(I almost missed Friday Night Fights while I was writing another post.)
Friday, October 05, 2007
You know...
That Wonder Woman Annual seemed very good. I imagine it would have been very good if I could remember what the fuck happened in Wonder Woman #1-4, or even find the issues to check (its been too damned long).
I say DC owes us a real Wonder Woman Annual.
I say DC owes us a real Wonder Woman Annual.
Wednesday, October 03, 2007
I can't believe I read the whole thing.
So I read Chronicles of the Lensmen, Volume 1.
I know what some of you are thinking. "Ragnell, why did you go and do that? You know the reputation. You know its going to piss you off."
And for a long time, I put off reading these books. I knew they would be sexist. I knew the reputation. But seriously, its the fucking template for fucking space opera. Its arguably the mother of the Jedi Knights and the Green Lantern Corps. There was no fucking way I couldn't read this stuff, and the truth of the matter is there was guaranteed to be stuff I would love.
Fortunately, a big plus to having a blog and being in the feminist fan community is that I can read this stuff, enjoy what I enjoy, get pissed off at the sexism that keeps it from being as awesome as it could be (this writer had the ability to craft a kickass character, he just chose not to use that ability when it came to women and instead gendered strength and heroism) and complain about it to people who understand why I'm pissed off. Even with that in mind, this series is bad enough that I feel an intense need to justify that I kept reading the damned thing even though aside from the constant shitting on my gender the damned series feels like it was custom-written with me in mind.
In all honesty, I thought it wouldn't be so bad. I've read extremely sexist and misogynistic stuff from the King Arthur stuff written centuries ago and haven't gotten pissed off. I read all of the Sherlock Holmes stories and the Victorian attitude about women never pissed me off. It was part of the atmosphere, an anachronism. I figured I could just rationalize it away as "the attitude from the times" but I neglected two facts about this series: 1) A medieval setting where women are only princesses and barmaids is vastly less annoying than a future setting where women are only nurses and secretaries, and 2) It is a work that overtly worships masculinity and in the narrative (not the dialogue, or a first-person narrator, but the omniscient third-person narrator) goes out of its way to drop generalizations about women and uses the word "man" as a synonym for "hero".
In the first book, Triplanetary, I wanted to smack Clio. I swear, what a stupid worthless character and every stupid worthless part of her stupid worthless personality was attributed to her being a stupid worthless woman while everything that made her boyfriend a really awesome hero was attributed to his really awesome manliness.
I would've stopped there, it was pissing me off, but it was full of energy and adventure and detailed alien fish-people so I couldn't put it down. I consoled myself with the idea that I could find the author's grave and energetically voice my objections towards his rotting corpse when it was all over, and kept reading.
In the second book, First Lensmen, I was happy early on. Action-adventure set in outerspace, a couple of fun heroes and Clio was nowhere to be found. The only girl was mildly likable. I managed to forget for a moment that I was reading the Chronicles of the Lensmen, until Jill came back from Arisia with the explanation why women couldn't have a lens. The whole explanation just sounded mean-spirited and unnecessary. A "sex-based incompatibility." (I'm sorry, the color yellow has nothing on that one for idiocy.) It doesn't fit, and she goes on to say that the men she's with all have forceful, driven minds with tremendous scope ("pure killers") and a woman could not have that sort of mind. (This rules out any chance of a nice mean female villain. Which is a shame, because usually we can at least look forward an evil witch with a heart of iron that'll be turned into the misunderstood protagonist of an homage book.) She says there'll be one female lensman (I haven't gotten to that book, but I'm certain I'll be pissed off by it) in the future, and one of the guys suggests the female lensman will be some sort of freak thank you very much you bastard writer.
I'd have stopped reading in disgust, but I had nothing else to read so I went on. I was pleased by zero-gravity fight scenes later, but I got annoyed whenever Jill was mentioned. What made this worse was that the author very much wanted me to like her, and built her up in the dialogue and narration without coming through in the action.
They made a point of saying repeatedly that she didn't need a lens, her skills were fine without them. But oh wait, there's a scene where she figures out something fucking important with her skills but can't contact any of the others to help her (and can't do anything about it herself) because she doesn't have a fucking lens. She has to wait for someone to contact her mind before she can let them know (to the writer's credit, chivalry is put forth as a bad thing here, because no one wants to go near her mind without her express immediate consent but that doesn't change the fact that this all could have been averted if she had a fucking lens.)
Of course, after this scene (and after a later one where she gets captured and roughed up because she doesn't have a fucking lens) they all say that it was true she didn't need one, and that's she awesome, and that annoys me more than her being in a shitty position to begin with. It's the "strong woman" thing. The writers seem to figure if they say a character is cool and a "strong woman" enough, she is, despite the fact that she's purposefully written as less powerful than any of the male characters. And of course, the writer sits and congratulates himself on what an awesome "strong woman" character he's created, and how progressive he is and what a good person he is for throwing the poor woman readers who have so little an awesome chick they can look up to and emulate.
Anyway, this wouldn't piss me off half as much were it not still in practice today (See Winick, the Writings of Judd), and the plot still had me hooked and I liked the male characters when the writer was not going out of his was to point out how manly they were (please take note if you somehow stumble across this searching on your name, Geoff Johns, and consider your Hal Jordan characterization) so I continued reading, reminding myself this author was dead and probably reincarnated (for his writing sins) as a feminist comics blogger. (This has the upside of Stephanie getting her memorial case once the karmic debt from Lensmen runs out. It unfortunately has the downside of having launched a genre with this sexist shit that still needs to be cleared out so that's a pretty big debt.)
He wrapped the book up with some good old-fashioned (and I mean old-fashioned, this was from the days leading up to the Red Scare) dated political allegory.
I actually found Galactic Patrol to be the most enjoyable of the series, and the reason why will only really apply to me. The main character was named Kim Kinnison. My sister's nickname (for "Kimberly") is "Kim", so already I'm inclined to think "girl" when I see the name. The inclination was compounded because I knew a "Kinnison" in basic training.
Kinnison was about half my size, with shoulder-length blonde hair (always tucked behind her ears), very round dark eyes, and mildly chubby cheeks. She always seemed to have a bewildered expression on her face, because it was basic training and you had to stand there with a completely slack expression (or else you'd get yelled at and made to do laps or pushups or something exhausting) whenever anyone with stripes was around, and she had one of those jobs that had a lot of visibility with the military training instructors (we called them TIs in the Air Force, not Drill Sergeants). She was our "chowrunner" which is a job that involved entering the dining hall before the rest of the flight, standing in front of the TI table during the whole meal and directing her flight to where they needed to sit and eat. I'm not sure if Kinnison ate before or after us, or if she got to eat at all. I just remember her telling everyone how she'd stand there and one of the TIs would make funny faces at her, trying to get her to laugh so he could yell at her.
