Back in July, Aaron Kashtan concluded his short review of Champions #10 which had come out that same month with the following words:
I’ll have to think twice before buying any more Mark Waid comics, and I say that as someone who’s been a fan of his for almost 25 years.
As a regular reader of both Aaron Kashtan’s weblog and Mark Waid’s comics, I had to check out this comic book for myself. Aaron’s problem with Champions #10 is that writer Mark Waid “defends” the fictitious internment camp in which most of the story is set (or maybe even internment camps in general?) and portrays it in an insensitive manner. Several other people have shared this sentiment on the Internet, e.g. Joe Glass at Bleeding Cool, but not that many to qualify it as a full-blown outrage. Anyway, here’s how I see Champions #10, and please note that this is only about the comic and not about the opinions of Aaron Kashtan or Joe Glass or Mark Waid (who identifies himself as a “liberal” and “progressive” writer for what it’s worth).
In the current status quo of the Marvel universe at the time of Champions #10, the villainous organisation Hydra has taken over the United States, and Inhumans (basically a superpowered alien race living among humans) “are being imprisoned in camps across the country”, as the introductory text puts it. The first three comic pages show life in one of these camps in a nutshell: behind the idyllic appearance, a surveillance regime is in operation in which merely talking about escape can get inmates killed immediately.
The action then switches over to the Champions, a superhero team consisting of (Miles Morales) Spider-Man, (Amadeus Cho) Hulk and Viv (daughter of Vision). They locate their missing fourth member, Ms. Marvel, in one of those camps, and set out to free her. After managing to break into the camp and incapacitating the guards, they face the unexpected problem that “some want to go, but some want to stay”, as Hulk says on p. 14 (or 15 – not sure whether the first page after the cover already counts as part of the story). Ms. Dawood, one of the detainees, expands: “What’s happening here is brutally unjust, but we and our children are well cared for here. Out there, we would be hunted relentlessly. It would be a life of fear and desperation. Some of us are willing to make that trade and fight, even though we may not win. But those who stay may be made to pay for their escape, and that terrifies them.”
So far, so good, but then Hulk comments (still on p. 14): “Trust me, as an Asian American, I have a deep historical hatred for internment, but we might have to retreat and try some other–“. This is the crucial point (the rest of the story is of no importance here): Hulk’s comment links the fictitious camp to real-world history. Even though (or rather because) he doesn’t really say much, it triggers questions in the reader’s mind such as whether Hulk thinks that the US government that imprisoned Japanese Americans (and also Korean Americans – Amadeus Cho is of Korean descent) in WWII is morally as bad as Hydra, or whether he feels that the conditions of living are as bad in the camp he is standing in as they were in WWII internment camps. Such ideas might be offensive to Asian Americans – but they are not explicitly expressed in the comic. (Who knows, maybe Hulk is merely thinking, it’s wrong to imprison someone because of his or her race, then and now.) Even if they were, it would be Hulk who has these controversial opinions, not Mark Waid. In the end, Amadeus Cho is only a teenager who hasn’t experienced WWII internment camps, so why should his opinion have such a weight that it could be mistaken for the ‘message’ of the whole comic or its writer? Waid could have devised a better stand-in for himself to broadcast his opinion, if that had been his aim.
Besides Hulk’s comment, is the plot point itself offensive that some of the inmates choose to stay imprisoned in this particular camp rather than break out? How can Ms. Dawood say she is safer inside than outside the camp when she all but witnesses the execution of two other prisoners? One could argue that, once outside the camp, Inhumans would have a good chance of escaping and hiding from Hydra by using their superpowers. However, the inmates are probably safer inside the camp, for as long everyone plays by the rules and doesn’t try to escape, no one is executed. This is an important difference from real-world Nazi concentration camps, many of which were death camps with the purpose of ultimately killing all inmates. Ms. Dawood is also right about “being well cared for”: from what we see of the Inhuman camp, it looks like they live in spacious, well-kept houses with their own lawns. This is an important difference from real-world Asian American internment camps in WWII, in which conditions were miserable.
However, the problem of Champions #10 lies not in the story but in how it is told. The comic has a serious problem with its pacing and crams too much action into too few pages. The situation of the Inhuman inmates and the opinions of their two conflicted groups are relayed mainly through the Champions instead of the Inhumans themselves, because they have already turned into a raging mob and are busy fighting each other. It’s also telling that – after the camp wall has been breached and the guards have been taken out – it’s up to the Champions to come up with a solution to the problem of approaching Hydra reinforcements. The Inhumans, even though they have superpowers too, are relegated to passive victims in need of rescue. And even though there are “hundreds” of inmates in the camp, the Champions only ever talk to two of them (not counting the terrified Inhumans they first meet on p. 10), so the majority of the Inhumans – despite their portrayal as heterogeneous – lack not only agency but also their own voices.
