"Siege"? I'm feeling 'event burnout' dude. Wait? Spider-Man! Wait! A new way to do events?

So this "Siege" thing looks cool! Spider-Man is involved, I guess. Now I can care...

I'm terrible. Time to be a bit more academic about this, Jon.

Joe Quesada has written about "Siege" and Marvel's 2010 crossover 'events' at his Cup O'Joe blog. Apparently, they are attempting a new model this year:

"Joe Quesada: It will be a different feel from what has been going on these last few years, let's just leave it at that."

Since 2oo8's "Secret Invasion" was the end-point of Brian Michael Bendis' crazy-huge Marvel Universe-wide meta-story 'event' series that he had been building since 2oo4's "Avengers: Dissasembled" they are going to follow it with several smaller scale "family" events. Whether this is set in stone, I couldn't tell ya, but:

"Siege"
Considered the Avengers event for 2010, (which essentially makes it the next Earth-wide Marvel U event) will tell the story of Norman Osborn's attempt at taking out the last item on "The List": the removal of Asgard from its spot floating above American soil. Yeah, good luck with that Normie...

"DoomWar"
The Fantastic Four event, will tell the story of an attempt on the parts of the FF, the Black Panther, and the X-Men to finally depose Dr. Doom from his perch as ruler of the small Eastern European country of Latveria.

"Fall of the Hulks" and/or "World War Hulks"
The Hulk event, will be... all those damn Hulk clones and sons and whatever wailing on each other for a long time... or something.

"Second Coming"
The X-Men event. There's always an X-Men event. Ever since, like, 1986 there's almost always an annual X-Men event. This one will tell of the return from the future of the young girl named Hope, so named because she was the first mutant born since the "House of M" event storyline in the present.

I think this new model is pretty exciting because, if nothing else, we're finally going to get a change from the status quo.

Superhero comic-book publishing history lesson: Big publishing companies produce big-scale stories they call 'events' that affect wide swaths of their characters simultaneously. And they've been doing this since the Eighties.

But before 2oo3 things were way more organic, although things started out strictly annual...

First, DC published many stories that specifically dealt with their Golden Age 1930s characters in the Justice SOCIETY of America interacting with their Silver Age 1960s characters in the Justice LEAGUE of America. The first was told in two parts: "Crisis on Earth-One!" and "Crisis on Earth-Two!" in Justice League of America v1 #21-22. This went on annually from 1963 till 1971 then a bit less regularly from 1973 until 1984.

In 1985 DC shook things up in a big way with "Crisis on Infinite Earths", the third story to be referred to as an 'event'. The sequel "Zero Hour: Crisis in Time", which came out in 1994, put a lot of the chaos of the original "Crisis" back in its place. Then there was "The Final Night"in 1996, "Day of Judgment" in 1999 and "Our Worlds at War" in 2oo1.
(All Universe-wide stories.)

So what exactly is an 'event' story-line, you may be wondering? What makes the difference between a normal everyday story and a crossover 'event'? WELL... that's hard to answer. Wikipedia.org is as helpful as ever. The page for "Crisis on Infinite Earths" defines a "summer crossover" as a:

"series designed to tie many of their [any given publisher's] comic book titles together under a single storyline (and thus sell more comic books)"

In 1982, Marvel picked up on the idea of a story with all the major characters interacting and produced the first 'event' limited series: "Marvel Super-Hero Contest of Champions" in 1982. Then a toy line tie-in prompted the creation of "Marvel Super-Heroes Secret Wars" in 1984, followed by "Secret Wars II" in 1986, "The Evolutionary War" in 1988, "Acts of Vengeance" and "Atlantis Attacks" in 1989, "Infinity Gauntlet" in 1991, followed by "Infinity War" in 1992, and "Infinity Crusade" in 1993, "Onslaught" in 1996, the sequel to which was "Heroes Reborn" in 1997, "Maximum Security" in 2ooo, and finally "Infinity Abyss" in 2oo2.
(That's just Earth-wide stuff. Not the bajillion X-Men events that came out in the meantime...)

Then Marvel Comics hired Brian Michael Bendis and things changed. The pattern of about one Earth-wide story occurring like clockwork every calendar year has been happening for about six years now (usually in the Summer):

"Avengers: Disassembled" - 2oo4
"Secret War" - 2oo4
"House of M" - 2oo5
"Civil War" - 2oo6
"World War Hulk" - 2oo7
"Secret Invasion" - 2oo8

Most of these stories were either written or orchestrated by the quite brilliant Mr. Bendis.