I tell you this much detail because this is the person I pictured whenever I pictured "Kim Kinnison." Smith didn't have much in the way of physical description for the characters, so even though I knew Kim was short of "Kimball" and I knew it was a male character, and even though Smith went out of his way to praise the character's masculinity, I still could not help but picture a short 18-year-old girl with shoulder-length blonde hair and a bewildered expression on her face throughout the entire book. It made the whole thing really interesting, I just wish I could draw you her face. Her eyes had the perfect roundness for an "Oh shit" reaction to anything!
Inadvertently, Kim Kinnison has become one of my favorite female characters.
That doesn't change the misogyny in the surrounding narrative (though it does makes it amusing to me).
Now, you'll notice this review is about gender-related issues. There's also race, sexuality, nationality, and religion to consider. Surprise surprise, everyone with a romantic subplot is straight. True, he doesn't really bother to mention race, but all of the names are European and some of the main characters are redheads and blondes. He has a Norwegian and a couple of Germans and everyone else is American. I didn't notice anything about religion, and I'm quite glad he didn't think to address the subject.
Overall, there is stuff I like better than the Green Lantern Corps and stuff I like less. I prefer the green energy to mind-control powers (though in the third book Kinnison gets really kickass really fast and my opinion on who has the better power set may change as I make my way through the last 3 books). I prefer the wristband to rings. The Galactic Patrol was set up much more intelligently than the GLC, with the lens falling apart once the owner was killed and killing anyone who tried it on but wasn't worthy. A smart idea, but offers less narrative flexibility. The Arisians being infallible (as of the third book) isn't as interesting as the Guardians being borderline psychotic at times, but that just demonstrates two different attitudes to government. The GLC and the Jedi both kick collective Lensmen ass by allowing women in the order (the next person who tells me the Silver Age Green Lantern is inherently anti-woman because it was based on the Lensmen novels gets a lecture about how E.E. Smith makes John Broome look like William Moulton Marston.)
It had some really kickass action in it and I did like the male characters despite the author's desperate, pathetic need to point out how manly they were. I also thought Clarrissa wasn't vomit-inducing, and Jill might not have been if not for the author's insistence that he wasn't being sexist with her plotline (I wanted Clio dead, though). I couldn't put the damned thing down once I started it, because while I'd not get pissed off by sexism I'd also not get to read zero-gravity fights and fishpeople and that bit with the cat in the barber's shop.
Ultimately, reading this series was like getting a lovely green leather briefcase as a gift and finding "To my favorite nephew" inscribed on the side. Its beautiful leather, holds everything I need, and green is my favorite color, but someone had to go and mark the damned thing for a boy. Every time I look at it I'm reminded that even though it suits me perfectly it wasn't really meant for me.
That sours any enjoyment I can get out of it.
I know what some of you are thinking. "Ragnell, why did you go and do that? You know the reputation. You know its going to piss you off."
And for a long time, I put off reading these books. I knew they would be sexist. I knew the reputation. But seriously, its the fucking template for fucking space opera. Its arguably the mother of the Jedi Knights and the Green Lantern Corps. There was no fucking way I couldn't read this stuff, and the truth of the matter is there was guaranteed to be stuff I would love.
Fortunately, a big plus to having a blog and being in the feminist fan community is that I can read this stuff, enjoy what I enjoy, get pissed off at the sexism that keeps it from being as awesome as it could be (this writer had the ability to craft a kickass character, he just chose not to use that ability when it came to women and instead gendered strength and heroism) and complain about it to people who understand why I'm pissed off. Even with that in mind, this series is bad enough that I feel an intense need to justify that I kept reading the damned thing even though aside from the constant shitting on my gender the damned series feels like it was custom-written with me in mind.
In all honesty, I thought it wouldn't be so bad. I've read extremely sexist and misogynistic stuff from the King Arthur stuff written centuries ago and haven't gotten pissed off. I read all of the Sherlock Holmes stories and the Victorian attitude about women never pissed me off. It was part of the atmosphere, an anachronism. I figured I could just rationalize it away as "the attitude from the times" but I neglected two facts about this series: 1) A medieval setting where women are only princesses and barmaids is vastly less annoying than a future setting where women are only nurses and secretaries, and 2) It is a work that overtly worships masculinity and in the narrative (not the dialogue, or a first-person narrator, but the omniscient third-person narrator) goes out of its way to drop generalizations about women and uses the word "man" as a synonym for "hero".
In the first book, Triplanetary, I wanted to smack Clio. I swear, what a stupid worthless character and every stupid worthless part of her stupid worthless personality was attributed to her being a stupid worthless woman while everything that made her boyfriend a really awesome hero was attributed to his really awesome manliness.
I would've stopped there, it was pissing me off, but it was full of energy and adventure and detailed alien fish-people so I couldn't put it down. I consoled myself with the idea that I could find the author's grave and energetically voice my objections towards his rotting corpse when it was all over, and kept reading.
In the second book, First Lensmen, I was happy early on. Action-adventure set in outerspace, a couple of fun heroes and Clio was nowhere to be found. The only girl was mildly likable. I managed to forget for a moment that I was reading the Chronicles of the Lensmen, until Jill came back from Arisia with the explanation why women couldn't have a lens. The whole explanation just sounded mean-spirited and unnecessary. A "sex-based incompatibility." (I'm sorry, the color yellow has nothing on that one for idiocy.) It doesn't fit, and she goes on to say that the men she's with all have forceful, driven minds with tremendous scope ("pure killers") and a woman could not have that sort of mind. (This rules out any chance of a nice mean female villain. Which is a shame, because usually we can at least look forward an evil witch with a heart of iron that'll be turned into the misunderstood protagonist of an homage book.) She says there'll be one female lensman (I haven't gotten to that book, but I'm certain I'll be pissed off by it) in the future, and one of the guys suggests the female lensman will be some sort of freak thank you very much you bastard writer.
I'd have stopped reading in disgust, but I had nothing else to read so I went on. I was pleased by zero-gravity fight scenes later, but I got annoyed whenever Jill was mentioned. What made this worse was that the author very much wanted me to like her, and built her up in the dialogue and narration without coming through in the action.
