Comics – Fascination Place

The Marvels

I don’t think I can provide a more succinct review of The Marvels than what I posted on Mastodon after we came out of the theater yesterday:

#TheMarvels was 1000% better than I’d expected.

If you enjoy Marvel movies, you should go see it. And if, like me, you were a big fan of #CaptainMarvel and are, like I was, worried that it’s not the sequel you wanted, I think you’ll be pleasantly surprised.

This was a really fun film. When I first heard it announced I was disappointed because I had wanted a sequel to Captain Marvel (one of my top three films in the Marvel Cinematic Universe) which explained what she’d been up to for the 23 years between that film and her return in Avengers: Endgame. But with two other characters sharing top billing, and therefore clearly taking place in the “present” of the MCU (which I suspect is about 2025 right now, though I forget what made me think that, other than that Endgame concluded in 2023 and it’s clearly been at least a couple of years since then), it seems doubtful that we’d get that.

In fact the film gave me everything I’d hoped for, and while it was a lighter film than Captain Marvel, it had plenty of serious moments, and while I could (and will) quibble with some parts of the story, overall it worked for me. I would say it’s on about the same level as the first Avengers film.

The film has been performing poorly at the box office, which I suspect is due to a confluence of factors: The post-Endgame MCU seems to be considered pretty disappointing, Ant-Man and the Wasp: Quantumania in particular was panned and did poorly, and The Marvels looks like another team-up crossover film – which it is, but also isn’t, and it in particular doesn’t play into the ongoing “Multiverse Saga” story arc the series is working through, but is just a straight-up continuation of the stories of its main characters. Which for most of these films is what I want. Indeed, when they do a big crossover story in what should be a story focusing on its main characters, that’s when you get garbage like Captain America: Civil War.

All of which is a long-winded way to say: Unless you just don’t like these characters, don’t let any of that dissuade you from seeing The Marvels. It’s a fun film with good action scenes, some broad humor, and plenty of character development.

(And if you hate it because you find the dialogue to be stilted or contrived, well, then I assume you hated the first Avengers film for the same reason, because it was way worse on that count.)

Spoilery thoughts after the cut:

Everyday Monsters

There are a couple of webcomics artists I’ve been enjoying tremendously, though both of them update only sporadically, presumably because this is a hobby for them and they both have lives which take most of their time. They have a common theme of what I’ve been calling “everyday monsters”, as they primarily feature nonhuman (or formerly human) beings in dark fantasy environments, but emphasizing the everyday lives and concerns of those beings

Both of them (coincidentally?) primarily post on Instagram and Twitter. Both of them post anonymously and have very little Internet presence beyond these sites as far as I can tell.

Pocketss (Instagram, Twitter) has “i like to draw fantasy nonsense” as their Twitter profile description. Their work has a running theme of people (or whatever) caring for other people. For example this strip about a swamp dweller who sees a passer-by carrying a lantern on a stock. Or this one about goblins looking out for each other.

There’s also a cute running story – starting here – about a witch who invites a harpy to a girls’ night party, throwing the harpy into confusion and anxiety. Poor harpy!

My favorite one, though, is this one about a vampire (?) who orders her thralls to leave her alone so she can… well, go see for yourself.

Vampire: "Begone, thralls! Leave me to my evil and sexy affairs..."

Pocketss also has a Patreon which I just signed up for.

Saint Monster (Instagram, Twitter) has “Monsters need love too” as their Twitter description. Ironically their work features far more actual humans than that of Pocketss, and a few more recurring characters. For example the halfling apprentice witch, who later appears here. Or the trio of human, elf (?) and goblin (?) travellers, who appear here, here, and have their best moment so far here.

But the strip that maybe best sums up their work is this one about a researcher who runs into a Sphinx.

Sphinx: If you wish to pass you must first answer my riddle, And should you fail, you will not leave here alive.

Researcher: I have studied the enigmas of Alatosh and Zanzibar's thousand mysteries. Ask your riddle, Sphinx.

Their Twitter account has some fan art and a few other pieces by them besides the full strips which are also on Instagram. No Patreon, though.

I love both of these artists and hope they both get to a place where they can produce work more regularly.

WandaVision

Ah, WandaVision… such a great start, and then you went careening off the rails, heading down a path you should have avoided. Such wonderful acting, such amazing production quality, but ultimately, a terribly disappointing story.

There was a lot to enjoy about this first major TV series in the Marvel Cinematic Universe (I don’t really count Agents of S.H.I.E.L.D., as it quickly disconnected itself from the MCU and played in its own space), but it could have been much more than it was.

More – with spoilers – after the cut:

Spider-Man: Into the Spider-Verse

We finally got around to watching Spider-Man: Into the Spider-Verse (2018) last night. As the film rights to Spider-Man are still owned by Sony, the film isn’t available on Disney+. Fortunately, we’re GenX’ers, which means we still have cable and a TiVo, so, go us!

I actually hadn’t been very spoiled about the story. I knew it was based on a comic book story – which I hadn’t read – and starred the Miles Morales version of Spider-Man – which honestly know almost nothing about – and that the animation was supposed to be great.

It was all that and more.

It was amazing.

It’s a take on Miles Morales’ origin story, and it has a surprisingly slow burn (the film is nearly 2 hours long, which is pretty lengthy for an animated feature film), building up to Miles getting his powers over the first third of the movie. But with a twist, as there’s already a Peter Parker version of Spider-Man in his dimension, and they both run afoul of a plot by the Kingpin which rips a hole between universes, resulting in five other Spider-people ending up in Miles’ dimension. Miles ends up being trained by an older, sadder Peter Parker, but also meets the others, especially Spider-Woman, Gwen Stacy on her world, who failed to save her best friend – Peter Parker.

