Warren Ellis: Global Frequency

I didn't like Stormwatch and I didn't like Planatary. Transmetropolitan doesn't interest me. I suppose I'll try it eventually. The one conclusion I can draw from reading so much Ellis lately is that when he's hot, he's very very hot and when he's not - it's horrible. At least to me.

Planetary seemed pretentious. There were good ideas, and some beautiful art. But it bored me. Just blah blah blah blah blah. Blah? Blah. Blahblablah. Charlie Brown. Blah Wah Wah Wah. The dialogue was the worst part, which is unfortunate in something that relies on dilaogue to tell its story.

Wow did Planatary make a bad impression. I can't even think of it now except in small flashes of 'What the fuck?!'

Global Frequency on the other hand, is as someone mentioned, very much in keeping with the ideas and ideals behind Stormwatch and Planetary. But it's good. I cared. Big Sky in the TPB wa a rather abrupt switch in art style. I find myself wondering if it was some sort of filler - except the TPB reads like a collection of short stories all set in the same universe. But aside from a little flutter with Big Sky - I loved it. It's something I could consider buying; not before Astro City, Invincible or Runaways Vol 2. But if I had the extra money and it was right there. I'd grab it. That's how much I enjoyed it.

I didn't feel talked down to. I have to wonder how it is Ellis manages to write stories were people are just living their lives and we the readers hover somewhere over their shoulder - and then manages to write stories where it's obvious I'm reading a comic book because comic book logic and science are messing up anything remotely looking like a character or emotional beat.

As a writer, I'm curious about how that happens. Does he just get more comfortable with one set of stories? Is he a better short story writer? Does he fumble with long arcs - trying to make them too spectacular and ending up not making them much of anything at all? Obviously the answer is to read more and see. Except the thought of reading more and falling across the less than stellar bits isn't at all happy making. I'm going to stick to looking up more Global Frequency and see if it was only a one off thing or not.

Never Say Never: Civil War - Again - Why It Upsets Me

I tried to explain my displeasure in Civil War to a friend today. I absolutely bombed. To me a conversation is someone stating their opinion and then a counter-opinion and going back and forth until both sides until understand each other, even if they don't agree. But I was everything but eloquent.

She's not a comics fan, and in fact looking at too many pictures in a row can send her to sleep. But the topic came up and we were having dinner and it's something she knows I'm interested in and I'd been having a rough day, so why not talk about one of my passions. It seemed like a good idea until I actually tried to do it.

First I tried analogies. It's partly how I communicate with the world and it's partly because she doesn't know what's happened and I didn't know how to include all the information that comes with the pictures in a comic, without me having to retell the whole story. But she got lost with the analogies and kept pressuring me to just tell her what happened and what I didn't like. So I tried again. But this time she said it sounded like my dislike for the plot was the issue and she couldn't figure out what about the story itself was bothering me. And as I do dislike the plot, I tried to find another way to go at it. So I tried a third time, trying to avoid all the little hotspots that make me want to go 'arrrgh!'.

And when I'd tried that third time, or maybe it was a fourth time, she said stuff like. "So Congress got scared and did something stupid that people don't like? Well duh, that happens." Followed by. "So Peter Parker was never one of their ideological equals and now they're suspicious of him? Well duh. It's a civil war, right? If he shows he's not down with them of course they're going to be suspicious." And then she said things like. "They're using unsavory tactics and they aren't really concerned about information? Guantanomo Bay anyone?" The only thing that made any impact on her was the government's side using villains. She found that just plain stupid.

I tried to explain that I found the story thin, that there was so much meat to it that just wasn't being used. But all the while I kept getting more and more irritated. Because my feelings before talking to her were that if Marvel was going to use a Metaphor, then it should be a Metaphor. And they shouldn't be trying to bend current situations into the Superhero world in some kind of morality play. And yet - she's right. And I absolutely loathe that. I still think the writing sucks, and the story has no depth, and the rush to get it out is ruining avenues of exploration. I still think that Tom Foss or Prok over in Blogger have some wonderful ideas for how things could have played out (Barring Prok's new theory that it's all about Wanda's mucked up mindfuck). But my friend was right.