To sum up: is it allowed to allude to real-world internment camps in a superhero comic book? Of course it is. But if the comic is poorly written and the subject matter is not treated with the necessary sensitivity, don’t be surprised if people are offended. That being said, this whole ‘controversy’ seems to be a non-issue along the lines of Action Comics (2011) #1 / “GD” and Batgirl (2011) #37 / “But you’re a–“ (both of which I haven’t read though).
Latent Dirichlet Allocation (LDA) is one of the most popular algorithms for Topic Modeling, i.e. having a computer find out what a text is about. LDA is also perhaps easier to understand than the other popular Topic Modeling approach, (P)LSA, but even though there are two well-written blog posts that explain LDA (Edwin Chen’s and Ted Underwood’s) to non-mathematicians, it still took me quite some time to grasp LDA well enough to be able to code it in a Perl script (which I have made available on GitHub, in case anyone is interested). Of course, you can always simply use a software like Mallet that runs LDA over your documents and outputs the results, but if you want to know what LDA actually does, I suggest you read Edwin Chen’s and Ted Underwood’s blog posts first, and then, if you still feel you don’t really get LDA, come back here. OK?
Welcome back. Disclaimer: I’m not a mathematician and there’s still the possibility that I got it all wrong. That being said, let’s take a look at Edwin Chen’s first example again, and this time we’re going to calculate it through step by step:
- I like to eat broccoli and bananas.
- I ate a banana and spinach smoothie for breakfast.
- Chinchillas and kittens are cute.
- My sister adopted a kitten yesterday.
- Look at this cute hamster munching on a piece of broccoli.
We immediately see that these sentences are about either eating or pets or both, but even if we didn’t know about these two topics, we still have to make an assumption about the number of topics within our corpus of documents. Furthermore, we have to make an assumption how these topics are distributed over the corpus. (In real life LDA analyses, you’d run the algorithm multiple times with different parameters and then see which fit best.) For simplicity’s sake, let’s assume there are 2 topics, which we’ll call A and B, and they’re distributed evenly: half of the words in the corpus belong to topic A and the other half to topic B.
What exactly is a word, though? I found the use of this term confusing in both Chen’s and Underwood’s text, so instead I’ll speak of tokens and lemmata: the lemma ‘cute’ appears as 2 tokens in the corpus above. Before we apply the actual LDA algorithm, it makes sense to not only tokenise but also lemmatise our 5 example documents (i.e. sentences), and also to remove stop words such as pronouns and prepositions, which may result in something like this:
- like eat broccoli banana
- eat banana spinach smoothie breakfast
- chinchilla kitten cute
- sister adopt kitten yesterday
- look cute hamster munch piece broccoli
Now we randomly assign topics to tokens according to our assumptions (2 topics, 50:50 distribution). This may result in e.g. ‘cute’ getting assigned once to topic A and once to topic B. An initial random topic assignment may look like this:
- like -> A, eat -> B, broccoli -> A, banana -> B
- eat -> A, banana -> B, spinach -> A, smoothie -> B, breakfast -> A
- chinchilla -> B, kitten -> A, cute -> B
- sister -> A, adopt -> B, kitten -> A, yesterday -> B
- look -> A, cute -> B, hamster -> A, munch -> B, piece -> A, broccoli -> B
Clearly, this isn’t a satisfying result yet; words like ‘eat’ and ‘broccoli’ are assigned to multiple topics when they should belong to only one, etc. Ideally, all words connected to the topic of eating should be assigned to one topic and all words related to pets should belong to the other. Now the LDA algorithm goes through the documents to improve this initial topic assignment: it computes probabilities which topic each token should belong to, based on three criteria:
- Which topics are the other tokens in this document assigned to? Probably the document is about one single topic, so if all or most other tokens belong to topic A, then the token in question should most likely also get assigned to topic A.
- Which topics are the other tokens in *all* documents assigned to? Remember that we assume a 50:50 distribution of topics, so if the majority of tokens is assigned to topic A, the token in question should get assigned to topic B to establish an equilibrium.
- If there are multiple tokens of the same lemma: which topic is the majority of tokens of that lemma assigned to? If most instances of ‘eat’ belong to topic A, then the token in question probably also belongs to topic A.
The actual formulas to calculate the probabilities given by Chen and Underwood seem to differ a bit from each other, but instead of bothering you with a formula, I’ll simply describe how it works in the example (my understanding being closer to Chen’s formula, I think). Let’s start with the first token of the first document (although the order doesn’t matter), ‘like’, currently assigned to topic A.
