// Category Archive for: Comics

Taking Aim: Is The Avengers A Chick Flick?

By Lisa Anderson

Jeremy Renner in The Avengers

As fan of comic book movies and of Joss Whedon, this is a great summer for me. I’m thoroughly enjoying all the buzz over The Avengers, which opens in the US at midnight tonight. Every once in a while though, I’ll come across something that I can’t get on board with, even though it’s essentially positive. A recent piece by Bill Gibron at Pop Matters is a good example.
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Top Ten Movies To Look For In 2011: Follow Up

By Lisa Anderson

In late 2010, I made a list of the 2011 films that I was most interested in. With many year-end retrospectives going on, I thought I’d go back over the list and report on how these movies compared to my expectations.

1. Red Riding Hood

Of all the movies on my list, this one probably disappointed me the most. The story was muddled and didn’t make use of folklore and symbolism in the way it could have. The love triangle was not as interesting as it could have been, and there were disappointing performances all around from otherwise amazing people. Last but not least, the script missed the perfect opportunity to have the wolf throw back its head and howl at the moon. Red Riding Hood had its good moments and there were things I liked about it, but overall, you’re better off watching Hanna (reviewed here) for an innovative, feminist take on fairy tales.
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Erland and The Carnival: Best Of 2011

Reissues: Roy Harper, Songs of Love and Loss

Listened to a lot: Kurt Vile, Smoke Ring For My Halo

Concert: Josh T. Pearson at Union Chapel in London on May 11

Movies: Benda Bilili! (watched on the tour bus), Michael Powell’s The Edge of the World (1937), and The Monk with Vincent Cassel

DVD: Brimstone and Treacle (the BBC TV version, not the Sting film!)

Film festivals: Screening of Ken Russell’s The Boy Friend at the BFI on December 9

Books: Oliver Twist, started reading Michael Horovitz

Art: Grayson Perry, “The Tomb of the Unknown Craftsman” at The British Museum

Comic books: Anything by Alan Moore

Favorite cities: Dresden, Berlin, and started to enjoy London

Coolest thing found at a vintage or thrift store: A WWI officer’s compass

Best restaurant: The Golden Dragon in London’s Chinatown

Erland and The Carnival‘s latest album, Nightingale, was released on March 29. The band will be playing in Vienna at The Maifield Derby Festival on May 19 and again at The Orange Blossom Festival on May 26. For more on the band, please check out their website, Facebook, and Twitter.

Arkham City: World Of Echo

By Paul Casey

Arkham City, released October 21, is an important Batman story. While perhaps not as unexpected as its predecessor, Arkham Asylum, Rocksteady have turned in a Batman game that builds on that one’s many successes. As someone who has been obsessed with Batman for a couple of decades, with changing degrees of intensity, Arkham City is literally a dream come true.

To have an interactive slab of Gotham City with such extremely detailed and well observed parts of Batman’s long history concealed for your own brand of detective work . . . well, it makes me feel both old and lucky to have been around this long. That the game is actually a wonderful, expertly paced, physical experience is something else entirely. As with Arkham Asylum, it still seems quite unusual to have a great comic book like Batman finally tap into why video games are such an exciting medium.

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Batman: Arkham City—The Album

By Paul Casey

Arkham City is the sequel to 2009’s Arkham Asylum, the very surprising critical and commercial success from Rocksteady Studios. This soundtrack of “interpretations of the stories surrounding Batman” features a set of Indie Rock Heads doing songs that are in no real sense representative of 1) why Arkham City has a shot at game of the year or 2) why Batman is such an enduring character. As a collection of low-grade Indie Rock, it is mostly intolerable.
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He Is the Night, He Is Vengeance, He Is Batman: The Animated Series

By Paul Casey

Batman: The Animated Series was the cause of my love of Batman, superheroes, and later, comic books. I had seen Tim Burton’s wonderful 1989 adaptation early on and went to the cinema to see the underrated and childishly maligned (though rather too scary for my youth) sequel, Batman Returns. I was also aware of the 1960s Adam West TV show.

Even though I enjoyed these, it was the Noir shadows of The Animated Series which got to me. The vision of Bruce Timm, Eric Radomski, Alan Burnett, and Paul Dini would stay with me. The opening is perhaps the most evocative and perfect definition of who Batman is as a character. Danny Elfman’s score is Batman.

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Everything Undead Is New Again: Are Vampires Still Vicious?

By Kai Shuart

So, I’m just going to get down to the nitty-gritty: I love me some vampires. They’re violent, they’re sexy, and they’re transgressors of any religious, sexual, or social mores a mortal can think up. And they have the power to give that power to anyone they see fit.

But I am a vampire snob. Don’t come across my way with any of that Stephenie Meyer weak sauce; give me Eli from Let The Right One In, Anne Rice’s Lestat, Cassidy from The Preacher comics, Buffy’s Dru or Spike, or even Barnabas Collins from Dark Shadows (a callous hedonist turned vicious killer vampire turned tortured hero . . . yeeeah, with all due respect to Joss Whedon, the archetype didn’t start with a certain billowy-coated King of Pain). To me, a vampire is first and foremost a killer, and a gleeful one at that. Well, we should all take pride in our work . . .

Twilight vs. 30 Days Of Night

I couldn’t help but wonder, though: why does each successive interpretation of what a vampire is and what a vampire does seem so tame compared to the early pop culture incarnations set forth by people like Bram Stoker and F.W. Murnau? This is a monster whose father was Vlad the Impaler, one of the bloodiest, most sadistic dictators who ever walked the face of the Earth; and whose mother was Elizabeth Bathory, a woman who threw orgies and bathed in virgin’s blood because she believed it kept her youthful. Now they sparkle? All snark aside, I had to ask how this shift took place.