The government does do stupid things. Ours does and theirs does. My own irritation that this is nothing more than a broader termed Mutant Registration Act is proof that they have tried stupid stuff before. And who says the government learns from its mistakes? Congress does use fear and paranoia to push through acts that limit the personal freedoms of its citizens. It's been done. We in America live there. And while what happened at the school doesn't seem to be enough of a big deal for such a huge public outcry. What happened in real life with the Towers shares one simple similarity in that the people in power should have been expecting it - there were signs. There could have been accommodations made.

Ironman and Captain America becoming so embroiled in fear and paranoia and mutual feelings of betrayal? It happens. Soldiers for a cause coming to the realization that they've been lied to and friends around them are dying for an unweighted cause? Search theinternet and you'll find the blogs.

I wanted to say to her that the Marvelverse isn't supposed to be like that. That the Superheroes should know better. That the real thing to come out of this should be a more formalized training system for young heroes; no more throwing the kids in the deep end and seeing how they swim. But I couldn't. Because what I wanted to say was that 'I don't want to see that in that world! I want things to make sense because it's fictional. Fictional chaos is part of a plan and a plot. There should be logic and reason to it when I take a step back.'

I do not believe that Marvel is purposely mimicking the irrationality of a fear state and loss of virtue of individuals as they obsess with their own self righteousness to the destruction of all else. I don't believe this has all been planned. I don't see the signs and cues that reassure me that Comic God is in his Heaven and all will turn out, if not right, at least fruitful - meaningful. I do not believe that Goliath's death was a meaningless death for the sake of a meaningless death. Because I can't believe they meant to make me feel this angry and this filled with the need to smack a bitch and talk to them about iconic images, black history in America and volatile emotions. And that I think is the biggest failure of all; that prickle in the mind that makes it all too real, too unscripted, too irrational and too far away from comic reality. I've lost trust.

A reader isn't supposed to lose trust in a story like this even if the characters themselves no longer know up from down. There are our heroes!

Screw That. I Can Fly! : Willow discovers Invincible

I've just spent several happy hours reading 'Invincible' (Ultimate Collection Vol 1) by Robert Kirkman and Corky Walker.

I now have another group of writers, artists and heroes to put beside Astro City in the category of 'Brilliant, Wonderful, Beautiful Story.' It's different story telling but with the same theme of using the Super Hero elements as backdrop for a classic tale; old fashion mythological sagas. I love this stuff!

A young hero with a legend for a father who then discovers his own powers and begins to search for and settle into his place in this world, only to discover that it's all wrong.

How much better than that does it get?! Not too much better. And with these writers striking the right tones between Husband and Wife and Father and Son and Mother and Son. And friends. And the complications of highschool with rumors and girls and crushes and betrayal and that teacher you always knew had it in for you and wished all his students dead.

People keep saying I should try Ultimate Spiderman, because it hones Peter Parker's journey and brings into the modern world and I keep putting it low on my list of priorities because Spiderman's more iconic to me once he's learned his lessons.

But this is a whole new universe, with a whole new character for me to follow and love and root for. It might not have moved me in the same way as 'Confession' and 'Tarnished'. But I enjoyed it in a way I hadn't been able to enjoy Storm Front or 'Planetary'. It was just; adventure, adventure, adventure with subtle plot - bang! - emotional moment, adventure, adventure, adventure -bang!-.

And the Global Guardians made me laugh out loud. Midnight City and Green Ghost and WW (who was absolutely perfect in every way!). And the tiny peek into the Not!Starship Enterprise.

I'd forgotten the fun of being a geek and getting inside references. But I got them here and squeed liked a fangirl seeing someone take off their clothes.

It was the perfect pick-me-up for an emotionally wonky day. And it's yet another 30something dollars I'm going to have to dishout in order to own it.

Astro City leaves me rocked. Invincible leaves me elated.

Now I can understand some of my bitterness with Marvel's Civil War and DC's most recent Crisis. 'Runaways' makes Marvel not seem a hopeless cause in terms of telling stories I like and feel inspired to spend money on. But so far all DC's given me that's reached my awareness is ASBAR.

