The Amazing Spider Man 2(10th Anniversary)DC & Marvel Retrospective/Review

Wanna Make Something Of It?: A Justice League International Retrospective: Justice League #1 Review

Keith Ian Giffen 1952-2023 "I"m sick of Darkseid, Darkseid has been passed around the DC Offices like a Bong"

Hello all you happy people and happy birthday to me. Each year either on or around my birthday, or in this case a month later because the end of 2023 was a cold and carpal tunnel hellscape and 2024 opened with bronchitis, I take a look at something special to me, something that means something: From the first apperance of the Legion of Substitute Heroes, to the first volume of Scott Pilgrim, to Scott Pilgrim Vs the World , to last years look at the uncanny x-men's rebirth with Giant Sized X-Men #1, i've always set aside my birthday to reflect on my past and celebrate it with something I truly love.

This year I decided on that.. for reasons that still break my heart. On October 9th at the ripe age of 70 Comics Legend and personal inspiration of mine Keith Giffen.. passed away. He had a long, good life and created countless amazing stories and characters.. but his loss will be a void that can never quite be filled.

For those who hadn't heard of him, Keith was a comic book writer who's best known for his work at DC, having helped redefine the Legion of Super Heroes and Darkseid with the legendary Great Darkness Saga alongside Paul Levitz, created the main man Lobo, the fourth wall breaking before it was cool Ambush bug, the incomprable Jamie Reyes whose first arc I covered this year, and of course, the one punch, the only, the bwahahah-ey Justice League international.

If your asking why it took this long to eulogize him if I respected him so much, the answer is simple: I didn't know. In an age where if someone dies it's usually blasted onto my news feed, even if I don't exactly google that person every day, I had NO idea Keith was dead till reading an amazon review.. which is the kind of sick irony he'd find hilarous, so I have that, but not exactly the way to find out one of your personal heroes died. So I scrapped my original birthday review plan (Letterkenny's Three Wise Men For the Curious) and decided to start a project i've been mulling over for a while now. So welcome folks to Wanna Make Something Of It: A Justice League International Retrospective, an ocasoinal look at this long run.

JLI has an intresting history to it so if you'll sit down i'll tell you

The Not Really Secret Origin of the Justice League International

It was the late 80's and DC Comics had just undergone a massive reboot with Crisis on Infinite Earths, the first true big event comic as we know them with tie ins and a massive reboot in the end as Editorial had felt the various alternate earths had made things too complicated. So a big blue murder man named the Anti Monitor tried to wipe out all of creation, leaving only five earths: Earth 1, where most of the action took place, Earth 2 where the heroes of the Golden Age, the Justice Society of america and their various successors lived, Earth 4, where the recently aquiried heroes of Charlton Comics like Blue Beetle, Peacemaker and Captain Atom resided, an earth not concidentally introduced for this crossover, Earth S, home of the Shazam/Captain Marvel Family, and Earth X, a world where the nazi's won WWII and only the freedom fighters stood in opposition. Basically any heroes DC felt like keeping and their shiny new toys.

The result was a new one world earth with a fresh coat of paint to let in new readers. It wasn't without issues: several corners of the DCU got torn up with my beloved Legion of Super Heroes getting some of the worst of it, with every resonable attempt to fix the retcons or bring characters back.. being shot down AFTER the story had already been started or happened, eventually leaving such a giant mess they rebooted in the 90's, while many a hero was left without an origin or clear history, Donna Troy having to have her origin redone again now her connection to wonder woman was gone, Hawkman became a hawk mess in part thanks to this very book, story for another time, and much more I don't have the time or patience to get into right now.

There was a lot of good in it though, as the reboot left room for new heroes like self promotional himbo with a heart of gold, Booster Gold, the now DC flavored Blue Beetle, and more, and for some the fresh start was badly needed, revitalizing Superman, and giving Wonder Woman and out and out reboot that, while taking her history away, exchanged it for one of the best runs on the character ever via George Perez. And eventually, after some growing pains, it gave us room for an all new flash after a lengthy murder storyline left Barry running out of steam. For all the damage it did i've learned over the years, the crisis still did a LOT of good and helped a lot of characters find their place in this brave new world.

One property vital to DC that needed this was the Justice League of America. A few years before the crisis, DC had noticed the sales of the League were down, and tried to revitalize it: the result was a book I hope to read and cover one day.. still called Justice League of America bu tknown to most as Justice League Detroit. The IDEA was good: feeling the league was a bit scattered after a martian invasion destroyed their iconic satalite headquarters, Aquaman called for them to disband and only those who could commit full time rejoin, leaving it with just him, Martain Manhunter, Zantanna and The Elongated Man. They soon added some fresh recurits in the cyborg steel, the horribly named in hindsight but loveable for her father daughter relationship with the Martain Manhunter, Gypsy and the sterotype tastic Vibe, who'd later be heavily reworked for the better by the flash tv series.

The idea was good but even from what defenders I could find after googling the team, the book had the good IDEA of making the team more of a surrogate family like the Titans or X-Men, but simply didn't seem to pull it off. It's part of why i'd love to look at it some day: the roster is good, with even the rookies being intresting Even Vibe at least had intresting power, a low income background not really see in the Justice League at that point, and cool shades.. even if him break dancing was very much

So I do really want to read this run and possibly cover it and if you'd like me to, let me know. It intrests me.

But while it intrests me now, no one at the time was really biting so DC decided to pull the plut. It really didn't help that , thanks to the crisis.. DC now had a wide buffet of characters they could suddenly ad to the league like Captain Marvel, the Charlton gang, and Dr. Fate.

So the team got the axe in the ties ins for Legends, DC's next big event that was also designed to bring the new team together. Legends has another really cool concept: Darkseid, god of evil and dc office bong , wanted to break earth's heroes for defying him so he could finally claim it and thus came up with Operation: Humilation. He sent his lackey Glorious Godfrey to earth , becoming tele-evanglist and far right loon G Gordon Godfrey, inspired by the times and sadly still relevant. Godfrey lit up an anti superhero fervor, causing Ronald Regan to ban superheroes while Godfrey spread the message of hate, helped by Godfrey setting up Captain Marvel to seemingly kill one of Darkseid's minons who was in fact a robot designed to die and scar a 12 year old for life.

The problem is the series is a bit too fast paced for it's own good, taking a message on how hate movements like this spread oh so easily with the power of tv, and speed running it so we go from Godfrey using real life hate tactics that are chillingly relevant, to the point we get scenes with a crowd nearly killing a 12 year old jason todd or a cop killing his partner after said partner lets Black Canary go then blaming her for making him do it, to ... him making people into murder dogs and storming the captial. In three issues. You have to nearly burn the country down to get people to do a insurrection everyone knows that.

On top of that like many an event after.. a lot of it's about setting up tie ins instead of it's core story so we get stuff like Jason being saved happening off panel or Darkseid deciding to take superman off the board.. and then doing it in a tie in.

That brings us to Justice League where one of the biggest fallouts of this event.. happens entirely in it's own book. I'm split on this as on the one hand, the end of the Justice League of America should happen in it's own book.. but on the other given they brought in another writer to end the book, I don't see why they didn't just cancel it early and say "To be continued in legends" and have Godfrey tied into the league's ultimate end instead of Amazo.

Alas instead Amazo and Despero clean house leaving the league battered, demoralized and in the cases of Vibe and Steel dead. Everyone whose left leaves.. .everyone except the person it means the most to, the person who almost never left and whose the heart and soul of the league for the Martain Manhunter vows it'll live on.

Cue the finale of Legends: With things escalating quickly, Dr. Fate, DC's Resident Mysterious Magic Man, gathers a bunch of heroes together to put an end to this: Batman, Martian Manhunter, Blue Beetle (Ted Kord), Black Canary, Green Lantern (Guy Gardner), The Flash (Wally West), Beast Boy (Going by Changeling back then), Mister Miracle (Scott Free), Superman and Captain Marvel (The future Shazam) to put an end to this, with Jonn clinching the heroes return to legality by coming in the save and Wonder Woman making her debut to the superhero community post-crisis by jumping in to help. The day is saved , and a new justice league is formed from the ashes of the old.

So you may be asking: Why this roster and why aren't Wonder Woman, Superman, the Flash and BB on the cover? Let's explore that under the cut as we delve into why this roster, the creative team for the actual book, and the first issue itself shall we?

Roll Call:

So you'd probably think given how team books work nowadays that future writers Keith Giffen and JM Demattis picked this team themselves, with maybe a member or two picked by dc editorial. It's what I assumed.. but nope, DC picked the team themselves, which .. does kinda bother me. A creator should really pick their own roster as chemistry is VERY important to a team book. It speaks to Giffen, DeMattis and Macguire's talents that, even dropping a few members in issue 7, the book comes off as natural as it does and said drops come off less as "this person we were saddled with isn't working" and more "they simply didn't fit into the group so we used the big rebrand to shuffle them out". DC may of picked the roster, but to their credit they choose well. As giffen himself put in the introduction of a collection of the first few issues back in 2008 "That call was DC's to make and as it turned out.. not too shabby"

So before we got into the actual book and who made it, I wanted to take a second to explore this roster as I wanted to show WHY DC might have choose them as I couldn't find any info on why this roster was picked, and simply have my edcuated guesses to go on

First who WASN'T added despite being front and center in legends: Each of the four members cut from the roster so to speak have good reasons for not being in the team. Beast Boy is the most obvious: he was never going to be in the League to begin with, they most likely wanted a titan to represent their flagship book for the crossover and choose one of the most popular.

For the Flash, Wally's a bit more of an actual misdirect as given he hadn't shown up since his decision not to take up the mantle, this was his big coming out party as the flash, with Wally deciding to embrace his mentors roll. It's also why he didn't take it up in story and likely out: he just put on the tights and didn't feel ready for the league just yet and the character would need some time in his own solo before it made since to plop him in a team book.

For Superman and Wondy it's also simple: Superman was being rebooted: He still had a LOT of his history, but major parts of it like his time in the Legion as Superboy or his cousin Kara were cut out, major villians were revamped, and his world was reshaped for the 80's while Diana was flat out rebooted by George Perez after sales had pretty much died pre-crisis, with said run now being one of my favorite comics and one I can't wait to complete some day and share with you all.

So that left the All New, All Diffrent Justice League with a roster consisting of Batman, The Martian Manhunter, Blue Beetle, Captain Marvel (Now known as the Captain or Shazam), Dr. Fate, Black Canary, Mister Miracle and Green Lantern (Guy Gardner). So for those of you less familiar with some of these guys, let's get aquanited, as well as figure out why DC choose them.

Batman: Batman is here because he's batman.. I could end it there but that'd leave the question of why Bats was okay to go but SUperman and Wonder WOman weren't. The answer is simple: Batman.. didn't get rebooted by Crisis. Things were changed like Jason Todd's backstory, some villians erased, some bits of history tinkered with, but that was standard for most post crisis heroes. He'd have a new defentiive origin with Frank Miller's year one, but Denny O'Neil had already soft rebooted batman back in the 70's, so he wasn't in as big of a rut. Crisis took out weird shit from the silver age that I love but understand why maybe it's best reinstated as a drug hallucination, thank you Grant Morrison, and Earth 2 batman, but it really didn't change who Bruce was, his status quo etc. Batman was selling well, Dick Grayson was super popular over in New Teen Titans, it was something DC knew wisely not to fuck with. Granted I haven't gotten as hands on with just after the crisis batman as I have Superman or Wonder WOman, so I could be wrong, but most of the changes were to villian backstories, stuff that was necessary and handy, but not things that really shook up who Batman was or what stories were going on with him like Superman and Wonder Woman. And since Batman is a lisense to print money, for better or worse, they stuck him on this team.

Martain Manhunter: The Martain Manhunter is Jonn Jonzz, a cop from mars who got accidently kidnapped by an old man to earth and took up resdiense as a detective. Jonn would get a full mini establishing who he was post crisis I have not read by Giffen and Dematties but i'm now dying to now I know it exists. Jonn was a founding member of the justice league and a big hero during the silver age, and comes off as the JLA equilvent to the Avengers Wasp, not in terms of character, Janet and Jonn aren't like each other in the slightest but I do think they'd hang, but in being a hero who has a storied career almost entirely tied to one of their unvierses big super teams, but not much solo wise. The former has meant he's been bounced around a bit and even left out of the team in the new 52 for cyborg, but also means he's a treasured part of it, an elder statesman who gives the team a sense of a heart among a floating lineup. He also gives the team a power house, having most of superman's powers PLUS telepathy and shapeshifting. Jonn is one of my faviorite DC heroes owing to the justice league cartoon

Guy Gardner: Guy is an odd duck in that both John Stewart and Hal Jordan were wearing the ring, this being the first time all three earth lantern's wore it, so WHY Guy was chosen out of the three was a mystery given JOhn was, as far as I know, popular even then and Hal was the old reliable, back before everyone was sick of that and wanted them to remember they had 7 or so people more intresting. Guy was Hal's understudy. He literally didn't get the ring.. because Hal Jordan was closer, and thus was picked to become a space cop later. He was depicted intially as a school teacher before being resculpted into a jingoisitc asshole by Steve Engleheart, something that was cemented and fleshed out here. He also has a three stooges haircut, something I feel adds to his asshole charm and feel had to be brought up at some point.

Dr. Fate: Dr Fate is kent nelson, a vetran of the JLA's predecessor, the Justice Society of America. Originally the JSA was part of Earth 2, but was merged with Earth 1 so now they simply.. existed before our heroes, retired due to Mcarthyism, then came back into action when the new age of heroes launched, with deaging and such used to explain how their still around. Fate was chosen likely because he looks neat, they needed a magic guy, and they wanted a JSA rep on the team. He.. didn't really quite fit as it was clear DC didn't know quite what they were doing with him yet.

Blue Beetle: My boy ted, who I've already covered on this blog before, but this is his shining moment. For those less familiar or who missed the underated blue beetle film, Ted is an inventor who found out his uncle was planning to take over the world with an army of robots, and enlisted his close friend Dan Garret, who turned out to be the OG blue beetle and sacrificed his life to stop Ted's Uncle, passing on the mantle but not the magical alien beetle. Ted compensated by building a ton of gadgets, having plnety of quips and generally being plesant. Ted was part of Charlton Comics, a company DC had bought recently, and having his own series at the time, being fairly popular, and having an outfit created by Steve Ditko himself, he was a shoe in and a nice pick from the b-list. Grante di'm biased and this series is entirely WHY, but Ted's a fresh face in the dcu who comes in hot with plenty of experince and a cool ship for the group to fly around.

Black Canary: Dinah Lance was changed by the crisis, going from an immigrant from earth 2 to the daughter of the original. She was also made a founding member of the justice league to replace Wonder Woman because she as the only prominent dc heroine who who would've been active at the time. And yes she's wearing THIS for her time in the JLI

And honestly it's.. meh. I think they were trying to give her a less casual look, but the fishnets and black leather jacket just fit. Sometimes a superhero just needs something anyone could wear in the right order to have a super outfit. I'm not against civlian style costumes if it fits the hero and dinah's just.. fits. This one just dosen't suit her as it's a bit too bombastic.

Dinah's likely here both for her new jsa connection and new jla founder status. She's also here because the team needed a female member, alongside dr. light, who we'll get to later.

Captain Marvel: Billy is easy. While DC had aquiried their former rival Fawcett back in the 70's, and thus one of the best superman immitators there ever was and ever will be, Billy had been on earth S since they bought him, and like Dr. Fate is there to show off how the earths are all merged now. He's also another power house, and was someone dc was trying to push. DC.. never really knows HOW to push captain marvel and i'm hoping his current series by Mark Waid helps. If you haven't read it check it out, it's possibly the characters best that i've been able to have acess to (Since DC hasn't reprinted the golden age stuff quite yet). For those who haven't heard of him, Billy Batson is a ten year old who was chosen by a wizard to become his champion and thus can act out the movie big but with superman powers whenever he wants. I love him dearly and wish DC knew how to market him.

Mr. MIracle: Last but not least Mr Miracle is Scott Free. Scott is part of the new gods, Jack Kirby's big contribution to DC that also included bong of evil Darkseid. To keep the peace Darkseid and his counterpart Highfather did a son swap, HIghfather getting Darkseid's angsty son Orion and Darkseid getting Scott, who he gave to Granny Goodness, the God of Child Abuse, who gave him othe name to mock how he'd never be free. Naturally this strategy backfired as it only fired up young Scott to escape, becoming the escape artist, hero and wife guy mr miracle. The last part came courtsey of big barda, another one of Granny's charges who came to take Scott back, but was convinced that maybe hellpits weren't the best place to live, and married him in Kirby's last issue on the two. Scott is here to emphasis the new gods,s something DC was playing with more post crisis. His manager Oberon, a cheery fella with Dwarfism, is also here because Demattis and Giffen had a lot of material for the guy it turned out and Oberon is essentially the team's guy in the chair.

So with this motely crew assembled let's see what this dynamite creative team did with them as we begin the storied history of the justice league international... the international part comes later.

Starting with the cover. While usually i'll skip these in an analysis, it's both a habit I need to break and would be a criminal act here as the cover for Justice League #1 is my faviorite comic book cover of all time and my faviorite to see an homage of.

It's simple, but it's perfect. The group shot is well deisgned, showing everyone off, but in a way that's diffrent from the usual action poses we get. Their clearly ready to kick your ass then their gonna fuckin kick your ass, but it's in a way that's unique, shows the team's unity. It also is taken so seriously here.. that it makes it ripe for jokes later in the series. The wanna make something of it ffrom guy both echoes the tough image their going for.. but fits the goofy tone the series is really going to have as it settles in. This comic has been homaged to oblivion and rightly so. Even Keith's memorial image dc put out is this but with Keith and all his creations.

