Ruby Nation

Ruby Nation
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Showing posts with label john romita jr.. Show all posts
Showing posts with label john romita jr.. Show all posts

Monday, May 24, 2010

Wonder Man, The Crybaby Fanboy Avenger



Last week saw the release of Avengers #1, the new book by Brian Michael Bendis and John Romita Jr. that returns Marvel's venerable superhero team to a position of public adoration. This is after five years of stories also written largely by Bendis that had the Avengers come upon increasingly hard times, starting with the Scarlet Witch's descent into madness and culminating in Norman Osborn obtaining the official rights to the team. Many fans have wondered if Bendis will be able to write more optimistic Avengers stories, and some have completely dismissed the book before it even launched, including one within the text...

" From my point of view...the super hero civil war, the mutant decimation, the skrull invasion, norman osborn, they have-- they all have one thing in common...they are all the Avengers' fault. "

This whiny fan would be Simon Williams, a.k.a. veteran Avenger Wonder Man. This isn't the first time that Simon has complained about the state of things, either; during the Dark Reign stories in New Avengers, we saw him ranting on national television about how being an Avenger is pointless, Norman is what the public deserves, and God is dead ( seriously ). This was, of course, him whining in lieu of actually joining the other Avengers to fight Norman. ( He would join up with some super-villains in a Lethal Legion mini-series to fight Norman, and eventually get arrested, but I haven't read those issues and can't comment ).

But Simon's refusal to be an Avenger in modern times isn't a brave stand against the heroes' failings-- it's the temper tantrum of a spoiled brat who refuses to have things any way but his. It's the reaction of a character who is seeing the world change around him and, unable to accept that life is hard and that good people can make mistakes, chooses simply to say " Screw you guys, I'm going home. ". That the cover for the next issue has Simon attacking the new team suggests that when he does take action, it will be destructive action, trying to force the Avengers to stop taking scary risks.

Basically, Simon is acting like the stereotypical Avengers fan who rails constantly against Bendis for changing the franchise, but doesn't have any constructive criticisms as to how Bendis could do a better job, ( beyond rambling on about the " Good Ol' Days " ), and refuses to accept any potential merits to what he's doing.

It seems like Bendis would be the type of writer to use this sort of metatextual symbolism on purpose, since his Avengers stories have been almost entirely about the characters trying to determine what their identities are. Wonder Man is especially symbolic of a different era in the Avengers, because he's a character whose backstory is almost exclusively confined to the Avengers books, and who represents the worst of the book being about its own arcane, insular continuity soap opera. He was introduced as a throwaway villain, a character the Masters of Evil used to infiltrate the Avengers, but who developed a conscience and sacrificed himself in the name of redemption. Later, after a long absence where he was believed dead, it was revealed that his iconic energy body couldn't die, so he returned to the team. Since then, he's been involved in various story threads concerning Avengers " office romance ", and aside from an attempt at a solo series in the 1990's, hasn't done much else.

To whit; Simon Williams' brother became a deranged super-villain known as the Grim Reaper. He has another " brother " in the Vision, an android whose brain patterns are derived from his own. Simon had a thing for Vision's wife the Scarlet Witch, to the point of refusing to offer his brain patterns to rebuild a destroyed Vision. When he died a second time, the Witch's love brought him back, and he was gleefully sleeping with his brother's ex before breaking up with her because of her residual feelings for the Vision. Oh, and he's dicked around with a career as a B-List action movie star with the help from Hercules, developed an extremely homoerotic buddy in the Beast, and had a rivalry with Iron Man ( who unknowingly ran his father's company out of business, leading Simon to embezzle funding ).

Amidst all of this, what Simon is devoid of is a compelling character hook on his own. Like many characters on the historical Avengers line-up, he's a C-Lister whose appeal is only in the context of an ensemble cast-- take away his connections to the team, and he's not much more than a badly dressed, exponentially whinier ersatz Superman. Which makes him fine when the Avengers is a book about itself, with the team more preoccupied by who's sleeping with who than with doing their jobs and fighting evil. But Bendis has actually given the team opposition much more significant and lasting than villains against the status quo-- old soap opera plot threads have turned into catastrophic nervous breakdowns taking many lives, increasingly complicated cultural situations have created schisms between former friends, and villains have succeeded by attacking through the system. The heroes like Iron Man who Simon blames for causing the problems were only trying to save lives under circumstances where there were no clear solutions, and even then they paid dearly for it. Simon, on the other hand, has been on the sidelines at best, and simply refusing to do anything at worst.

So, without the classic Avengers makeup, Simon doesn't have much to hang his hat on. Now that it's gone, and can't return to the way it was, he can't ( or won't ) think of anything to do except piss and moan about how things are so scary and complicated. Sound familiar?

