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Just throwing it out there

An East of West TV series a la Game of Thrones.

Fascinating civilizations? Check. Epic battle scenes both one-on-one and thousands-against-three? Check. Five-way political plotting with multi-level betrayals? Check. Star-crossed romance? The literal Four Horsepeople of the very central-to-the-overall-plot Apocalypse? Impossibly hypermodern cities in multiple architectural styles? The desert? The dreamspace? Oracles? Financial shenanigans? Evil kids? Slash? Western-style gunfights? Cyborgs? A world in which an African-american country is by far the main financial power in the continent and the Amerindian Endless Nations supply technology to everybody else? Checks all over the place.

Hell, it'd also make a kickass Civilization-style game (at times it feels it's the comic book version of one, but in a good way).

Secret Wars, the short version


  • Doom find being God boring, and wishes he could be Reed Richard instead.

  • Hickman is a Dune fan. He also thinks Sinister is funny.

  • We can't have nice things. We can't have not-nice things. We can't have anything, because the Big Two are the Great Wheel that destroys everything.



(I feel like the last one should end with And now, the weather.)

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On the premise of Marvel's Civil War

(No spoilers for the trailer, as this is (also) a comic book version thing as well.)

I find it interesting that Tony Stark took the pro-Registration side, and Steve Rogers the anti-Registration one.

TL;DR Tony, your privilege is showing.Collapse )

Things of note (not really)

There isn't a single comic coming out tomorrow I'm waiting for. On the other hand, I'm very happily following Schlock Mercenary and Atomic Robo as webcomics, so I have reason to believe I'm not old as much as old-fashioned. And I confess I sometimes peek when somebody posts bits of Injustice: Gods Among Us, which is at times so heartbreakingly bad that reading it feels like finding a hole in the very foundations of the universe and peeking through it at the malignant insanity that slithers between moments and watches us with blank unending patient hunger, knowing without knowledge that at the end of time the walls will break and we will be consumed across time and space and possibility, and every place will be death and every moment will be death and every choice will be death and every thought will be pain.

It's pretty OOC, that's what I'm saying.

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"Truth, justice and the American way" has a very different meaning to a Superman raised by poor immigrant farmers. He’s seen abuse and injustice his whole life – and now he’s ready to let the world know what happens when a Man of Steel gets angry..


On one hand, there's an interesting (Watsonian) argument to be made about how Clark Kent's usual tendency to maintain overall status quo in spite of the physical, technological, and political power at his disposal is intimately tied to being raised in a cultural and social milieu where, when things go wrong, the instinctive response is to blame it on change from the past, rather than showing the need of change from the present (whatever your opinion on their suitability as child-rearing environments or their ecological sustainability, family farms are in economic terms heavily subsidized historical reserves, specially in the developed world). The same, by the way, can be argued about Bruce; he reminds me of that episode of NewsRadio where billionaire Jimmy James pretended to run for President, and he said something along the lines of You know what's wrong with America? *Nothing*. From where I'm standing, everything looks alright.. The first and biggest thing that ever went *personally* wrong for Bruce was the murder of his parents, so he dedicated himself to fighting that. He does good work with the Wayne Foundation, but he isn't personally invested in social change the way he's personally invested in punching criminals. It's weird, but fitting, that Diana, who's bona fide royalty, is the only one in the Trinity attempting to help along a profound societal change, being the real outsider among them (and, although it's change in a direction of making our society closer to hers, it's done out of empathy for people who suffer something she *hasn't* (although her society did went through it in a particularly traumatic way), and thus speaks well of her even beyond the intrinsic undeniable worth of what she's attempting). This Superman is angry in a way that canon Superman should be. I'm not saying he should go full Red Son, but there are degrees. (Bruce is a bit more excusable - even a person with his resources cannot change an entire city, specially one as deeply fucked up as Gotham - but still, as Batman he attempts the impossible in a weekly basis, as Bruce Wayne he does things Thomas Wayne would have done, and in the way he would have done them --- and there's a clue, methinks).

