I complain a lot about the the portrayal of the gods in Wonder Woman, and while the "Rise of the Olympian" storyline by Gail Simone has some openings for discussion and possibly complaint (I'm not sure how the Hawaiian culture views death for their gods, myself I'm generally against killing off gods but maybe Hawaii is like Scandanavia and gods die cyclically) she did one big thing right:
She used Zeus as her big antagonist, and she kept him in character.
I've blogged this before, but I was incredibly disappointed and pissed off by how Perez handled the Zeus-Hera relationship. He's always been a trickster when it came to sleeping around, and she's always been reactive and quick to blame the woman involved. In the Perez run, Zeus just comes down to Themiscyra AS HIMSELF and asks Diana for a roll in the hay, and when she refuses he makes her fight a whole bunch of monsters. Hera goes to her room and cries until Athena and Co talk her into standing up to him. (Oh, and if I recall correctly this mess leads to going to the center of Paradise Island where rapist Heracles is holding up the Island as penance, and Diana's gotta help him out and Hippolyta forgives him and suddenly he's a nice guy because even Perez after MAKING a rapist Heracles portrayal can't stand to have Heracles be a bad guy.)
Anyway, it fucks up the Zeus and Hera relationship in a way that strips Zeus of his trickster aspect (which is actually vital to his realm of patriarchal power, because this entire marriage is representative of how institutionalized sexism in the way women are raised and related to deceives women into supporting the patriarchal order against other women) and Hera of her personality. This is done in order to set up something that could be EASILY set up with having them act in character: Zeus just nods at the refusal, then comes back to annoy Diana in some sort of animal disguise. Hera catches him, blames Diana, orders her to fight monsters and Zeus and Hera have a giant fight on Olympus that leads to the goddesses offering their support to Hera when she stands against Zeus's violence, and convincing her to take back her rage at Diana (who by now has gotten to the climax of her quest because this sort of thing takes a while even when you have Hermes on your side), because really the whole thing is Zeus' fault.
That "Challenge of the Gods" storyline was also, I believe, where they established Pan was killed for the Millenium crossover, and it had a lot of brooding Hermes. Damn, the more I think back on it, the more I hate Perez's run.
I'm digressing again. Sorry. (I just really hate how Perez handled the gods.) So Gail Simone decides to use Zeus as a bad guy in "Rise of the Olympian" and the subsequent storyline. To this end, she has him decide that he's going to reward the Amazons and Diana by creating a race of equal men to replace them. That way they can retire, marry, and have lots of babies. Because that is seriously what Zeus thinks all women aspire to. He makes them in much the same way, animating clay using the souls of deceased warriors, with one exception. In a scene that occupies a strange gray area between a duel and a mugging, he kills a deity from another pantheon (who is the father of Pele, who is described as the goddess of violence when this particular shit hits the fan) and uses the heart to create Diana's equal: Achilles.
This is the aspect of her run I'm having trouble getting over. Surely a god can survive without a heart, but later Pele is very upset he's dead. And Simone never brought the guy back! Still, it's vital for how Achilles turned out and it does not seem, what with the stakes they had, like something Zeus would sweat over. It's got really good symbolism, because we have misguided Power embarking on needless destruction (of someone who seems to represent pure goodness and creation) and all the rationalization involved, with both the good and the bad results played out in the next couple storylines.
We also have an old white god killing a Pacific Island god and using his heart to make a blonde white dude. Which is in that area of horrible racial implications and colonization symbolism that I'm not really qualified to examine. This is brilliant or problematic, or both. The text certainly underlines that it is a horribly wrong thing, and the consequences of this action are visited on Diana rather than Zeus. I'm still against killing gods, but I'd say this is a correct portrayal of Zeus as a bad guy. He doesn't murder other gods much in classical stories, because gods don't die in those stories, but he does a lot of casting gods into Tartarus and gods trade body parts like MRE components.
What I find so incredible and compelling about this story is that throughout the whole thing Zeus is attempting to be benevolent, and missing the point completely. This is perfectly in character with the old time Zeus who considered himself the father and patron of all heroes, and it really supports his role as the personification of power and male-dominated establishment. He's convinced himself that acting in a sexist way is doing women a favor, much like chivalrous sexists do. When Diana and the Amazons react badly to this, he gets angry that his gift is unappreciated and out comes the pushiness.
Right about now Perez fans are asking how this is different from what Perez wrote. Well, back then he was dealing with Diana as a love interest and acting as the philandering husband. His relationship with Hera changes everything there. It activates the Trickster aspect, because 1) he does want to avoid a fight with her, and b) he doesn't want to ever piss her off to the point that she'll leave again. (There's a story where she does and he stages a fake wedding to attract her back. When she goes to the ceremony out of curiosity, she sees he's marrying a lifeless statue of her and is humored back into the relationship.) Perez wrote Zeus as the personification of patriarchal power in a way that minimized Hera's influence in the pantheon.