They made a point of saying repeatedly that she didn't need a lens, her skills were fine without them. But oh wait, there's a scene where she figures out something fucking important with her skills but can't contact any of the others to help her (and can't do anything about it herself) because she doesn't have a fucking lens. She has to wait for someone to contact her mind before she can let them know (to the writer's credit, chivalry is put forth as a bad thing here, because no one wants to go near her mind without her express immediate consent but that doesn't change the fact that this all could have been averted if she had a fucking lens.)
Of course, after this scene (and after a later one where she gets captured and roughed up because she doesn't have a fucking lens) they all say that it was true she didn't need one, and that's she awesome, and that annoys me more than her being in a shitty position to begin with. It's the "strong woman" thing. The writers seem to figure if they say a character is cool and a "strong woman" enough, she is, despite the fact that she's purposefully written as less powerful than any of the male characters. And of course, the writer sits and congratulates himself on what an awesome "strong woman" character he's created, and how progressive he is and what a good person he is for throwing the poor woman readers who have so little an awesome chick they can look up to and emulate.
Anyway, this wouldn't piss me off half as much were it not still in practice today (See Winick, the Writings of Judd), and the plot still had me hooked and I liked the male characters when the writer was not going out of his was to point out how manly they were (please take note if you somehow stumble across this searching on your name, Geoff Johns, and consider your Hal Jordan characterization) so I continued reading, reminding myself this author was dead and probably reincarnated (for his writing sins) as a feminist comics blogger. (This has the upside of Stephanie getting her memorial case once the karmic debt from Lensmen runs out. It unfortunately has the downside of having launched a genre with this sexist shit that still needs to be cleared out so that's a pretty big debt.)
He wrapped the book up with some good old-fashioned (and I mean old-fashioned, this was from the days leading up to the Red Scare) dated political allegory.
I actually found Galactic Patrol to be the most enjoyable of the series, and the reason why will only really apply to me. The main character was named Kim Kinnison. My sister's nickname (for "Kimberly") is "Kim", so already I'm inclined to think "girl" when I see the name. The inclination was compounded because I knew a "Kinnison" in basic training.
Kinnison was about half my size, with shoulder-length blonde hair (always tucked behind her ears), very round dark eyes, and mildly chubby cheeks. She always seemed to have a bewildered expression on her face, because it was basic training and you had to stand there with a completely slack expression (or else you'd get yelled at and made to do laps or pushups or something exhausting) whenever anyone with stripes was around, and she had one of those jobs that had a lot of visibility with the military training instructors (we called them TIs in the Air Force, not Drill Sergeants). She was our "chowrunner" which is a job that involved entering the dining hall before the rest of the flight, standing in front of the TI table during the whole meal and directing her flight to where they needed to sit and eat. I'm not sure if Kinnison ate before or after us, or if she got to eat at all. I just remember her telling everyone how she'd stand there and one of the TIs would make funny faces at her, trying to get her to laugh so he could yell at her.
I tell you this much detail because this is the person I pictured whenever I pictured "Kim Kinnison." Smith didn't have much in the way of physical description for the characters, so even though I knew Kim was short of "Kimball" and I knew it was a male character, and even though Smith went out of his way to praise the character's masculinity, I still could not help but picture a short 18-year-old girl with shoulder-length blonde hair and a bewildered expression on her face throughout the entire book. It made the whole thing really interesting, I just wish I could draw you her face. Her eyes had the perfect roundness for an "Oh shit" reaction to anything!
Inadvertently, Kim Kinnison has become one of my favorite female characters.
That doesn't change the misogyny in the surrounding narrative (though it does makes it amusing to me).
Now, you'll notice this review is about gender-related issues. There's also race, sexuality, nationality, and religion to consider. Surprise surprise, everyone with a romantic subplot is straight. True, he doesn't really bother to mention race, but all of the names are European and some of the main characters are redheads and blondes. He has a Norwegian and a couple of Germans and everyone else is American. I didn't notice anything about religion, and I'm quite glad he didn't think to address the subject.
Overall, there is stuff I like better than the Green Lantern Corps and stuff I like less. I prefer the green energy to mind-control powers (though in the third book Kinnison gets really kickass really fast and my opinion on who has the better power set may change as I make my way through the last 3 books). I prefer the wristband to rings. The Galactic Patrol was set up much more intelligently than the GLC, with the lens falling apart once the owner was killed and killing anyone who tried it on but wasn't worthy. A smart idea, but offers less narrative flexibility. The Arisians being infallible (as of the third book) isn't as interesting as the Guardians being borderline psychotic at times, but that just demonstrates two different attitudes to government. The GLC and the Jedi both kick collective Lensmen ass by allowing women in the order (the next person who tells me the Silver Age Green Lantern is inherently anti-woman because it was based on the Lensmen novels gets a lecture about how E.E. Smith makes John Broome look like William Moulton Marston.)
It had some really kickass action in it and I did like the male characters despite the author's desperate, pathetic need to point out how manly they were. I also thought Clarrissa wasn't vomit-inducing, and Jill might not have been if not for the author's insistence that he wasn't being sexist with her plotline (I wanted Clio dead, though). I couldn't put the damned thing down once I started it, because while I'd not get pissed off by sexism I'd also not get to read zero-gravity fights and fishpeople and that bit with the cat in the barber's shop.
Ultimately, reading this series was like getting a lovely green leather briefcase as a gift and finding "To my favorite nephew" inscribed on the side. Its beautiful leather, holds everything I need, and green is my favorite color, but someone had to go and mark the damned thing for a boy. Every time I look at it I'm reminded that even though it suits me perfectly it wasn't really meant for me.
That sours any enjoyment I can get out of it.
Tuesday, October 02, 2007
Discworld Filing
I've been trying to arrange my Discworld books on LibraryThing, and found that Wikipedia had different story sets than I did.
It seems they go by single protagonists (although I'm not sure how the History Monks get a grouping -- they strike me as guest-stars). I don't, though. See, I consider Tiffany Aching a direct continuation of the Witches books (her stuff certainly fits as well as Equal Rites does), and Rincewind's stories under the heading Wizards with the books that primarily feature Ridcully and Co. The Watch is definitely separate from the beaurocratic dreambooks that feature Moist, but I think The Truth with its politics in Ankh-Morpork setting attaches nicely as a prologue to the Moist storyarc.
Of course there's always going to be some overlap. It all depends on who seems to drive the story more and who is just there to be present. Death and the Wizards seem to share nicely, since the UU staff gets as much plot-importance as Death and Susan get in at least 2 of their books (Hogfather, Soul Music -- books about the nature of belief and magic fit both character groups). The Wizards and the Witches don't "share" -- the Witches get all of the major actions in Equal Rites and Lords and Ladies, and those are just Witch-style books. (Witch books seem to be about defying the expectations of the universe, Wizard books seem to be about discovering the nature of universe.)
