I was pretty depressed about comics this morning for reasons that I really can't go into, but I just got something in my e-mail that really perked me up. Following up on yesterday's big story regarding the censorship of Ken Akamatsu's forthcoming DEL REY books manga, NEGIMA, it appears that Del Rey has reversed course and decided to release the book uncensored.
Hello, everyone. I'm very pleased to report the following news:
NEGIMA, Volume 1: Magister Negi, by Ken Akamatsu, will be published by Del Rey on April 27th as scheduled without any alterations to the author's original artwork and text. At the suggestion of one of our leading national book retailers, copies of NEGIMA will be shrinkwrapped with a label that states: "Contains Explicit Content, Ages 16+" on the front of the book.
Granted, I'm not nuts about EXPLICIT CONTENT WARNINGS when Del Rey went out of their way to say that there was no REAL changes to the work in the first place (how does something go from "Explicit" to "Fun for all ages!" with "minor modifications to about 10 panels" anyway?). But yes, this is undoubtedly the right move. The Best Move. I am ecstatic that the company has stood up and done the right thing...!
What does this show, kids? That fans refusing to buy censored or sub-standard work (and a few calls from Publisher's Weekly enquiring about censorship...) will do wonders. It WILL make companies sit up and take notice. I hope someone from DC has been following all of this...
Thanks very much to blog reader Alex Scott for e-mailing me the update. It's been a busy day at work and I wouldn't have seen it otherwise.
The following comics are shipping next week, to comic stores that don't suck (specifically: Out of the Plattsburgh warehouse). It's a pretty huge week... Biggest since before Christmas actually...
ACTION COMICS #812 SECOND PRINTING 2.25
ADVENTURES OF SUPERMAN #625 SECOND PRINTING 2.25
AI YORI AOSHI VOL 2 GN (Of 9) (MR) 9.99
AKIKO #52 2.95
AL CAPP LIL ABNER FRAZETTA SUNDAYS VOL 4 1960-1961 18.95
ALICE 19TH VOL 3 GN (C: 3) 9.95
ALPHA FLIGHT #1 2.99
ANIMERICA MAR 2004 VOL 12 #3 (C: 3) 4.99
ATOMIC AGE TREASURY OF PULP ACTION VOL 1 TP 12.95
AUTHORITY VOL 2 #10 (MR) 2.95
AVENGERS THUNDERBOLTS VOL 1 TP 19.99
BATMAN CITY OF LIGHT #6 (Of 8) 2.95
BATTLE ROYALE VOL 6 GN (Of 10) (MR) 9.99
BEAR #4 2.95
BPRD A PLAGUE OF FROGS #1 2.99
BTX VOL 2 GN (Of 16) 9.99
CAPTAIN AMERICA & THE FALCON #1 2.99
CHRONICLES OF THE CURSED SWORD VOL 5 GN (Of 10) 9.99
COMIC BOOK MARKETPLACE #109 DC VILLAINS CVR (C: 4) 6.95
COMIC BOOK MARKETPLACE #109 MARVEL TIMELY VILLAINS 6.95
CYBORG 009 VOL 4 GN (Of 8) 9.99
DARKNESS VOL 2 #7 2.99
DEMON DIARY VOL 6 GN (Of 7) 9.99
DETECTIVE COMICS #792 2.75
DRAGON HUNTER VOL 5 GN (Of 9) 9.99
DUEL MASTERS #3 2.95
EERIE QUEERIE VOL 1 GN (OF 4) 9.99
ERICA SAKURAZAWAS THE AROMATIC BITTERS GN (MR) 9.99
ESCAFLOWNE VOL 5 GN (Of 8) 9.99
EVENFALL VOL 1 TP LAY ME DOWN 9.95
EVENFALL VOL 1 TP LAY ME DOWN 9.95
EXALTED BLOOD & SALT (C: 4) 19.99
EXILES #44 2.99
FAIRLY ODD PARENTS CINEMANGA VOL 1 GN MONSTERS & M 7.99
FAKE VOL 6 GN (Of 7) (MR) 9.99
FORBIDDEN DANCE VOL 4 GN (Of 4) 9.99
FORLORN FUNNIES #5 (MR) (Note Price) 10.95
FORMERLY KNOWN AS THE JUSTICE LEAGUE TP 12.95
FURRLOUGH #133 2.99
FUSHIGI YUGI VOL 10 GN ENEMY (Note Price) 9.95
FUSHIGI YUGI VOL 2 TP 2ND ED ORACLE (RES) (Note Pr 9.95
GALAXY ANGEL GN #1 (C: 3) 9.99
GI JOE GI JOE REBORN 4.95
GI JOE POSTER BOOK 4.95
GIRL GOT GAME VOL 2 GN (Of 6) 9.99
GTO VOL 17 GN (Of 25) 9.99
GUN FU LOST CITY #2 3.5
HARD TIME #2 2.5
HEAVEN SENT #2 2.99
HELLBOY ART OF THE MOVIE SC (C: 2) 24.95
HOT GIMMICK VOL 3 TP (C: 3) 9.95
JOE LANSDALES DRIVE IN #4 (Of 4) (MR) 3.5
JOE LANSDALES DRIVE IN WRAP CVR #4 (Of 4) (MR) 3.95
JOHN CARPENTERS SNAKE PLISSKEN GOLDEN CVR ED #4 2.99
JOHN CARPENTERS SNAKE PLISSKEN RODRIGUEZ CVR ED #4 2.99
JUSTICE LEAGUE ADVENTURES #29 2.25
KARE KANO VOL 8 GN (Of 13) 9.99
KWAIDAN TP (C: 2) 14.95
LAST MINUTE #1 3
LIBERTY FROM HELL #3 (MR) 2.99
LIBRARY OF OPERA GODFATHERS CODE #1 (C: 4) 2.95
LITTLE SCROWLIE #5 2.95
LOONEY TUNES #112 2.25
LUPIN III VOL 12 GN (Of 14) 9.99
MAGE ASCENSION TIME OF JUDGMENT (C: 4) 29.99
MAGE JUDGMENT DAY (C: 4) 7.99
MAGIC WHISTLE #9 (MR) (Note Price) 11.95
MANGA TECHNIQUES VOL 6 ENG ED (C: 4) 12.99
MARK MILLARS THE UNFUNNIES #2 (Of 4) (MR) 3.5
MARVEL AGE SPIDER-MAN #1 2.25
MARVEL ENCYCLOPEDIA VOL 5 MARVEL KNIGHTS HC 29.99
MARVEL MASTERWORKS DAREDEVIL VOL 2 2ND ED HC 49.99
MEATHAUS #7 LOVE SONGS 12.95
MONOLITH #2 2.95
MY FAITH IN FRANKIE #3 (Of 4) (MR) 2.95
ONE PIECE VOL 3 TP (C: 3) 7.95
PARADISE KISS VOL 5 GN (Of 5) 9.99
PEACH GIRL CHANGE OF HEART VOL 7 TP (Of 11) 9.99
PET SHOP OF HORRORS VOL 5 GN (Of 10) 9.99
PITA TEN VOL 2 GN (Of 6) 9.99
PLASTIC MAN #4 2.95
PSYCHIC ACADEMY VOL 1 GN (Of 10) 9.99
PUNISHER THE MOVIE #1 (Of 3) 2.99
PVP VOL 1 DORK AGES TP 11.95
RADIOACTIVE MAN #100 (O/A) (OCT001927) 2.5
RADIOACTIVE MAN #136 (O/A) (APR012000) 2.5
RADIOACTIVE MAN #222 (O/A) (JAN011851) 2.5