As a Spider-Man origin story, it hits a lot of the beats you expect such a story to have: With great power comes great responsibility, death of a loved one, the outsider trying to fit in, triumph over great odds.

But this remix has a lot of touches which make it different, too. Miles isn’t being raised by his aunt and uncle, he’s being raised by his parents, and his policeman father wants the best for him, loves him dearly, but pushes him in a direction Miles doesn’t want to go. Miles finds a different father figure in the older Peter, but their relationship has issues, too, due to Miles’ inexperience. One always senses that Peter’s wisecracking persona as Spider-Man was a front, an escape from the sorrow that undercut his life. But for Miles it’s his true self, not an escape but an ability to be free, and so to gain confidence in his abilities in both his lives. Including an appreciation for his family.

The film is smartly written, upending a number of the conventions of Spider-Man, such as: Aunt May, who’s a much stronger figure here (I think inspired by J. Michael Straczynski’s version from his run); the older Peter’s sense of humor being much sharper and acerbic; and playing a little loose with secret identities.

It’s also very fun, and very funny. While there’s a sequence in the middle where Miles and Peter are breaking into a lab which is trying too hard, otherwise almost everything works. Peter has a quip for the gizmo they need to find to hack the device to send everyone home. He also shows his experience in escaping when Miles ties him up, but his not-really-caring attitude causes problems too. He needs this adventure to find himself as much as Miles does.

And of course there’s the big moment where Miles gets knocked down as far as he can go… and bounces back to become his own Spider-Man. It’s a scene that got a lot of accolades, and they’re all deserved.

The animation is beautiful. It’s not for everyone, as it’s frenetic and flashy and jerky-jerky (by design – some of the “how the animation was done” videos are pretty neat). The art style is just about perfect – how far computer animation of human beings has come in the years since The Incredibles. The staging of some of the action sequences must have been insane to storyboard and then animate.

This was one of the most fun superhero films I can recall watching. Highly recommended if you haven’t seen it.

The Last Comic Book Night (for now)

A week ago my comics shop, Comics Conspiracy, was setting up to do curbside pickup of comic books during the COVID-19 shutdown (or “The Pause” as a few people have been calling it), but a wrench was thrown into their plans with the announcement that the main comics distributor, Diamond, was shutting down for the duration, and apparently the major printers have shut down too. As a result, yesterday was the last regular Wednesday for new comic books for the foreseeable future.

I’ve been buying comics regularly since, oh, the late 1970s. I think I used to go more-or-less monthly to The Million Year Picnic in Cambridge, MA when my Dad and I would go to Harvard Square for haircuts. But sometime – probably around 1983 – we discovered New England Comics, which had a store on Allston Street in Brighton. NEC was less bohemian than MYP and other stores of the previous decade, brightly lit and well-organized. It became my regular comics shop, and through most of high school I went there for new comics every Friday. I became friendly with a bunch of the staff, first a couple of women (girls? I honestly am not sure how old they were, but older than I was) named Jen and Delana, and later a couple of guys named Vijay and Matt. (Those two ended up founding Comicopia in Kenmore Square, which Matt still owns. It’s been at least a decade since Iâ€™ve visited, though.) A few of my high school friends would sometimes come with me for the train ride in and back to pick up the week’s haul.

During college I bought comics via mail order from Westfield Comics because there was not a good, accessible comics shop for much of my time in New Orleans. But when I lived in Madison, WI I went to Capital City Comics. During this time, new comics day got moved back to Thursday, and then to Wednesday, where it’s been ever since. Rather than moving even earlier, recent changes to the distribution system have made Wednesdays a much more reliable day, never getting pushed back for holidays on the Monday or Tuesday before.

Since I started going to NEC, I’ve had a subscription (or saver, or pull box, or whatever each store called it), which usually came with a discount, often 20%. The realities of the market have pushed discounts into history (unless your shop owner happens to grandfather you in), but they’ve also made it desirable to have a pull box and to pre-order comics because it’s the best way to ensure the store will get a book in at all.

Since we moved into our current house in 2011, comic book night has entailed coming home and sitting on the living room couch. Our cat Roulette would almost always sit with me, at first because she really liked the couch we had in that room, and later just because she liked some quiet time with me. The other two cats come in sometimes, especially if the fireplace is on, but mostly it’s just been some quiet reading time.

So last night I paid for my order online, then drove down and saw Brock, one of the owner Ryan’s employees, who was carrying the books out to people. Physical distancing! We chatted for about ten minutes, but of course no one knows what’s going to happen next. Maybe the comics companies will distribute online and provide a portal for retail stores to sell to their customers. We’ll see. But for now, the weekly trips to the comics shop have come to an end.

Ironically, my haul last night included the last issue of one mini-series, and the next-to-last issues of two others. Even more ironically, it included the new monthly catalog for upcoming releases.

So I’ll place my order from the catalog this weekend as I always do. And hope that in a few weeks or months there will be some new books for me to go pick up.

I hope, I hope.

Childhood Comics

As far as I know, I started buying comic books in 1975. The 70s were a weird time for the comic book industry: In the 1950s the industry (such as it was) had a fair bit of genre diversity, with superhero, western, horror, and humor books all being published. The 60s saw superhero books move towards ascendency, and by the mid-1970s superhero books were clearly the dominant genre, with the other genres in decline. Other than Jonah Hex I’m not sure I saw another western title outside of a comic book store in the 70s. (In my lifetime, the arrival of a well-made western film seems to underscore just how dead the genre is.) There were a few horror books, and a smattering of other titles.