We open the issue proper with a declaration.

It's one of my faviorite opening pages in a comic: It's beautifully drawn by artist Kevin Maguire, sets up the setting well and sets up guy as having his head firmly up his own ass.. it's why he has the bowl cut you see, helps him get it up there nice and tight.

The issue smartly introduces the cast one or two at a time, letting each character get a proper introduction and seeing how they bounce off each other as they file in.

So first in is Black Canary, who marvels at their old headquarters recent reneovations. Our heroes start the run in the Secret Sanctuary, the Justice League's first headquarters built into a mountain in Happy Harbor Road Island. And if it seems familiar to some of you, it should as after the JLI were done with it the Doom Patrol moved in for a bit during Grant MOrrison's Run. Most famously and lastingly, Young Justice, another team I have to cover at some point, made this their main hq, the only team to really make it a home that wasn't a justice league. And to prove that point the JSA also stayed here briefly. It's this weird go to for teams who need a headquarters for five minutes.

Anyways Dinah remembers the good times and all the ghosts, guy's a dick about it humming the twilight zone theme, and assumes he and Dinah will have a sam and diane thing and not a "Stay 50 feet away at all times thing".

Next up is Mister MIracle, whose nervous about the gig, not sure if he belongs there. Out of the leaguers Scott tends to stick to the back, not shy or afraid to speak up when needed, but not as outspoken as his team mates. This nicely contrasts oberon whose all too happy for the box office as even if this lasts a cup of coffee. He's less happy when Guy makes a shot at his dwarfisim and Oberon's grumbling is hilarious.. as would've been him decking guy but we still got a few issues till someone finally does that.

Billy zooms in, shocked by all the press, showing his naivitie: even after all he just went through... Billy is still a bit shocked by just how profile this is and happy to be there. Enter the boys, Martain Mahunter and Blue Beetle, with Jonn not forgetting the whole LEgends fiasco so soon, and having a bit of a mope... though he soon makes a valid point to ted as he turns on the computer.. and shows the Detroit League. It's a nice reminder that even if the team wasn't like.. they were still close and still Jonn's proteges.. and most most of them are dead and those that arent quit due to the trauma. So doing this, while something he feels is necessary. Cue Guy banging a gavel and declaring the meeting started

We then cut to the offices of innovative concepts where we meet the heart and galbladder of this run, Maxwell Lord, a mysterious man in a suit whose watching a row of tv's. Max isn't evil like he'd later be retconned into being.. but he is VERY shady at this point, watching all the coverage on the league and in one of my faviorite subtle little things scratching the "of america' part out of the legue's name on a pad of paper.

I want to take a minute to point out macguire's facial work.. i'ts incredible, nicely detailed, realistic, but still cartoony enough to have tons of personality. Just looking at max you get his smugness, ego and sense of control all at once with him having barely said or done anything. There's been plenty of masterminds sitting behind a row of tv's, but you get Max's vibe immedietly while still wondering what his deal is and what he wants with the team, the latter being the main mystery of the books first year. Back at the Sanctuary, Dinah and Guy argue as SHOCKINGLY the experinced vetran with an eye for the teams legacy dosen't want sylvester calzone here running things. Oberon TRIES to intervene on Dinah's beahlf but get's literally brushed off and Jonn trying to be an adult in teh room.. gets Guy picking him up and making a green giant joke, both funny, both well done.. and enough to get even JONN pissed enough to enter a brawl.

Cue the goddamn batman.. and dr. fate whose here too. That's.. really fate's roll for their time on the team, their just.. here. While Giffen and Demattis did really try to work with most of the roster they were given, seeing who worked and who didn't, Dr. Fate just didn't fit this team. As you can see already.. a key part of this team is disfunction. Some become true companions eventually, but it's mostly a bunch of personalities that barely function together, fairly normal people who put on tights. It's the charm of the series: instead of just getting along or having the usual angst, these guys just make digs at each other and amble along, but DO get the job done and do deserve to be called the justice league. It's just a version of said league that dosen't take itself seriously and has fun with it, and that treats this group like people. Normally the Guy Gardner in the group would just be ingorned but because he actually DOES have the power to toss people around (and props to the creative ways he does), it leads to an actaul brawl.

Fate... doen't fit into this. Fate is an enigma, mysterious and distant. So they simply.. don't work well in a jokey sitcom. It's clear the duo LIKE the character, they'd reinvent him soon enough, but he just didn't fit what they were going for.

So that begs the question how BATMAN does.. and he answers it, cowing everyone else into stopping it and getting guy to sit down before dryly reading out the charter. Bats is the boss in this workplace sitcom, and he's a mean one, being an utter dick to dinah at one point.

This moment horks me off.. but it's also a perfect encapulation of batman's leading style: shut up do what I say. Even someone whose his EQUAL , and who founded the team before him and thus has senority, he just tells them to shut up when she's making a valid point: their fidgity because this meeting is nervous nad because they just went through some crap. What I like is that despite having BATMAN.. the dream team dosen't glorify him. He's still batman, he shuts down the room with a glare, is a tactical genius and thus great at leading in the battlefield.. but it's very clear even this early on he simply.. can't lead this team well. He has a barking "do what I tell you style" and expects them to be good soldiers, treating them like a group of sidekicks instead of experinced heroes.

It's not something the group pull out of thin air either: Batman used to have a team of his own, the Outsiders, formed after Batman walked out on the league for refusing to let him rescue Lucius Fox and turned in his badge when Clark wanted him to sit this one out as a league member. He found a bunch of other heroes along the way, and choose to make them into a team, but it was very clear that the outsiders were partners, and weren't treated as full equals, with the exception of Black Lightning who Bruce felt was on his level. He wasn't bad to the team, helping find the younger amnesaic Halo a home, setting them up with day jobs, but his style is very much "listen to me or there's the door. "

The problem is while the outsiders were mostly fresh faces to being heroes or out of practice like metamorpho or black lightning, Bruce can't let that guard down even whent he heroes have more than proven themselves. It popped up in a crossover with the New Teen Titans where he started ordering that team around, with Dick eventually having to tell him to shut the hell up and let Dick lead his own damn team.

So while it's midly grating here it fits: Batman is so determined to keep this league together he's treating them like his backup i nstead of experinced heroes, two of whom HE'S BEEN ON THE LEAGUE WITH BEFORE.

Anyways Bats does have ONE good point in his leadership so far: he wants the team to keep a low profile. While it's hard given the army of camera's outside, the team dosen't know each other, hasn't trained together yet, and needs time to be in full shape. After all they just barely got superheroes back in the popular opinon: while Godfrey DID juice up people's emotoins, it dosen't mean it won't swing back to negative easily if they fuck up.

Unfortuantely for them... someone else has other ideas.. and i'ts not fate because their in the room. At the UN Kimyo Hoshi is in the bathroom puzzled by receving a JL signal device from Max and not sure if she'll accept. Kimyo is the second Dr. Light, a hero unlike her predecessor and a scientest from Japan who got her powers during the crisis. She.. wont' be here long as while the issue plays her up as a member on the cover, she never fully joins the league. More on that in the future. For now she exits the bathroom.. to find herself a hostage. Terroists have taken the UN. THankfully she activates the device and while Batman's very confused dr. light has one, rallies the team to go anyway.

Naturally Brucey Boy is cautious, having most of the team get in the bug, while he sends Fate and Billy to scout ahead. Guy WANTS to but Batman's response to the idea of sending a human bulldozer who barely listens to him into a tense hostage situation?

The team enters and despite the disfunction so far... it goes easily: Guy seals the premiters and probably invents some new swears, beetle does his best as the guy in the chair in the bug

And Fate.. well fate left and told Billy batman would understand and left the ten year old to explain this.

The league clean house.. but Batman notices a problem: these guys are ameture, clumsy and their equipment is oudated. Something else is going on here.

Time for that is passed soon though as Guy dive sin and finishes the job quickly. It's a nice sequence overall that shows the team REALLY is this good: this is a setup sure, but they don't know that. The lead terroists plans to detonate himself and batman... tells them to clear the room and let him, knowing somethign we don't as the man prepares to fir eon him and after they exit we get a wrapup via news as Max once again watches

So yeah SOMETHING made the leader kill himself, and max is behind anything. not a MASSIVE twist as the batman conversation set it up, but still a neat one: Max has plans for the league. I also like the focus on optics here: it's something I don't THINK the league had done before, the idea of how the media views a superhero team. This verison of the league isn't bad.. but Batman's refusal to talk to the press allows them to paint the narrative they want instead of the league controlling it. It's what gives Max a leg up on slowly wrestling control of it and makes him a compelling character from the word jump: Unlike Batman, he clearly gets optics, having set this up to force the league into the spotlight bright and early and removing the of america part to give the team a bigger calling. His tactics for doing this are also brilliant but we'll get more on them as we go.

For now this issue.. is as good as ever. Amazingly drawn, sharply written and nicely snappy, setting up the team, the myth arc with max and the situation their in all in one issue while modernizing thigns a bit: instead of space monsters our heroes are now fighting terrorists. Not that I mind fighting a godo space monster, but I get trying to give the leauge something diffrent and more part of the world. And part of the world is a major part of this series: putting the League more into our world an dhaving to deal with things like the media, other nations, etc. It's a brilliant start

Next Time: The last heroes of a dead world try to save ours while a greedy bearded man wonders who he can exploit this and the team gets some gold.

Teenage Mutant Ninja Turtles: The Ultimate Visual History (2014)

Review part 3.

A further incentive to purchase the visual history book of TMNT, is it comes with a complete reprint of the very first Mirage Studio's Turtles comic.

I've previously reviewed that issue for its historical relevance & is an essential read for all Turtles fans regardless of which era of Turtles, they grew up with.

The main book itself leaves little out in its retrospective history of the franchise, through interviews, that provides rare insight to the Turtles as well as honest opinions of its high & alls. Even if some of the stuff you already know they'll be mixed in with fresh behind the scenes facts & previously unseen initial sketches of comics, storyboards & on set photos.

This book isn't easy to find in shops or with a low price tag as say, a similar themed book on the history of a DC or Marvel comic franchise, but it's worth searching for it online & paying that little bit extra, especially in regards for the in-depth content.

#teenagemutantheroturtles #nostalgia #teenagemutantninjaturtles #kevineastman #peterlaird #tmnt #ninjaturtles #80s #eastmanandlaird #ninjaturtles #turtlepower #90s #miragecomics

LGBTQ+ Characters in Comics from the 20th century I like

It’s June, Pride is here and rainbow colours are everywhere. So, I figured I’d be a little retrospective and share a short list of LGBTQ+ characters in comics from the 20th century I have a soft spot for. I’ve organized these by date of the characters first appearing but, happily most are still having stories written about them today.

Let’s start with three ladies from DC: 

Catwoman

Catwoman, specifically Selina Kyle has been around comics for a long time, nearly as long as the turbulence of her relationship with Batman. Though, Bruce isn’t they only character she has involved herself with over the years. I’ve got my share of comics featuring this fierce lady of many lives and antiheroine, including part of the New 52 run by Genevieve Valentine a few years back where her bisexuality was acknowledged as canon. Though, it was the film adaptation Batman Returns in 1992 with Michelle Pfieffer that blew me away when I was young. And remains, I think the most iconic Catwoman costume, which you can see in 4K now. Hear her roar.

Wonder Woman

Wonder Woman is another longstanding character and probably the most popular female superhero. I had comics as a child with Diana along with watching the sometimes campy 1970s TV series with Lynda Carter. Perhaps even more interesting than the Amazonian warrior herself is the passions of one of her creators William Marston and the themes of those earliest comics. (I’d suggest the book Wonder Woman: Bondage and Feminism in the Marston/Peters Comics 1941-1948.) And of course, also the controversy over a strong heroine standing on her own sparked by Fredic Wertham in Seduction of the Innocent.

Poison Ivy

Poison Ivy, or Pamela Isely with her sexual agency and connection to the Green, who admittedly may go about fighting for the environment as well as for women or children in the wrong way sometimes, is my top female character from American comics period. After again some rough treatment in comics recently, I wrote this year about her origins since 1966. Most people these days probably can’t think of Ivy without Harley, since it’s been 20 years since their first meeting in comics (longer for other mediums) but, these gals have a relationship that isn’t monogamous and has had it’s on again off again points too. (And note to DC maybe get it together on just how you define it since you waffle a bit hmm?)

 Taku and Venomm

Black Panther was one of the few Marvel comics characters whose stories I’ve wound up reading. (My mum had this thing against some comics and one of my older brothers mainly passed on DC issues to me.) The Jungle Action installments written by Don McGregor are to this day still memorable. And part of that should be due also to Taku and Venomm (Horatio Walters), the latter first appearing in the “Panther’s Rage” arc. Though, it would take time for the open acknowledgement of this example of early gay characters in comics. Sexuality outside the heterosexual among other topics was taboo in the 1970s yet, McGregor managed with a collection of artists to bring a vision of Wakanda focusing largely on its black inhabitants and difficult social issues in the world to publication.

 Juli Bauernfeind

I read The Heart of Thomas by Moto Hagio about boys at a German boarding school when I was 21. Juli was a character I connected to and the story had a profound effect on me. And I bawled my eyes out. It still makes me cry and is still one of the best comics I’ve ever come across. I reviewed the English edition a few years back. As well as wrote a post on the French bisexual author Roger Peyrefitte whose novel was adapted into a film which inspired Hagio.

 John Constantine

Full of politics, call it dark with a dose of nihilism but, Hellblazer with John Constantine is just damn good. Sometimes the world is awful, people are awful, you’re awful and well yeah everything is going to hell. Constantine is pretty much dreadful for the women he’s often involved with, or well anybody really. It was in the early 90s readers were first clued into the history of his love life made up of girlfriends and boyfriends. And can we fail to recall the later S. W. Manor from Ashes & Dust: In the City of Angels, one of the most visceral takes thru a character that is basically a stand in for Bruce Wayne, and his twisted relationship with John? I’m not. It’s been a strange trip over the years some adaptations really glossing over his sexuality. Though of late handling this aspect of his character appears to have gotten better.

 Stormer and Kimber 

The madcap Jem and the Holograms was one of my favourite cartoons as a child in the 80s. I even had some of the dolls and cassette tapes. Stormer aka Mary Phillips part of the Misfits was the rock star I loved the most. Dedicated to music and actually quite sweet with the optimum blue hair. I had to try the colour myself. The episode where she teams up with Kimber after both have differences with their respective bandmates is a classic. So, it was truly outrageous when the series was revived in 2015 in comic book form by Kelly Thompson and Sophie Campbell, and the Stormer and Kimber relationship that had been brewing came fully out for fans. (Btw the comic also added a new character, Blaze who is a trans woman and girlfriend of Misfit’s fan Clash.)

  Ash Lynx and Eiji Okamura

It’s been interesting to experience Banana Fish by Akimi Yoshida in different ways from first encountering the comic when I was a teenager, picking it up again in my twenties, and yet again the animated TV series last year. I wrote about the comic and first few episodes of the 2018 adaptation when it was airing. Though, I haven’t posted much more on it because there’s a tiny percentage of its fandom I want to avoid, as well as 30+ years on the series is still— pain. This one is a tragedy folks. However, it also has a beautiful healing love story and touched on a variety of hot button issues that are sadly still relevant today. My love for these two teen characters in a gritty USA will live forever.

  Chihaya and Kagetsuya

I’ve written before how the sci-fi title Earthian was what introduced and endeared respect for m/m comics from Japan for me. The art style of Yun Kouga has changed a bit over the years, nevertheless still stands out from the crowd. And Earthian with a taboo love between androgynous male angels remains my favourite of her work.

Michiru Kaiô and Haruka Tennô

Sailor Moon has become a multimedia sensation and is beloved around the world. Many kids and even adults of all sorts in the 90s will remember it in one form or another and cite it as an influence for pursuing careers in all sorts of creative fields. Along with countless fans recognizing or discovering something of themselves in the characters. There are several different characters for rep in the series. But particularly for me Michiru and Haruka were an opportunity in a very anti-LGBTQ+ climate (their relationship was even refashioned as being cousins when brought out in English for the first time) to nevertheless see such a loving, positive relationship.

Tomoyo Daidôji

Love is a theme the creative team CLAMP revisits and revisits and Cardcaptor Sakura is the magical girl comic series with a theme on all different forms. It is one of the first all ages titles from Japan that I will recommend to people. (Despite fyi containing a whopping four student-teacher relationships. Not the purpose of this post to go into right now though.) The best friend to Sakura, Tomoyo is one of my favourite characters. Always supportive, maybe a bit alarming popping out of bushes or other spots with her camera at the ready to catch either Sakura’s everyday life or battles, and possessing boundless fashion sense. (Btw, there are other characters in the series that are or could be interpreted as examples for my list as well. Sakura among them.)

  Isabella Yamamoto

Paradise Kiss by Ai Yazawa, a sequel of sorts to one of the huge girls’ comics titles of the 1990s Gokinjo Monogatari, introduced a group of teenagers on the verge of graduating, some with an idea of what to do with their lives and others questioning the path they’ve so far taken. Isabella from an affluent background but, who struggled for acceptance from her family or nearly anyone until she was gifted a handmade dress by her childhood friend George (who is Bi btw), studies pattern drafting at the same art school as Gokinjo Monogatari. The most mature of the main cast, refined, always listening and offering a cup of tea, she achieves her dream career and self-actualization in fashion. Since I have a degree in fashion design, I have to agree that clothes are so much more than just something we wear.