I'm going by theme and mood, I expect. The protagonist sets the mood, yes. Some books are just Watch books. They have Watch-style plots and star those characters, and everyone learns a Watch-style lesson about humanity. They're set in the city. They usually end with Vetinari spouting philosophy. City books like The Truth and Going Postal have the same traits and characters, but they focus on someone other than Sam Vimes and therefore have a much more optimistic mood.
Susan books tend to have the same mood usually too. Tiffany and Granny have the same outlook, so naturally all the Witches books blend together. But Rincewind and the rest of the UU staff don't really have personalities that match, but the Wizard books have the same feel whether Rincewind is present or not. The story seems fresh and exploratory, I have to group them together. Moving Pictures just doesn't stand alone to me, its a Wizards book.
Am I the only one who arranges them this way?
It seems they go by single protagonists (although I'm not sure how the History Monks get a grouping -- they strike me as guest-stars). I don't, though. See, I consider Tiffany Aching a direct continuation of the Witches books (her stuff certainly fits as well as Equal Rites does), and Rincewind's stories under the heading Wizards with the books that primarily feature Ridcully and Co. The Watch is definitely separate from the beaurocratic dreambooks that feature Moist, but I think The Truth with its politics in Ankh-Morpork setting attaches nicely as a prologue to the Moist storyarc.
Of course there's always going to be some overlap. It all depends on who seems to drive the story more and who is just there to be present. Death and the Wizards seem to share nicely, since the UU staff gets as much plot-importance as Death and Susan get in at least 2 of their books (Hogfather, Soul Music -- books about the nature of belief and magic fit both character groups). The Wizards and the Witches don't "share" -- the Witches get all of the major actions in Equal Rites and Lords and Ladies, and those are just Witch-style books. (Witch books seem to be about defying the expectations of the universe, Wizard books seem to be about discovering the nature of universe.)
I'm going by theme and mood, I expect. The protagonist sets the mood, yes. Some books are just Watch books. They have Watch-style plots and star those characters, and everyone learns a Watch-style lesson about humanity. They're set in the city. They usually end with Vetinari spouting philosophy. City books like The Truth and Going Postal have the same traits and characters, but they focus on someone other than Sam Vimes and therefore have a much more optimistic mood.
Susan books tend to have the same mood usually too. Tiffany and Granny have the same outlook, so naturally all the Witches books blend together. But Rincewind and the rest of the UU staff don't really have personalities that match, but the Wizard books have the same feel whether Rincewind is present or not. The story seems fresh and exploratory, I have to group them together. Moving Pictures just doesn't stand alone to me, its a Wizards book.
Am I the only one who arranges them this way?
Friday, September 28, 2007
In case my opinion on the killing of Kirby-creations is unknown...
Dear DC,
Yeah, I'm not buying it. The book or the premise.
You really think you'll be able to keep the New Gods dead for long? Give me a break. I've seen way too many of your writers and editors with a Fourth World fetish and seen way too much of Apokolips in every fucking book you put out to believe that. The reason you had to give them a break during Infinite Crisis was that they were overused in the 90s because your writers couldn't keep their grubby little fingers off the King's characters.
Either you're tricking us or you're deluded. Somebody's going to bring these guys back. You can't resist them. Too many of you grew up on them. Too many of you have fun with them. You can't go cold-turkey on Kirby. Its like trying to give up chocolate, and you don't have the collective willpower.
Someone is going to want to play with them.
Yeah, I'm not buying it. The book or the premise.
You really think you'll be able to keep the New Gods dead for long? Give me a break. I've seen way too many of your writers and editors with a Fourth World fetish and seen way too much of Apokolips in every fucking book you put out to believe that. The reason you had to give them a break during Infinite Crisis was that they were overused in the 90s because your writers couldn't keep their grubby little fingers off the King's characters.
Either you're tricking us or you're deluded. Somebody's going to bring these guys back. You can't resist them. Too many of you grew up on them. Too many of you have fun with them. You can't go cold-turkey on Kirby. Its like trying to give up chocolate, and you don't have the collective willpower.
Someone is going to want to play with them.
Thursday, September 27, 2007
Carnival Time!
The 17th Carnival of Feminist Science Fiction and Fantasy Fans is up!
I'm still looking for hosts for the 18th Carnival. Email me if interested, please.
I'm still looking for hosts for the 18th Carnival. Email me if interested, please.
Is the last week of September too early to start hating the costume industry?
Look where my supposedly relaxing internet wanderings found me (hat-tip).
Thing is, its not the existence of the Sexy Ghostbuster Costume that gets me. That in itself is kind of kinky and fun and weird and harmless.
What kills me is what's in the top corner:
Yeah, that's right. Men's, Plus-Sized, Sexy, and Children's. No category marked Women's (and just one female model). The only female Ghostbuster is a SEXY Ghostbuster!
(And don't give me "that's what's in the movies" dammit, there was no sexy Ghostbuster in the movies, even among the male actors. There also weren't any damned kids. The conforming to the source ship has sailed. The least they could've done is marked the costume "Traditional" or "Unisex.")
It seems that whenever I let my guard down and get happy about something the internet seems to go out of its way to remind me that I really do hate everyone no matter what time of year it is.
Thing is, its not the existence of the Sexy Ghostbuster Costume that gets me. That in itself is kind of kinky and fun and weird and harmless.
What kills me is what's in the top corner:
Yeah, that's right. Men's, Plus-Sized, Sexy, and Children's. No category marked Women's (and just one female model). The only female Ghostbuster is a SEXY Ghostbuster!
(And don't give me "that's what's in the movies" dammit, there was no sexy Ghostbuster in the movies, even among the male actors. There also weren't any damned kids. The conforming to the source ship has sailed. The least they could've done is marked the costume "Traditional" or "Unisex.")
It seems that whenever I let my guard down and get happy about something the internet seems to go out of its way to remind me that I really do hate everyone no matter what time of year it is.
Wednesday, September 26, 2007
That depressed me more than I thought
I just saw a reprint of The Dark is Rising in the bookstore. It said "Now a major motion picture: the Seeker" in an ugly yellow band at the bottom.
You'd think, after changing so damned much to make the movie they'd figure they're shooting themselves in the foot by selling the book to remind everyone how different it was.
You'd think, after changing so damned much to make the movie they'd figure they're shooting themselves in the foot by selling the book to remind everyone how different it was.
Monday, September 24, 2007
Mothers in Green Lantern
This started as a comment over on Sally's blog and went a bit long and tangential so I decided to post it over here. The post of Sally's is from Thursday anyway, but in case you haven't read Tales of the Sinestro Corps: Parallax consider this one your spoiler warning.