We’ve been watching the new DuckTales cartoon (recommended!), and it reminded me of one of the few non-superhero books of that era that’s stuck in my memory. I’ve never been a big fan of the Disney characters, but I picked up a few of their comics when I was a kid, and the one I remember is “The Phantom of Notre Duck”, which I probably read when it was reprinted in Uncle Scrooge #114 (Sept 1974), and which I likely picked up as part of some supermarket bundle of books rather than through a newsstand or comics shop. These bundles were often 3-5 comics packaged together in a sealed plastic bag, usually with no connection to each other, and you usually couldn’t see what was inside other than the front and back issues. If this is how I acquired it, I probably bought it because it was in a bundle with some superhero book on the outside that I wanted.

I really have no insight into how these bundles were created, whether they were national or local, or what. I just bought ’em (or, well, my parents did). It looks like this issue was published by Gold Key and also printed with the “Whitman” logo: Whitman says the two were the same publisher, and that the Whitman logo was used for bagged comics, so maybe that was it. I have no memory of which version I owned.

The story (written & illustrated by Carl Barks) I mainly remember involved Scrooge and his nephews pursuing the Phantom throughout the Cathedral, with hidden doors & passageways, old rooms and ornaments, and the heroes eventually managing to corner the Phantom and figure out what it’s up to, and that it wasn’t all that sinister after all. But I haven’t actually read it in probably 40 years, as I likely purged it – perhaps long missing its cover – at some point in the 80s or 90s. But I recall it fondly as a spooky story, which I might want to track down and read again – it seems it’s been reprinted at least twice more since then, so it ought to be possible.

Recalling that book reminded me of another non-superhero book I read as a kid, coincidentally (maybe?) also from 1974, The Addams Family #1. Maybe this date is a sign that I actually read a few comics before the earliest ones I remember from 1975, I don’t know. I’ve long thought the first comic I read was Wonder Woman #220 (Nov 1975 – which means it was probably on the newsstands over the summer).

In any event, I am a huge fan of Charles Addams‘ cartoons, and I own a copy of almost every collection of his cartoons that have been published. But I didn’t become a fan until my dad bought me a copy of his last original collection, Creature Comforts (1981), so I had no attachment to this comic when I read it. It was just weird. It seems it was probably spun out of a 1973 cartoon series, which frankly I’d never even heard of until now. (I mean, maybe I watched it when I was a kid, but I have no memory of it!) I also didn’t watch the famous 1960s TV series, so I have no attachment to it, either. I do kinda dimly remember them showing up in Scooby-Doo.

I have almost very little memory of the comic itself. As you can see, the cover was sparsely drawn with no background, which stuck out to me at the time. My recollection is that it involved the family going on vacation in the spooky camper seen on the cover, and elevating the chassis on stilts several dozen feet in the air in order to drive over a traffic jam, but that’s about it. It seems it was a little different from that, and was directly adapted from one of the animated episodes. It appears to have been written and illustrated by Bill Ziegler, about whom I know nothing except for what’s written at that link. I bet it was pretty weak, though I also bet if I’d been a few years older I would have enjoyed the animated show.

Interpretations of the Addams Family are interesting to track, as a long-time fan. The ones I’ve seen do reflect Addams’ originals in general, especially their sense of family and mutual support in this group of oddball characters living in their own space within larger, “normal” society. But the details are often curious, especially the reversal of Pugsley and Wednesday’s characters in the 1990s films (although one can hardly object to them spotlighting Christina Ricci in her breakout role by giving Wednesday a more vivid and active characterization). I don’t know what this year’s film is like, although I’m not a fan of the character designs.

I’m not going anywhere with all this, except that we all have vague memories of our childhoods, some of them stick persistently in our minds for a long time, to the point that we no longer recall why they made us remember them at all. But at least with these I can go out and find copies of these two books and read them again and see if they stir anything up in me.

Marvel Cinematic Universe

Now that I’ve seen Avengers: Endgame and I’m all caught up on them, I thought I’d survey all of the films in the Marvel Cinematic Universe.

Endgame marks the end of the 22 films which Marvel claims are collectively titled “The Infinity Saga”, though I think that’s meant to sound more impressive than it is: The films are linked, to be sure, but the link is for some films pretty tenuous, and the overall story certainly could have been condensed down to no more than six movies as there’s a lot of material superfluous to what one might call the main story.

Still, despite this posturing, it’s been an enjoyable run, albeit with its ups and downs..

To start with, I put together a ranking of all of the films, with letter grades. There are some I might move up a little or down a little depending on my mood – especially the ones in the C range which are all very similar in quality – but in the large here’s where I put them:

And now I’ll briefly – and chronologically – run through all of the films with some expanded thoughts on them.

Spoilers ahoy!

Iron Man (2008) and Iron Man 2 (2010)

I didn’t see these when they first came out – I didn’t see them until after The Avengers – and I wrote a joint review of them. It’s hard not to think of them as linked, since they’re very similar films. Iron Man has better character bits but a disappointing finale (“hero runs out of power but triumphs anyway” is never a satisfying finish), while Iron Man 2 has a lot of dead air leading up to a much more satisfying climax. Both films hold up pretty well today, and it’s really hard to say which one I like more. Their biggest weakness is that Tony’s friends can’t convincingly stand up to him (Nick Fury’s appearance in Iron Man 2 is a breath of fresh air in this regard), and so the story often feels like it’s a man’s internal struggles made external, but kind of ham-fistedly so. Unfortunately, the MCU never did learn to apply nuance to Tony’s character or struggles.