Meet the the All-Stars

New York City’s largest art collective brings its A-Game to 198 Allen Street this summer (August 6th - 12th) in an epic retrospective of long-time collaborators and studio members. Hand-selected from our rich eight-year history in the Lower East Side. Approaching the art world on their own terms, presenting artists embody the culture of Con Artist Collective. Join us for a public gallery reception Thursday, August 9th, 2018 7pm-11pm. 

Now we would like to introduce each featured artist:

Kayo Albert 

Kayo Albert was born in Hyogo, Japan. After graduating from college in Kyoto, she came to New York to study painting at Art Student League, New York Studio School, and School of Visual Arts. She is actively creating and exhibiting her work in New York. A member since 2014, Con Artist Collective has been her hub for collaboration, exchanging ideas, and inspiring with other fellow artists. Her work is abstract painting heavily combined with drawing on a surface called Mylar. Her use of paint rich in fluidity creates translucent layers, and gives depth and complexity. Mylar of which most of her paintings are done, also gives translucency, luminosity, and airlines. With strong interest in Carl Jung’s psychology, she takes references from nature, and memories perceived and stored in the unconscious, extracted in altered form. She expands her work in several projects: The Iceland Project explores the juxtaposition between abstract painting and landscape photography, which she took in Iceland. In The Pillar and Fault series, paintings are mounted on multi-dimensional planes of wooden board to cross the boundary of 2 dimensional surface.

Tomaso Albertini 

Artist Tomaso Albertini was born in Milan, Italy (1984) where he attended the La Scuola del fumetto di Milano. He lives and works in New York City. His first professional work of large format paintings concentrated on a serious investigation of color. Here he broke free from the confines of illustration, the subject emphasized in his academic training, and began to create emotional projections that served as the foundation of his further development. Guided by instinct, he mixed color on flat surfaces using abstract forms that ultimately revealed figures. After this initial period, there was a big change. Albertini began to experiment with new materials. He wanted the work to be more physical - more direct. He introduced the use of burned, melted plastic into the paintings. He has described the process as a defacement of the figure in an effort to dig into the life of the human form. One senses the physical presence of form conveyed by a willful act of transference. Albertini than started to create three-dimensional art using cardboard. It allowed him to accomplish the figure as if it were a sculpture and paint on it as if it were a canvas. This technique introduced dynamics approaching sculpture. It is, in fact, a hybrid manifestation.

Atomik

Atomik is a 100% Miami artist. Atomik, trained in graphic design, is a big name in the Miami art scene. The graffiti legend, part of the infamous MSG crew, a group of local graffiti heroes, has been painting the city for quite some time. While growing up in the emerging Miami graffiti scene of the 80’s, Atomik witnessed for himself at a young age what would later become his profession. Famous for his iconic orange character which emerged as a response to the demolition of the Miami Orange Bowl, the artists also marks the walls of Miami with his sleek hand-styles, graffiti and lettering.

Jaouad “The Jah” Bentama 

Jaouad Bentama is a French artist born and raised in Paris, France. As a kid from a non-artistic family, his passion was initiated by his neighbor who took him to his first museum trip, which exposed him to different art styles. Jaouad creates artwork that echoes deeply with the lightness, the happiness, and the innocence of childhood.

Ian Bertram 

Ian is an artist working in multiple drawing and painting disciplines. His large scale works have been shown in Paris (Gallerie Glenat), Sri Lanka (Barefoot Gallery), and New York (David Lewis, Lazy Susan, Society of Illustrators). He has worked for Marvel, DC comics, Image comics, and Glenat BD. His current project is a creator-owned title called Little Bird, being published by Glenat Bd in France the winter of 2019.

Andrea Cook 

Andrea Cook is an international artist dedicated to empowering women through her paintings on various mediums including the street. Her latest series, Pussy Power debuted at the Museum of Sex in 2015 in NYC. With over 1000 pieces, now in collector’s homes and on the streets in cities all over the world, this body of work continues to grow along with her role as an international artist and global activist. From a 20-year entrepreneurial career in technology and communications that began in Chicago, Cook evolved into a visual artist and has become purposeful and passionate about creating street art that empowers women that drives real social change. As a changeologist, Cook has a large body of work on change that has been showcased in hundreds of shows and venues throughout the country. Wallpaper Magazine "cherry-picked" Andrea Cook’s Pussy Power art as one of the “finest works” from the Art on Paper show during its Art Basel review in 2015.

Charlie Cunningham 

Charlie Cunningham’s artwork invokes the contradictions within subjects both dubiously humorous and revolting. Utilizing campy motifs and materials, he searches for humorous optimism in mortality and satirizes the perverse nature of our destruction, both at the hands of time and our fellow man. His artworks span figurative sculpture, installation, drawing and painting. Each work can incorporate a wide variety of mediums including, ceramic, silicone, found objects, charcoal, urethane foam, resin, acrylic, and human hair. Charlie has recently exhibited at the Governor’s Island Art Fair, Burlington City Arts, and The Delaware Contemporary Art Museum. He is also the recipient of several awards and honors including a Teton Artlab Residency, Rasquache Artist Residency, and the Penn State University Creative Achievement Award.

Hektad 

Hektad is a New York City graffiti pioneer. In 1982, at the age of 12, the Bronx native set out to compete with veteran bombers such as Mitch 77 and Chris 217. After an intense 12 year campaign on New York’s streets and transit system, Hektad took a well deserved break to focus on his family. In 2013, he returned with a vengeance. After jumping into what many consider a cluttered and undefined street art scene, Hektad clearly took the lead with his whimsical “Love Drunk” hearts and humorous anecdotes.

JCORP 

JCORP is an American artist based in New York City. Known for her bright, starry-eyed characters, she explores pop culture and contemporary romance through street art, murals, and illustrative painting. She studied Visual and Critical Studies at the School of Visual Art and earned her BFA in 2014.  Some of her clients include MTV, VICE, NBC Universal, Redbull TV, Creative Nail Design, Ricky's NYC, The Doughnut Project, Black Tree Brooklyn, and Little Skips; among other public art projects such as The 100 Gates Project, Centrefuge Public Art, Arts Org LIC, Welling Court Mural Project, Lower Manhattan Art Festival (L.I.S.A. Project), JMZ Walls, and many more.

Seunghwui Koo 

Seunghwui Koo creates her works drawing inspiration from the daily happenings and intricate moments of her life in NYC.  Her work is a commentary on the lives of New Yorkers as she has witnessed. She was born in South Korea, where she first had the idea of combining the pig’s head and human body. The significance of the pig’s head lies in the different symbolic meanings from the Eastern and Western cultures. Good fortune (Eastern) and greed (Western), two very different connotations of the pig, are themes that are a part of her works. She uses resin, acrylic, plaster, clay, and mixed media to create her works. She is one of the artists in the Chashama organization in NYC.

Joseph Meloy 

Joseph Meloy is a muralist and mixed media artist who creates electrifying images that trigger the senses. His art is more of a subconscious realization of an idea or thing, than it is a fully realized or recognizable concept, yet there is enough there to convey a purposeful message of emotion, movement or mechanization. He has a distinctive style – each painting is a little different, but it’s always abstract with a bright color palette. He calls his work “post graffiti” art and coined the term “vandal expressionism” to best describe what he does.

Dean Millien 

Millien is an NYC-based artist who creates sculptures out of aluminum foil. His first solo exhibition, “Curses, Foiled Again”, was debuted at Con Artist Collective. He has been commissioned by J.Crew for their “Crew Cuts” kids lines. His sculptures have also been featured in Macy’s window display.

John Raymond Mireles 

John Raymond Mireles began his artistic career in the mountains as a rock climber, photographically documenting the lives and exploits of his fellow vertically inspired athletes. Though a climbing rope is no longer part of his equipment list, Mireles continues in his photographic adventures. His most recent series consists of portraits of Americans from all 50 states. Entitled the Neighbors Project, it has been publicly installed in San Diego, Phoenix, Anchorage, and in New York City’s Lower East Side - where it was listed by the New York Times and The Guardian newspapers as one of the top public exhibitions of 2018. Solo shows of his work include the Anchorage Museum in Anchorage, Alaska, Bread and Salt gallery in San Diego, and Circuitous Succession in Memphis, among others. Mireles is a recent transplant to New York City from his hometown of San Diego, California. His first solo gallery show in New York City will take place in September 2018 at the Storefront Gallery in the Lower East Side.

MOR 

Mor is an artist and Brooklyn native. A daughter of storytellers and artists - her narrative originates from an inherent urge to express an inner landscape of dreams and symbols. Spirited forms of flora and fauna emerge from a delicate and meditative process of paper cutting. She utilizes both pencil and blade to create these multi-layer stencils and singular paper cuts.

Victor Joseph Ochoa 

Victor Joseph Ochoa (b. 1988) is an artist born and raised in Brooklyn, New York. After graduating from The Cooper Union in 2010, Victor began to pursue a career in graphic design within the publishing industry. He has worked for companies such as HarperCollins, Scholastic, and Simon and Schuster designing books for children of all ages. He has had books on the New York Times best sellers list and has worked with companies such as Nickelodeon, Lionsgate, Guinness World Records, Rovio, DC Comics, and more. He is a member of the Con Artist Collective in the Lower East Side of New York City. Here he creates, mentors, learns, and grows with a family of artists from around the world. Outside of his graphic design career Victor continues to pursue all aspects of creation. In 2010 he started the independent comic publisher DRAWMORE INC., where he self-publishes comics. He has exhibited at numerous local comic conventions, such as New York Comic Con, MoCCA Festival, and King Kong. He also ran a successful Kickstarter campaign for the comic anthology NOBODIES Volume 2. He previously worked as the Lead Publishing Designer at Marvel Entertainment. He currently is an Art Director at Ellation (Crunchyroll & VRV).

Cody Oyama 

Cooper Union alumni working with history, memory and the inability to touch either and the failures of both. Cody, along with Laura Tack (who now resides in Morocco) were two of the earliest artists to join the Collective and played a large role in the development of its culture.

RAD (Raddington Falls) 

RAD is an artist and art educator in New York City. Originally from Los Angeles, Cuban-American RAD has exhibited and sold artwork online, galleries and alternative spaces. He has taught in museums, public and independent schools and community centers. His artwork embraces the person we were as a child. Sometimes, his artwork is a harsh mirror of our society. Most of the time, it lives somewhere in the middle. And perhaps his work may allow people to tap into their own sense of wonder and the power somewhere inside of them.

RX Skulls 

Rx Skulls aka Arrex is a adhesively obsessed exterior decorator from Portland Oregon who’s street art revolves around a single skull photo taken in the Natural History Museum in London. The project began its evolution in 2010 after a series of medical hardships and a trip to Europe, which exposed Rx to the world of street art in person. Having already dabbled in screen printing, creating stickers and posters from scratch quickly became more of an addiction than a hobby. To this day, six years later, Rx travels the world sharing his skulls, tombstones, poison labels, and plethora of other morbid designs with the masses.

Audrey Ryan 

Audrey Ryan is a figure painter with a dark sense of humor, hailing from Binghamton, New York. She holds a BFA in Drawing & Painting and a BS in Visual Arts Education from SUNY New Paltz. She is prolific, producing a constant stream of of observational gesture drawings, usually in ink or charcoal as well as many large-scale oil paintings. Her work is regularly published by Endless Editions, and is distributed/exhibited internationally. She is informed by punk culture, and histories of disorder, addiction and recovery. While also making drawings, poems, prints, zines, videos, installations and tattoos, she aims to communicate the struggle to survive our human selves.

Rachael Senchoway 

Rachael Senchoway wishes to inhabit a space where her restless energy can channel itself into something that lives outside of her body. She takes in her environment and returns it to the world as characters that are ultimately stand-ins for herself, and people she knows in her dreams. She is able to exert control over this dimension and integrate the creatures into a system that allows them to escape, become heros, animals, lovers, and ghosts whom exist in an ongoing myth. Creating these places helps her to see where she’s been, and where she’s going. Each painting is treated as an individual meditation within a body of work. These ideas allow her to rediscover the complexities of her own human experience.

Katie Shima 

Katie Shima (BA Columbia University, MArch Columbia University Graduate School of Architecture, Planning, and Preservation) is an artist and architect based in Brooklyn. Katie has had exhibitions at BRIC, the Knockdown Center, Bridge Gallery, Mighty Tanaka Gallery, Devotion Gallery, Trestle Gallery, and others in New York City as well as the GWVA Museum in Springfield, MA, and D.A.K. in Aarhus, Denmark. Residencies include Trestle Art Space, Con Artist Collective, Clocktower Gallery, and Det Jyske Kunstakademie. Katie is also a founding member of the electronic noise art group Loud Objects and has taught as an instructor at Columbia University.

Brandon Sines 

Frank Ape is a Sasquatch who lives in New York City amongst the humans and is the creation of artist Brandon Sines. Frank can be seen all over the city on any given day and has been spotted on streets and in homes around the world. He embodies positivity and equality, and cares about all living things. Frank believes in "creating your own universe" and inspiring people and animals every day. Shortly after moving to New York City in 2010, Sines combined his use of mythological creatures, pop icons, and made up characters into a new character called Frank. Frank is an “ape” that often takes the form of a cartoon, but is no doubt a reference to Sines himself. Frank explores human conditions without human restrictions.

The Sucklord 

The Sucklord is a New York City Pop Artist and Television Personality known for his subversive Action Figure mashups and Reality TV Persona. Operating under the Brand SUCKADELIC, The Sucklord’s Line of self-manufactured Bootleg Toys steal shamelessly from STAR WARS, Vintage Advertising and All manner of Pop Culture Trash. Packaged in layers of ironic self-Mockery, His shoddy looking wares have inspired an entire secondary Art movement, with dozens of entrepreneurial Toy Bootleggers creating their own versions of highly referential, low-Rent interpretations of their favorite figures. Recently The Sucklord has increased the scale of his work, putting oversized Blister-carded figures in Tokyo Art Galleries, the homes of the famously wealthy, and the Walls of downtown New York City.

Laura Tack 

Born on 9 June in Belgium, Laura Tack works through images and materials in an attempt to connect with the vastness of time, using processes that emphasize the connection between creation and destruction. Laura, as a painter, depicts both the pains and joys of seeking out and growing closer to our roots. She is currently living and working in Marrakech, Morocco.

Sarah Wang  

Sarah is interested in people and the communities they represent. In her photography and films, she collaborates with her subjects to tell their stories. She is exploring new ways and mediums through which to tell these stories, working in collaboration with professionals in various creative fields along the way. A photographer, film-maker, and curator born in Harbin, China, Sarah grew up in the Bay Area from the age of six. She earned her BA in Art Education from San Francisco State University with an emphasis in drawing and painting as well as a CA Teaching Credential in K-12 Art Education. Sarah worked as an artist teacher with the Joan Mitchell Foundation during her first three years in New York. She then, along with fellow artist, Shaina Yang opened an alternative art space in the Lower East Side, called City Bird Gallery. They offered an experimental space for emerging & professional artists as well as student and community organizations to exhibit their work. Shaina and Sarah have since joined forces with a collective of women and gender non-binary artists and curators to create Disclaimer Gallery, an experimental installation space catered to showing queer, women of color and other marginalized groups.

Wizard Skull 

Wizard Skull is an artist living and working in Brooklyn NY. Early on he picked up skateboarding, and he immersed himself within the subculture. Designing T-shirts, skateboard graphics, and skateboarding in local shop videos, he eventually went on to design over 200+ board graphics for skateboard companies from Norway, Russia, England, and all over the US and rest of the world. His art as well as himself skateboarding appeared in numerous skateboard magazines including Thrasher. Adopting the moniker of Wizard Skull and abandoning freelance design work, he began wheat pasting his art all around New York. One of his most often wheat pastes was "Sexy Ronald", a buff version of Ronald McDonald wearing only underwear with fries popping out of them. People began photographing and sharing images of it on social media which led to the image going viral several times, being bootlegged and sold on T-shirts in Thailand. This also led to his art being exposed to a larger audience.

Shaina Yang 

Shaina​ ​Lee-Shuan Yang, often known as Aniahs Gnay or Moon Mansion, is a ​multidisciplinary visual​ ​artist​ ​and​ arts​ ​organizer​ ​based​ ​in​ ​NYC. Their work explores the relationships of the vessel body and its carried symbols, connectivity, and the space between it all. They are influenced by the​ ​superstitious nature of their ​Taiwanese​ ​family​ and ​life as first-generation queer American.

Be there for our biggest show to date!

Hub’s Kitchen Episode 4: Why the DC Extended Universe Failed (DCEU Retrospective)

DISCLAIMER: This is a continuation of the previous installment of Hub’s Kitchen. Please read that episode before reading this one. Or not, it’s your choice. Also, spoilers for: Man of Steel, Batman v Superman: Dawn of Justice, Wonder Woman, and Justice League.

What’s up guys, my name’s Hub, and welcome to another installment of Hub’s Kitchen. Episode, installment, same difference, this isn’t an academic essay now. In the last episode, I talked about some cinematic universes and what problems they faced or are going to face. At the end, I said I was saving one particular cinematic universe for this episode, and that it needed its own episode dedicated to it. Well, I’m gonna talk about that universe today. Prepare yourselves, as I dive into the horror that is known as: The DC Extended Universe.