Should ‘like’ belong to topic B instead? If ‘like’ belonged to topic B, 3 out of 4 tokens in this document would belong to the same topic, as opposed to 2:2 if we stay with topic A. On the other hand, changing ‘like’ to topic B would threaten the equilibrium of topics over all documents: topic B would consist of 12 tokens and topic A of only 10, as opposed to the perfect 11:11 equilibrium if ‘like’ remains in topic A. In this case, the former consideration outweighs the latter, as the two factors get multiplied: the probability for ‘change this token to topic B’ is 3/4 * 1/12 = 6%, whereas the probability for ‘stay with topic A’ is 2/4 * 1/11 = 4.5%. We can also convert these numbers to absolute percentages (so that they add up to 100%) and say: ‘like’ is 57% topic B and 43% topic A.
What are you supposed to do with these percentages? We’ll get there in a minute. Let’s first calculate them for the next token, ‘eat’, because it’s one of those interesting lemmata with multiple tokens in our corpus. Currently, ‘eat’ in the first document is assigned to topic B, but in the second document it’s assigned to topic A. The probability for ‘eat stays in topic B’ is the same as the same as for ‘like stays in topic A’ above: within this document, the ratio of ‘B’ tokens to ‘A’ tokens is 2:2, which gives us 2/4 or 0.5 for the first factor; ‘eat’ would be 1 out of 11 tokens that make up topic B across all documents, giving us 1/11 for the second factor. The probability for ‘change eat to topic A’ is much higher, though, because there is already another ‘eat’ token assigned to this topic in another document. The first factor is 3/4 again, but the second is 2/12, because out of the 12 tokens that would make up topic A if we changed this token to topic A, 2 tokens would be of the same lemma, ‘eat’. In percentages, this means: this first ‘eat’ token is 74% topic A and only 26% topic B.
In this way we can calculate probabilities for each token in the corpus. Then we randomly assign new topics to each token, only this time not on a 50:50 basis, but according to the percentages we’ve figured out before. So this time, it’s more likely that ‘like’ will end up in topic B, but there’s still a 43% chance it will get assigned to topic A again. The new distribution of topics might be slightly better than the first one, but depending on how lucky you were with the random assignment in the beginning, it’s still unlikely that all tokens pertaining to food are neatly put in one topic and the animal tokens in the other.
The solution is to iterate: repeat the process of probability calculations with the new topic assignments, then randomly assign new topics based on the latest probabilities, and so on. After a couple of thousand iterations, the probabilities should make more sense. Ideally, there should now be some tokens with high percentages for each topic, so that both topics are clearly defined.
Only with this example, it doesn’t work out. After 10,000 iterations, the LDA script I’ve written produces results like this:
- topic A: cute (88%), like (79%), chinchilla (77%), hamster (76%), …
- topic B: kitten (89%), sister (79%), adopt (79%), yesterday (79%), …
As you can see, words from the ‘animals’ category ended up in both topics, so this result is worthless. The result given by Mallet after 10,000 iterations is slightly better:
- topic 0: cute kitten broccoli munch hamster look yesterday sister chinchilla spinach
- topic 1: banana eat piece adopt breakfast smoothie like
Topic 0 is clearly the ‘animal’ topic here. Words like ‘broccoli’ and ‘much’ slipped in because they occur in the mixed-topic sentence, “Look at this cute hamster munching on a piece of broccoli”. No idea why ‘spinach’ is in there too though. It’s equally puzzling that ‘adopt’ somehow crept into topic 1, which otherwise can be identified as the ‘food’ topic.
The reason for this ostensible failure of the LDA algorithm is probably the small size of the test data set. The results become more convincing the greater the number of tokens per document.
For a real-world example with more tokens, I have selected some X-Men comics. The idea is that because they are about similar subject matters, we can expect some words to be used in multiple texts from which topics can be inferred. This new test corpus consists of the first 100 tokens (after stop word removal) from each of the following comic books that I more or less randomly pulled from my longbox/shelf: Astonishing X-Men #1 (1995) by Scott Lobdell, Ultimate X-Men #1 (2001) by Mark Millar, and Civil War: X-Men #1 (2006) by David Hine. All three comics open with captions or dialogue with relatively general remarks about the ‘mutant question’ (i.e. government action / legislation against mutants, human rights of mutants) and human-mutant relations, so that otherwise uncommon lemmata such as ‘mutant’, ‘human’ or ‘sentinel’ occur in all three of them. To increase the number of documents, I have split each 100-token batch into two parts at semantically meaningful points, e.g. when the text changes from captions to dialogue in AXM, or after the voice from the television is finished in CW:XM.