RED STAR VOL 2 #4 2.99
ROBOTECH INVASION #3 (Of 5) 2.95
SABER MARIONETTE J VOL 5 GN (Of 5) 9.99
SAIYUKI VOL 1 GN (Of 9) 9.99
SANDMAN PRESENTS THESALY WITCH FOR HIRE #2 (Of 4) 2.95
SCOOTER GIRL #6 (Of 6) (MR) 2.99
SERENITY ROSE #1 (O/A) (AUG031956) 2.95
SEUSS THE WHOLE SEUSS AND NOTHING BUT THE SEUSS HC 35
SGT FROG VOL 1 GN (Of 6) 9.99
SHONEN JUMP VOL 2 #4 APR 2004 (C: 3) 4.99
SIMPSONS COMICS #61 (O/A) (JUN011966) 2.5
SLAYERS RETURN TP 9.99
SNOW DROP VOL 2 GN (Of 6) (MR) 9.99
SPIDER-GIRL #71 2.99
SPIDER-MAN UNLIMITED #2 2.99
STAR WARS CLONE WARS VOL 3 LAST STAND ON JABIIM TP 14.95
STAR WARS EMPIRE #17 (C: 3) 2.99
STAR WARS INFINITIES RETURN OF THE JEDI #3 (Of 4) 2.99
STEVEN GRANTS MY FLESH IS COOL #2 (Of 3) (MR) 3.5
STEVEN GRANTS MY FLESH IS COOL WRAP CVR #2 (Of 3) 3.5
STONEHAVEN GN SC 19.95
STORMWATCH TEAM ACHILLES #20 (MR) 2.95
SUPERMAN BATMAN #7 2.95
SUPERMAN BIRTHRIGHT #8 (Of 12) 2.95
SUPREME POWER #8 (MR) 2.99
SWAMP THING #1 (MR) 2.95
SWORD OF DRACULA #3 2.95
SYN #5 2.99
TANK GIRL VOL 1 GN 14.95
THANOS #7 2.99
THOR #75 2.99
TOKYO MEW MEW VOL 6 GN (Of 7) 9.99
TOMB RAIDER #38 2.99
TRANSFORMERS GENERATION ONE VOL 2 WAR & PEACE TP 17.95
TREASURED CHESTS VOL 4 TP (MR) (C: 4) 9.95
UNCANNY X-MEN #441 2.25
VAMPIRE GAME VOL 5 GN (Of 12) 9.99
VAMPIRELLA COMICS MAGAZINE #2 VIRGIN CVR ED 9.95
WILD ACT VOL 5 GN (Of 10) 9.99
WORLD OF DARKNESS TIME OF JUDGMENT (C: 4) 29.99
Y THE LAST MAN #20 (MR) 2.95
YU GI OH VOL 4 TP (C: 3 & 4) 7.95
America to try and embrace 'foreign comics' on own terms; Foreign Comics to Not Give A Shit
Two recent stories floating around the internet of interest.
Chronologically, let's link to Rich Johnston's newest LYING IN THE GUTTERS column, in which Rich details a story of Brian Azzarello being asked by DC to completely re-write a potential adaptation of very pretty European graphic album BLACKSAD:
"The story last week about Azzarello being linked to an English translation of "Blacksad" by DC Comics before another publisher took the rights, caused quite a bit of heated discussion. "
Apparently, DC loved the art of "Blacksad," but not so much the story (there's a general consensus among critics and fans that Blacksad's strong point is the amazing art whereas the story is pretty unremarkable, only there to service Guardino's art. ...). What DC wanted from Azzarello was not a simple "adaptation." Apparently, they wanted him to do a complete overhaul of the script, "que escribiese una historia nueva," that is, "they expected him to write the story anew". Given DC intentions, Azzarello wasn't happy with doing that and refused.
DC wanting to completely re-write thest best-selling French graphic album of the year? What gives them the right to consider such a thing? We'll get back to that. The long-and-short of it is that DC did not end up getting the license for BLACKSAD, it instead went to iBooks who have released the first of two volumes in an attractive package with frustratingly pedestrian translations (say what you will about the story, it's just not as dry as it's been translated. Ask any 'manga person', they'll tell you the translation and re-writes of foreign material is a real skill, not to be taken lightly).
The other big story is that the author of the super popular manga LOVE HINA (published in North America by Tokyopop) and A.I. LOVE YOU (also Tokyopop) is shocked at censorship to the upcoming publication of his comic series MAGISTER NEGI MAGI. The series isn't to be published by Tokyopop, but rather as part of mainstream book publisher Del Rey's new manga line. The story broke when a fan at the AnimeOnDvd forums spotted Akamatsu talking about the censorship in his blog (Japanese text), and quickly erupted. Manga fans have, well, I'm going to editorialize for a moment, but manga fans have put up with an awful lot of shit from U.S. publishers. Censorship, dumbing-down, ceasing series in the middle of serialization, terrible production values, the whole nine yards. Usually, fans bitching about any or all of these factors in the books that they love were written off as... well, let's say their concerns really weren't given much in the way of consideration, with prejudice. But now? Now, it's a creator bitching about the changes... And Christ, if anyone ever needed amunition to attack the company doing this, they certainly have it.
I was browsing Akamatsu-sensei?s online diary at http://www.ailove.net/diaries/diary.cgi to see if there was any news of an upcoming Negi-ma anime, but the latest entry had an entry about Akamatsu?s astonishment about the revisions that were done to the American edition of Negi-ma. Behinds will be covered with panties, and side views of breasts (nipples are either not drawn in or covered by strands of hair in the original) will be covered with towels. Akamatsu mentioned something about America?s censorship being like how South Korea was years ago, and that Europe is less strict.