I love superhero comics. Yes, independent comics have their awesome place and 'Teenagers from Mars' will remain one of my favourites forever. But I love my bigger than life, bright color wearing heroes. And I love that this story exists along side Kurt Busiek's universe and writing to give me the little girl squee and baited breath and stomach clenching excitement.

Stephanie Brown Memorial Case - I Don't Agree.

I don't know that much about Stephanie/Spoiler/Robin IV. I don't even have general Wikipedia knowledge. I have a hazy idea that her father was the first Spoiler and he was a criminal and it shamed her and she wanted to fight crime. And as far as I know she dated Tim. But the biggest bit of hazy general knowledge is that she was Robin and she died and that there's no memorial for her in the Batcave.

Now I've spoken to a couple of people about this and I thought that was it as far as 'my say' on the issue. Since I'm really not following the issue. But everywhere I look on my feeds or my journal's flist - there it is. "Oh for shame DC. Oh how chauvinistic. Oh how unthinking. Oh how...."

And I find myself in the predicament of not quite agreeing with them. It's possible that because I never followed Stephenie's run that I don't have the emotional investment necessary to see this as so wrong. But when I first heard there'd been another Robin who died I did think it odd that the plaque under Jason's Robin costume didn't have another line or an accompaniment about 'Two Good Soldiers' or something.

But then I found out how she died. And then the more people spoke about it and that little interlude I mentioned previously, where someone spelt out what happened to me, the more I think that not having a memorial case makes sense. If you can hold on to how you may personally feel about this and follow my line of logic, I'd appreciate this. I don't often write to speak to anyone, but this seems too emotionally charged for me to write as if no one's reading.

My Thoughts

When Jason died, it was a failure for both Bruce and Batman, both aspects of the man who guards Gotham. He'd lost a son and a crime fighting companion. He'd gotten parenting and guiding all wrong and Jason had run off headlong into danger. He'd lost Jason with Jason thinking he didn't care and that Jason wasn't important, not as himself and not as Robin. And then on top of all that, he'd lost Jason to the Joker as part of something his enemy knew would demoralize him and hurt him.

How could he not have tried to make up for that kind of failure and unintentional neglect with an apology and the apology is the memorial case. It's for a good soldier. It's for the praise that Jason never felt he got in life. It's acknowledgment of Jason's contributions as Robin even if it comes too late for Jason to ever see it. (The 'revival' due to HUSH and Crisis not withstanding)

Jason's memorial is distinctly personal and is a warning and reminder for how both Bruce as himself and as Batman should treat the people in his life who are part of his world. It's a hard lesson learned. It's yet another loss of family when he'd sworn that nothing like that should or would ever happen again. Therefore it takes away from Jason's death and the lessons Batman learned from it, to have an identical case there with another uniform and another plaque. Those cases aren't reverse trophies. It's not like in the Toon!verse where the display cases with the costumes is a monument to Bruce's past. And it seems unfair to me to cheapen one memorial by making it less than unique.

This isn't to say that I don't think that those who die while fighting crime in Gotham (while in costume) shouldn't be remembered somehow. If members of the GCPD fall they have a space in a police memorial. But does anyone really want to have Batman admitting that losses like this are inevitable and then there'll be space cleared in the sanctum of the cave in the expectation of many fallen? Because I don't think the Batcave should have a wall like that. I think it'd take away from what the cave is supposed to be; from its mission and purpose.

I'm told that Batman used Stephanie to manipulate Tim, that he didn't want her fighting crime and from the scans I've seen ,she didn't die as Robin, she died as Spoiler. She died separate from Batman. She wasn't of him. It doesn't make her any less heroic for daring to face Gotham behind a mask and trying to do good. But it does make her death different. And given that she was Tim's girlfriend and she was used to get Tim to put back in the red, green and yellow, the emotional urgency of the situation would seem to go to Tim. Because from what I've gathered Bruce doesn't believe he did anything wrong. Stephanie's death was tragic but it did not come about because of his own inability to act, because of neglect or because of mistaken rejection. Stephanie's death didn't rock him the way Jason's did or the way Tim's would or Dick's.