While I enjoyed the issue, I can see why this Anonymous commenter was unimpressed. The stuff in the comment is subjective, but I wanted to address this part:
Even if they end this crossover with him getting the picture and finding another name (which I doubt), it was his mother who sat down with him as a kid and made up stories about the boy in the picture. That was the gift. The story, the creative exercises themselves. The most important parts of Kyle's personality are through his mother.
What really interests me with this discovery is the old plotline where Kyle searches for his long-lost father. His early teamups with Connor Hawke were dedicated to this plot, and Marz implied Kyle's father was alive and findable throughout his entire run. It was a major enough thing when Winick wrote an actual meeting with the man to put it in the 150th issue, and even since that issue the absence of Kyle's father keeps being brought up in Kyle stories. Kyle dedicated a lot of time and energy to finding his father, and when parental issues were brought up, with the exception of the first appearance of Kyle's mother, the parental issues were skewed towards his father.
Even though Kyle was raised by his mother and logically that's where all of the influence would be from, Kyle's father, like Hal's father, was the important parent for story purposes. Most of the time (with few exceptions such as Kyle having to settle his feud with her, Kyle addressing his narration to her in one of the 80-Page giants), the mother was just there so villains could threaten her and Kyle could take his girlfriends home to meet her.
This goes back to a tendency in our society to place this kind of importance on fathers. Heroic qualities tend to be portrayed as coming through the father because boys are traditionally consider more active while girls are traditionally considered more passive. Most legacy stories lead back to a father because its only recently mainstream society has come to accept women can be active and heroic. Heroes, especially male heroes, still tend to have fathers that they take after (Both Batgirls focused on father-daughter relationships, the difference in Thomas and Martha Wayne's memory is clear to anyone who's read two Batman stories). Beyond that, much of the attention of modern pop culture is directed towards characters working out father issues (I suspect this is because many writers have these issues, but that is little more than speculation and generalization that I have no way of backing up).
Well, with this story we find out that the traits that make Kyle a hero definitely do come through his mother, and Kyle finds out as well. So, even though we lose the character to the fridge (for the fourth time), its a dramatic change in how she's portrayed and remembered. She is the important parent when it comes to understanding Kyle Rayner now.
This isn't to say that the father's absence is less important to understanding the character, just the mother's absence (and her presence up until recently) is now mroe important than it used to be.
And seeing that name on the portrait was Kyle realizing that.
This is even more interesting when you look at how Hal's parents have developed. Everyone knows that since Emerald Dawn Hal's father's death was the defining moment in his life. Hal's father was so all-encompassing when it came to understanding his past that his mother didn't even have a name until recently. Since the fourth volume was relaunched, not only does Hal's mother have a name (Jessica) but we also know that there was a very strained relationship. A relationship Hal tried unsuccessfully to mend before her death. (He was just a little bit too late.) We have an idea of what she was like as a person (prior to that we could just picture Donna Reed), we know she was overprotective and there's an implication Hal inherited his stubbornness from her and that's why the relationship was strained.
Hal's father still takes up 95% of the picture when we go back to Hal's early homelife (there's also his brothers, but I can't remember a story that showed how they related as children. Only as adults). We have a brief picture of his mother now, but that's a lot more than there has been for forty years.
Its just a little bit, and it hardly makes things all right with Green Lantern and women (this is sad, because if you read the Showcase collections and the archives it could be argued that Green Lantern started out ahead of the rest of the Silver Age with the portrayal of female characters, but moved backwards when it was supposed to be ironing out the sexist parts), but it is a nice trend to see.
While I enjoyed the issue, I can see why this Anonymous commenter was unimpressed. The stuff in the comment is subjective, but I wanted to address this part:
There was the bit about how his mom painted the painting, but of course, since we're talking about a simulacrum of the painting in Kyle's mind and not the actual painting itself, as far as "dramatic revelations" go that one falls flat.As I read it the revelation that Moira painted the picture was very important because this was in Kyle's mind. It wasn't the painting that was her gift to Kyle, but his imagination and his artistic talent was her gift. he inherited those traits from his mother, and those are the traits that make him an exceptional Lantern. They all have the will. They all have the guts. They all have a sense of honor. Only Kyle has the strength of vision, the flexibility and the unpredictability that come with his creative outlook. From the creation of this character, that's what's been used to make him stand out. And he got that from his mother.
Even if they end this crossover with him getting the picture and finding another name (which I doubt), it was his mother who sat down with him as a kid and made up stories about the boy in the picture. That was the gift. The story, the creative exercises themselves. The most important parts of Kyle's personality are through his mother.
What really interests me with this discovery is the old plotline where Kyle searches for his long-lost father. His early teamups with Connor Hawke were dedicated to this plot, and Marz implied Kyle's father was alive and findable throughout his entire run. It was a major enough thing when Winick wrote an actual meeting with the man to put it in the 150th issue, and even since that issue the absence of Kyle's father keeps being brought up in Kyle stories. Kyle dedicated a lot of time and energy to finding his father, and when parental issues were brought up, with the exception of the first appearance of Kyle's mother, the parental issues were skewed towards his father.
Even though Kyle was raised by his mother and logically that's where all of the influence would be from, Kyle's father, like Hal's father, was the important parent for story purposes. Most of the time (with few exceptions such as Kyle having to settle his feud with her, Kyle addressing his narration to her in one of the 80-Page giants), the mother was just there so villains could threaten her and Kyle could take his girlfriends home to meet her.
This goes back to a tendency in our society to place this kind of importance on fathers. Heroic qualities tend to be portrayed as coming through the father because boys are traditionally consider more active while girls are traditionally considered more passive. Most legacy stories lead back to a father because its only recently mainstream society has come to accept women can be active and heroic. Heroes, especially male heroes, still tend to have fathers that they take after (Both Batgirls focused on father-daughter relationships, the difference in Thomas and Martha Wayne's memory is clear to anyone who's read two Batman stories). Beyond that, much of the attention of modern pop culture is directed towards characters working out father issues (I suspect this is because many writers have these issues, but that is little more than speculation and generalization that I have no way of backing up).
Well, with this story we find out that the traits that make Kyle a hero definitely do come through his mother, and Kyle finds out as well. So, even though we lose the character to the fridge (for the fourth time), its a dramatic change in how she's portrayed and remembered. She is the important parent when it comes to understanding Kyle Rayner now.
This isn't to say that the father's absence is less important to understanding the character, just the mother's absence (and her presence up until recently) is now mroe important than it used to be.