To counter this DC produced more regularly as well, eventually creating a 'Summer blockbuster'-type competition between the two companies:

"Identity Crisis" - 2oo4
"Infinite Crisis" - 2oo5
"52" - 2oo6
"Countdown" - 2oo7
"Final Crisis" - 2oo8
and currently
"Blackest Night" - 2oo9

Marvel's stories invariably end up named "______ War" and DC's stories are always "______ Crisis". Other than the names the stories can vary widely as they more or less are always written by different people, drawn by different people, and produced under different corporate administrations. Generally, in the past six years Marvel has been working on making their events more interconnected and character-driven, while DC has been making strides in adapting the format of the event itself.

See: "52".

"52" was a weekly comic-book published, #1 to #52 from May 2oo6 to May 2oo7, but it encompassed so much of the DC Universe that it worked on the scope of an 'event' and was indeed a limited series. Limited to 52 issues, but still limited. It was immediately followed by "Countdown" another year-long weekly series this time published starting from #52 down to #1. All major threads of the DC Universe were involved. It was definitely a crossover event.

How this new wrinkle of mini-family-events will affect the crossover event format in the future is difficult to see. I'm guessing this new format will be more profitable for Marvel as they will have by the end of the year put even more comics featuring multiple characters on the racks without alienating as many readers who feel 'forced' to buy the 'event' books to continue following their favorite character. However, if readers still buy all the series anyway (which they might, comic-book readers do tend to be strange. duh.) then they may complain even more of suffering from quote-unquote 'event burnout'. At any rate, Marvel's gunna make more money this way for sure. If successful, why wouldn't they do it this way for a few years?

I think this will end up feeling a bit more organic from a storytelling point of view. And that is only good. My only question is: Where's the Spider-Man event!?

Paperback Writer

There's an interview with Gabriel Ba and Fabio Moon over at CBR- if you're interested in their work, particularly their upcoming series Daytripper, you should give it a look.

I Have No Idea What This Means

Any guesses? (from Techland, via Robot 6)

Meanwhile, at the Pull List of Clare!- 11/04/09

Another hefty week for me, but hey that's okay by me! The more comics I read the happier I am. So, let's see what's in store for me this week:

From DC this week comes a bunch of great titles. I was really interested by the first part of Leviathan so I'm looking forward to picking up Batman: Streets of Gotham #6. While I much prefer Dini, Yost is telling a great story with one of my favorite characters- Huntress. Then there's Tiny Titans #22, which we all know I'm quite fond of. Then there are the Blackest Night tie-ins! I'm totally excited for Adventure Comics #4. Not only do I love this book like crazy but it also marks the return of Superboy Prime after the events of Legion of 3 Worlds. Plus it comes with the Blue Lantern ring! The Blue Lanterns are my favorite so I'm psyched about that. Outsiders #24 is a continuation from Blackest Night: Titans and it comes with the Star Sapphire ring. Then there's Superman/Batman #66, I don't exactly get how an out of continuity book ties in but it's got Bizzaro and Solomon Grundy so I'll give it a shot.

It's one of those weeks where I have more Marvel books this week. From the Other Company I've got a few good ones. Amazing Spider-Man #612 has been solidly good since American Son. I'm not sure what Gauntlet is exactly going to be but I'll give it a shot. However, I know I'm going to enjoy Dark Reign- The List: Amazing Spider-Man. Let's be honest, this is the moment of Dark Reign that we've all been waiting for-- Norman versus Peter. Bring it on! says I. Dark Avengers #11 and Mighty Avengers #31 have been two books I've solidly enjoyed. Dark Avengers just started a new story arch and Mighty Avengers is wrapping up something pretty epic. Deadpool: Merc with a Mouth #5 is one of those books that I can't help myself with. Funny, stupid, mindless violence, hot chick with underwear showing (satirically, of course), and sweet movie-parody covers. What's not to like? Spider-Woman #3 is one of those books where I like where it's going but I'm not sure I'm in love yet. We will see! And wrapping up Marvel is X-Men Legacy #229, a book I believe to be highly overrated.

And let's top it all off with a nice cherry-- a Dr. Horrible one-shot explaining everyone's favorite villian's backstory. Nice!

Have a happy Wednesday, my loves! This weekend should hold a review of the first issue of Mark Waid's "Strange" from myself.

Aw yeah Wednesday!

Gorga's Looking Forward to Wednesday 11/18/2oo9

I'm going to start including collections and graphic novels in these pull-lists because they're comics too dagnabit! You're just not going to see a review from me on one of them for SIX MONTHS. I'm slow.