So wouldn't he need to be prodded? And wouldn't that prodding make sense coming from Tim? If Tim had his own memorial to represent what this life means; the consequences and sacrifices; wouldn't that make more sense? Ragnell suggested a shelf in Tim's room in the cave, with her mask and hood. I think a single burning candle would also work. And who knows about some sort of combination, maybe with a picture of her; a way of Tim remembering his dead.

And from that and maybe Tim's need to remind himself of what happens when he's not there to be a Robin - a balance to Bruce's darkly pragmatic side - it makes sense to me that Bruce could then see Jason's memorial failed. And that he needs to think differently and think twice before he begins to manipulate someone else. Respect for Batman doesn't guarantee anything, because he doesn't have control over what other people do.

My suggestion was that there should be some sort of algorithm in the cave's computer systems that notes when he's paying particular attention to a certain person, researching them in a certain way. That program could tag or alert him in the middle of researching to make sure he's really thought through the emotional resonance of whatever it is he's about to do. And that could be a [ Spoiler Alert ]. Bruce didn't pay attention to how much his approval and working with him meant to her for her own sake. He missed the subtleties. According to what I've been told he saw her as a way to get to Tim and then he fired her and left her out in the cold. He did to her what Jason only thought was going to be done to him. From a different angle, Batman failed to remember that emotions drive motivations drive actions and that Stephanie's actions within Gotham (and perhaps the fact that she'd been working solo before and wouldn't stop just because he fired her) were the dangerous sort that could lead to death.

Some of the posts I've seen recently also talk about the fact that Stephanie isn't even mentioned. And I do believe that to be wrong. But I can understand how it can be tricky to bring up. Because in what context do you bring her up if you're trying to make her death separate from Jason's? Especially when from a certain angle it's also intricately related. Does it fall under the dangers of the job? Does it fall under not knowing when you're not suited for the work? Does it fall under not being careful? Does it fall under 'Beware the Mob'? Or does it fall under 'Batman's a prick and he will use you so don't even bother signing up you'll only get fired anyway? I'm fairly certain, all asshattery in Batman's semi-recent characterization aside, that Batman the Asshat is not what DC is going for. Or rather I sincerely hope that's not what they're going for.

And if Batman's not an asshat, I don't think it's fundamentally sexist that they're not cheapening a storyline (personal impact for Batman) that grew in depth as the years progressed. Jason's death started off as a cheap gimmick almost and then it became the newest goad in Batman's quest to root out and eliminate crime, wrong and evil.

If Stephanie's death is going to be played as a goad to humanize the Bat, it could be a tricky thing for the writers to figure out exactly how that will come to be. And until then a certain measure of denial and quiet in the face of everything else going on might not mean anything more than there hasn't been a storyline and or a writer who's thought up a way of handling it.

Now is this actually what's going on with DC or is it all really a case of white, male, privilege where they don't get how important Stephanie was to several fans - I have no idea. But I think that calling for a replica of Jason's memorial case is the wrong way to go about drawing attention to what her place is in Batman's ultimate story arc.

Once Upon A Time It Didn't All Seem So Pale Ale

Kurt Busiek and Greg Rucka have spoiled me. I have to add Greg because of how much I adore his arc with Wonder Woman. But now after reading the Astro City Trades, I've found myself reading Stormwatch. It's the Warren Ellis TPB. And I like Warren Ellis. I remember liking Warren Ellis. But so far it's all fallen flat.

It's felt like more and more of 'You with your alien fire power and ability to sexify women till they spill secrets blah blah blah' mixed with 'And now you shal PAY!'. It's not boring exactly. I do want to find out what happens. But it's flat. Even remembering how much I liked Jenny Sparks when I read The Authority a few weeks ago, I can't find myself liking her now. And it's not because her personality has changed much it's just because she's surrounded by flat. Wait no there has been one scene so far where she was kicking someone's ass that I've enjoyed. But that was mostly action and not dialogue. The dialogue really seems to suck somehow.

Do I need recommendations now? Have I reached some weird ass 'plateau' of comic reading? Or found my niche or something? All I can think about is how I should care. How I'm the sort of person who says 'Shoot them in the knee caps then ask your questions'. And it's the sort of book that seems to be going that way. And yet I keep thinking of weakened and or flat soda. Something's missing somehow.