If there’s one cinematic universe that can rival the Marvel Cinematic Universe in terms of popularity and success besides Star Wars, it’d be DC’s cinematic universe. The Marvel/DC rivalry has been going on since the 1960’s, when a good chunk of Marvel’s heroes were introduced during the Silver Age of comic books. Throughout the past 5+ decades, both have had their major successes and major blunders. DC has always had the advantage in the animation side of things compared to Marvel, but that doesn’t mean Marvel hasn’t had good shows. The Spectacular Spider-Man and Avengers: Earth’s Mightiest Heroes series are some of my favorite animated shows of all time. I prefer Marvel because of the heroes and how more human they are compared to DC’s catalog, but that doesn’t mean I don’t like DC. My first exposure to superheroes was the Justice League animated series from the widely beloved DC Animated Universe, and I’ve been a superhero fan since. In a perfect world, the Marvel/DC rivalry on film would be a monumental and huge war, both sides unleashing their various heroes onto the screen for audiences to love, and giving more fans more room for debate in the long-fabled who’s better debate: Marvel or DC? Instead, it’s more like Marvel is curb stomping DC into the fucking dirt. I feel a brief history lesson is necessary to really bring this whole thing into context.

HOW THIS ALL FELL INTO PLACE

Several years ago, from the 70’s to the 90’s, DC had the upper hand on film, especially with classics like Superman: The Movie, and Tim Burton’s Batman ‘89. Meanwhile, Marvel struggled to get anything onto the screen, with failures like the 1989 Punisher, the 1990 Captain America, and the cancelled, but only viewable through bootleg 1994 Fantastic Four movie. Then, Marvel went bankrupt in 1996, and to keep them afloat, they sold all the movie rights to all their characters to various movie studios. Sony got Spider-Man, FOX got the X-Men and Fantastic Four, etc. During this period, Superman already fell from grace with the 1987 bomb Superman 4: The Quest for Peace, and Batman would soon follow with 1997’s Batman and Robin, one of the most infamous comic book movies of all time. The genre would see a new beginning with 1998’s Blade. In 2000, FOX launched their first X-Men movie, and in 2002, Spider-Man came out, which is the movie that I believe is what started the comic book movie boom that’s still going on, and would be the template that the Marvel Cinematic Universe would follow. DC, meanwhile, rebooted Batman with 2005’s Batman Begins, which would later follow up with 2008’s The Dark Knight, which is often considered to be the greatest comic book movie of all time. Unfortunately, not everything was working out for both Marvel and DC. Superman Returns, the first Superman movie since Quest For Peace, while a modest hit, wasn’t the hit Warner Bros were expecting it to be, and today, Superman Returns isn’t looked at very fondly. While FOX successfully launched the X-Men onto the world of film, the Fantastic Four wouldn’t get the same level of success with both the 2005 film and it’s 2007 sequel, Rise of the Silver Surfer. Sony was also in a pickle with 2007’s Spider-Man 3, which disappointed audiences. Pile that on with Hulk, Daredevil, and Ghost Rider, and Marvel was having some pretty notable failures in their catalog. However, while Universal, FOX, and Sony failed with the aforementioned films, something huge was coming from Marvel Studios when Iron Man and The Incredible Hulk released in 2008. The first Iron Man had the famous end credits sequence with Nick Fury telling Tony Stark that he was a “part of a bigger universe,” and in The Incredible Hulk, we see Tony Stark in a scene of the movie, leading fans to believe that something was coming. 2010 and 2011 marked the releases of Iron Man 2, Thor, and Captain America: The First Avenger, and in 2012, the culmination of all 5 movies released: The Avengers. The Avengers was a massive success, being that it was the first movie to make over $200 million in its opening weekend in the United States. The movies from Iron Man to The Avengers would later be known as Phase 1 of the MCU. Knowing where Marvel Studios is today, it’s amazing how huge they’ve become, making Marvel into a global phenomenon, at least in the realm of movies. This left Warner Bros pressured to make a cinematic universe of their own DC superheroes and get a Justice League movie out as soon as possible. However, this wasn’t actually the first time WB tried to set up a DC cinematic universe.

GREEN LANTERN

In 2011, Green Lantern was released in theaters. On the surface level, Green Lantern was following the footsteps of the first Iron Man: Taking a B-list character and making a movie that would set up the foundation of what would later be a cinematic universe. However, that didn’t work out for Warner Bros. Green Lantern was released to mediocre to terrible reviews, and was a flop at the box office, grossing $219 million on a $200 million dollar budget. Thus, all plans for sequels to Green Lantern were cancelled. The movie is often considered to be one of the worst comic book movies of all time, and was subject of a joke in Deadpool, with “Please don’t make the super suit green, or animated!” Good thing Ryan Reynolds got his big break with that movie. In 2013, WB released Man of Steel in theaters. Man of Steel was directed by Zack Snyder, who directed 300 and the live action adaptation of Watchmen in 2009. The head writer was David Goyer, who wrote for the Dark Knight trilogy, and one of the producers was Christopher Nolan, the director of the Dark Knight trilogy. *In Bubsy voice* How could any of this possibly go wrong?

MAN OF STEEL

It could go wrong, but not horribly wrong. Instead of releasing to rave reviews, and making over a billion dollars at the box office, Man of Steel released to mixed reviews, and in WB’s eyes, underperformed at $668 million dollars. To this day, Man of Steel is one of the most divisive comic book movies of all time, with some seeing it as a great reinvention of Superman, and others seeing it as a betrayal at who Superman is. Not exactly the foundation you want to build your cinematic universe on, huh? As for me, I side with the more negative reactions to Man of Steel, but not as much as I did back in 2013. With the benefit of hindsight, I see Man of Steel as a movie that could have been great, but it wasn't. The issue with Man of Steel, and the thing that kills the movie for me, is that they changed Superman to accommodate the world the DC Extended Universe built up, rather than have Superman be the character he’s always been. I’d be fine with a less experienced, more doubtful Superman, if after this movie, he slowly, but gradually becomes the Superman people expect. We’ll talk about that in a bit, but it didn’t help that the movie spent so much time telling us that Superman will be great, instead of just showing us. Given what we see, Supes destroying shit in Smallville and Metropolis, I don’t think he’s going to be great at all. It also didn’t help that the movie was slow as shit. I can take slow-paced stuff, but you need to really have me engrossed in order to deal with it, ‘cause a slow-pace can kill something for me. I could go on further, but we need to move this along. Overall, I think Man of Steel is mediocre, but not terrible. So, given how this movie underperformed, what do you think Warner Bros’ would do for the future? Hit the Batman Emergency button, of course! Because Batman did wonders for Warner Bros with the Dark Knight trilogy, they decided to put Batman in the follow-up to Man of Steel. But they couldn’t stop at just putting a Batman and Superman conflict into this movie. They also needed to add Wonder Woman, ‘cause the DC Trinity needs to be on screen now that The Avengers got their movie. That still wasn’t enough, however. Let’s take elements of The Dark Knight Returns and Death of Superman storylines and adapt them. Okay, this could still work. Hold on! We need to let the audience know that Justice League is coming, so let’s put in Flash, Aquaman, and Cyborg into a scene that literally advertises their films and the Justice League movie. Now we need to double down on the dark and gritty tone people were divided with on Man of Steel, and let’s try to be even more profound and deep, unlike that stupid kiddy Marvel crap that’s successful for some reason. This is for the intellectually elite, motherfuckers! This movie will be a masterpiece! It’ll mop the floor with that stupid Marvel movie, Captain America: Civil War! People will love our movie, right?!

BATMAN V SUPERMAN: DAWN OF JUSTICE

Haha, ha, WB executives are fucking hilarious. Batman v Superman, which I’m just going to refer to as BvS from now on for simplicity’s sake, released to negative reviews and was even more divisive than Man of Steel with audiences and fans. WB wanted this movie to make $1.1 billion, which is what Captain America: Civil War would end up making. Instead, despite a strong opening weekend, BvS had the second largest opening weekend drop off, with 2003’s Hulk still retaining that record. BvS would only end up making $872 million at the box office, which WB labeled as another underperformer. In my humble opinion, BvS is the worst comic book movie I’ve ever seen, and is a good contender for the worst of its genre. “But Hub,” I hear some of you say, “Wasn’t Age of Ultron accused of the same issues BvS had? Why did that film still end up being successful?” A few reasons. Age of Ultron, despite it not receiving rave reviews like the first Avengers movie did, still received fairly positive reviews and word of mouth, and still made $1.4 billion at the box office, which is less than the $1.5 billion the first Avengers made. That’s diminishing returns, but not by a lot. Second, while I’ll agree that AoU isn’t one of Marvel Studios’ best films, as it suffered from studio interference, I can at least say that the movie wasn’t broken at the seams. It got derailed a few times (Hi, Thor pond scene and Hulk X Black Widow relationship), but it the characters still felt like themselves, there were some legitimately great moments (Vision and Ultron in the woods is a good example), and wasn’t trying to be profound and deep. It tried to tell a more grand story than the first Avengers, but it was never pretentious, even if the movie bit off more than it could chew. AoU had to do a lot, too much in fact, and the movie came out as a mess, but not a terrible mess, or even irredeemable one. It’s honestly a miracle that AoU ended up as good as it was, given the circumstances. Heavily flawed, but I can admire what it set out to do. Had to get that unnecessary, but also necessary “Marvel isn’t perfect” thing so I don’t get accused of being a Marvel or Disney shill. Christ.

Back onto the actual subject, BvS is a fucking trainwreck on every possible level if you ask me. Okay, maybe not so much the music, but even then, Wonder Woman’s theme is the only song that I can remember. Then again, I don’t pay attention to music when I watch movies, as I listen to those on my own time. The story was so badly told, and the stand out moments were so horrible, I’m shocked that this movie was approved with the script that it was given. This is one of the few times I think of my theater experience when watching a movie. Man of Steel’s theater experience made me sick with the shitty shaky-cam, but this movie made me angry while watching it, and I never get angry when watching movies, so you have to be really bad in order to make me angry when watching. Two moments in particular, the infamous Martha scene and Superman’s death made me want to walk out on the movie. I’ve never wanted to walk out of a movie before, so that was a first for me. I think the biggest sin BvS makes that isn’t destroying famous comic book stories and having some of the worst versions of Batman AND Superman, is that not only is BvS slow to the point of boring, with very little of actual importance happening, but the movie tries to be so profound in its messages and imagery, like this is some fucking college arthouse film. A lot of people say the worst thing a movie can be is be boring. I respectfully disagree. For me, the worst thing a movie can be is be boring and trying to act like it’s so smart with its themes. The whole god amongst humans thing has been done to death, quite literally in the case of this movie, and the way it’s presented and written, comes off as overly pretentious. I can’t wait for someone to tell me that this movie is for the intellectually elite, while also saying that I need a high IQ in order to understand this movie. It’s why I prefer a movie to be rushed and have little actual meaning, than a movie that’s slow paced and try to be profound. This applies to bad movies only, of course.

There’s two cuts that exist for BvS: The one that was released in theaters, and the 3 hour, rated R extended cut, dubbed the “Ultimate Cut.” Yes, because the first movie about Batman and FUCKING Superman TOTALLY needed a rated R cut. I’ve watched the Ultimate cut, or more like I was forced to watch it because my brother made me sit with him and watch it. There’s a reason why I never trust the man with movies. But, how is the Ultimate cut? Well… it’s better… *sigh* Okay, it’s more complete this time around. It doesn’t feel like a huge chunk was cut out for no reason, and there’s more context surrounding the events of the movie, but does that actually fix the movie? Judging by my statement, no, no it doesn’t. Many of the problems that were in the theatrical cut are still present in this version: Batman and Superman hate each other for their own reasons but do the things they say they hate about the other, making them hypocrites, Lex Luthor’s plan makes no sense and is overly convoluted, Lois Lane is still useless, the action is still poor overall, Wonder Woman is still an afterthought, the title fight that the movie has its entire purpose riding on is still lackluster at best, the Martha scene is still stupid, and the movie essentially destroyed all hopes of a great Superman story by wasting the Death of Superman storyline. What else can I say? I fucking hate this movie, the end. Holy shit, that was a long section. How’s about something shorter?

SUICIDE SQUAD

This is gonna be a very short segment compared to the BvS one, but that’s because in a shocking twist, I haven’t actually sat down and watched Suicide Squad. I’ll still talk about how the movie ended up the way it did and how it was received, but I can’t actually comment on the movie itself. I’m also putting Suicide Squad’s history here because the BvS segment is long enough. Anyway, after BvS underperformed, Warner Bros panicked and decided to make a course correction with Suicide Squad. People liked the trailers, which made the movie appear to be DC’s answer to Guardians of the Galaxy. In fact, the people who made the trailers ended up editing the movie. Yes, really. The concept of the movie sounded awesome. A ragtag group of villains forced to do good things or they die is a really interesting concept and if executed well, could be seen as a new form of comic book movie. The anti-Avengers, you could say. However, that wasn’t meant to be. Suicide Squad was received about as well as BvS was, with some saying it was even worse than BvS. Seeing as how I haven’t seen the movie, I can’t comment on it, but given what I’ve heard, it sounds like a shitty version of Guardians of the Galaxy, both of them, and the sequel wasn’t out when Suicide Squad came out. At the very least, the movie was said to have been more profitable than BvS, even though it made $746 million at the box office on a $175 million budget. So, 3 misfires so far, and the best received one divided audiences and critics. The DCEU was in serious trouble, and there needed to be a miracle in order to save this franchise. Well, unbeknownst to Warner Bros, their savior, to a degree anyway, would come from an underestimated superhero, or should I say, superheroine!

WONDER WOMAN

Remember when I said that Wonder Woman was an afterthought in BvS? Well, she was, but she had a movie coming out. I find it funny that we live in a world where the Guardians of the Galaxy, Ant-Man, Deadpool, the Suicide Squad, and Doctor Strange got their own movies before Wonder Woman, the third member of the DC Trinity. The world is weird. Diana’s movie came out, and it blew away expectations. Not that they were high to begin with, but let’s not be so cynical here. Wonder Woman released to great reviews and audiences loved it. The movie made over $412 million dollars at the U.S. box office, more than any of the Marvel Studios films at the same box office, and outperformed Sam Raimi’s Spider-Man for the highest grossing superhero origin movie, and Spidey held the record for 15 years. The movie would end up making $821 million dollars at the global box office, making it the second highest grossing movie in the DCEU, with BvS being the highest grossing, but unlike BvS, Wonder Woman didn’t underperform and was a huge hit. So, what did I think of Wonder Woman? Well, gotta give credit where credit is due, but the DCEU has an installment where I can confidently call good. Diana herself was better characterized than she was in BvS. My favorite scene in the movie is when she and Steve Trevor are about to go to No Man’s Land, but before they embark on the train ride there, Diana gets ice cream from an ice cream vendor, and tells the ice cream man that he’s wonderful. This is something that this franchise has been sorely lacking: Little touches. The movie also used the dark and gritty motif of the DCEU correctly. This is because the movie was set during World War 1, which was a shitty time, and we had Themyscira, a bright and colorful place to contrast with the shitty London and battlefields. The first two acts, minus the underwhelming action that relied too much on slow motion for my tastes, were well handled and even great. Despite what I said about the action, that No Man’s Land sequence was awesome. However, and this hurts me to say this, the third act happens. Ooooh, the third act. If there was one movie that was so close to greatness, only to have the ending nearly ruin it, it’s this movie. I know I’m going to be labeled sexist for not saying Wonder Woman is a great movie, but please, bare with me. So, throughout the movie, Diana wants to kill Ares, the god of war. The legend of Ares states that he’s the reason why mankind goes to war with each other. However, Diana kills General Stryker (I’m calling him that because it’s the same actor from X-Men 2), and she believed him to be Ares. I mean, to be fair, he was huffing up some magic powder or something, so I can believe that. After killing General Stryker, Diana sees that the humans are still preparing their assault. Diana is horrified to see this, and she asks Steve Trevor why the humans are still at war now that she killed Ares. Shortly after this, the real Ares comes and then the movie goes into the usual third act climax. Now, I don’t have a problem with third act climaxes. So, why do I have an issue with it here? Ares was mentioned being alive early in the movie, so what’s the big deal? I think it has to do with how the movie was written. The way the movie played out, it seemed like Diana realizing that humans are, in her words, “so much more,” than what they seem. This could have explained why she gave up the Wonder Woman mantle and stayed in the human world for a century. Not having a third act climax in order to develop a character, with the message that humans are much more, even at their worst, would have been amazing. Instead, the movie throws all of that away for a final fight with Ares and Steve Trevor sacrificing himself. It felt tacked on and cheapened the movie. It came off as rewarding Diana for being naive, which is something I hated about the movie. Her entire character arc was rendered meaningless because of that last act. There’s also some questions after the fight that are never answered. Now that Ares is dead, does that mean World War 2 and the Cold War never happened in this universe? If killing Ares ended all conflict in humanity, why is the world so grim when Man of Steel begins? This act single handedly derailed the movie. What could have been a potential masterpiece only ends up being decent in my opinion. I won’t go as far as to say the third act ruined the movie, but it does end up hurting the movie by quite a bit if you ask me. I should reiterate that Wonder Woman is overall, a solid movie, but the third act really holds it back. Now, let’s get to the fifth and final movie in this, I guess you could call it, DCEU Retrospective, the big JL.

JUSTICE LEAGUE

Fun fact: Did you know that there was going to be a Justice League movie long before The Avengers? The movie was called Justice League: Mortal, and was going to release sometime around 2007/2008, if not later than that. However, I guess WB decided “Naaah, we got our golden boyo Christopher Nolan here doing Batman movies for us. The audience will be confused if two live action Batmen were on screen.” Not giving the audience enough credit, I see? I mean, I’m not sure what happened, but I’m pretty sure you can look up a video Justice League: Mortal.