Upon consideration, I think part of this comes from a very human need to make friends with what scares us. The thinking goes that if we somehow forge a connection with the monsters (both literal and figurative) that keep us awake at night, the monsters will eventually overcome their natures and spare our lives. This is exactly how the romances play out in modern vampire lore: Twilight’s Edward can smell Bella’s blood a mile away, but doesn’t do the deed because he loves her so much. (This is me. Retching.) In True Blood, there’s something in Sookie Stackhouse’s blood that drives vampires crazy, but Bill Compton protects her from some of his more primal cohorts. To be fair, there’s a lot of this dynamic between Oskar and Eli in the book Let Me In, but at least there’s a question of whether protecting Oskar wasn’t just a by-product of Eli procuring a meal.

The fact that vampires have grown significantly less vicious and amoral as time has gone on could also be because it plays into the rather marketable notion that a good woman can reform a bad boy. Even though Buffy the Vampire Slayer has many, many positive points, even that great show is guilty of this. In the third season, Angel is somehow brought back from the hell dimension to which Buffy sent him after his reversion to his evil Angelus form. In this form, he psychologically tortured Buffy through attacking—and in the case of Jenny Calendar, killing—Buffy’s allies.

After Angel’s return, Buffy finds him in an extremely feral state. But what does our heroine do? Instead of thinking that maybe she was a bit justified in killing her former lover and sending him to hell, she is convinced that the Angel she loved is still in there somewhere. Because of this, she makes it her mission to tame him through regular visits during which she feeds him, reads to him, and does Tai Chi with him.

A final reason for these shifting interpretations of vampires could be the political climate. The massively popular Twilight series was first published during the Bush administration, a period in which everything seemed oriented towards conventional sexual mores. Sure enough, Bella and Edward don’t have sex at all until they’re lawfully wed.

By contrast, Anne Rice’s Interview with the Vampire was released in 1976, within a much more liberal environment that was likely influenced by the attitudes of the previous decade. This could account in some small part for the fact that a story that features Lestat, a sybaritic, gleeful killer vampire who makes no bones about how much he enjoys being a vampire, sold so well. Also, Rice was much less squeamish about the homoerotic elements of her story. For example, as melancholy as he is, Louis finds a “companion” in fellow vampire Armand. It’s not explicitly stated that the two are lovers, but there is certainly ample room for that interpretation.

Regardless of whether these shifts have come about due to political climate, human nature, or the marketing of gendered relationship roles, one thing is for certain: I will keep taking my vampires straight up. Fortunately for me and other like-minded individuals, a much more animalistic interpretation of the vampire has recently been coming into prominence, quite possibly in response to the vampire’s role as the dark, sexy, forbidding romantic figure.

Vampires in the film and comic 30 Days of Night, with their ghostly faces and mouths full of razor-sharp teeth, have a purely animal instinct to kill rather than seduce their prey, and they certainly don’t worry about how killing people affects the state of their immortal soul. Proving that everything comes full circle, this seems to be reverting to the much earlier pop culture incarnations of vampires, borrowing the gnarled claws and batlike visage from Murnau’s Nosferatu.

Will this interpretation eventually overtake its sparkly, more tween-friendly counterpart? Time will tell, but I for one really hope so . . .

In Praise Of Joel Schumacher And BATMAN FOREVER, Part Two

By Paul Casey

Since Christopher Nolan’s third Batman film, The Dark Knight Rises, has begun shooting, we thought it appropriate to revisit the frequently maligned Joel Schumacher film Batman Forever, which was released on June 16, 1995. Click here to read Part One.—Ed.

Joel Schumacher is obviously not the most well-read Batman fan ever. This is apparent from some of his befuddling mistakes in the commentary on the Batman Forever Special Edition DVD. He does however, apparently independent of “the rules,” have a very solid understanding of the appeal of the character:

I think the one unique thing that separates him from a lot of super-heroes is that he’s a man. He’s not a super force from another planet; green lasers don’t shoot out of his fingers. And he has all the vulnerabilities and all of the flaws and all of the human drama, that any human being has. He’s not perfect and he’s not impenetrable; he’s a man, not a superman.

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In Praise Of Joel Schumacher And BATMAN FOREVER, Part One

By Paul Casey

Since Christopher Nolan’s third Batman film, The Dark Knight Rises, has begun shooting, we thought it appropriate to revisit the frequently maligned Joel Schumacher film Batman Forever, which was released on June 16, 1995.—Ed.

First, a bit of background.

To many fans, Christopher Nolan’s work with the Batman franchise has served as a legitimization of the artistic worth of comic books. As both a comic book movie and also as a signifier of the depth of the character and the source material (from which the film’s subtleties originated), The Dark Knight laid down the gauntlet, setting the critical and financial standards by which every comic book movie will be judged in the future.

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Those Boots Aren’t Made For Walking: Wonder Woman Reimagined

By AJ Wood

Lynda Carter as Wonder Woman

I remember little of my childhood, especially anything before age eight or nine, but one memory I do have from age four or five was Wonder Woman. Stripped down to my red and blue briefs and a red T-shirt tucked into them, with a lasso of kite string at my side, I felt wise as Athena, fast as Hermes, and stronger than Hercules. I had to imagine the boots, bracelets, and tiara, but the costume was close enough.
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