was very successful at turning the Avengers into an incredibly awesome action movie franchise. Of the ‘widescreen’ style, written snarkily like the wittiest rated R cult classic, there was Captain America as WWII badass, homicidal Hulk, and biggest impact of all was Tony Stark/Iron Man as self-obsessed genius asshole. Thor as a new age guru was an interesting take. The super team and S.H.E.I.L.D. were all presented bit fascistic if you analyze too much, yet what a ride.
Very quotable. Cap: “SURRENDER??!! You think this letter on my head stands for France?” And when the villains overtake Manhattan: “The Great Satan has been liberated.”
With the climax of the first volume fighting aliens, familiar? I must admit I am definitely invested in the Marvel Cinematic Universe, and I fully give the Ultimates their do!
Other Mark Millar impacts included the crossover Civil War. Which will be getting a movie.
I didn’t read most crossovers of that decade. Secret Invasion by Bendis, no way. Fear Itself, yawn. Civil War was on of those cynical ‘realistic superhero’ tales in which Captain America goes to war with Iron Man over government registration of superhumans. The trade reprint seemed worth a read at the bookstore but not buying.
Spider-Man famously gave up his secret identity at the time, siding with Iron Man and revealing himself on camera as Peter Parker. Obviously, there was a retcon soon after and that never happened; back to the ol’ status quo for Spidey.
Afterwards, Cap was assassinated and resurrected Bucky/Winter Soldier replaced him for a while. I read some of Ed Brubaker’s run, it was critically acclaimed and so on, but kind of boring with all the predictable resurrections.
I went to the supermarket, this lane was closed.
Also: this isn’t Chinglishy but rather surprisingly racist whatever it’s supposed to mean…
Previous: DC Comics – 2000s
It’s been said that the comics scene — American superhero comics specifically, at least –is too much of a boy’s club. There are some legitimate criticisms in that, and I hope the field will prove more inclusive in the future.
I did like Louise Simonson’s 80s X-Men spinoffs, and Ann Nocenti’s Daredevil. Persepolis by Marjane Satrapi in the more indie vein. I grew up with Rumiko Takahashi’s Ranma 1/2 as for Japanese manga. Japan has always had plenty of female-friendly markets, and independent comics are surely more diverse.
Yet I have to admit that throughout the 2000s, the largest bulk of my reading centered on mainstream comics (mostly DC) by these authors: Geoff Johns, Grant Morrison, and Mark Waid.
Do allow me to add one more to the list: Gail Simone!
And I hope I’m not coming across as too affirmative actiony here, I really am a big fan.
Ms. Simone started out gaining prominence in the scene with her Women in Refrigerators blog, making the point that violence against women is often a plot point to motivate the male protagonist. And that’s not a very cool thing if you want to get more readers of the other 50% of the population.
She started writing Deadpool for Marvel, though I never read it I have heard good things, helping to build up the popularity of the character who is getting a movie. Deadpool is dark comedy, which is one of Simone’s best styles.
She truly has a brilliantly sick sense of humor.
For me, it began with Birds of Prey by Chuck Dixon. The series was great, as previously mentioned Barbara Gordon had become crippled and turned her talents towards being a sort of superhero tech operator. She mainly sent Black Canary on Bond-esque missions.
Gail Simone took over the writing, and Oracle was further joined by Huntress and Lady Blackhawk. The series actually became even better.
There was a hiatus, and at the Brightest Day event she returned to Birds of Prey with a new number 1 and it was most certainly on my pull list. Although that only lasted 12 issues, because of Flashpoint. See why I don’t like reboots?
I enjoyed Birds of Prey plenty, and then I became a rather hardcore fan during the Villains United minseries as as part of Infinite Crisis crossover.
The premise was that all the villains were teaming up into a grand secret society, with an inner circle led by Deathstroke, Black Adam, Lex Luthor, and Talia al Ghul.
Villains United wasn’t actually about the society, it was about a ragtag group of villains who wouldn’t play along. Deadshot, from the old Suicide Squad I loved, and a re-amped Catman, Rag Doll, Bane, and the new character their leader Scandal Savage — the daughter of Vandal Savage They became the mercenary group Secret Six (I’d list all six, but it wasn’t stable as some died and were replaced).
I knew something awesome was in the works. Best antihero villains-themed cover ever. The Six eventually got another miniseries, and then a long-running series that I followed to the bitter end. More below.
Simone wrote Wonder Woman for a while there by the way, and it was very well-received. So rarely is the character done right, a lot of those mythological epics are hard to do well. The new mega-villain Genocide was introduced. With a tweaked origin and a barbarian saga in mind, ’twas no George Perez but still quite good.
And then I moved to China in late ’08.