If this is true, then I?m very disappointed in Del Rey. I don?t know much about their track record so far since I generally don?t buy or read translated manga except for titles I really like, but considering Tokyopop released Love Hina uncensored (AFAIK), I don?t see the point of this other than possibly to protect their image as a publisher of things more than just manga.
Negi-ma is one of my favorite currently-running titles, but if the English version is more expensive AND censored, then there?s no way I will be buying it, or even reading it for free at B&N.
Incidentally, the creator's blog is in Japanese so unless you've got the correct character set installed and can read Japanese, that link is pretty useless. Dallas Middaugh, the head of Del Rey's manga publishing line, has made an official statement, originally made on page five (of 19 of the Anime On DVD thread), which confirms the changes but seeks to downplay them.
In response to the questions about the artwork in NEGIMA Volume 1, we did alter the art slightly in about ten panels, with the full knowledge of the artist. Please be assured that the panel changes do not affect the storyline in any way. These changes were an editorial decision based on our goal as a publishing house to get Ken Akamatsu?s brilliant work into as many U.S. bookstores as possible, and in no way reflects upon the quality of the original art. Also, there were no changes made in xxxHOLiC, Tsubasa, or Gundam SEED. We here at Del Rey remain dedicated to producing the best manga possible.
Dallas Middaugh, Director of Manga, Del Rey
Dallas is a smart guy, he knows that the fans are not going to give a shit about him saying the above. For fans, there are absolutes. Censored, or not. Printed well, printed incorrectly. Very little middle ground. There isn't "censorship, but staying true to the artist's intentions!", particularly when manga is distributed uncensored and free on the net as it is (albeit illegally). And now the artist has come out against the censorship, despite the cleverly-worded PR about it being done "with the artist's knowledge" (nothing there about 'consent' though hmm?)... Heh. Whatever, it isn't going to fly with the fans, this is more about trying to ensure it doesn't reflect too badly on a company that's going to start looking towards as much positive press as it can get in a month or two.
So what does one story, the "American company editing manga for North American consumers (and consumer backlash)" story, have to do with the"DC tries to completely re-write best-selling French comic" story?
Simple, DC has already licensed a manga, significantly re-written it with a popular North American author, and gotten away with it too. That title is Kia Asamiya's BATMAN: CHILD OF DREAMS, released in both hard cover and soft cover last year, and 'adapted' by ROAD TO PERDITION writer Max Alan Collins. If you happen to have it (or have access to it), flip to the back of the book. In it, someone at DC talks about how important it was to significantly dumb-down the story for North American audiences by adding tons of exposition and extra word balloons. Compare some of the reprinted Japanese panels with their American counterparts in the book. It gets particularly bad in one example, where a picture of a crook firing a gun at Batman has a word balloon added that basically says "I AM FIRING A GUN AT YOU, BATMAN!"... An example of the difference between American and Japanese storytelling styles, or immense hubris on the part of DC editorial? I know what my pick is. They should be a perfect fit for Humanoids, who're already met with some disdain of the consistent censorship of the English editions of their work...
As new companies move into the field, they're going to fuck up like this. Over, and over, and over again. Whether it's a leader in one field determining that they know best as they move into a completely different one, bored editors looking to justify their paycheck by changing something that works perfectly anyway, or just honest mistakes on the part of a publisher, translator, re-writer, or licensor, this is bound to happen frequently over the next year or two. I come down firmly on the side of no censorship, damn the 'financial' considerations, and even if it means a work will not be released into the English language. I would imagine very few publishers agree with me (though three cheers for Drawn & Quarterly and Fantagraphics for their hard-line stance against censorship).
My advice to those of you for whom this really matters? Stay vigilant. Seriously, the anime industry has turned around almost %100 from where they were five years ago, and almost %100 of the time when they release an editted version of a television show or movie to the market for television audiences/general release, they also release an 'uncut' edition as well. This was not always the case, and it's only through vigilance and standing up for what's ultimately right that consumers have convinced anime companies to behave in a responsible and ethical way.
I don't care what anyone else says, comics are art, and while licensing a book may give you the legal right to make any changes to it that you want, it certainly doesn't buy you an ethical right to do so. Stand fast guys and gals.
- Christopher
PS: Once it gets back to the Japanese, expect Akamatsu to 'get on board' with the changes in a PR statement of some sort.
PPS: Thanks very much to Shawn Fumo for inspiring this blog entry via an e-mail he sent me. Check out Shawn's excellent blog at http://shawnfumo.blogspot.com/
From e-mail, and a reminder that I am both old and obsolete:
Near-Perfect World Record Logged on NES Super Mario Bros.
FAIRFIELD, IOWA - February 25, 2004 - For years, the world record on NES'
legendary Super Mario Bros. video game was stalled at 5 minutes and 20
seconds. In recent months, however, increased media publicity on classic
gaming has re-ignited player enthusiasm for breaking long-standing records,
with world titles falling on titles like Legend of Zelda and Metroid.
And, now, debatedly the most contested NES game of all time, Super Mario
Bros., may have been brought to a "near-perfect" finish, as Scott Kessler,
of North Carolina brought the record down to 5 minutes and 17 seconds. "Yes,
this could be considered a near-perfect performance," explains Twin Galaxies
Referee Robert Mruczek, who watched the entire game on videotape before
declaring the feat a new world record. "It may be possible to shave 1-3 more
seconds off the time," adds Mruczek, "but, that may not happen for a long
time."
Recently, fierce rivalries on Legend of Zelda and Metroid for the NES have
seen new "fastest time to finish" world records submitted for publication in
the forthcoming edition of Twin Galaxies' Official Video Game & Pinball Book
of World Records.
"Its a time of heavy competition, spanning multiple generations," says
Walter Day, the editor of the Record Book. "A new generation is stripping
the older players of their cherished world records. Classic game titles are
no longer a thing of the past; they are uniting the different generations
with the world records as the unifying link."
"You know, if I were Todd McFarlane, I would simply have apologised a long time ago. Instead, Todd threw a lot of money at lawyers, and lost the legal case in every way he could lose it, and then threw a lot more money at lawyers to appeal and just lost it again, for good.
"You can read the Seventh Circuit Appeal Court's decision in Gaiman vs. McFarlane at http://www.ca7.uscourts.gov/op3.fwx?submit1=showop&caseno=03-1331.PDF. It's a well-written and faintly amused judgement, which even includes the Lone Ranger's secret identity, for those who want to know (although it puzzlingly omits to mention that the Lone Ranger was the Green Hornet's uncle). "
Richard Hahn, creator of the excellent comic LUMAKICK (soon to be the excellent series LUMAKICK) has a blog. Much like his comic, his blog is a curious thing. Seemingly dissonent entries that build to show a more complete idea, this time, a portrait of a fascinating comics creator. Not 'essential' reading, but interesting and somewhat sophisticated. Certainly worth a good long read.