Is it the art? Because while it doesn't repulse me, it doesn't seem exactly inspired either. And I can admit that the art of Astro City had to grow on me some. But the story was compelling and the poses were iconic and pretty soon I found things to love and enjoy as I read. I wasn't skimming over the blurbs of color trying to find the next line to get me to the end quicker. And that's how I'm feeling now.

Discerning palate. That's the phrase that keeps running through my mind. I know I've been avoiding Ultimate X-men because it began to bore me and any other X-title makes me want to run screaming the other way. So I've been looking elsewhere and .... I'm not even making any sense except that I want more. There has to be more than Busiek and Rucka and Bill Willingham of Fables. There are others out there who can show and tell ?

Right?

Obligatory Fic Exchange Pimping

is a threesome holiday fic exchange. It's run by aka 'The Roommate'/ 'She Who Shares Rent'/ She Who Feeds Me Soup When I'm Ill'/.

Do ya like threesomes? Do ya like writing? Do ya like fic exhanges with little red fuzzy hats? Do ya like holiday jingles? Do ya like figgy pudding? Do ya like magi burning incense?

Well then might just be for you.

You should at least check out the fandoms allowed. They've got DCverse as an option. Think Diana, Dinah and Barb should go on aventures? Have you suddenly got the urge to see Dick Grayson in the middle of a Koriand'r / Kara sandwhich?

Someone might just write it for you!

Someone else out there might want something kinky with Oreos involving Jonn Jonzz, Booster and Blue Beetle. Or better yet, JL/JLU Jonn Jonzz singing at Christmas on the Kent Farm with Clark/Kal-El and some yet to be picked third!

And now's your chance to write for them!

PIMP!

___

Ok, I'm done now.

There's A Lot More To It (Soap Opera Fans & Comics)

In a marketing move created to finally satiate the underground fanboy/stay-at-home mom demographic, Marvel Comics will debut their newest superhero on the CBS soap opera "Guiding Light."

News of the impending apocalypse to follow.

Marvel has also created a comic featuring characters of the soap interacting with superheros like Wolverine and Spider-Man. Perhaps, Spidey and Wolverine will find out they are actually amnesiac evil twins switched at birth!

The eight page comic will be included in upcoming issues of Marvel comic books like "The Amazing Spider-Girl," while the heroic episode of "Guiding Light" airs November 1.

Marvel and Procter & Gamble (which produces "Guiding Light") are joining their superpowers in hopes that soap fans will pick up a comic book and that Marvel addicts will tune in to the daytime series.

If they don't, then we can pretend it was all just a dream

[ Additional articles found here and here.]

I see this and my response is 'Whiskey. Tango. Foxtrot!' There's so much WTF I'm not sure where to begin. I grew up on soaps. I started watching them with a relative when I was much younger and was upset at first that they were on screen instead of cartoons (this is what happens in houses with only one tv - some of us hone our 'huffiness'). I glared at those shows thinking everything was so implausible and impossible and stupid and that I could then and could learn further how to write better stories. Then I found myself caring about the characters and their arcs and to this day I still check in just to see what's going on with characters (people) I grew up with. Soap operas were one of the first things I consciously watched to learn how to tell a good story.

And I say there's no proof out there, outside of Runaways, that Marvel knows how to tell the kind of story that will fill soap opera fans with satisfaction. Emotional follow through is the bread and butter of soap operas. It's the reason that viewers will follow one character through romance after romance, diabolical scheme and nefarious plot. If there's a payoff at the end - a win or a loss, a growing and/or defining moment - then they'll follow. They're not in it for the improbable situations. Those situations only set up the emotional stuff. How can it not be obvious that the thing that draws soap opera fans to their stories are elements that Marvel (and DC) have failed to bring into their regular storylines; consistent emotional follow through.

Did no one at Guiding Light take aside the studio exec from Proctor and Gamble and try to explain to them just what Marvel would have to do to ever make soap fans who don't already like and follow comics, spend money on them? Or did someone try but they just weren't heeded? Because it's not difficult to think that someone said 'Oh, those women will buy anything that promises them some romance, as long as we stick in characters they already like....'