I continued to read Secret Six throughout my time in China. I brought all my back issues with me. Bought the new ones at my comic shop in Hong Kong.
Met at comic shop opening L.A. Comic writers are always such nice guys.
Geoff Johns largely WAS the face DC Comics of the 2000s, in my twenty-something resurgence as a hardcore comics geek I basically read every single one of his books that entire decade.
Note: Goodreads Shelf: Geoff Johns — that 68 at last count
Johns is not going to win any big literary awards and change your life, and that’s not the point. He is a great entertainer, a great storyteller, never dumbing down and utilizing the best aspects of the superhero genre. Throughout the 2000s, he was particularly skilled at taking complex continuity and streamlining into a way that pleased hardcore fans and newcomers alike. Nowadays is a different story, but that’s what it was like at the time.
I remember first discovering the former screenwriter’s first published Stars and S.T.R.I.P.E. at the very beginning, a certain humble 12-issue series about the Star-Spangled Kid, an update on old Golden Age retired heroes. It was the perfect start. Nothing grim and gritty (although later I’d learned the main character Courtney Whitmore was based on Johns’ deceased sister), just fun comics with respect towards history.
This also concerns Starman. Written by James Robinson in the 90s, Starman was one of DC’s finest works. Another legacy comic about a modern take on the Golden Age, Starman was very different from the norm. Jack Knight might be called a hipster hero today. His dad was the original Starman, and he was a normal, cultural guy with tattoos and good taste in movies, forced into the life.
Ultimately James Robinson ushered in the new JSA: the Justice Society of America. Thanks must also go to the success of the JLA at the same time, and DC was trying harder with classic team books.
Geoff Johns wrote from issue 5 and up to the end, and it was something special indeed. Unlike previous incarnations of these characters in Infinity Inc., the new book was ambitious and quickly became the centerpiece of the DC Universe. Arguably more crucial than the Justice League themselves. The society saved the world, introduced new mythos, let the original Flash and Green Lantern and Wildcat mentor the next generation, and not to mention a return to glory for Hawkman.
As for solo heroes, Geoff Johns took over The Flash…
This was back in the Wally West days, not Barry Allen like the new show currently airing. Barry had died way back in the Crisis on Infinite Earths event in the 80s, long replaced by his now grown sidekick. Wally was more of an everyman hero, without a secret identity, but still very much in the mainstream superhero scene.
Flash already had very high standards, thanks to the extremely talented Mark Waid, and Johns – joined by artist Scott Kollins – focused on Wally as a sort of working class hero in a pseudo-Detroit. The villains were given the utmost important, with the Rogue’s Gallery often being the stars.
The Flash became my favorite hero of all.
I still really miss Wally West…
Geoff Johns was gaining traction, and got noticed by Marvel Comics. He had a brief run over on the flagship title The Avengers, as well some other miniseries such as The Vision and The Thing. He did as well there as expected – he was perfectly suited to Captain American in particular. Sadly, it was over all too fast and Johns signed on to be exclusive with DC and the run abruptly ended after a mere 20 issues. Avengers after that became New Avengers by Bendis and I was no fan; that was point I cut off all Marvel and focused only on DC.
Geoff Johns kept going. Teen Titans debuted, fusing the 80s Titans fused with Young Justice. I didn’t love the art and I kinda missed Peter David, but it was very much worth reading. Robin, Superboy (now revealed to be… spoiler ahead… Lex Luthor’s clone!), and Impulse took up the mantle of Kid Flash.
This would not be a post about Geoff Johns however, if I did not speak of his epics of epics: Green Lantern!
(Note many of the pics below I simply took myself, as I thought these comics worth saving in my China apartment right now)
Here is the latest…
A new edition up on the Smashwords eBook website:
One advantage of Smashwords is that you can download in multiple formats, and don’t need a Kindle account. There’s the direct PDF, as well as .ebub.
I can also do a coupon code to give free copies, if anyone is interested. Just ask!
Of course, reviews as always are appreciated (especially – sorry SW – on the Amazon link: Amazon.com/dp/B00RQQIA26)
I was so young then…
In 2005 or 2006 I met comic book writer Grant Morrison at a music festival in Los Angeles. It was an odd event in Echo Park, with many experimental bands playing at various stages, and at the same they had a workshop on the occult. Sadly, most people weren’t concerned about the workshop part.
I was ecstatic to hear that Grant Morrison would be there. He gave a fascinating interview. Seriously, you must youtube some videos of him immediately. Low-key event that it was, we got to chat personally for a few and he was nice enough to take a picture with me. I met his wife too.
I met him at Comic Con the following year as well, at events far more crowded, and he was still very nice. I won’t inundate with more pictures, however, I’m not that much of a fanboy.