I then ran my LDA script (as described above) over these 6 documents with ~300 tokens, again with the assumption that there are 2 equally distributed topics (because I had carelessly hard-coded this number of topics in the script and now I’m too lazy to re-write it). This is the result after 1,000 iterations:
- topic A: x-men (95%), sentinel (93%), sentinel (91%), story (91%), different (90%), …
- topic B: day (89%), kitty (86%), die (86%), …
So topic A looks like the ‘mutant question’ issue with tokens like ‘x-men’ and two times ‘sentinel’, even though ‘mutant’ itself isn’t among the high-scoring tokens. Topic B, on the other hand, makes less sense (Kitty Pryde only appears in CW:XM, so that ‘kitty’ occurs in merely 2 of the 6 documents), and its highest percentages are also much lower than those in topic A. Maybe this means that there’s only one actual topic in this corpus.
Running Mallet over this corpus (2 topics, 10,000 iterations) yields an even less useful result. The first 5 words in each topic are:
- topic 0: mutant, know, x-men, ask, cooper
- topic 1: say, sentinel, morph, try, ready
(Valerie Cooper and Morph are characters that appear in only one comic, CW:XM and AXM, respectively.)
Topic 0 at least associates ‘x-men’ with ‘mutant’, but then again, ‘sentinel’ is assigned to the other topic. Thus neither topic can be related to an intuitively perceived theme in the comics. It’s clear how these topics were generated though: there’s only 1 document in which ‘sentinel’ doesn’t occur, the first half of the CW:XM excerpt, in which Valerie Cooper is interviewed on television. But ‘x-men’ and ‘mutant’ do occur in this document, the latter even twice, and also ‘know’ occurs more frequently (3 times) here than in other documents.
So the results from Mallet and maybe even my own Perl script seem to be correct, in the sense that the LDA algorithm has been properly performed and one can see from the results how the algorithm got there. But what’s the point of having ‘topics’ that can’t be matched to what we intuitively perceive as themes in a text?
The problem with our two example corpora here was, they were still not large enough for LDA to yield meaningful results. As with all statistical methods, LDA works better the larger the corpus. In fact, the idea of such methods is that they are best applied to amounts of text that are too large for a human to read. Therefore, LDA might be not that useful for disciplines (such as comics studies) in which it’s difficult to gather large text corpora in digital form. But do feel free to e.g. randomly download texts from Wikisource, and you’ll find that within them, LDA is able to successfully detect clusters of words that occur in semantically similar documents.
These four issues constitute a story arc of their own (titled “Incarnations”), the end of which is also marked by Greg Smallwood’s return as the sole artist from the next issue on, so it makes sense to review them now.
Authors: Jeff Lemire (writer); Greg Smallwood, Wilfredo Torres, Francesco Francavilla & James Stokoe (artists); Jordie Bellaire & Michael Garland (colourists)
Pages per issue: 20
Price per issue: $3.99
Previously in Moon Knight: Moon Knight has escaped from the mental asylum but then met his patron god Khonshu, fell out with him, jumped from a pyramid, passed out and awoke in his Steven Grant persona. He is producing a film starring his girlfriend Marlene as the female lead. Everything seems fine and the last panel of issue #5 shows a smiling Steven.
And here his troubles begin. Our protagonist keeps involuntarily changing in and out of his identities, and his surroundings change with him. Everywhere he is haunted by incarnations of his tormentors at the mental asylum, nurses Bobby and Billy and psychiatrist Dr Emmet. And also by werewolves from outer space.
Neither Moon Knight nor the readers know which reality is actually the real one. The guest artists reduce the subtlety somewhat, but it is also an interesting gimmick that each of Moon Knight’s personas/realities is drawn by different artists: taxi driver Jake Lockley by Francesco Francavilla, film producer Steven Grant by Wilfredo Torres and Michael Garland, and space pilot Marc Spector by James Stokoe.
So how exactly does this brilliant device of switching back-and-forth between identities work? Jeff Lemire employs a variety of ways to do this, but let’s take a closer look at the beginning of this arc in issue #6. The first panel (art by Torres and Garland) shows Moon Knight in his old cape fighting some villain in what looks like ancient Egypt. So far, this could be a classic Moon Knight story. In the second panel though, a speech bubble is partly obscured by a boom microphone, and on the following double page we learn that this was only a Moon Knight film being shot, produced by Steven Grant. The name of the leading actor though, whose face we never get to see, is Marc Spector – the real name of the real Moon Knight!
On page 5, Steven and Marlene enter a taxi and talk about a fundraising event at a mental hospital (because their film “explores some real themes… identity, mental illness”), which of course later turns out to be the hospital where Moon Knight was detained earlier. The last panel on this page contains a caption: “Steven Grant is too soft for what comes next…”, and on the next page (from now on drawn by Francavilla) their taxi driver turns out to be Jake Lockley! After he has dropped Steven and Marlene off, he meets his friend Crawley, who remembers the events from the first arc (the escape from the mental hospital) but Jake can’t.