The smaller the slight, the more petty and stupid everyone becomes. Looking at the (frankly ridiculous) SPX controversy of the past two years, it's pretty clear that in comics people really like to blow unimportant shit out of proportion. The stupider, more incidental, or more irrelevant an imagined slight is... Christ.
This year's Mocca Controversy: Tables sold out quick, and so now apparently the show is corporate fuckery and everyone is a sell out and Nothing is ever as good as it used to be, Good Lord, why is it all so hard?
I'm... praying, that Evan Dorkin's reasoned and intelligent reaction to this mini-controversy just shuts down the criticism. Failing that, I hope my active attempt to shut these whiners down shuts them down, but life never quite works out like that. I fully expect this to balloon into a thing, so I'll keep following the story.
Christ I'm happy I (co-)run a show that is impervious to critcism by virtue of being Canadian. :) You're all invited to come back in 2005. Last weekend in May.
The latest issue of the Comics Journal (#258) was quite good, quite enjoyable for a variety of reasons. Seeing the clear handwriting on the wall about the changes to come at the magazine, the bitter defensiveness, the excellent manga articles and reviews... Good stuff.
One of the reviews sparked a bit of blogosphere discussion, about the standards of critical review, and how they did or didn't apply to various genres. The writer of the The Filth review, Tim O'Neil, received a letter from blogger Dave Fiore asking him about his disdain for superheroes O'Neil feels they're beneath criticism.
Oh yeah. I recognize that a great many people can wax poetic about superheroes, can write some pretty interesting stuff on the genre when they want to � but most of it just seems kinda silly to me. I mean, if you want to talk about how great Mozart sounds on the kazoo, you�re perfectly entitled to so, but I�m also entitled to think you�re rather missing the point. Mozart on kazoos might be fun for a lark, but its just kinda silly on the face of it. Even if 90% of all the records in the store became kazoo music, it wouldn�t change the fact that the kazoo is an instrument with an extremely limited range. There are a few things that the kazoo can do, true, but the kazoo just looks silly trying to play Mozart or Back or the Beatles or even Slipknot. And just because everyone is playing the kazoo doesn�t mean that I�m going to change my own standards to reflect this � I�m no Objectivist but I�ll stand by my own perceptions in the face of popular scorn for as long as you care to scorn me.
I'm not quite sure how I feel about either the original review of The Filth or the discussion linked above, but I do think the whole thing contrasts really interestingly with a new 'blog' of sorts that launched this week.
Guy Leshinski, a comics writer for Toronto's alt-weekly EYE MAGAZINE, along with video game culture writer and novelist Jim Munroe have launched The Cultural Gutter, at http://www.theculturalgutter.com. From the website:
This site is updated weekly with a new article about an artistic pursuit generally considered to be beneath consideration. The geeky triumvirate of science-fiction, comics and videogames forms the core, with a fourth week given over to a guest to discuss another variety of intriguing trash.
While the writers have considerable enthusiasm for their subjects, they don't let it numb their critical faculties. Tossing away the shield of journalistic objectivity and refusing the shovel of fannish boosterism, they write in the hopes of starting honest and intelligent discussions about these oft-enjoyed but rarely examined artforms.
It's... well, it's a hell of a comparisson to make, isn't it? A reviewer for The Comics Journal arguing that certain kinds of comics are just inherently beneath criticism, and a bunch of writers from outside of the medium and culture of comics arguing otherwise. FASCINATING JUXTAPOSITION. Both sites linked are recommended reading.
My favorite manga creator is Taiyou Matsumoto. He has done BLACK & WHITE (3 Volumes, Viz) and NO. 5 (2 Volumes, Viz) in English, and lots and lots of comics that have yet to be translated. If you are similarly fascinated by his work, please be reading this interview. It does not contain supernatural power.
I've been banging the drum pretty hard for Hayao Miyzaki's Nausicaa manga over at Previews Review, and a representative from the publisher, Viz, just e-mailed me some up-to-the-minute info about the forthcoming 2nd edition of Nausicaa. If you've been waiting for this as long as I have, I think you're in for a treat.
The new printing will be seven 130-ish page volumes for $9.95 each, instead of four 200+page volumes for $16.95 each.
The second edition will have a trim size of 7 1/8" wide by 10 1/8" tall, or slightly larger than a North American comic book. This makes it the largest-size printing of Nausicaa in North America, and meets the demand of many readers looking for bigger reproductions of Miyzaki's art.
The book will be printed in a special brown ink on high-quality paper.
Finally, the book will see print in its original orientation, the Japanese format right-to-left (all previous editions of the book were 'flopped' for North American audiences).
Sounds pretty amazing, huh? I'm psyched. The first volume is supposed to drop next week I believe, and then monthly thereafter. I'll have a firm ship-date tommorow afternoon, and I'll update this entry then.
The article starts off "Newsarama has learned that Jim Valentino is no longer the Publisher of Image," but what it should say "We just read Comicbook Resources and, guess what's happening?"
Easily the worst piece of 'Journalism' to have appeared on Newsarama, Brady creates an article out of two Very Large quotes of the CBR article on the subject. He also says things like "According to Sources, X is happening" but at no point does he actually offer any more information than is in the CBR article. For all intents and purposes, his 'sources' are actually the CBR article.
Galling, pathetic, and a shameless and unprofessional attempt to steal readers from CBR. At the bare minimum, he links to the originating article at CBR, but in true Newsarama style, he does so in the Seventh Fucking Paragraph.
This is really scummy. I'd say Matt Brady should be ashamed of himself, but if he isn't already he likely never will be.
If you're saying this to yourself right now, I have an antidote of sorts. The nice boys over at Penny Arcade have posted a sort of explanation/tonic/salve to the overwhelming depression they feel about their chosen field of interest.
"You may be tempted to give ground to the notion that the "innovation" is gone from [comics], like the part-time pop nihilists to whom all Internet argument is ceded. This is a hipster's gambit, and it's one you would do well to apply a belt sander to. What you are saying is that you are incapable of being pleased. Instead of turning up your nose at the rich feast placed before us, you might ask yourself if you want to be a person for whom nothing is satisfactory. That's the trick of that position - to become so enamored of your own refined palette that no morsel can surmount your culling mechanism. Understand that this isn't the same as liking everything. You can be a huge snob and still be semi-permeable to amusement."
Seriously, read this article. It's quite good. Just mentally replace "gaming" with "comics" and you'll see what I mean.
Because christ knows you're going to need some cheering up after the blackhole of suck that has been unleashed today.
From the Quill & Quire, Canada's answer to Publisher's Weekly.