Simone wrote a story where Zeus approaches Diana as a hero, but a female one that he thinks will want to retire and have lots of babies. She weaves sexism into the assumption in a way that avoids contorting Hera's relationship with Zeus (by having Zeus perform an action that won't piss off his wife) and shows that Zeus does see Diana as a valued hero rather than just a potential fucktoy. She tells a tale about how a powerful sexist man can acknowledge an individual woman's accomplishments and claim to value femininity while still screwing over women with his assumptions.
She also tells the reconciliation story between men and women with Achilles, who is actually a pretty damned noble guy at heart from the beginning. He gets his position as the leader through Zeus's sexism, but eventually this gets reconciled and they all team up in the end. I actually really miss Achilles, he was a really good male counterpart for Diana. Fucking reboot.
Still, the real topper to all this divine symbolism is Diana standing up to Zeus, punching Patriarchal Power directly in the face. Funny thing about that essay, I really hate when the gods are made petty and bad for no good reason other than the writer wants to make Diana better than them. (And it happens all the time, see Perez and even Rucka's self-hating Athena.) Thing is, Simone did some great staging here when she picked just which gods Diana would tell off. Ares is the personification of needless violent conflict and Zeus is the personification of patriarchal power so it makes SENSE that Wonder Woman would conflict with them. They represent the exact energies that she is created to combat. She reveres Wisdom (Athena), Motherhood (Demeter), Sisterhood (Artemis), Inner Peace/Truth (Hestia), Diplomacy (Hermes), and Love (Aphrodite), but she rejects War (Ares) and she has some serious problems with Power (Zeus) from time to time. I think if Simone's run had gone on without a time fuckup, we'd have seen some very interesting things come from pledging herself to the Violence of Nature (Pele).
Showing posts with label gail simone. Show all posts
Showing posts with label gail simone. Show all posts
Tuesday, December 28, 2010
Monday, September 12, 2005
Comic Reviews for Sept 8th
Last week was a mostly mainstream week again. I picked up a couple of trades, but DC Crossover Crisis Mania is sucking me in like a Black Hole of Metaplot. I'm enjoying the ride, though. Hoping for a strange new world of wonders on the other side, as opposed to a bleak existance as a bunch of shredded particles like many DC fans are expecting.
Mild Spoilers Below
Superman #221 -- I'm the reverse of a regular fan here. I picked up Superman issues and The OMAC Project because I'd heard they would be tying into Wonder Woman. I was pleasantly surprised by the quality of the Superman books, and so this month I picked up the next issues of all of the Superman books to see how they were doing.
The last two issues (Action Comics #830 and this one) of the Superman line that I've read were narrated by supporting cast members. Out of 3 issues of non-Crossover Superman books in 10 years (Although to be perfectly honest, the last Adventures of Superman should count as part of the crossover), that's not promising.
Now, don't get me wrong, spotlighting supporting cast is wonderful at times. But I notice a tendancy to spotlight supporting cast as a method of characterizing the main character. Jimmy speaks about Superman in glowing generalized terms, and talks about learning from him -- "He continues to astonish me" "I learn about selflessness, decency, the sometimes unfortunate laws of physics, and most of all, the meaning of heroism."
To take an example I enjoyed more -- Lois in the narration of Action Comics #830 tries to impart a fraction of the wonder at being married to Superman to the reader. This is a really good piece of writing, so true to life that you could see the wife of a perfectly normal human being say it. However, preceeding this issue, it helps to highlight by repetition the deficiencies in that technique in Superman #221.
It's wasted characterization.
We really don't need to hear it.
He's Superman.
We know he's awe-inspiring.
We know he's a miracle.
We know he's a hero.
That's what makes him Superman, silly. Everybody knows that!
If we did somehow forget momentarily, and needed to be reminded, it would be far more effective to show us that he is an awe-inspiring, heroic miracle, or a miraculous, awe-inspiring hero, or a heroic, miraculous inspiration...etc...
Less is more for Superman narration. The splash that accompanies Jimmy's "meaning of heroism" comment (Page 6, Pg 11 counting ads), for example, is a nice piece of Ed Benes art that would stand up on its own as an example of Superman's heroic behavior. No need to stick cliched narration in the background to characterize Superman.
Or is this to characterize Jimmy? Well, I get that he's in awe of Superman and greatly admires him. Not only is that Jimmy Olsen's basic characterization, but its written all over his face in that very panel.