Justice League faced tons of behind the scenes problems. There were talks of Ben Affleck (aka, DCEU Bats) directing which never went through, the movie being completely reworked just mere weeks before shooting began because of BvS’s terrible reception, Joss Whedon (the guy who wrote and directed the first two Avengers movies) taking over as director and reworking the movie after Zack Snyder tragically lost his daughter from suicide, etc, etc, etc. Now, I’m not saying a movie that has behind the scenes problems is doomed to failure. After all, A New Hope had several behind the scenes problems, with George Lucas even writing the film off before it premiered, and look at how well that movie ended up turning out. Although I was livid after BvS and missed Suicide Squad, Wonder Woman gave me some hope that Justice League wouldn’t be that bad. Well… I was sort of right on that.

Let me get one thing straight: Justice League is a terrible movie. The story reeks of “Been there, done that, seen it before, seen it better, and will see it better in the future.” The characters were flat at best, and irritating at worst (looking at you, second-rate MCU Spider-Man aka Flash), and the villain is one of the worst I’ve ever seen (seriously, Steppenwolf is a fucking mid-boss, so why is he the big bad of 4 years?). To top it off, the film is a tonal and visual mess, and what I mean by the latter is that Joss Whedon’s Avengers-esc style clashes heavily with Zack Snyder’s supposed deep and dark vision. Justice League comes off as, to quote one of my favorite YouTube channels, Midnight’s Edge “A Frankensteinian abomination.” That being said, at least the film didn’t try to shove philosophical messages down my throat or try so fucking hard to be deep and meaningful, so JL’s already better than Man of Steel and BvS in that regard. I also liked that we finally got a Superman that actually felt like Superman should instead of what MoS and BvS tried to make him be. I left Justice League feeling… indifferent, I guess? I didn’t like it, but I didn’t hate it either. All I know is that I should have been feeling a lot more positive about this movie than I actually did. The Justice League animated series from the DC Animated Universe was my introduction to superheroes, and I still think holds up wonderfully today. I may have not been a fan of how Season 1 handled Superman in regards to the villains of that show, but I still think it’s a fantastic show. It’s a fucking shame that Warner Bros essentially failed to make a movie worthy of the name: Justice League. To make Justice League look even of a failure, we’re gonna have to talk about box office again.

Wanna know how much Justice League costed to make, including reshoots? $300 million. Justice League is the second most expensive movie ever made, with Pirates of the Caribbean: On Stranger Tides being the most expensive. Want to know how much money it made, or has made so far? $655 million. Yes, only that much. On its opening weekend in America, it made $93 million. It couldn’t even make $100 million! It took the movie a fucking month to make the same amount The Avengers made in its opening weekend. If that’s not a “Get fucked, DC,” I don’t know what is. So, now that I spent this entire time going over each DCEU movie in detail (sorry that this has been so long to begin with), it’s now time to answer the question: Why did the DC Extended Universe fail?

WHY THE DCEU FAILED

If you ask me, the main reason the DC Extended Universe failed was because Warner Bros didn’t have a set plan or a person with a vision to keep the universe in tact. The reason Marvel Studios and the Marvel Cinematic Universe has been consistently successful is because of one man, and that man is Kevin Feige. Originally being a producer for the early X-Men and Spider-Man movies, along with other Marvel films, he was the brainchild behind the MCU, and has been an executive producer for each movie in the MCU so far. When a movie doesn’t measure up to the rest, which was the case with Thor: The Dark World, the MCU didn’t go into a panic and have the next few movies affected by Thor 2’s failings. Instead, the franchise carried on, and all the problems of The Dark World were addressed and mostly solved with Thor: Ragnorok. DC, meanwhile, doesn’t have a Kevin Feige. Warner Bros made the choice to make the DCEU director-driven, rather than producer-driven. The problem with making a mega-franchise with multiple franchises inside is that you need to have them be producer-driven to have a consistent vision. I know that a common complaint with the MCU is that it tends to revolve around a single formula, often referred to as the “Marvel Formula,” but a consistent vision needs to be in check to keep things in line. Having director-driven movies is good, but can lead to a clash of visions. Maybe I should do a Hub’s Kitchen episode on that. Hmm… Because of BvS’s failings, Suicide Squad and Justice League had to be radically altered during shooting and post-production, rather than before shooting and during pre-production, which was the case of Thor: Ragnorok going in a different direction than the previous Thor films.

I also feel that not sticking to what made the characters so beloved is another reason the DCEU failed. I’ve always been one to say that accuracy doesn’t make a movie good, but even so, I still believe that the main point of the character should be completely in tact. Marvel Studios has done a great job at this, even when they had to slightly rework characters like Spider-Man for example. Despite him having a tech suit made by Tony Stark, Peter still made his original suit, his web shooters, webbing, is still a smart kid, and relatable. Meanwhile, the DCEU decided “Hey, you know Superman? Yeah, let’s make him a complete brooding asshole and have him kill people for no reason other than its cool.” Or “Hey, you know Batman? Yeah, he’s a killer now and then suddenly he’s a third-rate Tony Stark wannabe.” Even better “Hey, you know Flash? Barry Allen Flash? We’re gonna make him Wally West and make him incredibly annoying, because COMEDY!” Thankfully, Wonder Woman got off pretty well. I know nerds like me are the only people who read comic books, but as far as an adaptation is concerned, we want the core basics of the characters to be intact. The DCEU didn’t do that, and a lot of fans jumped ship. Audiences were also alienated, mainly because for Man of Steel and BvS, the heroes weren’t acting like heroes, or people for that matter. I think that covers that whole dilemma, and now, it’s time to wrap everything up.

CONCLUSION

I’m sorry that this episode was as long as it was. I just feel that I needed to go in-depth as to why I felt the way I did and why the DCEU failed. I love superheroes. I’d go as far as to say superhero stories are my favorite kind of stories. I grew up with superheroes, okay, mostly Spider-Man, but still. So I hope you all can understand why I hated the DCEU as much as I did, and why it ultimately failed. I feel like whenever people generalize others who love the MCU and hate the DCEU as them saying “Marvel can do no wrong,” are missing the point. It’s not that we believe Marvel can do no wrong. It’s that we want good representations of the heroes we read and love, so maybe the average Joe can understand why we love these funny books so much. Whatever issues the MCU has can (mostly) be forgiven because the good stuff outweighs the bad. The DCEU, however, has only one good movie to its name and a few droppings of brilliance in an otherwise mediocre DC universe.

Wow, I got really emotional there. I’m sorry for that. It just annoys me when people generalize stuff. I don’t know what the next topic of Hub’s Kitchen will be on, but I can tell you all this: It’s gonna be a hell of a lot shorter than this, that’s for sure. My name’s Hub, and thank you for reading. *Checks Google Drive word count* Over 5,000 words. What the fu-

Justice League: Blending Revisions (Revised Vision), Entertainment, Optimism and Wrecked Opportunities.

It started with MOS, then, with the critically divisive BVS…. and after that, the studio deciphering what to do (which voice/direction to follow), paved way to the “Marvelesque” ultimate DC superhero team-up event!

There are those who wanted the BVS tone and those who prefer heroes to be smiling (or comedic?)

Adjusting the tone to satisfy criticism for a lighthearted one and would gain the approval of many, but would acquire the irk of those who wanted the grittier tone, which will lead to a backlash.

If the original tone was continued, those who liked it will give support, and probably at least some of those who don’t prefer the tone will still come to see the movie. Better still, there is a possibility to have new fans to discover and appreciate the superheroes coming together with that tone. If the tone was changed, thereby changing character presentation and story, would it gain additional quality to the overall film and within its cinematic arc? There are only conjectures, and on these conjectures the studio hopes for the best (at least as guided by some “voices”).

(image courtesy of dccomics.com)

The Power of Critics

The studio really wanted to set itself apart, and even the structure of presentation for the cinematic universe – the story arc to give reasons to put the team together at an earlier stage –  was made to make itself unique. Indeed, it must stand out! Continuing with the tone will reinforce the banding image which sets it apart from other existing superhero presentations, but DC is unsure of cementing their brand and the only way to do with uncertainty is follow the advice of critics. And seemingly, critics are influenced with a one sided look at how superhero movies should be, and behold its the image of Marvel! Despite this, many people loved the Snyder tone  and want it as an emerging superhero portrayal while dissed by negative reviews. On the other hand, the negative reviews are valid when it comes to film coherency and gaps, and this was addressed in the Ultimate Cut, thereby insinuating the responsibilities of studio bosses for the quality of theatrical release.

Critics are sacred, and the response of WB while definitely trying to comply, left behind people who believed and were brought in by the original vision of Zack Snyder (trilogy?). Forced comedy over clear continuity. Where’s justice? And now, WB is experiencing the backlash of listening too much to critics.

It wants to be original while avoiding the original DNA which has been ostracized by critics in its presentation – and what do we expect to come out from that?  The outcome is the dull and ambiguous result despite its ambition. This is when the balance between “daring to push originality” and “openness to criticism” was not executed to make it favorable. Dare enough to be original, or dare less to listen? Over- compromise is not beneficial when the outcomes are disassociated where they belonged, and still, any outcome of the film is always subject to the voice of critics.

(image courtesy of moviepilot.com)

Sidelining Originality and the Supporters of the Original Vision

For those who love the preceding movies, maintaining the originality and the vision w/c initially brought them in the first place should have been considered, since they have supported the previous films in the arc and they only want to see success of the succeeding films. People who were drawn with the tone that made them love the previous movies will respond to see the continuity, thereby an opportunity for cementing originality for the brand’s own character in the market. This would have been a great opportunity for recognition to elevate it far from the prospect of damaging the brand. Since Justice League has tried to become something else, it roughly fits from what could’ve been originally theirs. But the opportunity to be original is now thrown at the window in exchange to be in the mold of Marvel fashion. Quality is doomed since imitation will always be a lesser quality. People got what they want but it comes with distorting its potential act of closure to the arc by Znyder.

The problem is that it doesn’t want to be viewed in its original conception and therefore has tried to become appealing to the current opinion about superhero genre. In effect, it has become a copycat of where Marvel excels – seeking to win criticism and incite interests from the disparity of audiences. It therefore resulted to lose the interest of those who were there expecting a sense of tonal continuity with MOS/BVS, and at the same time, failed to win the critics and the audiences that WB tried to accommodate because people will still have to deal with a sense of continuity in the cinematic arc. Anything that don’t naturally belong seems forced. Given that Justice League achieved giving a pure form of entertainment, it was also a being a mess in its presentation!  It was indeed fun and new audiences are won, but it has lost the weight of what it could have been in the series.

The product became a second rate flavor which wanted to disassociate from its precedent, while resting on what the previous films have established. Even if the movie which began with MOS is divisive, there is a strong base of people that dig the grittier tone against those who just want their heroes to smile and punch without hassle. (For others, just making Superman smile is enough to make a superhero movie achieve a near perfect status). The people who wanted to see the grittier tone may have their opinion sideline – they were not the consideration here. Indeed, there could be less appeal when heroes are subjected in difficult situations where they need to make a tough call for moral decision. But the envelope should be pushed to test core characters that may deal with resulting consequences, and this happens in a cinematic world where there is a good grounding on emotions, and people’s rejection/acceptance of them that superheroes need to face.

(image taken from batman-news.com)

The Struggle for Profit as Reflection of Reception

Audiences must also understand that the film is not only about itself – its storyline, character and tone –  but it is also about profit. Studios need to see that they become profitable and make measure to ensure that. This is understandable, and trimming the film down to 2-hour runtime thereby increasing the viewing cycles per day is one way of doing it. However, trimming down a film at the expense of its quality is like an “in your face money grab”! Indeed profit needs to be considered and the movies needs to sell, but this can be helped by focusing on what is more important than increased viewing cycles can offer. What is more important was movie quality! People will happily their give money when quality is maintained. It could have been more productive when consistency and being respectful w/ the product have taken more weight in the overall arc.

The divisiveness brought by BVS is not only about directorial responsibility, but also in relation to other film-making considerations mandated by the studio, which rest on the shoulders of studio bosses who decide certain features for the product presentation, such as post-production concerns, the runtime, and the different parts and components planned for the cinematic universe as a whole. In JL, the divisiveness is becoming focused as singular reception in which the “mess” that is seems to have a universal affirmation.

Continuity and Reviews in Retrospect and Prospect

Considering this, how would the previous films be viewed in retrospect with the future films of the cinematic universe? is continuity important enough over financial profit? or can the things un-addressed in the previous films doesn’t really have to matter to over the critical reviews, or probably the continuity can make away to still create a cohesive cinematic universe through the potential of characters to shift the narrative? (A good look at this idea can be seen in: “Justice League, Batman’s Knightmare & the Future of the DCEU” by Mark Harrison in DenOfGeek.com.)

Rotten Tomatoes seems out of touch by giving it sub-level scores (and also for BVS)  when some feels of lesser quality can have a higher rating – it really feels that no one is going to let Snyder pass with this unless tone is shifted. However, it is clear that even though Snyder has been attributed by critics and others as prime culprit in what they hate, JL baggage cannot fall on Snyder alone. I think, that if JL received a good critical standing, they would attribute that to Josh Whedon’s involvement. But since JL is badly reviewed and people said it was fun, now they can’t point all fingers to Zack Snyder since Whedon’s finger prints are all over, and at the same time studio bosses must have a hand in managing or micromanaging the film in response to the reviews. In relation to Zack Snyder, people who says that Zack creates “murderverse” need to acknowledge that the highly praised Wonder Woman origin film was made based on the story in which Zack Snyder is a contributor. Also, there are many Disney cartoons/animations which include a significant person who is to die  (such as parents or brothers/sister) to set the mood of the story. Zack Snyder must have lend a sort of “brain-child” position but the responsibility extends to the whole DCEU. (An interesting article for this “Why Wonder Woman’s Success Isn’t Zack Snyder’s Failure” by Andrew Dyce of ScreenRant.com.)

If JL was a Marvel film, with that level of execution, my judgment is that majority would give it a cheer – this while considering the scores given to previous Marvel movies that I have watched, which in my opinion have qualities that seemed to fall far less, little less or within the range of the JL movie), but amazingly had managed to get good ratings. Another probability is that the   low rating of JL was due to a very high expectation of how the film would be (based on Marvel’s mold?! And expectation due to the load of amazing of staple characters invovled). (A good conjecture for this was given in this article: “Why DC Characters Can’t Get Reviews as Good as Marvel’s” by Stephen M. Colbert of ScreenRant.com.)

Also, what if the trilogy(?) was finished without interfering Snyder’s take? What could have been there if the director’s vision was free to take its course? If WB has stood with its attempt not to replicate the tone of Marvel and be curbed by the “preferences” of the critics about what a superhero movie is about, definitely, Snyder’s take on JL must have fleshed out something entirely. It must have been as solid fit that amalgamates the tone of the franchise that many supporters in that direction clamor about. However this completed work is not available for audience to have (for better or worse), unless a “Snyder Cut” is available, and if the studio is convinced to release such cut for home video. Also, a completed continuity of Snyder would have made a different scenario in the reception of the movie and how it fared well at the box office. (for more of this, check this article: “Why Warner Bros. should have left Zack Snyder’s DCEU alone” by Anghus Houvouras of FlickeringMyth.com)

(image taken from moviepilot.com)

IN THE END

In all, JL was a great opportunity but falls short of being great, it was entertaining and fun, but it could have been more.

(image taken from comicvine.com)

The coming of the three icons is indeed a memorable event in the history of superhero cinematic universe. I’m glad to have witnessed it.

Captain America: The Winter Soldier(2014)DC & Marvel Retrospective/Review

The Three Caballeros Ride Again Review!: And Ladies (Ride of the Three Caballeros)

Saludos Amigos! I’m back with yet another comics review! And we’re back on The Ride of the Three Cablleros! Thanks again to WeirdKev27 for commissioning this retrospective. It’s going to get pricey and I greatly appreciate it.  PREVIOUSLY ON RIDE OF THE THREE CABLLEROS 

In short.. a bunch of short segments of varying quality, a very thirsty Donald hitting on ladies, the first appearance of Panchito and some very good music. A fun time was had by all. Along with a LOT OF drugs by the Disney Animators. The film wasn’t a huge success, but out of the 6 package films, it was a fan faviorite alongside the Mr. Toad and Ichabod movie, and thus was rereleased quite a bit, as well as being one of the first of this era to end up on VHS due to it’s cult popularity.  As for Panchito and Jose they’d get plenty of success overseas, with both getting solo series in their respective home countries, Jose himself having just resumed having comics again this year, and being rightfully massive characters. But despite being a hit with fans across the world.. in the US... they were pretty much shoved in the Disney Vault for a few decades. Jose would show up on the Wonderful World of Disney, in it’s various forms, three times after the Three Caballeros while Panchito just vanished aside from reuses of the Three Caballeros footage. Their careers in the US just sorta vanished for a few decades. But as suddenly as they vanished, our boys returned triumphantly. Naturally being the most used out of the duo, Jose would show up for the first time in decades during Mickey Mouseworks, a show full of new late 90′s produced Mickey Mouse shorts, all but two of which would end up being recycled for the much more popular and well loved House of Mouse, which would feature the triumphant return of the Cabs to animation after so long away. We’ll get to that next time, as just a year before the Cabs had already reunited in the pages of Walt Disney’s Comics and Stories in one of Don Rosa’s best loved tales. The Ride of The Three Caballeros was something Don Rosa had wanted to do since he got the job writing Duck Comics in the first place. As he explained in the back of the complete library edition named after this tale, Uncle Keno isn’t the biggest fan of the Donald Theatrical shorts. Having experienced the Carl Barks comics first, and having built his career around them later, he just wasn’t a fan of the goofier, angrier, less nuanced theatrical short Donald, often feeling like he was an entirely different character from the one he loved. And.. honestly he’s not wrong. Both were built for entirely different kinds of comedy: While both did slapstick, Slapstick, along with standard comedy shenanigans, was the main weapon in Shorts Donald’s comedic arsenal. Barksian Donald, while not immune to slapstick, was more like a well built sitcom character: Multi layered, sympathetic when he needs to be, but still having tons of faults to be exploited for laughs and to play off other characters. As a result while I like Donald in the shorts I do prefer Barks version of him, and the shorts Barks did are usually the best of both worlds, combining Donald’s everyman schtick with his slapstick schtick. Of course later cartoons would pick one or the other or combine both, but I do get his point and at the time he wrote this story the only cartoon show starring Donald was.. Quack Pack.. which I can only imagine his reaction to seeing that train wreck. 