The Incredible Hulk (2008)

Not a sequel to the 2003 film Hulk (which I haven’t seen), this one is only tenuously connected to the rest of the series. Edward Norton does a terrific version of Bill Bixby’s Bruce (David) Banner from the 1970s TV series, reinforced by the opening credits which seems to recreate the origin from that series. (Apparently they filmed 70 minutes worth of origin footage! Then wisely decided to just use it as credits visuals.) The movie plays more like a horror film than a superhero film, and its best scene is the army facing the Hulk on a college campus, which is perhaps the single most effective scene for showing what a completely terrifying experience the Hulk would really be. The film is majorly let down by its special effects, which would have seemed dated 5 years earlier when The Lord of the Rings finished its trilogy. The story is kind of dumb and since there never was a sequel one of the major loose ends never gets resolved, but there is lots of smashing.

Thor (2011)

Somehow directed by Kenneth Branagh and featuring a fantastic cast, Thor is unfortunately a rather tedious film due to a by-the-numbers story of Thor learning responsibility and how to (sometimes) see through his brother Loki’s machinations. Chris Hemsworth made the role of Thor his own, but is overshadowed by Tom Hiddleston’s Loki. The film only has one truly great scene, where Thor gets his hammer back and faces the Destroyer.

Captain America: The First Avenger (2011)

The first MCU film I saw in the theater, you can read my full review from that time. I thoroughly enjoyed this film and it holds up wonderfully. Chris Evans is picture-perfect as Cap, making him more than a naive do-gooder, convincing us that he has deep-seated beliefs motivating his actions. His conversations with Erskine are both amusing and moving. The moment when Cap and Bucky and the soldiers walk back into camp after Cap rescues them is the single best scene in any film in this list. Even the ending works perfectly – although it maybe works a little better after seeing the later films since it makes it not quite so bittersweet.

The Avengers (2012)

I saw this one in the theater too, and here’s my review. The Avengers holds up better than I would have guessed at the time: The wheel-spinning plot of act two works a bit better as character-building now that we have a better idea of what characters were built. Joss Whedon’s cutesy dialogue hasn’t aged as well, nor has his ham-handed scripting of the Black Widow. And then the whole point of the invasion is questionable given what we know from Infinity War and Endgame (why does Thanos bother with all of this?). But there are several great scenes, and the whole final battle is the gold standard for staging a complex superhero fight. Mark Ruffalo’s Bruce Banner is very different from Edward Norton’s, but it works well for how his character develops. But the film really belongs to Cap and Iron Man as the big two of the MCU.

Iron Man 3 (2013)

Many people hate this film. I’m not going to die on a hill defending it, but I think it’s better than some think. The film works with an interesting premise: What can Tony Stark do if he can’t be Iron Man? And there are some fun scenes built around that, (very) loosely inspired by a few similar moments from some comic books. The rescue of the President’s aides is pretty great, too. But the story overall is a mess, the Mandarin is a tremendous disappointment (they got Ben Kingsley and wasted him on this?), and the final battle is a lot of flash but is basically kind of silly.

Thor: The Dark World (2013)

Award winner in the category of “most criminal underuse of Christopher Eccleston” right here. The Dark World is incomprehensible nonsense almost from start to finish, punctuated by cringeworthy scenes that I guess are supposed to be funny (especially those involving Erik Selvig). The scene where Thor and Loki put one over on Malekith is pretty good, but otherwise this one has nothing to contribute to the series except another Infinity Stone.

Captain America: The Winter Soldier (2014)

The first two Captain America films are neck-and-neck as my favorite superhero films, but when pressed I think the first one is just a little bit better. Still, I loved The Winter Soldier, as I wrote in my original review. While the high-level story involving “the algorithm” and the plot device “we must put our chip in all three carriers or it’s all for naught” is basically ridiculous, the story works very well the rest of the way, especially the sense of paranoia Hydra engenders, and the sheer hopelessness Cap feels when confronting Bucky. Black Widow gets her best characterization here, and it feels like the directors brought a great performance out of Scarlett Johansson where Joss Whedon couldn’t. Anthony Mackie is immediately terrific as the Falcon. Finally, the action scenes are amazing, like The Matrix on caffeine and speed.

My biggest regret in this film is that they planted several seeds of future Cap movies (Bucky, Sharon Carter, Nick Fury going walkabout) which got sacrificed on the altar of Age of Ultron and Civil War, and frankly it just wasn’t worth it.

Guardians of the Galaxy (2014)

Some people love this film, thinking it’s in the upper echelon of the series. I think it’s practically the epitome of an average action film, with a cardboard villain, a lot of fine action scenes, heavy on the humor, and a pretty standard story arc. The emotional center of the film – Quill and Gamora – suffers a lot in that I think Zoe Saldana is a pretty wooden actress. By contrast Bradley Cooper’s Rocket – despite being a voice actor over a CGI raccoon – is the most sympathetic and engaging of the characters. I’m reasonably happy to watch this when it comes on TV and I want something on in the background, but it’s not going to displace a Red Sox game.