The weeklies:

The usual Spideys!
"the Amazing Spider-Man" #612 (definitely)
I'm not too keen on any experimental re-envisioning of classic characters. So... apprehension is the word.

"Dark Reign: The List - Amazing Spider-Man" one-shot (definitely)
Dan Slott himself told me in person how excited he was to write this. I can't NOT buy it!

"Dr. Horrible" one-shot (probably)
I loved the web-video (or IPTV series) to which this is a prequel. Who doesn't right!?

"Cowboy Ninja Viking" #2 of 4 (probably)
This got pushed back. STILL haven't read issue #1...

"Drone" #1 of 4 (maybe)
This sounds smart and disturbing. A good combination.

"Tiny Titans" #22 (maybe)
Clare's editorial of last month made a big impression on me about this series.

The books:

"Pictures That Tick" (maybe)
I'm really fascinated by experimental comics, although I've rarely been able to handle a whole collection of them. I usually end up trying to take it slow to absorb each piece because they can and will be SO different. As a result... I never finish the damn things.

Strange week. We'll see...

I can't for the life of me decide...

... is Hitman Monkey one of the dumbest ideas in recent memory? Or one of the coolest?

The solicit is as follows:

HITMAN MONKEY #1
Written by DANIEL WAY
Penciled by DALIBOR TALIJIC
Cover by FRANK CHO
“The Legend of Hitman Monkey”
You’re digging him in this month’s issue of DEADPOOL and you want to know more about him? How about his origin story? A troubled soul, set upon a path of vengeance he does not understand. An assassin without equal, trained in the most secret of killing techniques. A flesh and blood specter, haunting the killers of the world. A monkey…with a gun. Bear witness as the legend is born. Hitman Monkey.

Already Tired of Tuesday...

I know I've had some slow weeks recently, but this one takes the cake- the only book I had been planning to pick up this week is Punisher #11- you know, the one with FRANKENCASTLE written in big letters on the top. I'm interested to see what its going to be like and, as Jon and I discussed awhile ago, I think its a pretty clever idea.

Other than that, though, I've got nothing- anyone have a recommendation for me?

The Life and Times (and Death) of a Savior

I bought "The Life and Times of Savior 28" #5 (from IDW Comics) two months back and, as I'd gotten used to over the previous issues of this mini-series, I got something much more than the average smart superhero story.

I got something beautiful.


This review of "The Life and Times of Savior 28" #5 is long overdue, yes. But J.M. DeMatteis' and Mike Cavallaro's remarkable mini-series deserves more praise and a more critical exploration than I have seen it receive.

Alan Moore has stated that when he was writing the "Watchmen" mini-series, he really felt like it was going to be the end of the superhero genre. He thought that as far as he was concerned once he'd shown that the ultimate expression of Superman had to be either detached from humanity or devoted to destroying the few to save the many and the ultimate expression of Batman would either be a non-functioning psycho or an all-too human man-child the superhero genre would be dead. "Watchmen" was to be its tombstone. How naive of him.

The truth, as things turned out, is that people loved "Watchmen" so much (and indeed loved the psychopathic Rorschach most of all) that the genre was rejuvenated as a place where characters could be seen somewhat realistically destroying each other mentally and physically on a monthly basis. Superhero comics are still for children... except they also have to be violent enough that adults will take them seriously. Superhero comics have to be lighthearted enough that children will find them exciting and hopeful... except again they also have to be grounded enough that adults take them seriously. Paul Levitz, the until-just-recently Publisher of DC Comics, said in the 2003 documentary "Comic Book Superheroes Unmasked": "We point out, with some passion and energy, that comics not only aren't only for kids, they're not mostly for kids today." And, on the subject of "Watchmen", "Most of the guys in comics live within about fifty miles of here, so we were all at the same poker-games and the same parties. And it was just: 'Wow, how the hell did he [Moore] do that?' and you went home and you ripped up whatever you had done that week and just said 'No, dammit. There's more I can do.' " As well as the glorious general statement: "Comic-book writers and artists are doing the same thing the storytellers did drawing pictures on the caves at Lascaux. We're using story to create context for life. On a very, very good day (and we don't have enough of them) that becomes art, on an ordinary day it becomes escape. It's always magic."

(Yeah. If you haven't watched that documentary yet, you should.)

So the superhero fiction writer of today must ask himself this archetypal question: To continue the fight month after month or try to do something more?