But even if they don't think that, even if I'm being unfair, it feels very much as if no one's paying attention to what women want in comics. It feels like 'someone' heard that women want comics and 'someone' thought there was a demographic that wasn't being mined. But no one bothered to find out what would make their premise work.

There are comics I don't like / can't follow/ or sometimes downright hate. A lot of the time they're the impossible team ups, the clashes of hero vs hero, the explosions, betrayals and whipping out of bigger tech or resurging power. And yet I'm currently adoring Astro City which has all those things happening, because all those situations are driven by the story, by something with emotional satisfaction - or rather the emotional satisfaction I like. I don't really know if other comic readers get the same kind of 'exhale and feel' from seeing Captain America whale on the Hulk, that I got when watching Steeljack deal with The Conquistador. Maybe what I'm talking about needs another set of words. But that thing, whatever it's called has a lot to do with getting those particular women to follow and be loyal to a character, a couple, and a show.

Now I can understand that this can be a difficult concept to accept if you (generic you) isn't thinking of things in that way. I've had personal experience myself with being in rpg situations with wild and fantastically improbably setups and coming to grief. I was going for a certain emotional follow through and thinking that the whacky or cliche situations that were offered up were just vehicles to set up the emotional pitfalls and pratfalls for my character. And then I learned and realized that for quite a few of the other players, the cracky moments in and of themselves were their kind of fun. They weren't looking for anything else. Those players and I were wanting to play in the same playground but we were doing it very differently.

Soap Operas and Super Hero Comics may look like the same playground on the surface. But the players are going at the game very differently. Yes, soap opera fans are primarily women. But soap operas have been catering to them for years, growing with them and becoming wiser to what they want and they know the trick to all those implausible storylines. Soap fans have watched Mob stories, immigration stories, alien visitation stories, evil twins, long lost loves returned from the dead, shipwreck fantasies, medical dramas, rape survivor triumphs and alcoholic declines. And they've followed all these things over years. So yes, sure, there's the potential that they could think of super hero comics as just another way to tell stories they like. But they've watched the diverse twists all following one common emotional theme. I could be wrong. But I think that Marvel can't begin to court this demographic if they start off by insulting their intelligence.

Reason for the Quiet

I've been ill. It's going into week two now and I'm still slowly recovering. Which means I haven't been out and about to read/collect comics and TPBs to read. So it's been mostly me lying down on a couch or in my bed reading novels or staring non-sensically at flashing colors on the tv screen.

My loathing for how Nickelodeon conducts the airings of Avatar: The Last Airbender continues. My confusion at finally getting my hands on an Amalgam (DC/Marvel twined universed) comic is only slowly fading - I read it while I was sick and I was sorely disappointed at the lack of any sense. I mean, it's a comic a visual medium. Why tell when the whole dymanic is supposed to be one of show? If someone blows a cloudy puff of air at something and in the next panel the object they blew at is frozen then -DUH-, freeze breath. You don't have to tell me. Save the space for actual story.

I guess the point was they didn't have an actual story, just a whole bunch of 'OMG SO KEWL' concepts.

I remain disappointed.

I look forward to feeling better and hopefully collecting some books that no doubt have been waiting for me, on Monday. I want more Astro City. Astro City makes it all better. [ TARNISHED ANGEL = YAKBM ] Of course I have no idea when, how, I could ever write my own comic. So hopefully that inspiraction from them will pass as I get stronger and less filled with viral ick.

*Yet Another Kurt Busiek Masterpiece

Astro City: Confession (I have no words...)

I just read Kurt Busiek's Astro City: Confession. It's the second TPB. I'll talk about the first later. Right now I just need to say "Why does Marvel suck so hard? Why? Why? Won't someone please think of the children readers?!"

Confession is beautiful. A beautiful story. A beautiful reality. A beautiful slice into life and problems and what happens when the people turn against their heroes and the possible causes behind such a turn. It's told through the eyes of a teenage boy. It's awe inspiring. It makes me want to weep. It puts up a backdrop that's just... I'm going to over use beautiful again because that's what it was.

I'm moved.

Selflessness. Sacrifice. The desire to do good. The need to protect. Beautiful. Just...beautiful.