"...one of the busiest booths on the trade show floor was that of a first time exhibitor: The Beguiling. Christopher Butcher, one of the store's managers says the Beguiling, which opened in 1987 helped the Toronto Public Library build its collection of graphic novels about 10 years ago. Since then the store has been contacted by about 100 other library boards seeking the same sort of assistance."
Sadly it's not online, but it is in the print version. Take my word for it :).
I was popping through our Previous Shipping Lists, and came across this one that didn't get posted just before we went on our hiatus. It would be kind of stupid to code it and put it up now, but by the same token there's some really good review/theory stuff in here (if I do say so myself). So why not post it here? So now, we bring you a terrifying look inside the horrors of... JANUARY 28th!
Hello! Welcome to PreviewsReview.com�s Shipping This Week list!
First thing�s first, although we covered a hell of a lot of great books last week, I did miss a very cool, very important one. So I wanted to review it first�!
KINDERBOOK by Kan Takahama US$17.99
Chris: KINDERBOOK is a rarely seen piece type of comic in North America, �Art Manga�. That is to say, work produced primarily for the production of the work with its commercial aspects being secondary, tertiary, or even entirely irrelevant considerations. A collection of short stories about the human condition, many of KINDERBOOK�s tales of the personal and interpersonal were originally serialized in Japanese Avant Garde manga magazine Garo, so if you�re any sort of art comic aficionado you immediately recognize the pedigree there. Takahama�s stories are the day-to-day, the short fictions inspired by life that would be typified by creators like Adrian (OPTIC NERVE) Tomine�s contributions to the North American comic industry. She (and she is a female creator) is working in a pencil-plus-digital style that moves from very loose on certain stories to almost photo-realistic (with a manga influence) on others. It�s outstanding work. On the whole, I do recommend KINDERBOOK though it�s chief failing, it�s format (the glossy paper doesn�t do the digital artwork any favours, giving certain stories an artificial look) will certainly turn some folks off. But if you�re one of the few and proud who thrilled over SECRET COMICS JAPAN and lament the loss of PULP magazine, I think you�ll find KINDERBOOK a welcome addition to your comics library.
--
Chris: Alright! Now let�s get to the weekly review list!
OCT030044 ASTRO BOY VOL 23 TP (C: 2 & 3) 9.95
SCOTT: Side note: I saw prototypes of the new Astro Boy toys at Canadian Toy Fair today and do they ever look spiffy. Definitely worth braving a violent snowfall�
I�m very curious to see how this character does with its North American relaunch. Hopefully the various companies involved won�t water down the Tezuka magic too much.
NOV030220 CAPER #4 (Of 12) (MR) 2.95
Chris: CAPER #4 is the last part of the first story-arc in Judd Winick�s generational Jewish mafia story. Despite a few problems with the book, I have been enjoying it quite a bit and Farel Dalrymple�s been doing an outstanding job on the artwork. Farel is known to readers of the column for his creator-owned book POP GUN WAR, but he shows here that he�s just as adept at period settings, costuming, and storytelling as he is at the whimsical/gritty present day cityscapes his work usually depicts. Dalrymple is an un-mitigated success in comics, and his star is only going to rise in the industry. Here�s hoping that the unfortunately low-selling CAPER series acts as a stepping stone to bigger and better projects. Next up, a four issue run by John Severin. CAPER is definitely worth your time.
NOV032245 GI JOE COBRA REBORN 4.95
Chris: This is, I kid you not, �Ultimate GI JOE!�. A re-imagining of the concept from the ground up, featuring contemporary art and more relevant story concepts (terrorist organizations being particularly interesting fodder right now). Normally, I could care less� But the kids have been coming into the store in droves, asking when this would be out. I�m kind of surprised that GI JOE is still finding an audience with the under-16 set, but it is. Here�s hoping that the quality of the material comes through, as there�s one more one-shot and a planned ongoing series coming soon�
SCOTT: I find this quite surprising. We�ve tried selling G.I. JOE tie-ins on book clubs and they�ve just bombed. I thought it had something to do with Canadians being such pacifists. Heh,
OCT030023 HELLBOY JUNIOR TP (C: 2) 14.95
CChris: ollecting both of the HELLBOY JR one-shots as well as a host of other material, including both Mignola-written and drawn stories and material from a host of creators including animation favorite Bill Wray. Before the recent HELLBOY TALES and BRPD series, HELLBOY JR was one of the first places you could see other creators putting their stamp on the character, and from what I�ve read it�s some of the best stuff too. Just in time for the movie, this and the upcoming THIRD WISH tpb will collect all of the out-of-print Hellboy material out there� a really smart move from a very media-smart company.
SCOTT: Dark Horse seems poised to really take on a bigger role in comics which is great since they�ve kind of been floundering for the past few years. With strong line of commercial books (Buffy, Star Wars, etc.), more manga and the recent acquistion of the new-art creators (Hornscheimer and Dalrympal) they are starting to look a bit more like a bigger name book publisher...hmm. Too bad for Rocket Comics though. I guess even book publishers proper have lines that failed. Oh and Hellboy too!
NOV032172 IRON WOK JAN GN #7 9.95
Chris: IRON! WOK! JAN!
Chris: When last we left Jan, he had just poisoned one of his cooking competitors with magic mushrooms� but not before being poisoned with a paralyzing herb himself! Has Jan met his better? Will he be forced to give up Gobincho restaurant and go to work for an even bigger asshole than he is? Only time, and the SEVENTH FANTASTIC VOLUME of IRON WOK JAN can tell for sure!
Chris: IRON WOK JAN- Because other comics don�t feature deserts made of pigeon blood.
Chris: I honestly don�t think it is even possible for me to communicate how awesome this series is. If you aren�t buying it yet, you have No Excuse. Get it!
SCOTT: Okay I haven�t read it but it�s not going to stop me from jumping on this bandwagon. Seriously though, my boyfriend absolutely lives for this series�and he hates EVERYTHING. So it must be good.
DEC032536 JEWISH HERO CORPS #1 3.95
SCOTT: From the website www.jewishsuperhero.com : �The Jewish Hero Corps is a Super-Hero Team whose common enemies are Jewish amnesia and apathy. Each of the heroes, some with Superpowers, some with clever devices of their own making, fight for Jewish values and truth, justice, and the American way.�
Featuring heroes like Matza Woman, Dreidel Maidel and Menorah Man! I bet these guys are having a blast writing this book. I just had to point it out.
NOV030279 MIDNIGHT MASS HERE THERE BE MONSTERS #1 (Of 6) (MR 2.95
Chris: I never did manage to read the first MIDNIGHT MASS series, so I�m sort of ambivalent about it�s return to store shelves. Gorgeous cover from Tomer Hanuka though�!