While there are many valid criticisms that can be levied at Bendis for his Avengers stories ( and I've made several of them ), I can sympathize with his position. His job, as the writer of the book, is to keep it consistently interesting so that people keep buying it. He's done so by trying a lot of different things, and not all of them have worked, with some even being catastrophic mistakes ( see: the Sentry ). But like the Avengers, he's been in a position where he has to take risks-- the franchise had been reduced to B-List at best shortly before he took over, with little to differentiate it from any other super-team book, so he was brought in to overhaul it. And he, like the Avengers at the start of Heroic Age, has ultimately succeeded into transforming the Avengers into something that's once again important. Many of his online critics, like Wonder Man, don't like the direction of the team but aren't going to risk finding something else to attach their attention to, so they'll just level less-than-constructive criticism at it.

You can practically hear him screaming " Worst. Avengers. Ever! " as a battle cry.

Sunday, February 28, 2010

Kick-Ass Graphic Novel Review: Itching and Scratching



The Jist:Dave Lizewski is your typical American teenaged boy, from a very pessimistic perspective. His hobbies include reading comic books, playing video games, furtively masturbating, and pretending to be gay to attract girls. In order to give his life some meaning, he decides to take a page from his favorite comics and become a costumed vigilante in his New York City neighborhood. Since he has no super-powers, this doesn't go well for him-- but once footage of him goes online, it starts a trend...

The Crew:Mark Millar ( writer ), John Romita Jr. ( penciller ), Tom Palmer ( inker ), Dean White ( colorist )

The Details:Since Mark Millar's name is on the credits, it's very much a Mark Millar story. Fortunately, it's one of the best ones he's done.

Part of the reason I like Kick-Ass so much is because it's much more humanized than other Mark Millar stories. The fact that it's set in the real world instead of a superhero universe helps this, thought that isn't to say it's realistic-- this is a universe where a ten-year-old girl has the physical strength to slice through a grown man's skull with a katana with one swing, after all. It's about as realistic as an Itchy and Scratchy short on the Simpsons, but without the science-fiction genre tropes offering convenient deus ex machinas, the focus is more on the characters-- and they're well-realized, if thoroughly unlikable.

People have compared the original Peter Parker to J.D. Salinger's Catcher in the Rye, but Dave ( Kick-Ass ) is much more of a Holden Caulfield than Spidey-- which is to say that he's a whiny, selfish prick who comes across as pathetic to anyone over the age of 17. He's not a costumed vigilante because he wants to help people and stop crime; he never even had any contact with crime prior to putting on his costume. Kick-Ass is him taking his adolescent power fantasy way too far, putting himself at risk and worrying his widowed father needlessly. And it doesn't make him reform from the little weasel he is in his " civilian " identity, who will claim that he's slightly autistic to avoid getting a richly-deserved punch in the face*. At the same time, he does show rare displays of genuine courage and selflessness when caught up in the moment, running into a burning building to save a woman's " child "**. One thing that's common in Millar's comic is the notion that even good people can do horrible things; it's nice to see the reverse here.

The other characters, as a pleasant surprise, are equally interesting. Shortly after becoming Kick-Ass, Dave is joined by other costumed vigilantes-- and they're all as messed-up as him. They come across as messed-up in different ways, though, and offer a pretty diverse cast based on the notion of the adolescent power fantasy gone awry. Hit-Girl, the ten year old swordsmaster ( and the most surreal character in the comic ), doesn't know anything other than a power fantasy. Big Daddy, her costumed partner/father, enforces his power fantasies upon his daughter, and tries to convince himself that he's doing her a favor. And the villain is a perfect " dark reflection " of Dave-- and since Dave's not a nice guy to begin with, he's entertainingly pathetic in his deviance.

It's still very much a Mark Millar story, with profanity and violence and cynicism everywhere, but it's a very good one. John Romita Jr. deserves a lot of credit for that; his cartoony, sketchy style suits the story perfectly, and goes to exaggerate the violence and the humiliation instead of try to humanize it. Millar's more recent collaborators have tended to be hyper-detailed realists like Bryan Hitch and Steve McNiven, and the results for those stories haven't worked for me because they've just illuminated the ridiculousness. But Romita Jr. makes the teenagers look awkward and goofy, the costumes look ridiculous and home-made, and the violence look like-- well, Itchy and Scratchy. The result is a collaboration that won't change anyone's mind about Mark Millar, but it's one of his best, and strongly recommended for fans of dark humor.

* ( I had a real problem with this scene, because even though it was meant to show that Dave is a coward, it's going to be taken out of context. To too many people, Asperger's is a self-diagnosis people use to excuse their failings. In reality, the people who would actually diagnose themselves with it would either have the condition, or have enough mental problems that a label is appropriate, even if not one on the autism spectrum. Autism is NOT a label that makes life easy; often, it makes life even harder for the stigma. And lines like this make the problem worse, with the comedic tone obscuring the problem. )

** ( He saves the woman's cat, and is frustrated that he's risking his life for a cat. I'd personally be happier with saving a cat than a baby... )