And seeing that name on the portrait was Kyle realizing that.
This is even more interesting when you look at how Hal's parents have developed. Everyone knows that since Emerald Dawn Hal's father's death was the defining moment in his life. Hal's father was so all-encompassing when it came to understanding his past that his mother didn't even have a name until recently. Since the fourth volume was relaunched, not only does Hal's mother have a name (Jessica) but we also know that there was a very strained relationship. A relationship Hal tried unsuccessfully to mend before her death. (He was just a little bit too late.) We have an idea of what she was like as a person (prior to that we could just picture Donna Reed), we know she was overprotective and there's an implication Hal inherited his stubbornness from her and that's why the relationship was strained.
Hal's father still takes up 95% of the picture when we go back to Hal's early homelife (there's also his brothers, but I can't remember a story that showed how they related as children. Only as adults). We have a brief picture of his mother now, but that's a lot more than there has been for forty years.
Its just a little bit, and it hardly makes things all right with Green Lantern and women (this is sad, because if you read the Showcase collections and the archives it could be argued that Green Lantern started out ahead of the rest of the Silver Age with the portrayal of female characters, but moved backwards when it was supposed to be ironing out the sexist parts), but it is a nice trend to see.
Sunday, September 23, 2007
*Sigh*
I was just watching The Incredibles again.
I'm sure everyone remembers the point about capes, right? How Edna refused to design a suit with a cape because of all the accidents that caped heroes had and how impractical and dangerous the cape is?
I just now noticed that Violet and Helen have high heels on the costumes Edna designed.
That kind of kills that cape joke for me.
I'm sure everyone remembers the point about capes, right? How Edna refused to design a suit with a cape because of all the accidents that caped heroes had and how impractical and dangerous the cape is?
I just now noticed that Violet and Helen have high heels on the costumes Edna designed.
That kind of kills that cape joke for me.
Not enough Green Lantern for you?
I did a John post on Blog@Newsarama on Friday, in case anyone missed it.
Saturday, September 22, 2007
We can't take what Ganthet says as fact anymore, can we?
In this panel, we see Ganthet the Guardian giving readers the priceless gift of his wisdom.
Unfortunately, that bit at the top about Parallax not being able to sneak up on Kyle because he knew Fear. (Yes, capital-F Fear.)
And the latest installment suggests that second bit about Willpower alone being more useful than Hope will be proven wrong before the end of this crossover.
Of course, being wrong there will be good. The problem is that Ganthet's been serving as Captain Exposition in parts of this crossover, so if he's wrong in these two areas how likely is it that he'll be wrong in something crucial and pertinent?
Unfortunately, that bit at the top about Parallax not being able to sneak up on Kyle because he knew Fear. (Yes, capital-F Fear.)
And the latest installment suggests that second bit about Willpower alone being more useful than Hope will be proven wrong before the end of this crossover.
Of course, being wrong there will be good. The problem is that Ganthet's been serving as Captain Exposition in parts of this crossover, so if he's wrong in these two areas how likely is it that he'll be wrong in something crucial and pertinent?
Oh, and in case you were wondering...
I'll admit it. There was a point in Tales of the Sinestro Corps: Parallax where I thought I felt my heart grow two sizes after I turned the page. (Don't worry, it shrunk again when I started reading reviews of the Green Arrow and Black Canary Wedding Special. I may have lost a size.)
Strangely, it left me with an ending where I'd predicted the "how" of it (Kalinara can attest to that one), but not the why of it. Usually I can guess the whys of a plot but the hows are what I read to find out.
I liked the art. Kyle's face and hair worked well, but I thought he was overmuscled. I like when he's drawn short and slender, with compact muscles so that the bad guy towers over him. Kyle's one of those characters I like to see outmatched in every possible way from the outset, even physically. It makes when he wins more impressive. Still, this was taking place inside Kyle's mind so works.
The stubble was interesting. I think Adriana Melo (the penciller here) and Patrick Gleason may be the only two artists I've seen bother to draw stubble on Kyles face.
This issue drives home how emotionally reserved Kyle can be, especially for such an expressive artist. He has his tantrums, yes, but the entire issue is set in his head under the worst stress imaginable and he's thinking very calmly about his problem for most of it.
Anyway, I'll wait on the "I told ya so" dance over this crossover until we see how things play outside of Kyle's head because I'm sure some of you are still convinced things will not turn out with Kyle on top even after this.
In the meantime there was a reference to some issues in this book that bug me (yes, its the role of women in this franchise and I should've known it would take a Marz-written book to shake them to the surface for me), and I'm trying to put together my thoughts on mothers and Green Lantern in respect to this issue. I might get a post out of either if I get the energy.
Also there's a point with Ganthet from Rebirth I have to reread because I think it'll come up again. (ETA: This point.)
Strangely, it left me with an ending where I'd predicted the "how" of it (Kalinara can attest to that one), but not the why of it. Usually I can guess the whys of a plot but the hows are what I read to find out.
I liked the art. Kyle's face and hair worked well, but I thought he was overmuscled. I like when he's drawn short and slender, with compact muscles so that the bad guy towers over him. Kyle's one of those characters I like to see outmatched in every possible way from the outset, even physically. It makes when he wins more impressive. Still, this was taking place inside Kyle's mind so works.
The stubble was interesting. I think Adriana Melo (the penciller here) and Patrick Gleason may be the only two artists I've seen bother to draw stubble on Kyles face.
This issue drives home how emotionally reserved Kyle can be, especially for such an expressive artist. He has his tantrums, yes, but the entire issue is set in his head under the worst stress imaginable and he's thinking very calmly about his problem for most of it.
Anyway, I'll wait on the "I told ya so" dance over this crossover until we see how things play outside of Kyle's head because I'm sure some of you are still convinced things will not turn out with Kyle on top even after this.
In the meantime there was a reference to some issues in this book that bug me (yes, its the role of women in this franchise and I should've known it would take a Marz-written book to shake them to the surface for me), and I'm trying to put together my thoughts on mothers and Green Lantern in respect to this issue. I might get a post out of either if I get the energy.
Also there's a point with Ganthet from Rebirth I have to reread because I think it'll come up again. (ETA: This point.)
The Wedding Special
No, I have not read it.
It was written by Judd Winick.
It doesn't matter that Amanda Conner drew it.
It was written by Judd Winick.
While I've no doubt that my reaction to Judd Winick being handed one of the best, strongest, and most popular female characters in the DC Universe would be massively entertaining I refuse to subject myself to it. I am not reading the scans. I am not buying the book.