Anyway, I think Mark Veheiden overdid it on the narration for this story. I could have been a very nice Jimmy Olsen spotlight, if not for all of the little narration boxes gushing needlessly about Superman. If you read through the story and ignore all of the narration, the same point is made. Even better, because it is made without subjecting you to so many cliches. This is just more of the unfortunate wordy tendancy of comic book writers, most likely inspired by the success of Kurt Buseik's childlike wonder in and Astro City, and James Robinson's lyrical hero-worship in Starman. But those writers knew, for the most part, when to step back and let the pictures and dialogue tell the story. Their works were considerably more enjoyable for it.
This issue wasn't enough to justify buying another of Verheiden's issues for me. I'll stick with Action Comics, though, because Ms Simone has the golden touch right now -- which brings me to...
Villains United #5 -- The cover is very impressive. It features Deadshot and Catman fighting in free-fall. When you open the book, the first page is a splash that reinforces it perfectly, and helps carry the impression of a falling fast fight throughout the entire book. This is Gail Simone's writing -- being thrown out of a window and taking the bad guy (or, in this case, other bad guy) with you. Even the calm moments where people are planning or catching their breath are loaded with electric excitement. I ended this book unable to sit still for anticipation of the next issue.
I've heard Gail Simone's name thrown around on message boards for nearly every female character in comics, but the character this women needs to write is The Flash. Her pacing and energy are just what the Fastest Man in the World needs!
Ultimate Spider-Man #82 -- was ultimately unimpressive. More Black Cat? I can't bring myself to care very much. This book may be next on my chopping block.
Gotham Central #35 -- The only DC book without a Metaplot sighting! Of course, this is going to change in the near future.
I think Stacy's developing a little crush on the Boy Wonder here. That is so cute. I like Stacy here. A child-woman like her can get very irritating very easily, and dwnright offensive when handled badly, but in Gotham Central she's set off by the bleak landscape and contrasted by Maggie, Rene', Romy and Josie. Rucka plays her sweet nature up only rarely, and when it has a definite effect on the plot. He manages to make her very endearing and naive.
I also love Rucka's characterization of Robin. Tim Drake's a much more likeable boy here than we see anywhere else today. But he's still sly, he's playing Stacy's naivete to get a rare insight inside the GCPD. Not that I can fault him for it -- this mystery seems like a very personal attack on him on the surface (though I'm sure there's a completely different motive), and Bat-jerk has gotten them all kicked out of the precinct here. It would be a interesting replacement for the Batman-Jim Gordan relationship, if it were a Robin-Stacy relationship that got the Gotham vigilantes their inside info.
The Manhatten Guardian #4 -- This issue is all exposition, and takes us deeper into the mystery connecting the Seven Soldiers than any other issue in this series so far. He also made me seriously like Jake for the first time (I must admit, I was reading for the subway pirates at the beginning) here in the last two pages.
And now, for today's Sentance I Never, Ever, in a Billion Lifetimes Thought I'd Hear Myself Day: I badly want more Newsboy Legion flashback stories.
More Ali Ka-Zoom! In this, and in Zatanna #3, he was just plain cool.
Warning though, Guardian #4 is considerably more of a cliffhanger than Shining Knight #4 was. You will buy Seven Soldiers #1 if you enjoy this.
Fell #1 -- I started off not liking this (Despite the initial laugh at the first panel), but gradually changed my mind during the read. It was a good mystery, totally self-contained (in 16 pages!), that introduced enough of Detective Fell's little corner of the genre that I'd be willing to read more. And Ellis manages to do it without shortchanging characterization or plot for the sake of more setup. I'll buy a second issue of this. I wish there was more out like this.
That's all for now, I bought a couple of trades, but those are weekend reads. Until next time, I leave you with something fun to listen to:
Click on Instrumental when you go here.
Mild Spoilers Below
Superman #221 -- I'm the reverse of a regular fan here. I picked up Superman issues and The OMAC Project because I'd heard they would be tying into Wonder Woman. I was pleasantly surprised by the quality of the Superman books, and so this month I picked up the next issues of all of the Superman books to see how they were doing.
The last two issues (Action Comics #830 and this one) of the Superman line that I've read were narrated by supporting cast members. Out of 3 issues of non-Crossover Superman books in 10 years (Although to be perfectly honest, the last Adventures of Superman should count as part of the crossover), that's not promising.
Now, don't get me wrong, spotlighting supporting cast is wonderful at times. But I notice a tendancy to spotlight supporting cast as a method of characterizing the main character. Jimmy speaks about Superman in glowing generalized terms, and talks about learning from him -- "He continues to astonish me" "I learn about selflessness, decency, the sometimes unfortunate laws of physics, and most of all, the meaning of heroism."
To take an example I enjoyed more -- Lois in the narration of Action Comics #830 tries to impart a fraction of the wonder at being married to Superman to the reader. This is a really good piece of writing, so true to life that you could see the wife of a perfectly normal human being say it. However, preceeding this issue, it helps to highlight by repetition the deficiencies in that technique in Superman #221.