But as you can probably guess there was one exception and it was The Three Caballeros. Don genuinely enjoys the beautiful music and the wonderful chemistry the three have. So after a trip to Mexico gave him the perfect setting and the fire in his belly to finally do it, he finally wrote the story. And since they weren’t Barksian characters and hadn’t had any other apperances in decade, Don also took a dive into their comics. Since Jose was more of a fancifial freeloader in his comics, Don decided to ignore this characterization and go with his own based on the film: A latin playboy and lounge singer. And i’m okay with him doing that, as unlike say with Marvel and DC when they destroy a character, Disney characters are both more fluid continuity wise and his is still rooted in a version of the character, and he’s fully accepting and apologetic that some fans hate him for this. Also for some damn reason they redesigned Jose at some point in his Brazil to look like this:

This is far from the dumbest comic book costume change i’ve seen, but it’s certainly one of the most lame, as his original outfit is dapper, stylish and fits the Brazilian version of him well. And it’s not like you CAN’T update the classic Disney characters with modern appearances. Quack Pack, which has somehow come up twice in this review, did so great with Donald and Daisy, giving them new clothes and a haircut in Daisy’s case but both still look great. Same with Goofy for Goof Troop who just wore a dad sweater and bow tie, which puts him in the small but significant club of “Bow Tie Wearing Characters who have defined my life” with Opus the Penguin and the 11th Doctor. You can update a classic character’s’s appearance without coming off like...

Which given Jose’s outfit there is horrifyingly similar, says something. Anyways, Rosa had more use for Panchito’s stories, which had him as a cowboy protecting small towns with the help of his trusty steed Senor Martinez. Rosa loved both aspects and thus used them here, with Martinez getting a makeover to fit Rosa’s style better. Rosa is also the one to popularize Panchito’s last name, having found it on a scrap of research, not realizing the character’s last name was not at all widespread and thus giving him a canon one that has stuck to this day, and sighing in relief when he finally got conformation from another fan this name was indeed something Disney had used after loosing his research scrap.  So with the two boys characters set, a plot set up and a whole sequence planned we’ll talk about on the way “The Three Caballeros Ride Again!” was born. How good is it? Well join me under the cut and i’ll tell you. 

We open in Mexico, specifically near the Barranca Del Cobre, aka The “Copper Canyon” of the Sierra Madre, a natural land formation simlar to the Grand Canyon that Don Rosa saw during his trip and thought would make a great setting. While larger than the Grand Canyon, Rosa figures in his notes it simply isn’t as popular because it’s more isolated than the Grand Canyon and that, combined with it having trees inside distracting from it’s rugged beauty, makes it much harder to build a tourist industry around. The four are headed to El Divisadero, because this comic is determined to kill me with it’s difficult to spell names apparently, where Huey, Dewey or Louie spouts off for no particular reason about the currently being built Chihuahua El Pacifico Railway. Seriously the boys might as well be the security guard from Wayne’s World in this comic, their role for most of their brief page time is just to set up stuff for later. I mean i’m fine with setting up your setting but there are better ways than just spouting off tons of exposition apropos of nothing. 

Donald has driven the boys here for a Woodchuck Jamboree. I did actually look into Jamborees, as before this it only had ever come up in one of my favorite movies of all time, Moonrise Kingdom, and mentioned occasionally in the Ducktales Reboot. Jamboree was first used for a worldwide scouting Jamboree but has gone on to mean a huge gathering of scouts, with the Boy Scouts of America having one every four years, so odds are it’s just a big yearly or quarter yearly thing for the woodchucks. Still it would be nice to see a big gathering like this in the series, especially since several of our cast are involved in them, including the possible power trio of Huey, Violet and Boyd, and Della and Launchpad could easily be slotted into the plot as seen in this season’s premiere.. as could Dewey and Louie if they really want to since according to Frank their members.. they just aren’t nearly as invested as their brother, and thus  don’t do Woodchuck stuff unless he drags them into it, as seen with “Day of the Only Child” in the series itself. It does make sense: Dewey doesn’t have the survival instinct or patience for camping, and Louie hates effort, the out doors, and doing things for anything but profit. Scouting is all of that.  So the boys have driven all this way for the Mexican Jamboree, as they’ve been carefully raising their tarantula Tara, and the Tarantula Breeding Badge is only given out in Mexico, which is plausible: Different branches of a worldwide organization would have different awards and what not in different countries. And Tarantula’s are also native to mexico so that makes sense.. and I want you to apricate that I’m afraid of spiders, not cartoony ones, for instance, this is adorable. 

Galvantula4Life. But real life ones or realistic looking ones? Yeah no fuck that. So I had to go to the Wikipedia entry and see several horrifying looking sizeable spiders for this one tiny fact. Your welcome. Tara ends up on Donald’s face with the boys assuming Donald is sad to see her go instead of you know FUCKING TERRIFIED A GIANT SPIDER IS ON HIS FACE. This gag does not work.. but probably because as I said i’m afraid of spiders and this is my nightmare, you little sociopaths. 

The boys however worry about what Donald will do for the weekend as they prepare to board the bus to the Jamboree... why it’s meeting in an out of the way town like this I have no idea, but i’d guess plot convince. They realize he has no friends, which Donald shrugs off, and they REALLY shouldn’t say to his face, but ruminate on it once he leaves to do whatever after vaguely talking about friends he had in the past. 

I like this scene even though it annoys me a bit: Ilike it because it does set up how Donald really DOSEN’T have any friends in the comics. It’s part of WHY Rosa was drawn to the Cabs: Their one of the few equal relationships donald’s ever had, people who treat him as a partner, in both sense probably, a friend, a true amigo. As the boys point out Scrooge is a monster to him in the comics, paying him 30 cents an hour which I actually put into an inflation calculator to get an accurate read on how little that was by 2020 standards.. and it’s 3 dollars an hour. Hence why I call him a monster, why that bit hasn’t aged well, and why Rosa REALLY, REALLY should’ve retired it. It dosen’t help reading that knowing Disney largely treated Rosa the same way is cringe inducing at best, if not for any fault of his own. It being cringe inducing for an employer horribly mistreating and underpaying his employees though is his fault, he’s a grown ass man, even in the 90′s this had to be a problem, be better. 

And yes i’m being hard on Don Rosa but just like with the comics thing, I simply expect better from the man given just how much respect I have for the guy. His art is gorgeous, his research is immaculate, his knowledge of old films is wonderful and his love for them so infectious i’m tempted to seek the ones he’s mentioned in notes out. He’s a truly wonderful guy and one of my faviorite comic writers.. but I have to treat him fairly like I do ANY of my idols. Just to prove that, I love Grant Morrison, especially his run on New X-Men, but a lot of it hasn’t aged well including some of the language and the entire subplot with Emma manipulating Scott into having an affair when he wasn’t in the best mental place and she knew that and was acting as his therapist, and treating that as a regular affair REALLY doesn’t play well nor should it have. I love Al Ewing, with all my heart and soul, but his run on Ultimates, while having some great worldbuilding and a spectacular cast, ultimately wasn’t very good after the first arc. Not terrible but not good. John Aliison, of Scary Go Round and Giant Days fame, while impressive has had plenty of stories I just didn’t like for various reasons and will probably get into some day and some parts of his stories haven’t aged well. It’s the hard but necessary part of being a critic: You have to be objective and see all the parts of a creator’s creation, not just the ones you like and call them out when they screw up. To me being a fan isn’t about just blindly loving something, it’s about knowing WHY you love it and being willing to call out faults while still thoroughly enjoying the work. There’s a fine line between being blindly loyal to someone, which has created Zach Snyder's awful cult of personality that I hate so much, and being an overly critical shithead and I hope I’m straddling that line. 

Back on the scene after that filibuster they point out Gladstone, who himself is a monster to me for how he doesn’t lift a finger to help his nephews or cousin, and constnatly flaunts his luck to Donald, and is a bit more than teasing especially since he tried to, you know, steal your house once boys. That’s canon.. that’s a barks story so it’s canon here. You.. You remember that right? He tried to steal your house. And we will be getting to that one next month, just you wait.  Finally the Daisy part that annoys me slightly. The boys being sexist.. was sadly the style at the time this story is set, the 1950′s, and thus plays better for me than it does in Ducktales, as their just little boys and don’t know better. Them assuming Girlfriends aren’t like having friends, while accurate though does bother me a bit, but only because the way this story treats Donald’s relationship is PRETTTTTYYYY bad and this sets that up. But we’ll get to that.  Thankfully this foreshadowing of terrors to come is quickly forgotten as we get a GENUINELY great two panels of Donald lamenting his lack of friends. It just works really well, selling his loneliness and how isolated he truly feels without any, which while I have friends I can relate to as I only really hang out with on regularly. 

This is what I was talking about. While I will point out Rosa’s flaws.. their truly outweighed but his artistic mastery. In just three panels he really has a truly emotional and heartrending scene, and just that one close up among them is all we need to get the true depths of Donald’s loneliness. I can be hard on the guy, but it’s because he’s one of the best there is, best there was, and best there ever will be and thus I hold him to a high standard.  But with that we transition to...

Or rather first his boss at the hotel, whose pissed his headliner has skipped out on him again to woo a lady, and while he plans to fire the guy, only isn’t throttling him because he figures one of his “Senorita’s” boyfriends will do that for him. And while I do like Jose as a playboy i’m not really fond of him trying to have sex with someone in a relationship, as it puts both him and the person he’s having an affair with in a really bad light. It does fit the character, I just don’t have to like it. As for this particular Senorita, it turns out her boyfriend is a notorious Bandito and is thankfully out of town. So yes, Jose is essentially acting out Come A Little Bit Closer by Jay and the Americans. 

Naturally just like the song, said Bad Man returns, Alfonso “Gold Hat” Bedoya, a machete wielding baddie who while understandably pissed about another man making time with his girlfriend, is less understandably about to murder Jose. Though unlike the song, Alfonso’s Lady, rather than help Jose, encourages her boyfriend to murder him and clearly has a fetish for cheating on her boyfriend with various men and watching as he kills him which.. Jesus. This is why while I don’t LIKE the idea of Jose hitting on women in a relationship it does work here, as he’s still not nearly as bad as either of these two, so it evens out. Jose escapes with his umbrella but crashes.. right into the back of Donald’s car. Rosa, Alfonso’s lady, encourages him to murder both of them for funsies, and being a brutal thug, Alfonso obliges and shoots at the car. And since, to quote the duck himself, Donald doesn’t like being killed “Even a little”, he books it out of there. 

Alfonso doesn’t peruse them though. He’s on the trail of a treasure hunter who has a map to the lost town of Tayopa, which contains untold silver, but before he can do that he has important buisness to get to. 

I fucking love that gag and that Rosa snuck more adult gags in there knowing plenty of Duck Fans, such as myself, are grown men, women and others who can handle this sort of thing, while still slippnig it past the kids. 

Donald, once the fear’s worn off a bit, starts to wonder WHY he’s running when he’s not the one who pissed off the guy, and ignores Jose’s good point about the fact Alfonso really dosen’t seem like a guy who sees nuance.. until Donald sees a wanted poster for Alphonoso and keeps driving. He eventually gets far enough away to feel safe.. and confront the guy who got him into this mess. 

Now kiss. While sadly, they do not, we do get a lovely warm reunion between old pals. Rosa keeps their past vauge as, correctly, he pointed out in his authors notes that the Cabs movie really had no plot, accurate, so instead just vaguely alluded to Donald having known the two in his pre-daisy and boys past and likely had similar adventures to the movie, but adapted more for Rosa’s barksian universe. Jose explains he often finds himself cash poor and thus hits the road to drum up some money, and Mexico is a great place for that as it has plenty of tourist money. 

Though as Jose talks about their past we get the most uncomfortable running gag of the story. 

While Donald’s paranoia here is played for laughs.. it just.. isn’t all that funny that Donald’s relationship with Daisy in the Rosa canon is apparently sooooo deeply unhealthy that just HEARING about him having a romantic past before him, as Rosa confirmed this was pre-daisy in his notes, causes Donald to panic and worry she actually somehow heard this. It just isn’t funny.. it speaks of MASSIVE relationship issues and some form of domestic abuse on Rosa!Daisy’s part. It’s stuff like this why there’s only a handful of Donsy relationships I like: Her treating him like shit is reduced to a punchline, instead of being used for character growth. It’s also why I’m deeply dreading covering “Legend of the Three Cablleros” at the end of this retrospective. I just don’t like when Disney media treats Daisy expecting too much of Donald or being hyper jealous of him as hilarious and while I take this more as the story not ageing well rather than barks fault, as since then Domestic Abuse against Males has become a more widely known and talked about issue, it still doesn’t’t make it plesant. It just makes this not entirely his fault. Just like it’s not Stan Lee’s fault this panel is both deeply hilarious and uses a now kinda racist term. 

I named an entire youtube channel after that.. we all have our regrets. I also bring it up since currently Harry’s become terrifying villain Kindred... and thus the current big bad of an entire Spider-Man run and the being hopefully bringing one more day into the light and hopefully leading to it’s undoing.. once had a goofy mustache he genuinely referred to a “Fu Manchu Face Fuzz” that for all we know he regrew under the mask. 

Donald fondly remembers the old days of being a badass adventuring team and decides, screw it, let’s go show that Gold Hatted Paloka whose boss.. but being Donald ends up driving them into The Copper Canyon instead. Our heroes end up lost in the canyon and , fitting for Donald get shot at. I can only imagine his thoughts right now. 

Their mysterious attacker threatens them.. before revealing himself to be Panchito, whose glad to see his friends having mistook them for Alfonso. Turns out HE’S the mysterious treasure hunter Alfonoso was after, to no one’s surprise. We get another deeply unfunny “Daisy’s only a thousand miles away gag” as the boys reminisce and get introduced to Panchito’s horse, Senior Martniez. He also tells the boy about his map.. but how he’s hit a snag as the lost town where the silver, from a silver mine.. is now buried under pounds of volcanic rock, a volcano having erupted. This is artistic license as Don Rosa admits there aren’t any known volcano’s in Mexico, but that they also still haven’t found that missing town, so this was his explanation.  All is not lost as Donald’s globetrotting with Scrooge meant he knows his history.. and thus spots an old mission which, at the time, were used by preists as cover for secret mines. Donald naturally bungles his way in and we get the much better running gag of the Cabs thinking Donald did something amazing when he really just wondered into slapstick. They end up down the shaft, with Jose deciding Donald can’t do all the work, and finding a secret entrance under a sanctum sanctorum.. a religious thing I have no idea what it ii s but is clearly where Dr. Strange got the name. Regardless they find some old kegs filled with pure silver. As Panchito puts it: 

And he did ideed. In a nice moment that shows off his character, Panchito has no hesitation for sharing the wealth: He wouldn’t of got this far without his friends, and he wont get the Silver cashed in without their help. He also fires off his guns in celebration.. forgetting their in a cave, a gag I genuinely like. 

After some off screen loading and hoisting, the boys are slowly on their way out of the canyon, with Donald’s Car and Senor Martinez pulling the cart with the silver together. With some downtime the three talk about what they’ll spend the money on. 

About what you’d expect. A big beautiful music venue

For Jose, and a nice ranch to retire at for Panchito. Both despite being wondering souls would love a simple place to call home, in their own personal styles. While they are BIG goals, their also likeable and understandable ones: Jose just wants to stop having to do all these tours and carouse and party and perform at home. Be his own boss, and live his own dreams instead of working for whoever will put up for him. Panchito just wants to retire from being a wondering hero to a peaceful life of farming, an honest reward he well earned. And Donald? 

