As I mentioned in my John Carter first look, I’m somewhat new to Dynamite’s properties; more accurately, their licensed properties. When I attended the Pulp Panel at Baltimore Comic-Con 2014, I was interested in the Green Hornet for the first time. My only previous exposure was the trailer for the Seth Rogan film. I knew it was an old character from the time of the radio serials, but not much else. But after hearing about Mark Waid’s take on it, I flagged it as something to check out. Last time we looked at Kevin Smiths’ Green Hornet. This time we take a look at Mark Waid’s first two volumes. I don’t want to muddle things with comparisons, so I’ll just be taking a look at what Mark Waid did and, in about a month, there’ll be a comparison article.
As I did last time, I’d like to first quickly outline the story and then take a look at the themes Mark Waid is exploring. This time the story takes place in the 1940s, closer to the original Green Hornet stories. This allows Mark Waid to make use of pulp tropes and simpler technology. There are just some plots that don’t make sense in a world with Twitter, cell phones, the Internet, etc. The Green Hornet and Kato have been operating for a while, but not long enough that all the lowlifes know who they are. A new mob boss, Cerelli, arrives from San Francisco and already knows who The Green Hornet is, such is his infamy. In a plot that comes right out of the pulp era, The Green Hornet finds out that Axis power agents have infiltrated the USA and are trying to sabotage US efforts to assist the Europeans in the war. They are also waging a propaganda war to try and keep the US out of the war. Eventually Britt Reid figures out that the city’s industrialists are on the take as the Germans are paying them and they’re also collecting insurance on the goods they destroy. Additionally, it turns out that Cerelli is a German masquerading as an Italian. After The Green Hornet and Kato disrupt the German plot, they decide to retire as the events of this arc were hard to manage. Unfortunately, Lenore Case blackmails/guilt trips them into continuing. Thus we end with a proper pulp ending – the hero did some good, did some bad, and lost some of himself and his freedom in the process. (At least he’s alive at the end) Continue reading Who is The Green Hornet? Part 2: Mark Waid→
We don’t often consider single issues here at Comic POW! We prefer to look at story arcs and completed series to get a better feel for what the author and artist were trying to accomplish. However, I thought it would be interesting to take a look at some comics’ first issues to predict where we think it might be going and see how that compares with where the series actually goes. This new series is called “At the Beginning” and it’ll usually be for series right as they are starting up.
It appears that Scott Snyder was not content to have one of the best works of fiction about vampires, he wanted to continue working the horror pantheon. He couldn’t have selected a better partner in this enterprise. I fell in love with the Snyder/Jock team when they were working together on Detective Comics Vol 1 on the Black Mirror arc. Jock can quite easily go from horribly disturbing artwork to regular artwork that nevertheless excels at facial expressions. This contrast can easily be seen when comparing the first few pages with the pages that follow it. Continue reading At the Beginning: Wytches #1→
The concept behind Seconds is not original. I’ve read and seen similar stories (The Butterfly Effect) – I even saw a trailer for a new movie in that vein (although my Google-Fu is failing me in finding the title right now). The execution, however, was deeply personal and remained rooted in the character of Katie. Unlike the gravity behind the changes in The Butterfly Effect (child abuse, etc), Katie’s changes are personal and somewhat petty. Or rather, petty to the outsider. To her, they are nearly as important as life itself because she sees her life slipping away.
Bryan Lee O’Malley is almost the same age as I am. So we have a lot of the same cultural touchstones and a lot of the same life worries. O’Malley and I are already in our thirties, so Katie’s story is a bit more resonant with me than it might be if I were younger. And, perhaps the same way my wife and I saw Ariel from Disney’s Little Mermaid as misunderstood when we were kids and a spoiled brat now, I may have different feelings about Katie when I’m older. Continue reading Coming back for Seconds→
I read Scott Pilgrim in its original manga-sized, black and white form when it first came out. With the final volume of the color version coming out this year, I thought it would be a great time to revisit the story as well as looking at how the addition of color changes things. I’ll be exploring the story and themes volume by volume. This time, volume 2.
Beginning by revisiting the themes from last time, there is again the theme of extended adolescence. O’Malley does not add much to this over the last book. Nearly all of the characters are in the same place as they were before. O’Malley adds a few more examples of Scott’s extended adolescence and immaturity in this volume. Last time I wrote about how his dating of Knives Chau was a prime example of how he didn’t want to grow up after his last breakup left him devastated and against being an adult in relationships. Unfortunately for Knives, he meets Ramona soon thereafter and begins cheating on her. In this book Wallace once again tells him to breakup with Knives. He declines saying he doesn’t want to “because it’s hard”. He only finally agrees to break up with her when Wallace threatens to tell Ramona about Knives if Scott doesn’t do it. As I mentioned before, while there are adults that don’t want to deal with the pain of breakups and sometimes just let relationships drift into nonexistence, it is still a sign of immaturity. Scott needs to think about others, particularly the young and vulnerable Knives who he will hurt more the longer the charade goes on. Continue reading Scott Pilgrim vs the World (in color!)→
note on all the image scans: they are correct manga-style so they are read right to left
Spend enough time doing critical readings of media and you come across the assertion that all media tells you about the culture it was written in. Sometimes, as in contemporary media, this is easy to tease out. Other times, as with science fiction, it’s by extrapolation. So I thought it might be interesting to re-read Love Hina, by Ken Akamatsu, as a way to to understand Japanese culture. Part One can be found here.