Avengers: Age of Ultron (2015)

Things start to go wrong here, and I’m not sure whether it’s because of Joss Whedon’s script and direction, or if it’s instructions from higher up about where the characters should go which gets in the way. Ultron is an embarrassingly dumb villain – quite a change from his comics persona where he’s one of the five scariest villains in the Marvel Universe – and there are just too many characters here with too much running around, complete with a second-act fight which is even more pointless than in the first movie, as much fun as it might be to see the Hulk run crazy. The Vision is tragically underused in this film and in later ones. At best this film is moving the chess pieces around for later films, but it’s not a fun experience. It also suffers from not having Alan Silvestri score the music as he did for the other Avengers films.

Ant-Man (2015)

A charming little caper film, Paul Rudd and Michael Douglas are both at the top of their games in this film about a retired hero (a contemporary of Howard Stark) recruiting a small-time thief to help take back his company. For comics fans it’s a fun re-mixing of comics elements into the MCU, but it works fine on its own too. The best scenes involve Scott and his daughter Cassie, as Rudd completely sells Scott’s love for his daughter and how that relationship guides him when it really matters.

Captain America: Civil War (2016)

And here’s where the wheels fall off on the overall story. First of all, this should have been the third Avengers film because it’s not really a Cap film. Second, it cements Tony Stark’s place as the greatest villain of the MCU (well okay, maybe Thanos passes him later on, in results if nothing else). It’s a nice introduction for the Black Panther, who’s the only character who comes out of this having gone anywhere, but they could have accomplished that in a much narrowed Cap film which also developed his relationship with Bucky reasonably. Turning Tony into a man-child and basically undoing all of his earlier character development was just awful. It’s always fun to see Chris Evans as Cap, but he deserved a lot better than this.

Doctor Strange (2016)

It’s decidedly weird to see Benedict Cumberbatch with an American accent, but that aside he was quite well cast as Doctor Strange, who has his own personal hubris and downfall to overcome, not entirely unlike that of Tony Stark, albeit with a more transformational result. I didn’t completely buy that Strange had truly become the “master of the mystic arts” by the end of the film, but it was close enough. I also appreciated that they didn’t go “the full Ditko” with the CGI dreamscapes. There are a lot of directions they can take Doc in future films, and I hope they choose the “sorcerer supreme” direction rather than the “loses his powers and has to soldier on somehow” direction.

Guardians of the Galaxy vol 2 (2017)

It seems like big fans of the first Guardians film felt this was a disappointment, but I think it’s only a small step down. I’m not sure whether they could have come up with a truly satisfying reveal for Quill’s father, and this was a pretty good try. It’s his relationship with Yondu which works best, though. Nebula and Gamora’s reconciliation works pretty well too.

Spider-Man: Homecoming (2017)

I’m probably in the minority here, but I did not like this film. I thought Tom Holland was fine as Peter Parker and great as Spider-Man, and the fight scenes were excellent. But the high school scenes were painfully awkward, Tony Stark’s patronizing lack of trust in Peter is another big strike against his character, and Peter’s desperate attempts to make a difference early in the film are both cringeworthy and feel very out-of-character for him. Spider-Man’s character works best as a young man who’s responsible beyond his years, and while they’re trying to make him a more fallible hero, I don’t think they thread that needle. I haven’t seen most of the earlier Spider-Man films, but I’d take the first Tobey Maguire one over this one.

Thor: Ragnarok (2017)

Another film that some people adore and which I think is just okay. I appreciated the opening sequence where we see how far Thor has come since his first film, yet we see later that he’s learned some of the wrong lessons, that he’s still a little too full of himself even though he’s much more wise and capable than he once was. The scenes on Sakaar are fairly entertaining, but most of the stuff on Asgard is dull, and the final battle feels pretty disappointing, like there wasn’t really a victory there, yet not much processing of what was lost either. I guess Chris Hemsworth has been enjoying the comic side of his later MCU movies, but I think it’s consistently some of the weakest stuff in them. Kudos to the writers and director for trying some off-the-wall stuff, but it was pretty hit-or-miss overall.

Black Panther (2018)

I don’t think it’s possible for me to like this film as much as some people do, but I do think it’s a good film. The acting is great across-the-board (honestly Martin Freeman is probably the weak link here and he’s still fine), and it represents a new step forward in staging complex battle scenes. That said, T’challa’s character arc straight out of Rocky is a little meh, and the big fight at the end feels a bit too manufactured. I preferred the first half where it was a sort of superhero James Bond film.

Avengers: Infinity War (2018)

A two-and-a-half hour set-up for Endgame, I didn’t see this in the theater and once I saw it I didn’t feel like I missed much. It really has only two great scenes – when Cap and company show up to rescue Vision and the Scarlet Witch, and when Thor arrives to fight Thanos. The film otherwise was just overstuffed with characters, none of whom displayed any real character. The directors have said that Thanos is the film’s protagonist, which explains a lot about why it doesn’t work: His motivations make no sense, he doesn’t grow or change as a character, he’s utterly unsympathetic and is in a way the ultimate generic villain. Not quite as big a flub as Galactus in Fantastic Four: Rise of the Silver Surfer, but up there. The film sort of tried to pay off the tragedy of the Avengers being broken up and unable to work together after Civil War, but it’s a subtheme at best. The best part of the film is Mark Ruffalo as Bruce Banner, who fills the “everyman” role in the story, just kind of amazed at everything going on around him. He gets the single best line in the film, too: “You guys are so screwed!”

Ant-Man and the Wasp (2018)

Another fine caper film, maybe a little better than the original: The villain was more interesting, and the spectacle was more entertaining. The Ant-Man films are not tremendously ambitious, but I don’t think they’re meant to be. If you liked the first one, you should enjoy this one.