Crawley tells Jake on p. 9, “You’re in the hospital right now”, then disappears. Jake opens the trunk of his taxi where he keeps his Moon Knight costume. The following page is drawn by Torres and Garland again, and on the first panel we see Steven Grant looking at his dinner suit (which looks not unlike Moon Knight’s ‘Mr Knight’ costume) on his bed from the same perspective. Apparently he and Marlene are getting ready for their fundraising party at the hospital. Steven is confused and says to Marlene, “I – I was somewhere else! I was in this cab and there was this man, this old man with white hair, and he told me – he told me I was in a mental hospital.”
Marlene answers, “Have you been taking your meds? […] You remember last time you got off, how you got.” So (according to this version of Marlene) Steven is mentally ill, which would explain the Jake Lockley scene as Steven’s delusion. But Steven doesn’t even remember being on medication at all.
And so it goes on. It’s a joy for the reader to gradually realise on how many levels the various realities are intertwined, and how they all contradict each other. Until issue #9 when Moon Knight, in his Mr Knight outfit and drawn by Greg Smallwood and Jordie Bellaire again, confronts his other three personas, defeats or makes peace with them, and they vanish.
The “Incarnations” story arc was one wild ride, and if Lemire, Smallwood and Bellaire keep up their good work in the next arc, Moon Knight will surely be the best current Marvel comic, now that The Vision has ended.
Rating: ● ● ● ● ○
Arjun Appadurai’s book Modernity at Large. Cultural Dimensions of Globalization was published in 1996 but is based on texts written around 1990. Its core is the chapter, “Disjuncture and Difference in the Global Cultural Economy” (27-47), first published as a journal article in 1990. Thus it can still be seen as a continuation of the discourse on postmodernism/postmodernity from the 1980s (as reflected on this weblog by the series of posts on texts from 1980 to 1985).
The new element that Appadurai brings to the postmodernist discussion is globalisation: his aim is “to construct what John Hinkson calls a ‘social theory of postmodernity’ that is adequately global” (47), although Appadurai usually speaks more often of “modern” when he means the present day. The important point, though, is the rupture or paradigm shift that he suggests to have occurred around 1970: “it is only in the past two decades or so that media and migration have become so massively globalized, that is to say, active across large and irregular transnational terrains” (9).
This leads to the present-day “new global cultural economy” (32) that needs to be analysed by a framework of five “dimensions of global cultural flows” (33):
- ethnoscapes, i.e. the flow of people,
- mediascapes, i.e. mass media and the images and information they convey,
- technoscapes, i.e. the distribution of high-tech knowledge, machinery, and skills,
- financescapes, i.e. “the disposition of global capital” (34), and
- ideoscapes, i.e. “meaning-streams” in “the discourse of democracy” (37) and other ideologies and concepts.
It would be easy to apply this framework to comics as commodities, i.e. comic books, TPBs, tankobon etc., the production and reception of which are nowadays almost always transnational processes. But are these global cultural flows also reflected in the content of comic stories? While this is not meant by Appadurai as a characteristic of postmodern cultural works, it is not far-fetched to expect that postmodern works are more likely to reflect a global cultural economy than previous ones.
This also gives me the opportunity to write about a comic that more should be written about (though it surely will be included in many end-of-year lists for 2016) because of its outstanding quality: The Vision (I keep seeing the title given simply as Vision, but on the covers it clearly says The Vision) by writer Tom King, artist Gabriel Hernández Walta and colourist Jordie Bellaire. Across the 12 issues, I found the following traces of Appadurai’s landscapes:
- ethnoscape: the series is about the ‘synthezoid’ Vision having created an artificial family – wife, daughter and son – and moving into a house in Arlington, Virginia. This, and their difficulties of settling in among humans, are of course metaphors for transnational migration and xenophobia. But there is also proper migration represented or at least implied in The Vision: in #4, the children, Vin and Viv, play with a football that has “Fighting Redskins” and a caricature of a Native American printed on it. It’s the mascot of their high school, they explain to Vision, and only recently has it been changed to the “Fighting Patriot”, a politically correct “colorful bull in a three-corner hat”. This little episode brings to mind that naturally, there are only few Americans whose ancestors were not transnational migrants.
Then there are characters in this comic who represent, through their name and/or appearance, more recent immigration waves than the Mayflower – Leon Kinzky, the Asian-looking Matt Lin, and Marianella Mancha. Her son Victor Mancha even draws a connection between himself and the Spaniard Don Quijote de la Mancha on the sole basis of their names (in #8).