AUG031231 POWERS #36 (MR) 2.95
Chris: Conceptually, at least to a layman, POWERS and GOTHAM CENTRAL are very similar books. �A street-level title in which human police officers must deal with superhuman criminals and the fall-out from their epic battles with superheroes.� A sort of everyman book, using characters that could be you or I as a window onto the world of superheroes, an attempt to show it all from a different angle, play a different riff on superhero comics. MARVELS did this very well, with it�s photojournalist standing in for the reader, and the sense of wonder and humanist perspective is incredibly well-communicated by the stunning art of Alex Ross and the moving, human story by Kurt Busiek. MARVELS works very well. POWERS works really well too, and GOTHAM CENTRAL�?
Chris: I�ve talked a lot about GOTHAM CENTRAL in this column. I�ve been anticipating it since before it was even solicited, and it certainly hits many of the �beats� that I enjoy in a comic book. The recently completed third story arc, �Soft Targets�, was also my favourite arc of the series, and in reading a discussion of the book, and a discussion of POWERS, and of �sense of wonder� in general I think I�ve finally figured out why it worked for me when previous arcs didn�t. The dirty word that I figured out is �Compromise�, and how POWERS simply doesn�t and GOTHAM CENTRAL really has no choice in the matter.
Chris: Going into the �Soft Targets� arc, the concept was simple. �The Joker starts doing crazy shit, everyone has to find him and try and cope with it.� This is what I was promised, this is what I got, and it just delivered, you know? Tense, taut, scary at times, and it just fired. �Look, it�s that maniac The Joker, and he�s doing shit! What Will Happen!?� Well, you know what�s going to happen. You know going in, what is going to happen. It�s a story that�s never going to change and doesn�t ask you to consider it in the same way that, say, LAW & ORDER does, where characters age and die and leave and return and change is at the core of the series. On that note? EXCELLENT. It worked amazingly well, and I enjoyed the hell out of it.
Chris: But if you go back and ask me to accept a sad coming-out story of a tough female cop, and then throw in a random slug-fest between BATMAN and TWO-FACE then� no, I just can�t buy it. Dirk Deppey had this great quote today in Journalista about SLEEPER, another Brubaker/Noir/Gritty drama title:
�I wish I could offer as hearty an endorsement of the book as David, but this is another one of those books where the hard-boiled spy atmosphere gets ruined for me everytime someone shows up in a cape and tights. It's sort of like watching a production of Glengarry Glen Ross where the cast breaks out in a rousing polka number every fifteen minutes -- the unnecessary intrusions of the genre conventions needed to sell the book in the Direct Market are simply too jarring for me to properly enjoy this book.�
Chris: That was a large part of the problem I had with SLEEPER (which was mitigated as the series made peace with itself later in the book), that was the problem I had with the first two arcs of GOTHAM CENTRAL, and it was exactly why �Soft Targets� worked so well and why POWERS is the best application of the police noir/superhero meld: GOTHAM CENTRAL is just as compromised by its inclusion in the larger DC mythos as it is benefited by having the iconic weight of BATMAN in the book. If you go in, all cylinders firing on this being a BATMAN book, it works great! Awesome arc! If you end every episode of CSI or LAW & ORDER with Batman showing up to fight a supervillain, effectively undercutting the dramatic gravitas of the rest of the episode, television viewers would riot in the streets.
Chris: POWERS, on the other hand, is uncompromised. Cities blow up, lead characters die, change, the status quo is fluid and flexible because, thankfully, there isn�t a parent company or four movies or anything. The two extremes of the book, gritty detective noir and fanciful MARVELS style superhero battles are so thoroughly and completely integrated throughout that there are no gaps in logic, no having to �pull back� for fear of affecting the continuity of 27 other books, no compromise. The creators� vision is laid down on the page, exactly as they see it (and now nearly spelling-error free!).
Chris: I just want to be clear on something: This isn�t a knock on GOTHAM CENTRAL. I think it would be easy to interpret this whole passage as such, and to be honest I�ve knocked on it before, but this is more of a realization, and that it�s one I think any professional creator who has gone to work for Marvel or DC has learned. There are limits to what you can do in the confines of a book like GOTHAM CENTRAL, there are guidelines and there are expectations and there are much larger concerns than just telling the story that you want and walking away. Many creators, many readers, they can accept these parameters and enjoy the story (and telling the story) on it�s own merits and that�s that. Cool beans.
Chris: I�ve come to the realization that, for whatever reason, I can�t do it. Stories written that way just don�t resonate with me. Logically, the Joker should be dead now. Logically, Batman has access to telepaths and teleporters and that would clean up the majority of his work like that. Logically. And in something like POWERS, you know, logic comes to the forefront. �Here are the rules for the story setting, and at no time do they conflict with each other or one another. We carry out the logical resolution of storylines, damn the consequences.�
Chris: �Soft Targets� was a great read because I think it was, honestly, a very different type of story to the ones told previously on GC. POWERS is always a great read because it�s consistent, yeah, but also because the art is phenomenal, and the stories and storytelling are powerful and emotionally resonant, unpredictable and shocking (in more than just a Mark Millar all-talk-no-action sort of way). I think that a reading of both books, particularly with an eye to contrasting them, will more clearly define what kind of reader you are, and the real differences in the core concepts behind both books.
SCOTT: And Chris finally comes up for air�
NOV030282 PRIDE AND JOY TP (MR) 14.95
Chris: I�ve been waiting for a PRIDE AND JOY collection for quite some time now, as I bought the first issue of this Garth Ennis-written mini-series when it came out and then could never find any of the subsequent issues. With DC�s glacially-improving trade paperback people coming to realize that an effectively �new� Garth Ennis graphic novel would be a good thing, I�m finally going to get a shot at seeing how this one ends!
NOV032558 REAL STUFF TP (MR) 19.95
From Previews Review:
Chris: There�s a collection of Dennis Eichhorn�s autobiographic REAL STUFF comics solicited for January ($19.95, 208 pages, Page 310, Swifty Morales Press, NOV03 2558). I had never heard of Eichhorn until I started working for The Beguiling, and it�s sort of too bad because he�s probably one of the most interesting autobiographers around. Drawing heavily from the Harvey Pekar school of cartooning, Eichhorn doesn�t draw his own work but instead has a legion of talented alt-cartoonists illustrate his adventures in sex, drugs, and rock �n� roll. Contributors include the Hernandez Bros, Daniel Clowes, Charles Burns, Peter Bagge and many more.