This is a writer I still argue mishandled Jade, and she is my least favorite female character in the DC catalog. I've never seen a satisfying portrayal of an existing female character from this writer (there is always something in there that sends a piss-poor message about women's place in society, even when he tries to write "Strong"). I've rarely seen a satisfying portrayal of an existing male character from this writer (they have a tendency to shed their own personalities and become the stock Winick hero). He's even disappointed me utterly when it comes to his own creations.
I will credit him as the reason I learned to see through "strong" female characters, because his Jade was such a transparent attempt at a superficially progressive woman who still conforms to the traditional roles of a female character that I (previously ignorant) developed a eye for the trick. It doesn't matter that she fights and you say she uses her powers as well as Kyle, and it doesn't matter that he's intimidated by her. If you don't show her winning or show her matching him or show any reason he wouldn't want to piss her off other than the chance she'd leave his bed you might as well be writing the Lensmen. At least the sexism's upfront there.
Hell, this writer's the fucking reason this marriage idea made Dinah seem like such a putz. He's the one who wrote the sleaziest Ollie. He's the one who took Ollie into the unforgivable territory.
I'm just glad he's far far away from my favorite books.
(Oh, in case anyone is wondering who asked and brought on this rant, it was Chris.)
It was written by Judd Winick.
It doesn't matter that Amanda Conner drew it.
It was written by Judd Winick.
While I've no doubt that my reaction to Judd Winick being handed one of the best, strongest, and most popular female characters in the DC Universe would be massively entertaining I refuse to subject myself to it. I am not reading the scans. I am not buying the book.
This is a writer I still argue mishandled Jade, and she is my least favorite female character in the DC catalog. I've never seen a satisfying portrayal of an existing female character from this writer (there is always something in there that sends a piss-poor message about women's place in society, even when he tries to write "Strong"). I've rarely seen a satisfying portrayal of an existing male character from this writer (they have a tendency to shed their own personalities and become the stock Winick hero). He's even disappointed me utterly when it comes to his own creations.
I will credit him as the reason I learned to see through "strong" female characters, because his Jade was such a transparent attempt at a superficially progressive woman who still conforms to the traditional roles of a female character that I (previously ignorant) developed a eye for the trick. It doesn't matter that she fights and you say she uses her powers as well as Kyle, and it doesn't matter that he's intimidated by her. If you don't show her winning or show her matching him or show any reason he wouldn't want to piss her off other than the chance she'd leave his bed you might as well be writing the Lensmen. At least the sexism's upfront there.
Hell, this writer's the fucking reason this marriage idea made Dinah seem like such a putz. He's the one who wrote the sleaziest Ollie. He's the one who took Ollie into the unforgivable territory.
I'm just glad he's far far away from my favorite books.
(Oh, in case anyone is wondering who asked and brought on this rant, it was Chris.)
Wednesday, September 19, 2007
Uhh...
I can't own this.
I tried the Ms. Marvel trades and adored them, but I don't want to buy the normal book. The covers are too offputting. Why does Marvel put Greg Horn on cover detail for all the female books? They could at least find an interesting cheesecake artist. Being extremely generous, his stuff looks like he stole an aspiring lingerie model's portfolio and is photoshopping different costumes on her pictures.
I tried the Ms. Marvel trades and adored them, but I don't want to buy the normal book. The covers are too offputting. Why does Marvel put Greg Horn on cover detail for all the female books? They could at least find an interesting cheesecake artist. Being extremely generous, his stuff looks like he stole an aspiring lingerie model's portfolio and is photoshopping different costumes on her pictures.
Tuesday, September 18, 2007
I can't even have an action figure.
I ordered a set of toys. I wanted the DC Animated Universe Kyle Rayner, who came in a set that included an animated-style Katma Tui (which you all know I wanted the second I realized it existed) and an Arkkis Chummuck. I got the set in the mail and opened them to find that there was a small clear plastic stand with a peg and the DC logo imprinted on it.
A single display stand.
In a set of 3 figures.
Interestingly enough, my John Stewart, Kilowog, and Tomar Re set had not come with a stand at all.
Figuring the major character was the one to be displayed, I flipped Kyle over and looked at his feet. Neither left nor right had a hole for the display stand's peg. I picked up Arkkis, a character I never had much interest in, because he was closer and checked his feet. No hole. I found the hole in Katma's right foot.
It seems that the manufacturer (whatever mysterious division of Mattel and/or DC Comics is in charge of fucking up the female action figures, I don't keep track of such matters) felt that the only toy that needed help standing was Katma. So I tried and sure enough the only toy that will not stand on its own is Katma Tui.
Can anyone hazard a guess why that is?
Give up?
High. Fucking. Heels.
I suppose I wouldn't mind the high-heeled action figures if they could find a way to make them stand up with the high heels. But look there! They even filled in the plastic between the heel and the ball of the foot, and she still doesn't stand on her own. They know the toy can't stand with feet like that. That's why the stand is there. They prepared for the toy not to stand like that. But they didn't fix the design of the toy so that it doesn't need a fucking stand!
Would it fucking kill them to give her flat feet? What's the harm in giving a female action figure sensible boots? Wasn't in the original costume design? Its a toy, for fuck's sake! Its not like you're using a sharpie to put eyebrows on the Mona Lisa here. This is something to play with. Adding a little practicality would be a plus in this department.
Maybe this is not all in the heels. Maybe there's a way to redesign the body so she's poseable and has the high heels. You might have to make less spiky heels, thicker feet and legs, less of an hourglass figure, and an overall sturdier figure but it can be done.
But no, its more important that she look all pretty and feminine than be able to fucking stand up!
As it is, I now have to set up a little clay planet for all of them to stand in if I want to make a scene or a diorama (because that stand doesn't work unless everyone has one).
Bastards.
Oh, and as long as I'm talking about these figures -- why the hell can I make out the line over Kyle's belly-button? That's a strange detail to throw on an animated-style action figure. Was that muscle area visible in the cartoon?
A single display stand.
In a set of 3 figures.
Interestingly enough, my John Stewart, Kilowog, and Tomar Re set had not come with a stand at all.
Figuring the major character was the one to be displayed, I flipped Kyle over and looked at his feet. Neither left nor right had a hole for the display stand's peg. I picked up Arkkis, a character I never had much interest in, because he was closer and checked his feet. No hole. I found the hole in Katma's right foot.
It seems that the manufacturer (whatever mysterious division of Mattel and/or DC Comics is in charge of fucking up the female action figures, I don't keep track of such matters) felt that the only toy that needed help standing was Katma. So I tried and sure enough the only toy that will not stand on its own is Katma Tui.
Can anyone hazard a guess why that is?