How can Marvel think Civil War in any shape or form comes close to that kind of beauty? I know there are people who like Civil War. They can like it. I'm not planning on become the Supreme Overlord and taking it away from them. Well, I'm not planning on taking it away from them. But still - How can they know something like 'Confession' exists and then get it all so wrong?

How can they lose the beauty of the debate, of the struggle and conflict and rising tension against inner pride and feelings of wanting to retaliate against the seeming ungrateful. How? How can 'Confession' slip in race issues with a single sentence, while Civil War uses a big page spread of a dead black man, bound and chained?

I need to own these books. I'm currently borrowing them. But I need to own them by the end of the year. I need to own them so much, I'm half hugging the ones I've got here with me. I need to own them so much; I like them so much; that I'd consider swallowing my agoraphobia just to meet Kurt Busiek; just to see him talk at a panel; just to wait in line for an autograph. (I own one autographed piece of property. And a friend had to shove me in line to get that. It was enough for me to own the cd.)

I... I have no words. I'm so touched and moved. I know part of it is that Confession deals with 'A Dark Avenger' and I have a serious soft spot for those types. But wow. Just... wow.

Astro City touched me in book one with it's first story about the Samaritan. It made me look at Superman in a whole new way. It made me appreciate 'Big Blue' in a way I never thought I could - It made me appreciate him on his own, vs him played against someone I liked better.

All I want to do is go 'Omg. Omg. omg. Squee. Omg'. But that wouldn't tell you anything. And this book, this series deserves me being able to tell other people something. I'm so goddamn moved! I'm touched. I'm awed. I'm overwhelmed. I want to wave the books in the faces of people who say 'girls don't read comic books - they don't like the fighting / whatever' and tell them how much I loved this book and this series. I want them to read it. I want to discuss it with them; even if all I can say is 'omg, so beautiful'. I want to say that I like my superhero icons like that. I want to say that I want them respected like that; men and women. I want to say that I like my superhero stories to say something about the human condition as beautifully and wonderfully and well crafted like that. I want to talk about how glad I am I didn't kill myself in my teens, because then I'd have never read this. And wow.

Kurt Busiek is my new hero. I'm awed. Awed!

Everyone talks about Neil Gaiman but I never felt this way when I read Sandman. I liked it. I liked the incorporation of other DC characters. It intrigued me. But I never felt like this. It was removed for me. It was a story that appealed to my academic interests in geekdom and fandom and mostly of mythology; especially Greco-Roman pantheons.

But Astro City? Busiek? I think I'd read anything he does or ever did now. I'm awed. I need to look up his pencilers and colorists and everyone connected to see what else they have done. Because if they were involved in this, there has to be something special about them too.

I want to cry and I want to laugh and I want to shout and I'm pimping the series hard to my roommate who doesn't even like graphic novels because pictures aren't her thing. I... I don't know what to say. I'm babbling and overjoyed and overwhelmed and moved; like looking at your first cathedral during early morning mass when the light hits the windows and the buttresses and a couple of dedicated old women are singing for the mass in reedy thin voices filled with noithing but praise and determination. I feel side swiped the same way I did when I looked down into the tiny little life in my arms and my little brother blinked at me and I knew I was going to love and protect him for the rest of my life because he was my blood.

I didn't think art did that anymore.

I'm really happy to find it still does.

_____________

ETA: It's come to my attention that the mention of suicide in my babbling post might seem cavalier. It isn't. I've struggled with chronic depression for most of my life. Not most of my adult life, but most of my entire life. This journal is specifically set up away from day to day talk about other things I'm dealing with. If I slip in a sentence casually about something like that or about abuse or domestic violence etc it's not because I don't take them seriously.

Who would be interested in this type of column?

FIGHTING FASHIONS: A What Not To Wear While Superheroing Column

Has anyone seen Sue Storm lately? No I mean has anyone looked at Sue Storm lately? When she's visible? Does no one love this woman? An adoring husband, devoted fans, loyal friends and warm son and you all let her go out of the house dressed like that? This is love?

Was it because you didn't know what to say? It can be difficult talking to any woman about how she looks and whether or not it's good. But if you really cared, you'd suck it up, people. This woman saves lives. The least you could do is be honest with her. But maybe a few of you might point her here, because I will be talking directly to her.