OCT031292 ROMP ONE SHOT (MR) 6.95
SCOTT: Just pointing out this strange little book. I used to love Pollina�s art and I�d love to see him get a regular gig somewhere instead of the scattered esoteric one-shots here and there. This one is definitely in the esoteric category and has notes of Peter Milligan�s SKIN
Chris: ROMP is about �a shy, delusional, teenage boy who has convinced himself that he is the ultimate street-fighting superhero, in spite of the small fact that he was born WITHOUT ANY ARMS! He teams up with his super attendant, Chi Chi Gigante, a one-eyed, recovering alcoholic, former Pro-Wrestling Midget Champion. Together, this Disfunctional Dynamic Duo set out to reclaim their Crime Infested 'Hood.....one block at a time.�
Chris: And who says comics aren�t diverse�
OCT030037 STRIP SEARCH TP (C: 2) 14.95
Chris: STRIP SEARCH is a collection of the winners of Dark Horse�s online talent competition from last year. As I recall, there were quite a few really solid entries to the contest. For anyone interested in the �next generation� of cartoonists, I think this will be an interesting look at the kind of work that�s out there and still to come!
DEC032654 TEPID (MR) 4
SCOTT: TEPID is the Xeric Grant winning series by John Hankiewicz who with Jeffery Brown, Paul Hornschiemer and Anders Nilsen make up a collective called The Holy Consumption. You can buy stuff, read sample pages of all these talented folk at www.theholyconsumption.com. To be completely honest, I have no clue what TEPID is about but if he�s in the company of great comic creators like the ones listed above I know it�ll be worth a look.
NOV031282 WALKING DEAD #4 (MR) 2.95
Chris: I continue to enjoy the excellent action comic THE WALKING DEAD. A zombie comic more about what happens after the movie ends than in the immediate gripping terror of a being attacked, WALKING DEAD brings new meaning to the phrase �Survival Horror� by showing just what it would take to survive in a world with nowhere to turn. Great art, a great story, and an essential read.
DC, CMXMANGA, and How To Make Money Publishing Comics.
So it leaked out that DC is doing a new imprint called CMXMANGA or something similar. The news has been out therefore quite some time now that they were planning on getting into the field. They had been looking for Japanese translators online for a while. They had even been scouting for folks to fill a new editorial position in-house that would take care not only of a possible manga line, but also DC printings of Korean and Hong Kong comics as well as European comics. Oh, yes, for real. Euro comics (mostly French), published in the same manga-style volumes. That was the plan anyway.
Now of course, we know that they decided instead to sign a distribution deal with Humanoids publishing instead of hiring an editor, a translator, and a huge staff. Makes sense right? So why didn�t they go after a manga producer in a similar way. Well, this isn�t public knowledge but they did. Some very strong overtures were made to various existing manga companies. They were turned down. To put it politely. Of course, there might still be a surprise announcement in the next month or so, but yeah, don�t expect to see a smiling partnership between DC and VIZ anytime soon, for example.
CMXMANGA is, well, �COMIX/MANGA�, do you follow? It�s not just Japanese titles for a start, and being DC they�re not just going to put out another 20 tankoubons a month, there�s something else there. Something a little bigger, and I think people are going to be surprised by the announcement. I�m assuming, based on discussions I�ve come across, that you�ll see the recent FOCUS graphic novel collections be released as part of this line. For starters.
The one thing I haven�t seen discussed, anywhere, is why DC has decided to get into the game of Trying To Make Money By Publishing Comics. It�s a game that they haven�t been playing for years and years now. Everyone at the company (or more specifically, anyone who�s left the company) will tell you flat out that they�re not making money. Almost none of the books are making money. DC as a company comes up in the black because they own the licensing rights for the big characters, SUPERMAN and BATMAN and WONDER WOMAN. They publish the comics (which don�t cover the overhead on the comics) and then license out SUPERMAN Underoos or whatever and come out ahead. That funds Vertigo and Wildstorm and the many, many books they have that are selling under 20,000 copies a month. A TEEN TITANS here, a SMALLVILLE there, BATMAN, CATWOMAN, and WONDER WOMAN films which are re-optioned once per year� That�s how DC stays in the black on the company books.
So why is DC trying to make money with comics, after fiddling away off in the corner for so many, many years now? I mean, it�s not just the CMX manga line. They�ve started getting competitive salary-wise with Marvel for creators on their books, they�re pushing in a ton of different ways and formats, and it looks more and more like creators, and not characters, have become the priority when it comes to big-promotion. NEIL GAIMAN, JIM LEE, MICHAEL TURNER! MORE! This is very un-DC behaviour. So, again, what changed?
Well, Dan Didio, obviously.
Didio came from outside of Comics Culture, got a job at DC with quite a bit of power (transferred from another segment of Time/Warner), �enabled� the more radical voices at DC to do their jobs, and look, lots changed. Didio had this crazy idea that selling comics could actually make money. He looked at Marvel (whose publishing division was quite profitable), he looked at foreign comics industries, he took a look around and saw that there was no reason that DC couldn�t be just as successful, particularly with the money and resources at its disposal (gee, where have I heard that before?)
DC previously worked on the principle that comics were licensed out to other people to make money for the license-holders. That�s the simple answer to the question �Well why don�t Marvel and DC just buy their own manga companies?� by the way. For the most part, they didn�t have the mechanisms in place to make enough money off of comics at all, let alone having to pay the license fees and not being able to make any money off of the movie rights for the books� Licensed comics have to sell tons more upfront to be worthwhile. If you look at Marvel and DC�s extremely spotty history with licenses, DRAGONLANCE, STAR WARS, STAR TREK, tons of one-off movie tie-ins� It�s a tough business. The break-even is much higher, the ancillary licensing isn�t there. It�s also why Dreamwave and Devil�s Due were able to �steal� the GI JOE and TRANSFORMERS licenses from Marvel� DC and Marvel exist to invest in their own licensable properties, not anyone else�s.
I have a feeling I�m starting to ramble a little bit, so I�ll try and draw all of the threads together.
TOKYOPOP and VIZ made lots of money for the first time since their respective inceptions. Suddenly, it�s not only possible but relatively easy to make money on �licensed� books. The media tie-ins are there, and even if you�re not making any money off of money on the cartoon, the cartoon (and happy meal and whatever) is still fuelling the high sales of the books. Factions within DC look at that and say �I want a piece!� but, true to their roots, feel that they need to lead the manga kids from �authentic� stuff to North American works (which they more-completely own). So they�re setting up a line with Japanese books, yeah, but also Korean and Hong Kong books, selected European titles, and a bunch of introductory-level superhero titles. �It�s about a kid just like you, who does something stupid and goes to jail, but with Super Powers!� �It�s about a kid with a crippling disease who has to struggle through his entire life, but with Super Powers!� �It�s about four kids, just like you, who find a suit that gives them Super Powers!�. And thus, the �CoMiX/MANGA� line will lead them back to next month�s Vertigo take on SUPERMAN.