This is easily one of my faviorite moment’s of Rosa’s, one that really cuts to comic donald’s character: Sure he can be lazy, a trickster, hot tempered, and overconfident.. it’s why we love him.. but at the end of the day he genuinely loves those boys and their his first prority and I can see why the reboot took that trait and made it his defining one. They may annoy and frustrate them and he may pull a switch on them, 50′s after all.. but he loves his boys and knows they’ll do great one day and despite his spendthrift ways when given big money.. their all he can think about. Sure Donald probably has his own personal dreams, but instead of going big and retiring he’d probably just take only a small sliver of that money to open a humble hot dog stand or something, so he could have something of his own to provide them, while still giving most of the money to their college. Scrooge is who we all want to be.. Donald is who we are at our core: Flawed people who just want to do our best. It’s why I love the guy so much.  The boys rest in the small town of El Divisadero, which like the town we started in is a real place, though both are much smaller, even as of 2000 when Rosa made his visit, so he had to embelish slightly. THey stop at a local watering hole only to find Alphonso. While Jose is naturally worried, Gold Hat has moved on to Panchito and wants to know why he’s here. However Donald thinking quickly says he’s part of their nightclub act, and we get a rousing version of the three cablleros, which when reading this I synched up to the song. I won’t put it here, as it’s too big for tumblr and it really works more as a whole, but needless to say, it’s the highlight of the comic. While Rosa did have doubts about putting a musical number in a comic, and it’s often trickey, he makes it work with the energy, vibrance and number of gags, that compensate for the music not being there. There’s tons of great gags, from Donald getting thrown out  window, to the stone faced crowd who only cheers when Alphonso ends the number by whacking the three with one of their own guitars.  Alphonso quickly realizes what’s goin on, finds the silver, and then hyjacks the train. The boys take off after him in the car, as Donald triumphantly states “The Three Cablleros Ride Again!”. The three head after Alphonzo, who finds them when trying to release the other cars to increase speed, and then shoots at them. It seems hopeless... until donald gets launched into the air, into a cactus then back into Alphonzo knocking his guns out in a great bit of slapstick. The Conductor, likely not knowing about the others or not carring, detaches the cars though, so our heroes and villian are now sent rocketing through the world’s most dangerous railway. Which, as you’d probably already figured out, is very real and what inspirited rosa to use this setting and thus indeed wind through dangerous mountainsides and over thin cliffs like a real life Donkey Kong Country level.  Eduardo still has his machete though and easily beats Jose’s umbrella, but some more Donald slapstick and him apologizing to daisy about the senioritis as he wishes her goodbye seriously GET SOME COUPLE’S COUNSELING IF THAT EXISTS IN THE 50′S. It puls his sombrero down over his head, and with jose’s umbrella top landing on it, carries him off where he ends up in a lazy asshole sheirff’s jail for a gag. The boys however continue going back.. and the railway is unfinished at this time in history and while they save the silver, their fucked. But Donald has a plan, running to the back of the cars to get his car, and while it has trouble starting, Panchito throws some chilie’s in the tank to get it moving again.  The boys find the silver.. but when one barrel spills they find out it’s not actual liquid silver.. but quicksilver, which was used for silver refinment. So while i’ts shiny, and toxic so of course Jose sticks his hand in before knowing what it is, it’s worthless. Probably. The boys.. all have a nice laugh over it. I love this moment. Sure the boys lost their dreams.. but like Scrooge, the three belivie theirs always another rainbow. What matters is the journey they had and the reunion that restored their friendship. Donald also muses the boys are smart enough to get their own scholarships anyway, so it’s no big loss.. but he does have to get back to Disvadero as the jamboree ends tonight and Jose agrees as he now needs a job again. The owner balks, understandably since Jose missed a performance to get laid and then disappeared overnight.. but the Hotel Owner is visiting so as long as he can provide a big act he’s good, and while Jose is worried as he already gave them his best, the boys naturally pitch in to be the cablleros once more. After all

So we close on Huey, Dewey and Louie returning, still worrying about donald, when they find him on stage. We then end on a truly heartwarming and great last few panels. 

Final Thoughts: What else can I say? This story is beautifully drawn, as usual for Rosa, well paced, fun and really fleshes the Cabs out from the movie. It has a warm, fun adventurous tone and it’s nice to see Donald in the lead since Rosa usually did Scrooge stories and thus Donald was the justifiably surly sidekick instead of the main man> here he’s in the spotlight and gets to show just what he’s made of, while still being the hilarious mess we all know and love. The story honors the original film well, while forging it’s own path and is beautifully built into history. My only real complaints are the nephews being annoying, Alphonso’s somewhat overwrought accent, and of course the daisy gags.. but it’s all HEAVILY outweighed by one of Rosa’s finest hours and easy enough to ignore. Check this out if you can. It’s a classic for a reason. 

If you liked this review, you can commission your own by messaging me on here or at my discord technicolormuk#655 for five dollars a comic story or animation episode. Whenever the ride resumes next, we’ll coming on down to the house of mouse to see the boys return to the screen. In the meantime keep an eye on this space for regular Ducktales reviews every Monday, including once this run ends as I intend to start playing catchup, loud house reviews whenever, my tom retrospective that’s returning soon, and my retrospective on the Life and Times of Scrooge McDuck, with chapter 2 of that also coming soon. Until then, there’s always another rainbow. 

I have been asking people questions from these every time I see them on my dash because it's fun, so forgive me if I asked you any of these in a previous round.... FIC MEME: 10 (Is there a fandom you read fic from but don’t write in?), 30 (What inspires you to write?), 51(Rant or Gush about one thing you love or hate in the world of fanfiction! Go!)

I reblog these things pretty often, but you know, I almost never get many questions about them?  This time, though, I’ve gotten THREE asks, which I think is record!  *happy dances*

@the-flightoficarus asked for 51 as well, after first sending: 

1. 10. 19. 22. 31. 37. 41. 42. 44. 46. for the ask game!!! 

So!

1 What was the first fandom you got involved in?

That depends on how you define “fandom”.  The first thing I was a fan of was probably... Power Rangers?  Maybe?  And I also really liked Valdemar and Witch World around the same time?  But I didn’t “get involved” with other fans, even passively, until Gundam Wing, I would say.  Although--for years I’ve said that FAKE was the first fanfic I ever wrote, but in retrospect I think it was actually Valdemar.  I think there was a huge-ass Valdemar fanfic I blocked out in there, but I never published or shared it, so it kind of doesn’t count.  Harry Potter was the first fandom where I produced content, including reviews.

10 Is there a fandom you read fic from but don’t write in?  

Leverage, because I’m terrible with the cons.  Also Goblin Emperor, because the linguistics scare me.  And the very specific ship-fandom of Where In The World, which may or may not be the real ship name but if I find it, I’ll read it (which is sort of thematically appropriate).

19   Is there a ship which you wished you could get behind, but you just don’t feel them?  

Rhodey/Tony.  It *should* work, it makes *sense*, but... I just don’t go there!  *baffled shrug*

22   Is there anything you regret writing?

I regret... actually, no.  I almost said, “I regret spending 120,000 words on my SBB considering no one actually read it,” but a) that’s just me being salty and b) it’s not true.  That fic exorcised some fuckin’ demons for me, and I’m glad I wrote it.  Especially that scene in chapter... four or five, don’t remember which, but the one that’s just incredibly painful?  That shit is based on my (failed, failed, failed) marriage, I needed to write that.

Actually, I take it back, there is something I regret writing:  after my ex-husband and my penultimate breakup, I started a text file on my computer titled “Why I Miss Dean” and just went off in it.  I probably should not have done that.

But the things I should be “ashamed” of?  The cheesy teenager fic, the shit I never finished in the DC fandom, the fanfiction-of-fanfiction that is my first posted work on AO3?  No, fuck that, I don’t regret any of that shit.  I needed it. 

30  What inspires you to write?

Stories.  There’s usually one scene in particular that makes me giddy with joy to imagine it, and I find myself writing so that I can have that one scene.  In the a/b/o multiship thing, it’s the after credits scene that I’m still working my way towards.  In Stars Fading, it was the reveal scene, when the identity porn curtains were pulled back.  In the Trashy McSupertrash, it’s a trope parody scene that makes me giggle endlessly to myself.  That sort of thing.

31  What’s the nicest thing someone has ever said about your writing?

@judearaya‘s comment on You Would Be In Clover:

I....cannot. My darling Bubbles. First thank you for being my porn buddy :D Second. I finished this last night and just...had to sit with it. I literally could think of nothing but it, it stayed with me so intensely.

You really wrote an emotional, difficult, lovely masterpiece here. The reader becomes so helplessly immersed in their world, in how complex and aching and challenging each of their lives are. I think that the way you portrayed Gwen and Bucky's relationship, how they loved each other, really beautifully. I love that you didn't shy away from how hard it was for them to love each other despite knowing that they were in such a difficult position. Particularly Bucky -- he broke my heart. He really did. Because throughout I just knew, if he could have, he would have given her anything for her happiness, and knowing there was this *thing* he couldn't just tore me up in the way you wrote it.

Sam is...amazing. He's Sam. I don't even know how to touch that one.

That last scene -- there was so much to love, but one thing was the way in which everyone had a very real place with the other, but how with Sam there, Gwen and Bucky were able to connect in a way they'd been struggling for years -- expressing their love for each other through physical intimacy that wasn't marred (I can't think of the right word) by everything else.

Thank you for writing this.

I legitimately teared up.  It still wrecks me.  It tells me that every single thing I set out to do with this fic, I accomplished. 

37  First person or third person - what do you write in and why?

Third, and there actually is a reason.  

Basically, when it’s first person, the conceit is that this is a story someone (the narrator) is telling you; when it’s third, it’s a story that happened.  A lot of the things that happen in the stories I’m interested in writing seem to me to be too personal to be told, especially to the anonymous audience.

41  List and link to 5 fanfics you are currently reading:

I’m not currently reading five fics.  *hangs head*  I’ve had a tough time reading fic in general lately; difficulty concentrating, plus I’ve kinda been sucked into the Dragon Age vortex again, plus plus whenever I go to read I get the guilty reminder that I should be writing my original fic, instead.  So basically, I’m currently reading one fic, because it just posted a chapter tonight and it is magical, and other than that I’m mostly leaving it alone.  

42  List and link to 5 fanfiction authors who are amazing:

Nothing too shocking here...

Copperbadge

Dira Sudis

Chad

Nonymos

Sineala

44  What ship do you feel needs more attention?

Hm...  Maybe Sam/Steve?  Not that there isn’t fic there, but not enough, considering the INSTANT chemistry they had in the film.  Oh!  Also IN CHARACTER Steve/Nat!  (Because they are Bros, and if that doesn’t come through in the fic, then why are you writing them?)  And the related ship of StuckyNat--very rare, but when it works, it hella works.

46  If someone was to read one of your fanfics, which fic would you recommend to them and why?

Oh, the long one!  Definitely.  But if they didn’t have the stomach for all that...  Either Nalattris or Best Served With A Twist.  Both are post-CW fics, both have Steve and Tony reconciling their relationship by the end, both are short and gen.  

My most popular fics are both soulmate fics, and you can find them by sorting-by-kudoi.  My hottest fic, anecdotally, seems to be the crossover with Marvel Noir (you don’t have to know Marvel Noir to enjoy it) (and people sure do seem to enjoy it!).  

51  Rant or Gush about one thing you love or hate in the world of fanfiction! Go!

I really hate to rant--there’s enough of that on this website--so I guess I’ll gush, instead:  I love the creativity of it; I love the welcome of fandom.  I love the gentle, excitable way fans welcome other fans.  I love the drive underlying fandom to do better, always, although that’s rarely put into words, and what we’re doing better is as changeable as my underwear.  (Pretty changeable by this point, I’ve been wearing this pair all day.)  

I love that I could show up, a broken husk of a woman stinging on every surface, write terrible, fic-of-a-fic stuff, and get feedback on it that was loving and enthusiastic and not disparaging.  I love that disparaging feedback in general is a taboo.  ( @subversivecynic and @drakkenzero, who have met my family, will instantly understand why that’s exciting to me.)  

I love that, by and large, no one sporks anything anymore.  It had its place, and it’s done, and now we make other mistakes.  I LOVE that.

Thanks for asking!  :D

New Comic Book Day!

October 11, 2017

Trying something new here, and i’m gonna start reviewing comics that I pick up at my local comic store, which may or not be Nightwing related. I figured this is something different, gives me something to do, and I just think it’d be fun. But enough about the why, let’s get into the comics!

Spoiler Alert

1. Action Comics #989

Part three of the Oz Effect! I figure this is gonna be weird starting a review right in the middle of so many comics, but recapping is a real thing. Anyways, this comic kept the action flowing, not so much of a one-on-one dialogue anymore, and we get to see Jor-El in action! The ending was a giant cliff-hanger and I can’t tell if they are supposed to be the LoSH or not. But this interaction between Jor-El and Jon, heck even with Lois are remarkable, and is something I never knew I wanted to see in a comic until now. Though, thus far this story-arc has been very dialogue heavy, and not very action packed. This biggest reveal isn't even the fact that Oz was Jor-El, but the fact that Oz wasn’t Ozymandias, which in retrospect was a little far-fetched and too on the nose. Anyways, I’m excited for the next issue, and excited for the ramifications of this story.

2. Wonder Woman #32

Part two of the Children of the Gods! The previous issue was mainly from Hercules point of view, serving as the primary narrator of the story, and of his death. This time around, Wonder Woman was front and center. I wasn’t expecting too much from his comic to be honest, ever since Rucka left my excitement has dwindled. But Robinson isn’t a bad writer, and I trust the guy to do these comics well. Jason was revealed at the end of the issue, which i was actually very surprised of, and I thought he was gonna be saved till later. But he’s here, very cut like David’s Michelangelo’s. I’m curious to see how his story unfolds, and what kind of role he’ll play in the future of Wonder Woman comics, if he survives this story that is.

3. Mister Miracle #3

This was probably my most excited new comic that came out this week. If you do not know, I love Tom King’s writing. It’s a slow burn type of writing that excels in large overarching stories, like a novel. The way this story is unfolding is getting me excited. Because you KNOW there is something more going on in the story than what is stated. The way it started, how quickly things went downhill, the way the characters talk to each other. Conspiracy theory is that whatever pills he took is actually making him hallucinate this whole thing. But I feel like that is too simple of an answer, and I feel like King will play into the Jesus = Mister Miracle symbolism, with Highfather = God and Darkseid = the Devil. The way Kirby intended it. I’ve also really enjoy the flow of the comic, with the action sequences and the more down-time. In this kind of comic, it’s strange, which plays perfectly with the outlandish nature of the Fourth World. I’m really excited for the next issue, and the rest of the series.

4. Detective Comics #966

Part two of A Lonely Place of Living! I honestly did not see this comic unraveling the way it did, and I’m actually really excited for it. It’s a mix of the Geoff Johns “Titans of Tomorrow” storyline with a Back to the Future kind of vibe. The reveal of “Who the hell is Conner” was so heartbreaking. I’ve wrote a dream pitch for how I’d bring Conner, and the rest of the Young Justice team, back into the mainstay DC Universe, and thus far, it can still go through. Future Tim plays into Present Tim’s thoughts, and addresses them how Tim would probably address himself. I love when time paradoxes play out in the “I know what you’re thinking, because I thought the same things when I was you listening to me.” way. It gives the audience the idea that time is a fixed predetermined path that can’t be wavered from. But we all know that not to be true. We know Present Tim will somehow find a way to beat himself, even though Past-Future Tim couldn’t beat Future Tim. That didn’t make sense. Oh well. I’ve enjoyed this story, and series really so far, and I’m glad Tynion is on this series, being the 90s fan he is, bringing in all those fascinating characters back into the fold, arguably the best time to be a Batman Fan.

5. Red Hood and the Outlaws #15

Part two of Bizarro Reborn! So I haven’t actually read the first part of this comic, with the last RHatO comic I read, besides the annual, was issue 11. So I’m behind. But I can extrapolate the idea that Bizarro came back due to Lex Luther, granting him super intelligence, much to the dismay of his teammates. But it seems to be a temporary thing. I don’t know why the Belfry team thought it was some kind of an attack, or why they are fighting Red Hood at all, but they are. I would have thought Bruce would have told everyone that Jason was on their side. But I just remembered that Jason has to work outside the family on a normal basis, to “infiltrate the bad guys” for Bruce. I think Jason is the last member of Batman Inc, which is very ironic. Artemis is in the story, still great chemistry with the team, and I still really like the idea of this Dark Trinity, it’s execution has been so awesome since day one, and I can’t believe I’m actually excited for the next issue.

6. Batgirls and the Birds of Prey #15

Part one of Manslaughter! Finally a comic that is just beginning it’s story arc. Whew. The Benson sisters have been doing a great job in this comic thus far, giving us great characterization for the main three, and most of their guest stars. This story serves as a “gathering of the troops” setup. We address the problem, identify it, and then gather some people to counter it. The problem is that there is some disease that can potentially kill all the men, which is something, as a man myself, find hilarious and fitting for this comic. Every character has their own reason for trying to fight the disease, with Dinah having Ollie, Babs having her Dad, Helena with Dick, Selina with Bruce, Harley with the Joker (so she can kill him herself), and Poison Ivy just because she wanted to (basically), the rest of the Gotham squad, which includes Batwoman, Spoiler, Orphan and Gotham Girl (whom I’m glad is getting screen time), and last but not least Wonder Woman herself. I think this story is going to be a fun girl-power story, and I’m curious to see who is behind this dastardly attack, and what their motive is.

7. Dark Knights: Metal #3

If Mister Miracle was my most excited story, this is my second. Metal and all of it’s tie ins have been such a treat. It’s a Batman centric story, without shoving in a Bat-God into our face. The threats are on the planetary level, and it’s gonna take everyone to save the world, even bringing in people who haven't been seen in comics in ages. Dick, Clark and Damian have a moment together, that is very in character for everyone, something I respect Snyder for doing so far. The subtly in this comic is mind boggling , how many hints were left behind in Snyder’s past comics, and just in the series alone. I don’t really care too much about the other Batmen though, and am only really curious about what the heck The Batman Who Laughs deal is. Snyder and Capullo are literal Rock-stars in this series, and I’m cheering for an encore -- which may come when this is all over.

8. The Amazing Spider-Man #789

The Fall of Parker! Spinning out from Marvel Legacy and Secret Empire is a more status quo Spider-Man, but with a twist. People love Spider-Man, as much as New Yorkers can, but hate Peter Parker. It’s an interesting twist on such a simple and main staple in the Spider-Man mythos. I’ve always been a fan of the “Down on his luck, penny to his name” Parker, who was street level but with the drive and passion for the big league. With the previous run, I felt like it was just Ironman with a Spider-Man costume on, but now this is some good old fashion comics. I like his relationship with Bobbi, and I think the two are cute together, but I hope Harry and MJ make their return to the supporting cast. The art is also phenomenal, but what can you expect when Stuart Immonen is providing. Even though there wasn’t much of a villain, or a story being told. It kind of seemed like a one-shot to me, with dangling threads that can be picked up later.