The main character of "The Life and Times of Savior 28" is cracking under this exact pressure. Savior 28 a.k.a. James Smith (the most fantastically everyman secret I.D. name I'VE ever heard) is a character who doesn't know who he is anymore in the wake of the September 11th attacks. Like many Americans. Like the superhero genre itself.

I don't think any of us truly appreciate our superheroes. Despite the millions they rake in at the box office, they still seem to be a cultural joke in most people's eyes. That's the beauty of "Watchmen", it didn't take its characters for granted. And that's the main reason I can't stop thinking of "The Life and Times of Savior 28" as the new "Watchmen", because it doesn't either. And you, also, will no longer be able to take your superheroes for granted after you read the end of the first issue of "Savior 28". Because to watch a superhuman character lose the woman he'd loved, and drown the pain in alcohol, only to wake up on September 12th, 2oo1 and see the epitome of failure in his eyes? That's pain. Anguish, even. For James Smith and for the reader. What does James Smith do? The invulnerable super-powered flying man of the title?

He opens another bottle of scotch.

His next reaction? Suicide attempts.

Plural, of course. He's superhuman.

Mike Cavallaro's art is key to the evocation of pain in these scenes. James Smith's face changes in each panel into a new mask of horror. (Really. Click on this image, make it as big as you can get it and look at each panel. Distinctive expression of pain on each face in each image.) His smooth, almost cartoony line allows the character to fool our senses for a moment every time he appears in one of many too-horrible-for-words moments.

This is actually the first page of "The Life and Times of Savior 28" art I ever saw. It's the first page of the second issue. It sold me on buying the issue pretty much immediately. The following 21 pages sold me on the whole series.

Even though that was my introduction to the series, I don't think I'd recommend you read it that way. The series' writer and concept originator J.M. DeMatteis had something in mind in the structure of the mini-series. Is it as structured as "Watchmen"'s plot? No. Each issue doesn't have a unique arc and structure, but they do have their own themes: #1 and #2 are about the history of the superhero and the history of the 'real world', respectively. That's why the first issue is titled "A Kind of Eulogy". The third issue is about the superhero as celebrity/political figure. The media and political pundits of the 'real world' are featured. Hence, "The Whole World Is Watching". The fourth focuses on the Oedipal Complex exhibited by most superhero characters (albeit with a role reversal) and the fifth (titled "In Pace Requiescat") is about the superhero as (finally!) savior. The main thematic elements of superhero narratives are on display here: history (mainly, their own), social/political relevancy, Freudian/Oedipal tension, and religion.

Is this a definite and clear structure? Hell no. There are bits of every theme in each issue. Plus I just made half of that stuff up! I'm an academic folks, what can I say? But, this is part of my point. "The Life and Times of Savior 28" is not 'the "Watchmen" of our generation'. Such a title would be pretty damn meaningless anyway. It feels in a few ways, to this reviewer at least, like a kind of anti-"Watchmen". An antidote to ultra-realistic, ultra-violent, ultra-structured superhero comics. A silky-smooth-line-drawn, tastefully intense, organic superhero comic that examines and comments on superhero comics.

The final issue does not disappoint. The entire mini-series is framed as the memoir of Savior 28's former sidekick, Dennis McNulty, and the story reaches an emotional and absolutely fitting conclusion for both Savior 28 and his 'biographer'. I couldn't stop myself from reading this as soon as it was in my possession. The story hit home emotionally as I read it standing in a falafel shop. It is finally, at the end, so sad. Cavallaro's smart splash-page storytelling techniques are in full force here. But the real crescendo of the piece is a single page of twelve small panels in which almost the entirety of the series is silently summarized and as we see Savior 28's and Dennis McNulty's lives meet and intertwine and separate and end all on one page... it hurts. Everything that Paul Levitz said about comics is reflected in that one page, as well as in the last issue, as well as in the entirety of the series.

"The Life and Times of Savior 28" is a particularly smart and particularly beautiful exegesis of superhero narratives because it makes it clear that our superheroes can be saviors if, just like REAL people, they choose to sacrifice something REAL. Is it child-appropriate? Not really, no. As evidenced by the nine panel-grid page above and the splash-page at left. (If you want a great kid-appropriate comic, you must check out Clare's editorial here.)

I believe the mini-series "The Life and Times of Savior 28" reconciles much of the problems facing most superhero comics (and their writers...) coming out today.

Read it. A trade paperback collection has been solicited for January. For my money, you want to read the five 22-page issues to really get a feeling for their individual themes and rising energy. But I'm crazy. Just read it.