It's wasted characterization.
We really don't need to hear it.
He's Superman.
We know he's awe-inspiring.
We know he's a miracle.
We know he's a hero.
That's what makes him Superman, silly. Everybody knows that!
If we did somehow forget momentarily, and needed to be reminded, it would be far more effective to show us that he is an awe-inspiring, heroic miracle, or a miraculous, awe-inspiring hero, or a heroic, miraculous inspiration...etc...
Less is more for Superman narration. The splash that accompanies Jimmy's "meaning of heroism" comment (Page 6, Pg 11 counting ads), for example, is a nice piece of Ed Benes art that would stand up on its own as an example of Superman's heroic behavior. No need to stick cliched narration in the background to characterize Superman.
Or is this to characterize Jimmy? Well, I get that he's in awe of Superman and greatly admires him. Not only is that Jimmy Olsen's basic characterization, but its written all over his face in that very panel.
Anyway, I think Mark Veheiden overdid it on the narration for this story. I could have been a very nice Jimmy Olsen spotlight, if not for all of the little narration boxes gushing needlessly about Superman. If you read through the story and ignore all of the narration, the same point is made. Even better, because it is made without subjecting you to so many cliches. This is just more of the unfortunate wordy tendancy of comic book writers, most likely inspired by the success of Kurt Buseik's childlike wonder in and Astro City, and James Robinson's lyrical hero-worship in Starman. But those writers knew, for the most part, when to step back and let the pictures and dialogue tell the story. Their works were considerably more enjoyable for it.
This issue wasn't enough to justify buying another of Verheiden's issues for me. I'll stick with Action Comics, though, because Ms Simone has the golden touch right now -- which brings me to...
Villains United #5 -- The cover is very impressive. It features Deadshot and Catman fighting in free-fall. When you open the book, the first page is a splash that reinforces it perfectly, and helps carry the impression of a falling fast fight throughout the entire book. This is Gail Simone's writing -- being thrown out of a window and taking the bad guy (or, in this case, other bad guy) with you. Even the calm moments where people are planning or catching their breath are loaded with electric excitement. I ended this book unable to sit still for anticipation of the next issue.
I've heard Gail Simone's name thrown around on message boards for nearly every female character in comics, but the character this women needs to write is The Flash. Her pacing and energy are just what the Fastest Man in the World needs!
Ultimate Spider-Man #82 -- was ultimately unimpressive. More Black Cat? I can't bring myself to care very much. This book may be next on my chopping block.
Gotham Central #35 -- The only DC book without a Metaplot sighting! Of course, this is going to change in the near future.
I think Stacy's developing a little crush on the Boy Wonder here. That is so cute. I like Stacy here. A child-woman like her can get very irritating very easily, and dwnright offensive when handled badly, but in Gotham Central she's set off by the bleak landscape and contrasted by Maggie, Rene', Romy and Josie. Rucka plays her sweet nature up only rarely, and when it has a definite effect on the plot. He manages to make her very endearing and naive.
I also love Rucka's characterization of Robin. Tim Drake's a much more likeable boy here than we see anywhere else today. But he's still sly, he's playing Stacy's naivete to get a rare insight inside the GCPD. Not that I can fault him for it -- this mystery seems like a very personal attack on him on the surface (though I'm sure there's a completely different motive), and Bat-jerk has gotten them all kicked out of the precinct here. It would be a interesting replacement for the Batman-Jim Gordan relationship, if it were a Robin-Stacy relationship that got the Gotham vigilantes their inside info.
The Manhatten Guardian #4 -- This issue is all exposition, and takes us deeper into the mystery connecting the Seven Soldiers than any other issue in this series so far. He also made me seriously like Jake for the first time (I must admit, I was reading for the subway pirates at the beginning) here in the last two pages.
And now, for today's Sentance I Never, Ever, in a Billion Lifetimes Thought I'd Hear Myself Day: I badly want more Newsboy Legion flashback stories.
More Ali Ka-Zoom! In this, and in Zatanna #3, he was just plain cool.
Warning though, Guardian #4 is considerably more of a cliffhanger than Shining Knight #4 was. You will buy Seven Soldiers #1 if you enjoy this.
Fell #1 -- I started off not liking this (Despite the initial laugh at the first panel), but gradually changed my mind during the read. It was a good mystery, totally self-contained (in 16 pages!), that introduced enough of Detective Fell's little corner of the genre that I'd be willing to read more. And Ellis manages to do it without shortchanging characterization or plot for the sake of more setup. I'll buy a second issue of this. I wish there was more out like this.
That's all for now, I bought a couple of trades, but those are weekend reads. Until next time, I leave you with something fun to listen to:
Click on Instrumental when you go here.
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