...Or like this?

Show of hands: Next year, do you think Wonder Woman will be dressed like this...?

Let’s get the elephant out of the room right now:  I loathe the new costume. Call me a rigid traditionalist if you must, but if DC is going to update an admittedly impractical and anachronistic costume, they should replace it with something less bland and more modern. I can just imagine Tim Gunn seeing it for the first time: “Biker jackets and black tights? Is it 1994 again already?”

Now that we’re past the publicity stunt, let’s talk about the issue itself. Like Superman #700 from a few weeks ago, this comic consists of short stories and pin-ups, begins with a story by the outgoing writer, and ends with a prologue of J. Michael Stracyznski’s upcoming story arc. Expect a few spoilers, and maybe some more whining about the costume after the break…

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My back is bent.

It is sharing equal time with the wall and the floor near a convenient hutch of unloved condiments. I have crossed my outrageously long legs to avoid being chewed through by this dense, rabid throng of cackling robots and shy comedians.

Having spent years strolling the streets of various urban sprawls, I have the instincts of a back alley stray: cultivated boredom surrounds the calculating eyes of a mink in a dog kennel; a backpack, two decades old and just starting to thread, appears casually limp beside my reclining frame; my own water bottle (never drink the water in a landscape this bright, bleak, and sweaty); my papers are in order.

Ah, my papers. I am tired. I have been shuffled through a dramatic, confusing, half-understood series of events, all to exchange one set of identification for another. It’s like Brazil, but the costumes aren’t as good. (more…)

He's keeping a running tally of all the continuity mistakes...

What has come before: Norman Osborn (formerly the Green Goblin, now the Iron Patriot) pretty much runs America. Clint Barton (formerly Hawkeye, now Ronin) seems to be more upset about this than anyone (even Spider-Man, oddly enough).
This comic dredges up some mixed emotions in me. I’ll get into it further after the break, as there are some spoilers contained herein.

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What has come before: It really doesn’t matter.

I have nothing bad to say about Alan Davis's covers. That logo, on the other hand...

Mark Millar and Bryan Hitch’s aborted run on Fantastic Four was ambitious, yet disappointing. With their final issue, they joined the ranks of extraordinarily talented creative teams (JMS and Mike McKone, Jeph Loeb and Carlos Pacheco, Chris Claremont and Salvador LaRocca, etc.) that, for one reason or another, proved unable to fill Stan Lee and Jack Kirby’s Galactus-sized shoes. When I heard about the incoming creative team, I was indifferent at best. I am unfamiliar with writer Jonathan Hickman’s previous work, and Dale Eaglesham’s art has always been solid, but has never fostered any sense of fannish loyalty in me. Still, since I have been fascinated with these four heroes for a long time, I felt compelled to give them a chance and picked up their first issue, despite the retro 70′s logo and the Alan Davis cover (I adore Davis, but his awesome covers have graced some awful comics).

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Alright, so here’s the deal. I attended the DC Nation panel at Chicago Comic-Con on Friday completely ready with my laptop to take notes and give you guys a great rundown of what DC announced at CCC and all of the spectacle that comes with these kinds of panels.

Except… I can’t do that. Because for some reason, DC decided that this year, they don’t want to talk about shit. I started off the panel taking notes of everything that was said, but about 10 minutes in, I realized that nothing was being said. All DC was giving us was a rundown of all the books that they are publishing. That’s it. So I stopped taking notes.

Now, I’m not here to rag on DC and say anything bad about them, but seriously, when  you come to a major comic book convention, you have to come with a least something to get people excited. I can’t say that Marvel really announced a lot of stuff at their panels, but at least they gave fans something, instead of just saying that you should buy their books.

And then, to make matters worse, the Q&A portion of the panel turned into the moderator bashing the fans asking questions because they were asking for spoilers. Yes, they may have been asking for hints at what was coming in the big DC storylines, but that’s no reason to bash them. And then other fans started to yell at each other for asking dumb questions.

Bottom line, this panel was a mess. It put a terrible taste in my mouth. I decided to skip the Sunday Conversation because of this panel and am not sure if I will ever attend another DC panel at a convention.

Note: the first part of this article was written about 5 hours after the now infamous ‘Avengers Avenged’ blog was posted. A followup reaction to the strong reactions posted over the next twelve hours is attached at the end.