Finally, there is a long quote from Shakespeare’s The Merchant of Venice about being Jewish.
- mediascape: specifically, Appadurai means electronic media such as television (3, 35), so the play The Merchant of Venice first shown as a hardcopy book in #5, though written in England, doesn’t count. Although there is some talk of “downloading” and “uploading” things and some smartphones are shown, there are few instances of content being electronically mediated across national boundaries. One example is Vin “downloading Bach’s cello concerto” in #3 – while we are not told where the recording was made, at least the composer is German.
- technoscape: a series with androids as protagonists is bound to feature lots of high-tech machinery, but the sources of all these gadgets are Ultron, Vision and Tony Stark – so I think it’s all ‘made in USA’. No transnational flow here.
- financescape: in the beginning of the comic, Vision mentions his difficulties in getting a steady income, and Tony Stark, the embodiment of wealth in the Marvel universe, appears a few times. Apart from that, financial matters don’t play any role in The Vision, let alone transnational financial flows.
- ideoscape: The Vision is quite a cerebral comic, but few ideas that can be traced back to outside the US are mentioned. In #9, however, Victor Mancha says: “Vin’s reading this book [The Merchant of Venice] over and over. Like he’s obsessed with mercy and justice.” So some ideas have travelled from England to America after all.
To sum up, applying Appadurai’s framework to the content of a (supposedly postmodern) comic doesn’t yield as many representations of global cultural flows as I had expected. But, again, that’s not what it was intended for. Applying this framework to the para- and extratextual information pertaining to a comic, however, would surely reveal it as a product of Appadurai’s global cultural economy.
Authors: Chelsea Cain (writer), Kate Niemczyk (artist), Rachelle Rosenberg (colourist)
Publication Date: October 2016
Price: $ 3.99
I don’t usually review single comic book issues, but Mockingbird #8 merits an exception for two reasons:
- This eighth issue is already the last one of this series, and when it came out, writer Chelsea Cain tweeted: “Please buy Mockingbird #8 this Wed. Send a message to @marvel that there’s room in comics for super hero stories about grown-up women.”
Furthermore, there was some scandal about Cain being harassed on twitter, leading to more pleas for solidarity with Cain. So far, this campaign hasn’t had any effect on the sales of Mockingbird #8, but sales figures are based on retailers’ purchase decisions made months ago, so who knows, maybe this solidarity campaign will make an impact after all. Plus, many people seem to buy the first trade paperback instead.
- And then there’s the cover. Comic book covers are always made to be eye-catchers, but this one stands out as one of the most iconic covers of at least this year. In contrast to many other covers, it even reflects the contents of the comic, as Mockingbird is shown wearing this t-shirt on 5 panels on the penultimate page.
“ASK ME ABOUT MY FEMINIST AGENDA”? That’s just what we’re going to do now: does Bobbi Morse a.k.a. Mockingbird have a feminist agenda? The short answer is, there would be no reason to wear that t-shirt if she didn’t. For the long answer, there are four key scenes with regard to feminism that merit a closer look:
- p. 5: “I’m the law on this boat, Slade”, Mockingbird says to the Phantom Rider when he comes to haunt her on a boat cruise. Superheroes often take the law into their own hands and act as ad hoc commanders of civilian groups (as in this case, the cruise passengers). Here, a woman assumes leadership over a group of both women and men. The fundamental possibility to do so is a classic feminist claim. On the other hand, this gender perspective is not made explicit.
- p. 16: “He divorced me because I cheated on him. He told himself that you had drugged me, taken advantage of me, but he never truly believed it. It’s too ridiculous. He knows that I’ve always made my own decisions. And that I’ll live with the consequences.” Divorce is a traditional feminist device for sexual self-determination, but here it’s Bobbi’s husband who divorced her, not the other way round. However, there is also a discussion (at least from what I gather online – not sure about serious feminist theory) whether cheating can be considered a feminist practice to achieve sexual self-determination. In this case, though, it looks as if Mockingbird regrets her extramarital affair. (For more information on this piece of backstory, see e.g. this review on xmenxpert.)
- p. 19: “This doesn’t count as a rescue”, Bobbi says to Hunter when he comes in a helicopter to rescue her from some beach to which she was swept after she had gone overboard the cruise ship. What could have easily turned into a ‘damsel in distress’ scene is put into perspective by Bobbi’s lines of dialogue and the beach resort setting: she clearly didn’t suffer hardship alone on that beach. Then again, the action in this scene remains the same: when the man comes to take her away from the lonely island / family resort, she lets him. Or is this just an instance of the controversial opinion that feminism and male ‘chivalry’ are reconcilable?