Captain Marvel (2019)

I wasn’t sure what to expect going into this film – which I did see on the big screen, and it was worth it – since the comic book version of Captain Marvel has a long and complex backstory which I didn’t see them translating to the MCU. Quite sensibly they kept the bare bones of her origin and jettisoned almost everything else in favor of a new story about a woman on a journey of self-discovery. The film is quite clever with some fun twists and turns and entertaining fight scenes at the end. Brie Larson plays Cap with a mood that switches between intense and ethereal, and though she’s cut from similar cloth as Captain America she comes across very differently from Chris Evans’ aw-shucks Brooklyn demeanor. I’m a little sorry we (probably) won’t get to see them appear together in a significant way.

Anyway, after thinking about it I realized that I enjoyed this film more than any in the series except the first two Captain America films, and I’m eager to see more. I rather hope the next film explores what she’s been doing in space for 25 years before returning to Earth, and why it seems none of the other space-based characters (Thanos, the Guardians) have heard of her, since she’s able to take down a star destroyer without working up a sweat. Figuring out how to challenge a character with that level of power is also going to be a good trick for her future writers.

Avengers: Endgame (2019)

Probably easier for you to just read my full review, since it was just a couple of weeks ago. But in brief it was a much more enjoyable film than Infinity War, with stronger characterization. It would have been nice if the whole third act hadn’t only been an extended fight scene, and I think the ending could have been a bit better, but as a farewell to Chris Evans and Robert Downey Jr. in their superhero roles it was enjoyable enough.

Looking Forward and Backward

What made these movies enjoyable for me is that the core characters were true to their comic book versions, and the stories effectively remixed many comic book elements to create engaging new versions. Sometimes this worked better than other times: Winter Soldier pulled together several disparate comics plots into an enjoyable whole, while Iron Man 3 didn’t really get it. But in the end when we saw the Avengers fighting Loki and his alien army, they were the characters we wanted to see. This isn’t the way superhero movies have to be done – Christopher Nolan demonstrated that in his Batman trilogy – but it was made this series work.

The question is where the series goes from here with Captain America and Iron Man being written out, and Thor probably moving into more of a supporting role (Chris Hemsworth is apparently willing to do more Thor films, but with a more comedic bent). It sure looks like Captain Marvel, Black Panther and Doctor Strange are likely to be the core characters for the next decade or so of films, which is a mix we haven’t really seen in the comics, so we’ll see whether the studio forms them into a new team (the Defenders would be the logical choice if they decide to jettison or merge the Netflix characters into the MCU). But with Disney buying Fox it sounds like the X-Men will be arriving in the MCU soon, and perhaps the Fantastic Four after that. And then there are the rumored TV series (Vision and the Scarlet Witch, Falcon & Winter Soldier) – but I have a hard time seeing them tightly integrate those with the movies, much as Agents of S.H.I.E.L.D. has largely been its own thing separate from the films.

Honestly I hope they move away from trying together all of the movies and instead focus on developing story arcs for each of the major characters, the sort of thing that Captain America was denied.

My guess is that the MCU as currently constructed will probably start to break down when the main stars of the next 5 years start to leave, and then we’ll see Marvel reboot the franchise in new films. That’s not the worst thing – either through hard or soft reboots most of these characters have been changing for new generations over the decades anyway, so a new Cap, Iron Man and Thor for a new generation would make sense.

Avengers: Endgame

Last weekend we finally saw Avengers: Endgame, which wraps up the Avengers series of movies as they’ve been set up since Iron Man back in 2008, and is basically the second half of the movie started in last year’s Infinity War.

Before I get to the spoilers I’ll say this: Infinity War was basically 2-1/2 hours of set-up, was way overstuffed with too many characters, and Thanos was a pretty limp villain, not strong enough to carry the movie, and with basically unbelievable motivations. Endgame benefits from a much smaller cast (for most of the movie) and more room to breathe, but at 3 hours long also contains a lot of material that could have just been cut, or replaced with better material. Still, it’s a fairly satisfying wrap-up to the story, and has a number of great scenes (which were sorely lacking in Infinity War).

Now, on to the spoilers:

Outer Darkness

Many years ago when I was still into role-playing games, and in particular into Call of Cthulhu, I came across a magazine (remember those?) with a short adventure investigating a spaceship which crashed on a planetoid and – of course – eldritch horrors were involved. Someone had even created an image for the adventure involving an old Space: 1999 Eagle – an inspired choice since that show had great visual design and was at its (modest) best working the horror genre. I wondered at the time while no one had really mined the potential of Lovecraft and space opera. Of course, lots of people have combined horror and science fiction; even before I saw that magazine we’d already had Alien and George R. R. Martin’s novella “Nightflyers” (which has itself been adapted as a film and a recent TV series on SyFy), and they’re hardly the only examples. But I hadn’t seen instances combining specifically Lovecraft horror with SF.

I’m sure there have been plenty of instances by now of that combination – Lovecraftian fiction is bigger than ever and there has been a lot of it written in the last 35 years – but now we have something resembling it in comic book form: Outer Darkness, by John Layman and Afu Chan. It’s working a more overt form of horror (with large doses of terror), but it is, if you will, a second cousin to that role-playing adventure I came across decades ago. And it’s one of the comics I most look forward to each month.

The comic is on a slow burn to reveal its story, but the basic idea is this: Humanity has reached the stars, and there are horrible nightmarish things out there. Joshua Rigg is a former ship captain in a dead-end career when he’s asked by a fleet admiral to take command of his old ship, the Charon, to head into the outer darkness to retrieve – something. The ship now had a god engine, a ravenous being to which sentient lives have to be sacrificed to make the ship go. This is no Star Trek crew: The officers include an oracle, an exorcist, a mathematician, a mortician (!), and various others of various species. And apparently there’s a war on.