On the other hand (having lost sight of the first one)... if AU!Superman is to canon!Superman as AU!Batman (remember, villain-eating vampire) is to canon!Batman (and the pre-movie shorts do show this Superman ignoring civilians in danger during a fight), then the underlying message is simply a racist and classist one ("see how latinos and poor people raise their kids?").

I mean, a vampire!Batman AU is definitely a dark one (heck, the title is Gods and Monsters, and I'm not sure it refers to different sets of individuals), and the change in premise for Superman is that he was raised by migrant latino farm hands (I also think he's Zod's son, which adds a different layer of genetic predisposition awfulness).

Ok, now I know how I feel: intrigued by the critical possibilities involved in the premise, and disappointed by the social backwardness of the execution.

DC: We have looked at all possible universes, and nobody is as decent as a Kansas farmboy, or as cool as an East Coast billionaire. Feel free to cease your societal criticism and dedicate the time to figure out who'd win in a fight between them. You're welcome.

Transformers: More Than Meets the Eye #42

I'll keep making squee posts like this one long as they keep making issues like that one.

I mean, the threat turned out to be more creative than I had expected, and the solution... James Roberts has no sense of authorial shame at all, and it's BEAUTIFUL. I can't imagine the man isn't having an absolute blast writing this comic; not because of the franchise, but because of what he's writing.

Injection #2

It's such a Warren Ellis work in conception, dialogue, and pacing that the name on the cover is almost ridiculously redundant. That's the best reason for or against reading it, depending on your tastes.

One thing of note: his use of non-dialogue text is quite interesting, somewhat similar in spirit to his Moon Knight run. Not as out there as more experimental comics, but he's probably one of the current relatively well-known comic book writers that focuses the most on fiddling with media possibilities in general (his email newsletter is often a record of what he's reading and thinking about, and although I don't share many of his interests, he's clearly a reflective and inquisitive writer).

As an aside, Morrison's Nameless #4 is also pure late Morrison, which means it's a deranged excursion into forces of reality-destroying supernatural evil.

You know, the transition between Morrison's early JLA and Morrison's Final Crisis could be described as going from professionals so badass they become legendary to legends so legendary they become godlike. A movement from tactical engineering to hermeneutical magic, if you will.

I need to update my media firewalls

I was avoiding the latest Secret Wars, but upon learning that it was set up on an universe created by 616's Doom (somewhat more resiliently than the last time he did that), I picked it up.

Big mistake.

In this re-created universe, where Doom is god, etc, etc (although in a relatively, for Doom, relaxed way), you know who's Doom's queen? Susan. And you know how Val, the head of Doom's Foundation, calls him? Father.

Ugh.

Hickman's Doom is one of the smartest, most driven and interesting versions of the character, but his brand of psychological issues is very, very unnerving. He's not just, or mainly, trying to get revenge on Reed. He's so focused on unseating him it's positively juvenile. He admires Susan, but he doesn't love her (one of the things that, well, dooms Doom is that there's nobody in the world he loves or he's personally loved by, hence his cult of personality in Latveria, which would otherwise be beneath him: why would Doom care for the opinion of the lesser?), and even if he did love her he's no Namor. He just wants Susan because she is Reed's (not how either Reed or Susan would put it, of course, but that's a different and parallel crazy of Doom's).

Reminds me of Luthor on his worst days, so focused on proving he's better than Superman at Superman's thing that he becomes a lesser version of himself as Luthor.

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Something I posted about four years ago


There have always been ill-considered reboots. There will always be. They are annoying.

But they are powerless. They are no longer their characters. They are nobody's, everybody's, ours. They are ideas, symbols, aspirations, and hopes --- they will outlast corporations, and are as liable to copyright as mathematics and love.

Stay calm. It's just a class-2 ontological emergency. The Justice League is on the job.


Something I needed to remember. (Not that the fact that this becomes relevant every year or so hasn't turned darkly hilarious.)

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Transformers: More Than Meets the Eye #41

I know I sound like a broken record, but dammit, it's good. It's good sci-fi, it's funny (I want Rodimus to lead the Justice League and the Avengers), and nothing and nobody is safe.

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