The story picks up where we left off before. Keitaro is going to go overseas with Seta to do some archeological work. The first story is a light story dealing with the Naru keeping Keitaro company while he waits at the airport for a delayed flight. Their relationship continues to thaw as Keitaro continues to gain respect for growing up and being less of a loser (at least by the standards shown in this book).
The second story appears to have Naru going temporarily crazy (perhaps because she misses Keitaro) which allows for some girl/girl sexual fan service. Actually, it’s Keitaro’s sister Kanako who has an uncanny ability for impersonating people. Through a combination of masks and changing her voice, she’s able to pretend to be anyone. She turns the dorm back into an Inn. (Which is what Keitaro thought it was when he first took over as the manager) The girls don’t just roll over and accept this. They constantly battle Kanako for control of the inn/dorm. While the fan service and constant wondering whether the person speaking is genuine or Kanako gets tedious pretty quickly, there is one redeeming quality to this chunk of the book. Kanako treats the girls the way they treated Keitaro when he first started: she gives them lots of work, they have to bathe in the tub instead of hot springs. In the middle of a ridiculous book, it’s an emotional anchor as some of the girls realize how unfairly they treated Keitaro in the beginning. In the remaining books Naru will continue to pound Keitaro whether or not he deserves it (as before he often doesn’t) but she gets a taste of her own medicine from Kanako and she is a little more aware of what she does to Keitaro going forward.
When Keitaro is leaving, the Motoko makes him a strips of paper to ward off evil. While I’m certain the Japanese are not the only culture that assigns a special significance to the putting fortunes into writing, it is certainly a large portion of the culture. It finds its expression in three different forms and, from the translation, I’m not sure exactly which is being referenced in this book. The most unlikely type in this instance (but which we have seen in other volumes of Love Hina) is the O-mikuji. These are the are the fortunes Japanese get from Shinto and Buddhist temples which we usually see during the festival issues of manga. These are random fortunes (leading to comedy, tragedy, and drama when necessary in Japanese stories) so not quite the same as what’s taking place here. However, it does bring to mind that at the same festivals there is the writing and tying of fortunes that demonstrates again the power of writing fortunes. Closer to what’s happening here are the Ofuda and Omamori which contain inscriptions or the names of kami which bring luck.
Sex and Gender Norms
In the scene above Kanako’s masquerading as Naru pushes the comic to a pretty dark place. (Especially when Motoko later complains about what was done to her) Other scenes with Kanako pretending to be Naru in this book once again demonstrates the tension in Japanese culture between being comfortable enough being nude in public baths and speaking frankly about breasts and so on on the one hand and crossing the line into violating personal space and touching/grabbing. While it’s not surprising to find that the Japanese don’t like their personal space invaded (it’s probably pretty close to being a universal human feeling), we certainly have less opportunity for that in the US as we have less public spaces where we are nude together. Interestingly, I have recently learned that it wasn’t that far in the past when Europeans/the West would see public restrooms as a place for conversation and gossip as there were not any walls dividing the stalls.
Well, that concludes book 11. This one and the next one are a bit more thin on culture and sex and gender norms as the story is wrapping up and so there aren’t as many new elements being introduced.
Back in April 2014 I mentioned that Image had a new series coming out and the subject line for the press release was: “The perfect new series for wayward Buffy fans.” I’ve made my way through the first five issues and it’s a good time to see if the comparison was apt.
There are quite a few ways in which it is accurate. Our main character, Rori Lane, is a high school girl who is living with her divorced mother. She just transferred to a new school and new city (technically a whole new country). Her mother has no idea what she’s up to. She’s fighting demons – Japanese demons instead of vampires. She meets up with a few other high school students and they’re working together.
I can see where Image Comics marketing thought, “Hmm, I think we can see some overlap with Buffy fans.” But Wayward is not just Buffy in Japan. That could be interesting on its own, but would probably also seem a bit too derivative. So it’s great that the above paragraph is where the similarities end. Continue reading Is Wayward the new Buffy?→
As I mentioned in my John Carter first look, I’m somewhat new to Dynamite’s properties; more accurately, their licensed properties. When I attended the Pulp Panel at Baltimore Comic-Con 2014, I was interested in the Green Hornet for the first time. My only previous exposure was the trailer for the Seth Rogan film. I knew it was an old character from the time of the radio serials, but not much else. But after hearing about Mark Waid’s take on it, I flagged it as something to check out.
Luckily for me, this year Dynamite did a Humble Bundle which included Kevin Smith’s Green Hornet. With the current near glut of comic book movies going to the silver screen, it was interesting to learn that Smith’s run on the comic was based on a Miramax movie script he wrote, but which was never produced. As a Kevin Smith fan, this intrigued me. Let’s first take a brief walk through the plot before looking at some of the themes Smith employs as well as any cinema-ness that sticks out compared to traditional comics.
The story open in what, at least to me, appears to be an unspecified time period. Smith seems to be deliberately leaving it open to interpretation whether this takes place in the 1930s of the original Green Hornet stories or a more modern time. The Green Hornet (Britt Reid) takes out the last crime family and retires. Unlike Batman, his appearance does not lead to escalation of ever crazier criminals. Perhaps unrealistically, he has now reach his goal and instead of being corrupted by power, he’s just happy that his city has been rid of all the crime families. His wife knows he’s the Green Hornet, but his son does not. Continue reading Who is the Green Hornet? Part 1: Kevin Smith→