9. Daredevil #27

Part two of the Land of the Blind! Not get caught up with Marvel Legacy, Charles Soule continues his fantastic run of Daredevil. Last we saw, Matt was tracking down his once partner, once blinded and once friend, Blindspot. It was all a trap! This story serves as a “secret origins” of Blindspot, as we see his transition from the farm lifestyle in China, to moving to the city, to the United States. This story takes place over days, weeks, and we can see the passage of time from the look on Matt’s face, and his ever growing beard. I really like this twist, and that it was Charles himself to do the twist, and I’m very curious to know if this was his plan all along, or if it was just something he came up with in recent times. Whatever it is, the main thing I can say about this comic is that I love that the red costume is back, and the fact that Ron Garney is providing art. His style compliments the story of daredevil so well, I’d love to see him do a Nightwing book. I’m hoping that Charles continues this fantastic run when he makes the transition to the Legacy side of Marvel.

10.  Runaways #2

When they announced that they were making a show about the runaways, I was very curious on many things. One of the things though, was not who the hell are the runaways. I actually read the original series, and I was up to the moon when they announced that this series was coming back. The story, thus far, has been very dialogue heavy, with action sequences being either in flashbacks or just not present. I don’t mind it too much, since they really have to explain a lot to all the new readers who are jumping on due to the announcement of the show, I just hope it picks up soon with the action, and it seems it will with the glowy cat eyes following Molly. And I was a little curious on why we didn’t get a shot of Molly’s grandma, maybe there is something up with that too. Whatever the case is, I’m enjoying this series so far, and hope the next issue fills the action void that I crave.

11. Defenders #6

Part One of Kingpins of New York! Technically this is part of Marvel Legacy, but it’s weird since Matt is still wearing his black suit, when he has already switched to the red one in his main series, which takes place before Daredevil legacy does. But this issue itself is really just the end of the previous arc, so it doesn’t really seem like the beginning of a new arc. I enjoyed the court scene, and the banter between Daredevil and Luke Cage, especially Luke’s comment that “he knows a thing or two about the law” to DD. I hope he reveals his identity to the team again soon, as I think it gives the team a much more grounded approach. Less flashy superheroes, and more of just street vigilantes. Men and women. I don’t really know why Black Cat is so heavily featured, when I feel like she doesn’t serve too much to the story, but she’s there. I just think BMB likes writing her ever since his Superior Spider-Man run. But that can be brushed aside with his characterization of the main team, something I look at with these team books. I like the idea of the Kingpin being a “Defenders” bad guy, with the addition to Spider-Man of course. Maybe in season 2 of the Defenders? Anyone? Anyone?

Avengers: Endgame (2019) review:

 Now, like Dobie Gray, I’m part of the “in crowd”--joining that significant chunk of the planet’s population that has seen Avengers: Endgame.  I won’t play the iconoclast this time--I actually liked the film quite a bit.  Don’t have a lot of say about it, but I’ll make a few random comments (spoilers included, but I’d wager most people who want to see it have already seen it).

         Although I was a Marvel Comics fan in my youth, I haven’t religiously watched all of the “MCU” films (not to mention other Marvel adaptations such as the X-Men and Fantastic Four entries). I did watch the Captain America, Avengers, and Guardians of the Galaxy movies, which is mostly what one needed to appreciate Endgame (in retrospect, I supposed should have watched  Ant-Man and the Wasp, since that would have helped me identify the Wasp faster).  

         (1) I found very little fault with the film overall, and there are many things to recommend it. While not an exceedingly sentimental person, I do have one weakness: films depicting spontaneous, mass actions in support of an ideal.  These things notably occur in war movies or other stories about crises, and when people of all aces, races, and social classes voluntarily* step up to achieve something, I get a lump in my throat.

     *[This excludes narratives in which a group of disparate individuals are forced to cooperate to save their lives.  It doesn’t have the same cachet.  I’m also not affected by people banding together for some lesser purpose such as “saving the rec centre.”  The cause has to be morally correct and important.]

         So the scene towards the end of Endgame where the portals suddenly open up and (almost) every freaking superhero character in the Marvel Universe** shows up to battle Thanos really pushed my buttons.  Which is surprising, since I’m normally fairly immune to media manipulation.  A movie about a horde of superheroes facing off against a giant purple alien and his mass of minions menacing the Earth isn’t the same as a film made during World War Two that displays ordinary people doing their bit to defeat fascism.  But I was affected here (whereas the death of Tony Stark did nothing for me--yeah, it’s sad, but it’s “just a movie”).  

**[Back when I was actively reading “The Avengers” comic book--the latter half of the Sixties, Hercules was a member of the group.  I kind of wish he’d have shown up in this sequence in Endgame.  Also, wouldn’t it have been funny if one of the CGI artists had stuck random DC superheroes in there somewhere?  Or some Golden Age Marvel characters (my vote is for The Whizzer)? Also, the very brief bit in which the women superheroes team up is pretty darn cool. Similarly, it was fun playing “spot the character” in the “reunion” scene at Tony Stark’s funeral.]

         (2) I haven’t read or looked at any reviews of Endgame, with the exception of the RedLetterMedia “Half in the Bag” episode (after I’d seen the film), and it’s true--great minds think alike.  Mike Stoklasa brings up the issue of Thanos’ strength.  He’s not just a super-villain, he’s super-strong and resilient, withstanding the combined assault of Thor, Hulk, Captain America and Captain Marvel. Who knew?  (I think I made this same comment in my review of Avengers: Infinity War).

         (3) So, Hawkeye (or, given his new hairstyle, shouldn’t we call him “Mo-Hawkeye?” badum-tish) and Black Widow finally have a confrontation to decide who is the most expendable Avenger, and Black Widow wins (and by that I mean “sacrifices herself”).  

         (4) If they make another “Guardians of the Galaxy” movie I may not see it.  I definitely won’t see it if they still have Thor in there--his banter with Star-Lord is weak this time.  Although paunchy Thor is amusing.

         (5) the Captain America coda is about 40% too long--yes, who among us wouldn’t like to go back in time, make a different decision, and find the love of our life?  We didn’t need to see that, especially after Steve Rogers refused to tell the Falcon about it.  Just let us use our imaginations, alright?  

         (6) the scene between Tony Stark and his father was fine, but also too long.

         (7) if 50% of sentient life on Earth vanished there would be lots of mishegas, no doubt.  But I think 5 years later people would be getting over it.  Endgame hedges its bets, showing some of the protagonists living normal lives (Hawkeye, Tony Stark), with a few shots of urban blight and devastation, but the effects of the Thanos-snap on everyday people are mostly unseen.

         (8) I’m not going to get into a plot holes morass.  If it didn’t bother me when I was watching the movie, it doesn’t really matter.

         Avengers: Endgame is a fine, well-made, entertaining motion picture.  Why has it made so much money, so fast?  *shrugs shoulders*

LOGAN REVIEW: End of an Era

The Wolverine finally gets to be himself. The opening seconds of the film already sees Logan shot, beaten, before he unleashes a myriad of violent manoeuvres to put down a bunch of Cholos. You realise how watered down those X-Men films have been. While the X-Men are colourfully blasting foes away with lasers, wind and other magical powers, he’s ferociously decapitating and ripping people apart with those vicious claws, empowered by rage itself. Thus I begin with perhaps the most important point: Logan is M18 and not a film for children. It is the X-Men and kids will want to see it, but this is definitely one for old teens and above. With that said, the age-rating does pave way for a poignant and deeply affecting conclusion to send off a hero we’ve followed faithfully for 17 years. 

It is the year 2029, mutants are on the brink of extinction and Logan spends his days as a chauffeur near the Mexican border. Whatever income he makes goes to medication for Xavier, who is suffering from a neurodegenerative disease – a brain disease on the world’s most powerful brain – resulting in unthinkable devastation. Logan carries a single adamantium bullet, planning to use it on himself should Xavier die. The Professor is the only thing worth living for now, a memento of the past and the only good thing left in Logan’s world. It’s also shocking to see these glorified heroes end up where they are; sick, unmotivated and literally tired of living. However, when a young mutant with similar powers shows up, Logan is forced out of hiding to deliver her to a rumoured safe haven for mutants. I don't agree that Logan is utterly original. Its reluctant heroism / road trip narrative is reminiscent of many Westerns that have come before, but this doesn’t detract from it being a powerful story.

Logan trusts the maturity of its audience and finally allows us to realise the reality of superheroism. As seen in the trailers, “we’ve got an X-Men fan”, Logan smirks as he flips through the page of a vintage X-Men comic, then dismisses it explaining that “only a quarter of it happened, but not like this”. In the real world, there is violence, death and severe consequences. It bravely does away with all its PG-13 instalments, criticising them for dramatising what were evidently agonising times in Logan’s life.

Violence in Logan isn’t just a gimmick, but necessary to convey the desperation of our heroes long after the fall of the X-Men. After all, this is how Logan has always seen the world. Nothing here glorifies bloodshed. Second-time Wolverine director James Mangold wisely modifies the camera work to draw focus on fight choreography rather than fast-paced editing, to deliberately draw focus to the terrifying violence unfolding and pain shown on characters’ faces. Crucially, viewers never get comfortable with what’s on screen. Before engaging into any battle, Logan unleashes a long cry that conveys not just his fury, but reluctance because something precious has been taken that has forced him into violence, often his possessions or loved ones. This has been consistent throughout the Wolverine series, where Logan responds into battle, rather than initiates one. It's a torturous way to have lived, and Logan sees the consequences of a man who has lost everything he’s ever loved that he is unwilling to show any more affection or trust. He can’t bear to lose anything else.

I love the intimacy of the story, in that there aren’t any magical portals in the sky that put the world at stake. In fact, the stakes are personal and very real. Yes Laura does represent the future of mutant-kind but it isn’t fleshed out because none of that matters more than what the characters mean to each other right now; how Logan needs Laura and much as she needs him and what Xavier means to the both of them. Its a meditation on the family and its a refreshing change of pace on Marvel’s part, humanising characters who are larger than life. We open with the Wolverine looking after an old man who would refuse to take his medicine, get angry, curse and sometimes forget Logan’s name. As the story develops, Logan’s own anxieties creep up which are as real as ours - hesitating to care for a child whom he could never do justice to. These are real world struggles they’re dealing with, mirroring our own. Their personal victories make them as much superheroes to us as it is inspiring and sacrificial, more so than having to save our planet. 

Hugh Jackman admitted being difficult to work with in the making of the film, as he wouldn’t allow it to be in anyways imperfect. This had to be a fitting end. It is refreshing to see how Mangold and Jackman have gotten their story told amidst the immense studio pressure to preserve these characters and their lore, which have taken many films to build are plainly brushed aside, while other major characters meet their demise in almost anticlimactic fashion. This is a daring superhero movie – which is the most bar-raising thing about it – in that it dares to do things to these industrially lucrative characters - property - in ways that plenty of studios couldn’t even consider in the name of perfecting the narrative (I’m talking about you Civil War). This is filmmaking done with passion and integrity. 

Commendable work extends to the performances. Jackman’s 17 years of Wolverine ends with a career-high performance. He is utterly committed and evidently owning the role, with every line delivered with complete empathy. It's a pity that Logan is released so early into the year, a winter release would almost certainly stir substantial Oscar buzz. On the other hand however, newcomer Dafne Keen more than holds her own as Laura/X-23. She’s given a tremendous amount to do with little to no dialogue and she delivers with a mature and well-controlled physical performance. I appreciated that the film never made her cute, or had any cheesy back-to-back superhero team ups with the Wolverine. Her portrayal was consistent with the brooding tone of the film, and we are introduced to an angry child that has come from pain herself, seeking refuge and a family in this world that likewise has shown her nothing but violence. In many ways, the responsibility of a father figure to Laura is the perfect end for Logan. She echoes plenty of Logan’s own characteristics and flaws, which require Logan to overcome his own demons in order to help her.

Logan’s success suggests one point that superhero stories can come to an end. And perhaps now we are ready to see our favourite heroes come to terms with what they have done, and come to some form of closure. As the Western craze of the 70s came to a close, films focused on the old cowboys coming out of retirement for one last job – a fitting and retrospective way to see out the era. Similarly, I believe the Superhero phenomena of the past two decades can soon begin its closure, wrapping up an era of thrilling escapism and inspiring entertainment. If the failing DC universe proves anything, we are beginning to see stale work – audiences rolling their eyes at tales retold so much so that parodical works become huge successes, like Deadpool, evidence of our cynicism towards genre conventions. The wave of horror movies came to an undignified conclusion in the 90s, when studios ran out of ideas after their 6th instalments and began amalgamating franchises that had little to do with each other (likewise it was irreverent works like Scream that took the limelight). It would be a tragedy to see the Superhero genre whimper off the same way. Its cheese, but I’ll leave with a quote by the great Harvey Dent that I find most apt

 “you either die a hero, or live long enough to see yourself become the villain”

Youtube's Comic Tropes

Youtube’s Comic Tropes

On Youtube, I’m subscribed to a few comic-book related channels (Linkara, obviously), and I recently stumbled across a guy called Comic Tropes, who does retrospectives, reviews, histories and trope analyses of various comic books. Not just DC and Marvel, although obviously he focuses mostly on those.

He’s got a lot of energy, and he does some fun little self-competitions like when he counts…

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ITK Newsletter, no. CXII: AVATARS OF VENGEANCE - Marvel Ultimate Alliance 3!

Loonies one and all,

Thank you for your patience and for grabbing a copy of this in your hot little hands! We're back in full swing and I thought it best if we try hold our show a little bit until the moon phases into a Last Quarter - that way, we can base our next episode on gaming!!

PHASE OF THE MOON: LAST QUARTER

AVATARS OF VENGEANCE - MARVEL ULTIMATE ALLIANCE 3 REVIEW

Keeping things different and segments rotating, we'll be returning to the world of gaming, and we'll also be welcoming onto the show a recent Loony, podcaster and all round nice guy, Joey Agliata for a good ol' chat and for Joey to lend his expertise on gaming to actually add depth to our review on Marvel Ultimate Alliance 3!

I've not got the game, and I believe Connorshu has not played it themselves, so it's a no-brainer to have Joey on to elaborate on all the prizes and trappings of the game...especially on how our boi Moony is represented in it!

Joey has plenty of experience with podcasting as he hosts his own called, Jump & Shoot and it recently has branched out to broader topics...one of the more recent episodes being on the entire run of Moon Knight!

Can't wait to chat with Joey - should be heaps of fun!

THE HUNT FOR KHONSHU'S GOLDEN SCEPTRE - RESURRECTED!

So I bet some of you thought this was dead in the water, yeah?...Well....WRONG!! Hehehe...it's still alive and kicking, and I just have to find time to edit together Episode 6, which will be the next instalment of this series...! It's been over a month since Episode 5, so I don't blame you if you've forgotten where we are up to with this one. Needless to say, you can see how the absence of Khonshu's Sceptre has royally stuffed up our podcasts with the phases of the moon! We've managed to align the upcoming episode with the Last Quarter...but crikey! The past few episodes have been not exactly adhering to Khonshu's wishes! Let's hope we find the Sceptre soon to return to some sense of normality!

The upcoming episode will show what Connorshu has been up to, after his meeting with The Man on the Streets. A new character pops up to lend a hand and we MAY or MAY NOT get a first glimpse at the Golden Sceptre itself!

If you want a recap on all the previous episodes, you can find them here !

Get reacquainted, then crack the popcorn out for another serial episode dropping in the upcoming show!

THE COLLECTIVE - TOP RECOMMENDS THIS WEEK!

Alright, it's that time again to give some shout outs to some of our good mates in The Collective, a podcast network we are so proud to be part of.

If you've not heard about it, just hit the link at the bottom of the page to read all about the collaborative network we are a part of...also, check out these sweet recommends which have come out this past week!

OK, so these guys aren't part of The Collective, but they damn well should be! Special guest, Brian Biggie from The Collective's own, Inner Demons - A Ghost Rider Podcast, joins host Scott of 20th Century Geek to chat about that latest Terminator movie, Dark Fate. Gabriel Luna stars as the evil Terminator, but he's also known for his role as Robbie Reyes, aka The Ghost Rider, so you can see where Brian fits in! (he's also a massive Terminator fan...so that kinda helps too!) Check out the episode, Terminator Retrospective Part 3 ...

The folks over at Weird Science Marvel Comics Podcast keep on doing great work, with regular reviews on all weekly Marvel and DC comics..worth checking out the shows and the website for all their reviews!

Finally, Uncanny Nerdverse have been consistenly releasing their overview on the classic Secret Wars 2 saga...a plethora of episodes to check out there...try out their latest, and work your way backwards! ... Secret Madness Ep. 14 - Secret Wars II #2

CONTACT US!

Shoot us your thoughts on Marvel Ultimate Alliance 3! We're always glad to hear if you like gaming and more so, if you find Moon Knight well represented in the latest game from Marvel!

If you DON'T want your comments broadcast, please just add, "(DNB)" at the end of your comment, and we'll be sure not to broadcast it. We'll pick a few comments from here and discuss on the show!

Email: [email protected]

Podcast Page: http://intotheknight.libsyn.com

Facebook Page: Into the Knight - A Moon Knight Podcast

Facebook Group: Into the Knight - A Moon Knight Fan Base

Twitter: @ITKmoonknight

Discord ITK Server: ITK Server

GetVokl : Into the Knight Welcome Room

That's it's for this week. So as mentioned, we'll be releasing our episode a bit late in order to align with the Last Quarter phase of the Moon...hope this newsletter and the recommended Collective podcasts tide you over until then!

May Khonshu Watch Over the Denizens of the (K)Night,

Rey

Proud Member of The Collective

  Remember! You can buy your official ITK merchandise at ...ITK Store Front @ TeePublic

Check out this episode!

Blade(1998)DC & Marvel Retrospective/Review