- p. 20: “We’re here because I need a foot rub.” The comic ends with a scene that Chelsea Cain describes in the epilogue as an “alpine threesome”. A male-male-female threesome in which the woman is clearly dominant? That surely is a feminist sexual practice if there ever was one.
In that same epilogue text, Cain describes Bobbi as “separate from the male gaze, but still not afraid to bask in it” – and there is indeed some basking going on in this comic, though not as much as in others. All things considered, while Bobbi may not have an explicit, discernible feminist agenda in Mockingbird #8, there are much more subtle and not-so-subtle feminist undertones in this comic than in most other mainstream superhero comics.
That alone makes Mockingbird #8 an outstanding comic book, but it’s also beautifully drawn (and coloured), has some genuinely funny moments, and many fresh and wacky ideas. Ultimately Mockingbird proved too over-the-top for either the readers or the editorial management of Marvel, but I hope this won’t be the last we get to see of Cain and Niemczyk.
In part 1 of this two-part review post, I was reluctant to recommend the recently re-launched Flash and Batman comic book series to new readers. Let’s see if Justice League and Hellblazer do better. (Again, I read both with the prequel DC Universe Rebirth #1 in mind.)
Justice League: Rebirth #1
Authors: Bryan Hitch (writer/penciller), Daniel Henriques (inker), Alex Sinclair (colourist)
Cover date: September 2016
I picked this book up because I thought it was a continuation of Bryan Hitch’s JLA (apparently officially titled Justice League of America, but on the cover it says JLA, so I’ll stick to that). And I think it was intended this way and will eventually become a sequel to JLA, because the funny thing is, JLA is still being published. Justice League: Rebirth references some events in JLA so it clearly takes place after JLA – a paradoxical situation probably due to JLA having been shipped late for some months. Right now, reading both series is confusing: in Justice League: Rebirth, Superman is dead and Simon Baz and Jessica Cruz are the Green Lanterns, whereas in JLA, Superman is still alive and Hal Jordan is Green Lantern.
Anyway, the story in this comic book is a one-shot about the Justice League fighting some giant alien in New York. There is very little connection to DC Universe Rebirth, except for the sub-plot about a second Superman getting ready to follow in the first one’s footsteps.
Justice League #1
Authors: Bryan Hitch (writer), Tony S. Daniel (penciller), Sandu Florea (inker), Tomeu Morey (colourist)
Cover date: September 2016
Bryan Hitch stays on board as writer while the art team is exchanged completely, and a new story starts that only vaguely builds on Justice League: Rebirth. The characters are the same though. And that’s the problem here: because it’s a superhero team with eight members, we don’t really learn anything about the individual characters. While Superman may still be deliberately kept in the background as a mysterious figure about whom more will be revealed in later issues, it’s frustrating when you keep wondering who these new Green Lanterns are and how they ended up in the Justice League (not to mention what has become of the old one).
The Hellblazer: Rebirth #1
Authors: Simon Oliver (writer), Moritat (artist), Andre Szymanowicz and Moritat (colourists)
Cover date: September 2016
There is only one panel in DC Universe Rebirth that shows John Constantine; in it, he talks with Swamp Thing about Abigail’s disappearance, a plot which is continued in The Hellblazer #1. The Hellblazer: Rebirth, however, is a self-contained story about Constantine outwitting a demon with the help of Mercury, a character apparently introduced in the old Hellblazer series.
Once again I have no idea what the purpose of this Rebirth book is, as it is irrelevant to both DC Universe Rebirth and The Hellblazer.
The Hellblazer #1
Authors: Simon Oliver (writer), Moritat (artist), Andre Szymanowicz and Moritat (colourists)
Cover date: October 2016
Constantine takes Swamp Thing to Mercury so that she can help him find his love interest Abigail. Meanwhile, two immortal beings who were present at the assassination of Franz Ferdinand meet again in the present day. Both of these sub-plots are merely set up here and will probably be continued in the following issues, but it is remarkable how they do not build on the Rebirth event at all. At the same time, Mercury is written as if she was supposed to be familiar to the readers (even though she didn’t appear in the pre-Rebirth Justice League Dark, for instance). Furthermore, this book is not a good introduction to the character of John Constantine, as we learn little about his backstory and the exact nature of his powers.
Summary: So was this whole Rebirth thing a good idea? If the point was to attract new readers, DC could have done much better. Instead of the unnecessary Rebirth issues (which will be collected in the first trade paperbacks of the individual series), they should have started the re-launched series with proper origin stories to fill the readers in on who the protagonists actually are. That would have been helpful for continuing readers too, who have only been left confused by DC Universe Rebirth.