For more here’s an particularly awesome video from 2000’s DisinfoCon introducing the tenants of chaos magic and how to do a masturbation sigil:
Note he’s Scottish.
And now my blog begins. Presenting the master of the Postmodern Superhero. The punk rock star of comics. My personal all-time favorite.
First things first, comparisons with Alan Moore are inevitable. They are both absolutely brilliant. They are both magicians. They both deconstruct the nature of the superhero like no other.
Yet, one is a mess of hair and the other is bald. One seems to be a misanthropic old man, and the other apparently has lot of fun as a writer. One hates all things mainstream, and the other is just fine with utilizing corporate characters as tools to tell the important stories.
Unfortunately, if you’re a Grant Morrison fan then you must be an Alan Moore fan as well but the reverse isn’t necessarily true. There’s a lot of overlap in themes, yet if you want to be an anti-mainstream purist you can skip Morrison. I think you would be missing out if you did that.
Anyhows, I am a great fan of both so what’s wrong with that?
As for me, I personally first came across Grant Morrison in my teens (though the story gets more interesting in my twenties), because of the huge phenomena that was JLA in the 90s. I was marginally interested, being that I followed everything important that was DC at the time, and the first volume was okay. Superman with a mullet notwithstanding. When I got to the Rock of Ages graphic novel, I was astounded. Then the following arc about the 5th dimensional beings left me well and truly mindfucked.
To me, the peak was the One Million crossover about time travel to 853rd Century. Great high-concept science fiction.
Grant Morrison has since further written Superman in such titles as All-Star Superman, Action Comics, which you can see my opinion thereof by following that link .
One of the random things I was into seeking back in the day was Flex Mentallo, a strange Vertigo piece about a corny superhero. I found issue 3 at discount, and spent years hunting down the full story.
It had everything: deconstructionism, metafiction, with groundbreaking art by frequent Morrison collaborator Frank Quitely.
I contend that Flex Mentallo is superior to Watchmen. It takes a dissection of the superhero genre even further. And it’s funnier, wittier, with treatises on childhood trauma and cosmic abduction, and contains the classic line “Fredric Wertham was fucking right!”
It was so hard to get all four issues. The problem was that Flex Mentallo was a satire of the ‘hero of the beach’ and with republication risked getting sued by those old strongman ads. DC wouldn’t reprint a graphic novel for years. Back then, I bit the bullet and paid high prices on ebay and it was well worth it. Now, of course, there’s a trade.
Let’s go a bit more backwards, with Animal Man. The saga of Buddy Baker was one of Grant Morrison’s first forays into DC during the 80s British Invasion. This obscure hero was given a modern reboot, that quickly went from an essay on animal rights to some weird routes onto the nature of fiction. Combining Wile E. Coyote with Native American mythology, by the end it went full on metafiction. Most haunting of all was when Animal Man broke the fourth wall and looked directly at the audience, shouting “I can see you!”
Concurrently, Doom Patrol was a very interesting take on outcast heroics. The patrol were always a bit odd, a tad off, and Grant Morrison knew how to play to the strengths of that. Robotman as eunich, transgendered street characters, and most of all were the villains based off art history. Brotherhood of Dada anyone?
Not to mention Flex Mentallo first appeared in Doom Patrol.
These were all well and very, very good. However, Grant Morrison’s true opus came in the 90s with the Invisibles. By the time I got caught on, well after it was completed, I was generally getting into more esoteric subject matter. I was reading P.K. Dick and Robert Anton Wilson. I was collecting Disinfo books. I was coming across these strange interviews with one Grant Morrison comic writer, on the subjects of chaos magic and higher consciousness. It was time to read more.
I ordered the entire set, and read on. Then I read them again, and a few more times at differing stages of my life. I’m about ready for a reread again.
The Invisibles is an epic take on Gnosticism and conspiracy theories, through the lens of an action comic, published by Vertigo. About a team of anarchists fighting the good fight against the forces of control in this world. It incorporated all kinds of references to psychedelic mythologies. All came to a head in that Singularity futuristic year of 2012.
It felt somewhat cathartic that my burgeoning spiritual path was overlapping with my love of comics and superheroes. I was doing it right all along. Much can truly be learned about human growth via the metaphor of the Superman. Thanks, Grant Morrison.
And, I may share that reading interviews on how Grant Morrison took LSD and other various chemicals for the sake spiritual experiences, that had an impact. Helped to encourage me with my own experiments utilizing psilocybin and dimethyltryptamine, legal or otherwise, rewiring some synapses within my nervous system in some arguably positive ways.
As always, reading books (and comics) can be such a bad influence!
The sad day has come, I have no good Chinglishes to share.
See ya next week~