In the second issue, Rigg puts his crew through a brutal exercise to see what they’re capable of. And in the third we meet a couple of junior crew who come to a bad end – or so it seems. But this seems like the kind of universe where if something doesn’t get you in one issue, something else might in the next. The stage is still being set three issues in – we barely know anything about the characters’ pasts, or what’s going on in the universe, or what the Charon is heading out to retrieve. But it’s engaging stuff so far.

I was not a big fan of Layman’s previous long-form comic, Chew – I burned out on the shtick after about 30 issues – but Outer Darkness has a very different tone and is a solid read so far. It’s also got some fine and distinctive artwork by Afu Chan, whom I thought I hadn’t seen before, but it turns out I did buy HaloGen, though I don’t really remember it.

Honestly besides the space opera/horror mash-up, the slow burn resemblance to Babylon 5 is also a draw for me. If Layman wants to make this fan really happy, this series will have the sorts of revelations and changes in direction that were the keynote of that series, so that by the end we’ll be looking back impressed by how the story got from these simple beginnings to wherever it ends up. Here’s hoping!

Webcomics I Read (2014 Edition)

Every year I think, “I didn’t really start reading a lot of webcomics this year”, and every year I’m surprised by how many I did start reading. This year is no exception, and includes one of the comics I’ve had the most fun catching up on from the beginning (The Bright Side), and one which I most look forward to reading new installments every day (Demon), and a whole bunch of others besides. I also recommend Alice Grove, The Specialists, and Sufficiently Remarkable.

As usual I’m just going to write a short piece for each one, and encourage you to check out the strips themselves if they sound interesting.

Entries for past years can be found here: 2009, 2010, 2011, 2012, 2013.

Alice and the Nightmare, by Michelle Krivanek: Alice in Wonderland-inspired fantasy about a woman named Alice living in a stratified society and not being comfortable with the callous attitude her peers display towards lower class citizens. Only one or two chapters have been published before it went on hiatus in August, and it’s not yet clear to me what the “nightmare” is. Might appeal to fans of Ava’s Demon or Blindsprings.
Alice Grove, by Jeph Jacques: Known for Questionable Content, one of the most popular webcomics around, Jeph Jacques launched Alice Grove this fall. It’s a long-form science fiction piece in which an alien falls to Earth in, well, a grove tended by a woman named Alice. Alice seems to be the protector of a local town, and recently took down a visitor sporting some serious nanotech. That’s all the know so far. The strip pushes Jacques’ art skills farther than QC generally does (which I bet is part of the reason he started it) and they’re taking a little while to catch up. On the bright side it features some of his whimsical humor. Overall I’m looking forward to seeing where it goes next year.
Bird Boy, by Annie Szabla: Fantasy story about a 10-year-old boy who strays from his tribe and gets caught up in the goings-on of powerful beings who do not have the best interest of humans at heart. The story follows our hero on his mostly-solitary adventures which sometimes threaten to overwhelm him not just physically but emotionally. Szabla knocks the art out of the park, though the story is not bowling me over so far. I’m still in wait-and-see mode with this one.
Boulet: Boulet is a french cartoonist, and he publishes here strips of greatly varying length. I discovered him because his strip “Kingdoms Lost” got spotlighted, and it’s a terrific story of a warrior and princess who get ousted from their universe and have different outlooks on going back. More cynically there’s “Jurassic Park: Realistic Version”. A new Boulet page usually requires a little time commitment to read, and not every strip grabs me, but it’s good stuff overall.
The Bright Side, by Amber Francis: I devoured the extensive archives of this strip in less than a week – it’s really, really good. Emily is a girl who saw the personification of Death when her mother died when she was young. She met him again as a high schooler, and they became friends. He’s immortal and can travel through time (he kinda has to in order to do his job of reaping everyone who dies), but he’s a nice guy despite his unique vantage point, even a bit naive since he hasn’t had the human life experience himself. The strip is mostly about them discussing the nature of life and existence, which might sound tedious but once the strip found its legs it actually stays quite interesting. Also thoughtful, touching, and funny.
Time is slowly passing in the strip (maybe a year or two since it started?), so there is gradual progress. For example, Em recently learned the truth about her father, and has gone to visit him and his family. I don’t know whether Francis has an ultimate direction or goal for the strip (there have been a few hints that she does, but they’re ambiguous enough that it needn’t play out that way). I kind of hope she does, but it doesn’t need to come any time soon.

The art starts out rough and gradually tightens up, though the style stays sketchy. It’s very expressive, though, which is necessary since there are a lot of subtle things that happen along the way, so the range of facial expressions is invaluable.