Give up?
High. Fucking. Heels.
I suppose I wouldn't mind the high-heeled action figures if they could find a way to make them stand up with the high heels. But look there! They even filled in the plastic between the heel and the ball of the foot, and she still doesn't stand on her own. They know the toy can't stand with feet like that. That's why the stand is there. They prepared for the toy not to stand like that. But they didn't fix the design of the toy so that it doesn't need a fucking stand!
Would it fucking kill them to give her flat feet? What's the harm in giving a female action figure sensible boots? Wasn't in the original costume design? Its a toy, for fuck's sake! Its not like you're using a sharpie to put eyebrows on the Mona Lisa here. This is something to play with. Adding a little practicality would be a plus in this department.
Maybe this is not all in the heels. Maybe there's a way to redesign the body so she's poseable and has the high heels. You might have to make less spiky heels, thicker feet and legs, less of an hourglass figure, and an overall sturdier figure but it can be done.
But no, its more important that she look all pretty and feminine than be able to fucking stand up!
As it is, I now have to set up a little clay planet for all of them to stand in if I want to make a scene or a diorama (because that stand doesn't work unless everyone has one).
Bastards.
Oh, and as long as I'm talking about these figures -- why the hell can I make out the line over Kyle's belly-button? That's a strange detail to throw on an animated-style action figure. Was that muscle area visible in the cartoon?
First Ming, now this.
Sean Astin as Twoflower? (Via)
Okay, I know Twoflower is the Tourist stereotype (though I think they can play that as more the silly American tourist than the Japanese tourist and still cast an actor of Asian descent -- insurance salesman on vacation struck me as the American in Europe plot idea) and the whole Agatean Empire is transparently stereotypical Asia, but this strikes me as more instances of making a mostly white franchise even more white under the banner of "sensitivity." Just more of a pretty nasty trend of taking out offensive Asian characters and not putting any good Asian characters in to replace them.
There's got to be a better way to handle this stuff.
Okay, I know Twoflower is the Tourist stereotype (though I think they can play that as more the silly American tourist than the Japanese tourist and still cast an actor of Asian descent -- insurance salesman on vacation struck me as the American in Europe plot idea) and the whole Agatean Empire is transparently stereotypical Asia, but this strikes me as more instances of making a mostly white franchise even more white under the banner of "sensitivity." Just more of a pretty nasty trend of taking out offensive Asian characters and not putting any good Asian characters in to replace them.
There's got to be a better way to handle this stuff.
Monday, September 17, 2007
December Solicits
From Newsarama:
First: Ice! Yay!
Second, Kyle in space. This should be interesting because of the Parallax storyline. Being stationed on Oa means the paranoia focused on Hal before will either be lessened enough to let someone who's been Parallax be on Oa, or its just going to be an all-around worse situation for Kyle since he has to work in the heart of the Corps.
Third, check out the three covers. Same theme for all of them, not sure what that's getting at. Also, note the middle right (well, your left as you view the cover) of GLC and the Secret Files. Ice is important enough to be in the Corps picture. Katma's on the Secret Files, so we should get at least a Katma flashback part if not a little story and profile for her. (No, I don't see it as a sign of imminent resurrection. That's the Silver Age Corps on that cover. Still, if the writers like her enough they might bring her back later.)
Outside of that, Kyle's going to a gender swapped world and the Red Son world with Donna and Jason. Tangent characters are in Justice League of America, Wonder Woman's in The Atom, Alan Scott adn Jade are in JSA: Classified, Blue Beetle's going to space, Drew Johnson's on Supergirl, McKeever's starting his Birds of Prey run, and Cyclone is in an enviable position.
GREEN LANTERN #26
Written by Geoff Johns
Art by Mike McKone & Andy Lanning
Cover by Ivan Reis & Oclair Albert
Setting the stage for the Green Lanterns' role in FINAL CRISIS comes Part 1 of "The Alpha Lanterns," a new story arc written by Geoff Johns with art by Mike McKone (TEEN TITANS)! Who are the Alpha-Lanterns? What bizarre cosmic surgery have they undergone? And how will they affect the future of the Green Lantern Corps?
In the aftermath of the Sinestro Corps War, the Green Lanterns are undergoing an unprecedented reconstruction and reinvention, and the controversial Alpha-Lantern project is in full effect.
Meanwhile, with Sinestro's true machinations for his war revealed to Earth's prime Green Lanterns, Hal Jordan and John Stewart, debate rages across Oa as lines are drawn and crossed, new bonds are formed, and old ones broken.
On sale December 26 • 32 pg, FC, $2.99 US
GREEN LANTERN CORPS #19
Written by Peter J. Tomasi
Art and cover by Patrick Gleason & Prentis Rollins
The pieces of the Sinestro Corps War are still falling as Guy is finally reunited with his lost love, Ice! And as Kyle Rayner tries to start his new life as a Green Lantern, Sinestro rings continue to empower new and deadlier forces in space.
On sale December 12 • 32 pg, FC, $2.99 US
GREEN LANTERN/SINESTRO CORP SECRET FILES #1
Written by Geoff Johns & Sterling Gates
Art by Ivan Reis, Ethan Van Sciver, J.G. Jones, Patrick Gleason and Joe Prado
Cover by Reis & Oclair Albert
For the first time ever, the secrets of the Book of Oa and the Book of Parallax are revealed in short stories looking at the past, present and future of the Corps! This 64-page Special features new tales of both the Green Lantern and Sinestro Corps!
In store December 19 • 64 pg, FC, $4.99 US
First: Ice! Yay!
Second, Kyle in space. This should be interesting because of the Parallax storyline. Being stationed on Oa means the paranoia focused on Hal before will either be lessened enough to let someone who's been Parallax be on Oa, or its just going to be an all-around worse situation for Kyle since he has to work in the heart of the Corps.
Third, check out the three covers. Same theme for all of them, not sure what that's getting at. Also, note the middle right (well, your left as you view the cover) of GLC and the Secret Files. Ice is important enough to be in the Corps picture. Katma's on the Secret Files, so we should get at least a Katma flashback part if not a little story and profile for her. (No, I don't see it as a sign of imminent resurrection. That's the Silver Age Corps on that cover. Still, if the writers like her enough they might bring her back later.)
Outside of that, Kyle's going to a gender swapped world and the Red Son world with Donna and Jason. Tangent characters are in Justice League of America, Wonder Woman's in The Atom, Alan Scott adn Jade are in JSA: Classified, Blue Beetle's going to space, Drew Johnson's on Supergirl, McKeever's starting his Birds of Prey run, and Cyclone is in an enviable position.
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