I woke up to this link of a comic fan at Wizard World pranking Rob Liefeld. Thank you, Yellow Hat Guy. Rob Liefeld‘s ridiculous lines are a part of comic book history, and this was a pretty good epic footnote to it.

you are a dick for expressing your views of this creation to the creator in a public setting

To the more eloquent defenders of Liefeld who commented on that link, I understand how you feel about something like this. “Here’s this guy who is pranking a creator at a convention while that creator is trying to work, this is an incredibly rude thing to do.” While it certainly was rude, it’s also a non-violent reaction to art work that inspired an emotional response.

Comics books are an artistic expression, and that expression has formed a community. The artists and writers who create them are exchanging their time, talent, and creative spark for a paycheck that, no matter how large, will never truly repay that creator for those moments of self-perceived genius they feel for getting the wording just right or the lines just so.

Readers are on exactly the opposite end of this. They cough up their paychecks to follow their favorite characters and stories every month, hoping to be inspired, tickled, and moved by the contents of these pages. Their entire goal is to have an emotionally charged opinion about about an issue.

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As I scanned over Mike’s review of Michael Bay’s new — for lack of a better term — “film,” I lingered on his opening statement: “I am determined to give a straight up review of this film.” To him I ask, “Why?” Why should we treat this movie with a respect it never shows us? Well, I shan’t begrudge Mike for his effort, as I gave a stab at writing a serious(-ish) review for my school paper, an expanded version of which can be found on my blog here (shameless!). I suppose I should have been better prepared for this: I by no means loathed the first Transformers, but I was certainly bored stiff by its over-complicated yet skin deep plot, its wooden acting and confusing mish-mash of fighting robots indiscernible from one another. It favored its juvenile humor too much and the animation needed to be clearer, but there was conceivably a decent popcorn flick deep inside that, and guiding hands like executive producer Steven Spielberg could bring out the positive aspects buried within. Now, imagine the absolute opposite of that, and you’ve got this mess.

Transformers: Revenge of the Fallen is a film whose most ardent admirers — of whom there is a tragically high number — insist should be accepted for what it is, not some trumped up wannabe critic’s notion of what is should have been. What they fail to grasp is that people like me and the vast majority of honest-to-goodness critics who are paid for their work did accept this movie for what it was: a piece of shit.

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I don’t know how it happened, but Marvel has managed to put their four main X-Men books in one week: X-Men: Legacy, X-Factor, X-Force, and Uncanny X-Men. This last week, we, the readers, were given these three books and, as you would assume, each have their own style and feeling and each make me feel completely different about the X-Men. With writers Peter David (X-Factor), Mike Carey (Legacy), Christopher Yost and Craig Kyle (X-Force) and Matt Fraction (Uncanny) each book I read leaves me feeling excited, okay, blood-thirsty and strange–respectively.

I read all four of these books and have been for the last eight years or so (or however long they have been out–X-Factor, X-Force) and I’ve seen some changes, both good and bad and I think I’m going to make it my goal to comment on these four books every month from here on with a post like this–assuming they’ll keep coming out on the same week.  This month we were handed Uncanny X-Men #507, X-Force #13, X-Factor #41, and X-Men: Legacy #222…

Continue on after the break (spoilers).

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“The story of a *child* rocketed to Earth from a doomed planet…”

“In brightest day, in darkest night, no evil shall escape our sight…”

Yeah? Prove it.

“Criminals are a superstitious and cowardly lot, so my disguise must be able to strike terror into their hearts. I must be a creature of the night, black, terrible…”

“Flash Fact.”

Just writing these phrases gave me chills. As I sit here, eating my 7-11 banana, my mind boggles at the wealth of powerful story material that DC Comics has to work with and play with. Truly iconic figures and an army of beloved (and lovingly behated) supporting characters, all with strong character traits and flaws, are available to work with and mingle across the entire DC Universe.

So why, I ask you, are comic fans getting stuck with a dead Batman that we have already been assured will come back with nary a scratch, two simultaneous summer events that have nothing to do with each other, one of which is essentially a serialized Elseworld, and story lines that, when set side by side, contradict each other without validation or explanation?

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