The snag they�ve encountered is the fact that, surprisingly, the only people that really want to work with them on this are exactly the sort of people you don�t want running a bold new publishing venture. At present time, no one is officially running CMXMANGA (though it�s clear that Didio will have a hand-in as the FOCUS line is his baby). VIZ has apparently rebuffed them outright, as I alluded to earlier. Tokyopop has made it very clear that they�re quite happy on their own. Who�s left? Gutsoon!, publishers of RAIJIN? Let�s say that effective leadership has never really been their strong suit and they haven�t done a Sterling Job with the manga titles that they do have. CPM manga has as many detractors as it does supporters, and public perception is that when CB Cebulski left the company (first to found his own America Comics/Manga hybrid FANBOY ENTERTAINMENT and then to go on staff as an Editor at Marvel) he took the only thing from CPM that was worth taking�himself. Do DC go to perpetually beleaguered Ironcat? Try to set-up a Humanoids-style deal with animation giant and recent manga entrant ADVision? Or is it time to start headhunting ex-Viz and ex-Tokyopop employees? Does anyone know if ex-Viz marketing wizard Dallas Middaugh is looking for a job?
There�s a very good reason that (despite being discovered) DC hasn�t commented on CMX/MANGA just yet� There�s nothing there. Yet. Trade Paperbacks for some Focus titles, several Humanoids books, and exploratory groping aside, it�s an entirely corporate proposition at the moment (it�s Not just Didio involved here, let me be clear about that�).
So that�s pretty much it for the CMX/MANGA line: Wait and see. Oh, except for one obvious thing:
Clearly, I should be hired as the Editor.
(Cue a dozen people clicking to send me an e-mail saying that I couldn�t edit my way out of a paper bag, and I actually spelled �edited� wrong on the front page of the PopImage book�).
I wish DC the best of luck on developing an entirely new line of books though. It�s ballsy, and I appreciate that. Particularly when the competition�s idea of trying to grab the manga readership is to take exactly the same books but smaller and rip off Tokyopop�s trade dress. BOLD.
We comics folks certainly do live in interesting times, hm?
I work in Comics Retail. As a retailer, I'm often treated to some pretty strange press. Rather than the HYPE! that you're treated to at Pulse and Newsarama, we end up with ways to sell the books to you (the consumer), and ways to generate interest in you (the consumer). Today, however, we got a really wierd one.
Image?s Jack Staff: Everything Used to Be Black & White TP is Coming Soon!
On the Diamond retailer web-site there's this bit of hype. It contains no new information whatsoever about Jack Staff, just that the book (which is now several months late) is apparently going to come out. Soon. Usually on these updates the nice Image people and the nice Diamond people get together to let us know when 'soon' is. As it is, this bit of press sounds like Image is behind on it's rent or something, and will bring it up to date any time now, they're just waiting for this money from their buddy and as soon as they get it it's like totally yours I swear.
I can only assume that, as retailers, we're meant to pass this information along to our customers asking about the Jack Staff trade paperback. So, as at least one customer of my store reads this, I shall pass the information along in an editted version of the press release:
The JACK STAFF: EVERYTHING USED TO BE BLACK AND WHITE is a "352-page volume" that "collects all 12 issues of creator Paul Grist's original, acclaimed, black-and-white Jack Staff series, which was first published by Dancing Elephant Press." It is "Perfect for readers already familiar with the series, as well as for anyone" who enjoyed the Image colour series. And to repeat, "Jack Staff Volume 1: Everything Used to Be Black & White TP is coming soon," which... I mean... I guess you're just supposed to start asking your retailer every week if it's out yet. As a retailer, yeah, that won't get annoying. As a 'pundit' though? Heh, what a nice way to remind retailers over and over again that they should be ordering this series.
My friend James Lucas Jones has a blog. He's an editor at Oni. Anyway, he just previewed the cover to the next Blue Monday mini-series. It's really nice, much better than the the preview image that was released. And I like nice covers, so I'm going to post it and eat up Colourist Guy Major's bandwidth.
So I had an interesting discussion about WANTED, based on my review from Previews Review.
"Mark Millar�s Ultimate Jesus is already being lambasted for its ridiculous dialogue and style-over-substance approach, but then I heard similar criticisms of Wanted #1 before it came out. Afterwards? Most of the web critics I saw couldn�t stop falling all over themselves to heap praise on it. I honestly can�t tell if it�s genuine enthusiasm or just quote-whoring, for the most part, so over-the-top has the praise been. Criticism of Millar denying he ever called it �Watchmen for Villains� notwithstanding, the book is just vapid. Wanted is a power-fantasy for a new generation, one where it isn�t enough to be handsome and super-powered and responsible, you�ve gotta be �street� and above the petty concerns of morality as well. Wanted should more appropriately titled Ultimate Angry Straight White Guy, a desperate power fantasy for the self-described �minority� without a legitimate beef against society. In two issues we�ve been asked to please feel pity for someone whose only handicap is being utterly gutless. Given an opportunity to be better than he is, he aspires to somehow be less; more vicious, violent, and to flaunt society�s conventions, but offer nothing back. It�s childish at best. At worst? It�s yet another superhero book that offers nothing innovative or even interesting. 1980�s decontructionism with much better colouring, 20 years out of date. Look, we�ve shreaded Superman�s cape. GET IT?
Let me spare you all of the fancy adjectives put to service in praise of the series; it�s crap. Further, might I suggest to Mr. Millar and Top Cow that the next time you�re going to significantly upgrade the first issue with a new printing (ensuring all the suckers will buy it again), you perhaps laminate all of the pages so that the reviewers cumming all over the book are able to more easily clean it? Anything so that I won�t have to deal with copies of this thing in the quarter bins in the years to come with their pages stuck together.
So AK, formerly of Title Bout, really enjoyed the column. Which is neat. You can read his comments in response to a post made by Alan Doane at http://www.comicscommunity.com/boards/pop/?read=24346. Here's an excerpt:
"haha, look at butcher go off on wanted. fun. the troubling thing about those books is the ... faux-critic-proof-ness of them because if you hate them for being ... like, the sicko-power-fantasy thing in wanted makes my skin crawl even where its obvious inspirations- fight club, falling down, to an extent the filth- didn't make me feel that way at all. but then like... that "hey, look at me, i'm subversive" thing millar does, which is of course inherently contradictory, but... "
Anyway, the rest of the thread is good. AK and I do a back-and-forth on the book, and it really helps round out my review above and my problems with both the intent and the execution of Millar's recent work. Check it out!