Sue? Before we even begin I just want to say I commend you on being in such fine physical shape despite all the mishaps, adventures, rescues and disaster recovery you've been though; not to mention the birth of your son. Good maternity clothes are such a trial to find, aren't they? Months of feeling like no matter what you do, there's no way you could ever be invisible. Lots of women felt that way - feel that way. Ask your mother when you get a chance, I'll bet she has some stories.

But I have a question. Did it start there? Did the realization that you were no longer the sweet girl, the blushing bride happen as you watched your body change? It's normal. And there is not enough information out there on how to reclaim yourself after pregnancy. I'm putting at least some of the blame on what happened to you on that.

Because House of Land? Seriously, IW? On a woman of mature years and a now more rounded figure? House of Land is for breastless, too rich, teenage girls trying to look like they think a sexy and sexual woman should look. You passed that milestone in growth ages ago. Why did you go back?

Skin tight clothes that show camel-toe and your nipples? Unstable molecular cloth was never meant for that purpose. And quite frankly it makes even a noble shade of blue look cheap when it's been stretched thin enough across your body to look like wet vinyl. If that's what Reed Richards needs in the bedroom, dear, the general public shouldn't know about it.

You're a strong woman. You're the glue that holds that team together, the backbone. Mr. Fantastic has a wonderful mind, but bystanders all over can tell he's the type to forget to buy bread and milk. You're a wife and mother and a senior member of your team. And none of those things mean you're no longer a desirable woman. I know House of Land does the hard sell, but you've dealt with supervillains. How could you not see through the smoke screen? How could you not notice how impossible it is to wear a sturdy bra and underwear that doesn't ride up when wearing his designs? Can you even wear any underthings at all?

I'd like to recommend a couple designers for you, along with a couple of make-up and hair stylists. House of Land may seem like an all service enterprise but have you paid attention to the service?. A mature, super hero woman on the go picks a look that works for her, checks to see it has a few simple but elegant variations and moves on. Land's stylists seem to attack you at every opportunity, changing your hairstyle constantly within a single day. It doesn't really seem as if it's about you at all and more about their chance to use you as a doll to try out come-back styles that were best left in the 80's land of big hair, and stiff mousse. Your hair is in more need of a spa day than you are.

A simple hairstyle, something that doesn't threaten to have hair blow in your eyes at a critical moment would be best. Something that's also not teased big around your face. You're a lucky woman who can go with a sleek look - enjoy it. Sleek hair also looks good with a mature outfit, where extremely teased hair can seem a little pornographic even when it's not paired with a paint on by numbers uniform.

Drew Johnson Salons do marvelous things with hair, from intricate braiding to sleek, simple power cuts for women. They also get the concept of discretion when it comes to eye-make up. You won't leave their salon with your eyes looking cat-like, playboy ready and smokey. He also has a distinct line of formal wear that isn't afraid to admit that women such as yourself spend as much time in the gym as men. But he's better for those special occasions.

For every day wear, I'd suggest the Darwyn Cook or CSNY (Cameron Stewart NY) lines. Both men know how to be cutting edge and well tailored. You'll never look more city chic than in Stewart's comfortable and fashionable jumpsuits. If you give him a bolt of your trade mark fabric, I think he'd do wonders in a tailored special order.

We're all pulling for you Sue. You can make a fashion turn around and show yourself as the sensual, subtle, intelligent woman you are.


[Anyone with a line on small boutique wonderkin, or lines and designers that just haven't gotten enough press, feel free to write in and perhaps send a few examples or a portfolio. The more options we can give the marvelous men and women we'll be informing, the better. Fashion today is about options. And the best option is the one that leaves the casting couch behind.]

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Glossary:

Boutique - An independent or lesser known comic where the characters are reasonably dressed for their jobs.

Designer - An artist. (or talented inker?)

Line - An artist's body of work and sense of drawing style

Hairstyle & Makeup - Artists who give (in particular) good and reasonable faces to the women (and men) in their books.

Salon - Similar to 'boutique'. The chance for an artist to take over for a character.

House of: A branded name artist ala Jim Lee, Greg Land, Frank Miller, Michael Turner, etc (also associated with the combination of a particular writer and or a particular imprint or comics company)