Commercially, Rebirth seems to have worked for DC so far, but it remains to be seen if any noteworthy comics emerge from this mess. At any rate, the concept of continuity in superhero comics remains endangered.
In 2011, when DC ‘rebooted’ all of their comic book series (‘The New 52’), their sales figures improved drastically, at least for the first 1-2 years or so. Recently, with sales back on a low level, they must have thought: if it worked once, it must work twice. So DC relaunched/renumbered every title once again (with Action Comics and Detective Comics going back to their old issue numbers in the 900s), and indeed sales are up again. However, this ‘Rebirth’ is – once again – not a clean reboot. The stories don’t start from scratch, but rely on previously established continuity, or at least on bits and pieces of it. Are the Rebirth comics intended as jumping-on points for new readers, or to ‘fix’ continuity for old readers? Or will nobody be able to make sense of them? Let’s find out by looking at some of these new titles. Disclaimer: I have read neither Flashpoint nor Convergence, the two crossover events that bookend The New 52, which would have probably made it easier to understand what’s going on in Rebirth.
The starting point for it all is the prequel one-shot, DC Universe Rebirth:
DC Universe Rebirth #1
Authors: Geoff Johns (writer), Gary Frank, Ivan Reis, Ethan van Sciver and Phil Jimenez (artists)
Cover date: July 2016
“There’s something wrong with history. Someone has infected it and you all forgot things”, says Wally West (one of currently at least three characters named The Flash), who had been trapped inside the Speed Force. So both what happened before Flashpoint as well as what happened in The New 52 is ‘in continuity’ now, but this infection of time and memory loss are supposed to explain why everything was suddenly different in The New 52. DC Universe Rebirth is one big retconning attempt that even incorporates the Golden Age Justice Society of America, Crisis on Infinite Earths, and Watchmen. Which shouldn’t make things easier for new readers, but let’s see…
For each new/relaunched series there is a prequel titled …: Rebirth, e.g. for The Flash:
The Flash: Rebirth #1
Authors: Joshua Williamson (writer), Carmine di Giandomenico (artist), Ivan Plascencia (colourist)
Cover date: August 2016
The Flash is at the center of the Rebirth crossover event, so it makes sense to begin with his series. This series, like its New 52 predecessor, starts centered on Barry Allen, not Wally West. It then repeats the scene where Wally West manages to escape from the Speed Force and meet Barry Allen. However, instead of simply reprinting the two pages in question, they are redrawn by di Giandomenico, with the text remaining unchanged. It’s a rare treat to see a part of the same script handled by two different art teams, so there’s no reason for the reader to feel cheated here. As for the story, not much happens. Wally does some more explaining/retconning: “There are pieces of our memory missing from both of us. They didn’t just take time – they took our lives, they took our friendships, our loves…”
The Flash #1
Authors: Joshua Williamson (writer), Carmine di Giandomenico (artist), Ivan Plascencia (colourist)
Cover date: September 2016
This comic shifts the focus back to Barry Allen again, and to yet another Flash, confusingly also named Wally West, who apparently had already been introduced at some point in the New 52 Flash series. While the other Wally West, together with Batman, continues to investigate this whole Rebirth mystery off-panel, an unconnected story with a new villain begins for Barry Allen.
This could develop into an entertaining series, as long as you’re willing to forget about the more exciting story that started in DC Universe Rebirth and The Flash: Rebirth.
Speaking of Batman…
Batman: Rebirth #1
Authors: Tom King and Scott Snyder (writers), Mikel Janín (artist), June Chung (colourist)
Cover date: August 2016
The story told in this comic is completely unrelated to DC Universe Rebirth. It feels like the epilogue to a previous story, but I don’t know how the New 52 Batman series ended. Batman fights an interesting supervillain, Calendar Man, then hires Duke Thomas as a new Robin (just don’t call him Robin), and performs some unlikely stunts. Reading The Flash and Batman side by side, it’s striking that both new sidekicks, ‘Wally West II’ and Duke Thomas, are African-Americans; however, both were created before Rebirth.
From here the Batman series splits into two new comics, All-Star Batman (written by the old Batman writer Scott Snyder) and Batman (written by Tom King). I picked the latter:
Authors: Tom King (writer), David Finch (penciller), Matt Banning (inker), Jordie Bellaire (colourist)
Cover date: August 2016
And once again, a completely new story (about Batman trying to avert a plane crash over Gotham and meeting two new rivalling superheroes) starts with no connection to either Batman: Rebirth or DC Universe Rebirth, except for the previously introduced Duke Thomas who makes a brief appearance here.
Even more so than The Flash #1, this comic book looks like a good jumping-on point if and only if you ignore the two Rebirth prequels.