Highly recommended. Honestly given its extensive archive I can’t believe I haven’t heard of it before this year.
Cardboard Crack, by Magic Addict: Gag-a-day strips for people who play Magic: The Gathering, and probably of limited interest to anyone else. The art is very simplistic, somewhere south of xkcd quality, but the artist clearly understands Magic gamers and their foibles.
Demon, by Jason Shiga: Shiga is an independent comics artist who’s been around a while, but I discovered him through this strip (and then promptly bought most of his catalog at APE this fall). The protagonist, Jimmy, attempts suicide in a strip motel in the first chapter – and wakes up back in the same room. He repeats this several times before he learns what’s going on – and then things get really weird. The reveal at the end of the first chapter is awesome, and the story has had several twists and turns since then, and continues to get more involved and tense. Shiga also brings his trademark cool, analytical approach to explaining how things work in the story. Shiga’s art has a distinct, recognizable style, although his geometric-shape figures sometimes feel a little stiff, but they never really get in the way of telling the story. Demon pages go up 5 days a week and they’re usually one of my first reads each day.
Dicebox, by Jenn Manley Lee: A high-profile science fiction webcomic following the exploits of Molly and Griffen, friends and lovers travelling around known space and working various odd jobs. It’s strongly character-driven, mainly around Griffen’s idiosyncrasies and complicated back story. The art is complex and gorgeous, but I often feel like the story is not really for me: It feels like it’s a lot of running around and talking, but that the story is largely in the background and is progressing very slowly. I also feel that, despite all the talking, the characters are not very strong – Griffen is really the only one who seems distinct. There are some dryly entertaining moments, but it’s not one of my favorites.
Dorkly, by Andrew Bridgman and others: Geek humor, broadly told and hilariously illustrated. Dorkly is a geek clickbait site, but the comics are amusing.
Fowl Language Comics, by Brian Gordon: One- and two-panel observations of the world, full of sarcasm and smartassery. Be sure to read the bonus panel for each strip.
The Fox Sister, by Christina & Jayd AÃ¯t-Kaci: A modern urban fantasy story taking place in South Korea (well, actually it takes place in the 1960s, but that’s “modern” by fantasy standards). Yun Hee is a young woman whose older sister died years earlier. Alex, a visiting American, gets interested in her, and gets caught in a struggle involving an evil spirit and possession. Things moved right along for a while, but updates have been infrequent lately, making it harder to follow. It’s worth reading through the archives, though.
Happle Tea, by Scott Maynard: Gag-a-day strip focusing on making fun of (mainly) religion, though also pop culture and the supernatural. Oddly most of the jokes involve defunct religions (e.g., Greek or Norse mythology), which I think is less satisfying than skewering contemporary religion. It doesn’t really have an ongoing narrative so you can jump in anywhere. Good art, though the jokes are usually verbal rather than visual.
LeveL, by Nate Swinehart: This one baffles me a bit. Science fiction in a multi-sectored metropolis, in which a young man named Cael was involved in some sort of disaster, and lives under house arrest for three years thereafter. We also see what happens when a sector gets closed down. But it feels like this is all the very early stages of a much longer story, and it’s not at all clear where it’s going.
Lovecraft is Missing, by Larry Latham: A long-form horror strip which has been running for several years: In the 1920s, the writer H.P. Lovecraft disappears, and some friends and acquaintances investigate what happened, naturally finding that many things he wrote about are real. The story plods at times (much like Lovecraft’s own work), but it’s pretty good. The real downside is that writer/artist Latham was diagnosed with cancer, had to stop drawing, hired a new artist – and then passed away this fall. So it’s not clear whether the strip will get finished.
M.F.K., by Nilah: Abbie, a teen girl carrying her mother’s ashes, ends up in a desert village. She also reveals herself to be a telekinetic – unregistered – when a band other other such folks wanders in to terrorize the town. There’s some good stuff here – the art, for instance, and the showdown between Abbie and the others – though the story is on the slow side. No, I haven’t yet figured out what “M.F.K.” stands for.
Monster Soup, by Julie Devin: I can’t really summarize it better than the artist does on the site: “A zombie, witch, ghost, werewolf, and a vampire are sentenced to live in a castle. Unbeknownst to them, they all share the same incompetent lawyer and judge who seemed intent on sending them to the same castle.” The five convicts don’t always get along very well, and the castle has secrets which are dangerous even to them. Art is decent, seems influenced by a mix of manga and video games, neither of which has any special appeal to me. It’s been on hiatus since September.
Next Town Over, by Erin Mehlos: A fantasy western in which shadowy bounty hunter, Vane Black, chases an unscrupulous rogue, John Henry Hunter, through a variety of small towns, the pair wreaking havoc along the way. Neither of the characters is particularly admirable or relatable, and the stories are little more than a series of set-pieces or mayhem and escapades. The art is very good, but after 7 chapters it feels like there’s not really a lot to bite into here.
Opportunities, by ML Snook & Katie DeGelder: This is a comic I feel I should like a lot more than I do, inasmuch as it’s pretty serious SF stuff involving aliens and humans interacting in the present day in a single spaceport, where a murder occurs. The art is not very sophisticated, but it’s good enough, especially in rendering the backdrop of the grand hotel where events take place. But the cast is sizable, not especially developed, and the story seems to mainly just be characters running around with few notable developments. So I’ve found it hard to get invested in what’s going on, though of course it’s always possible that I haven’t paid close enough attention.
Scandinavia and the World, by Humon: Humorous strip featuring personifications of various nations (the Scandinavian ones, of course, and some others) and the way they view each others’ peculiarities. The art is on the adorable side, which is a funny contrast to some of the subject matter.
Sfeer Theory, by Alex Singer & Jayd AÃ¯t-Kaci: Fantasy-adventure in a world resembling, perhaps, 18th or early 19th century Europe in which those who master Sfeer Theory can control physical objects. Valentino is a young man with an unusual mastery of these skills, but who has low social status. Also, his kingdom of Warassa is wrapping up a war with a neighbor. Lots of interesting stuff here, but seems to update irregularly. Also, it doesn’t have an RSS feed, which makes it very difficult to keep up with.
The Specialists, by Al Fukalek & Shawn Gustafson: It’s World War II and the Nazis have developed superhumans. The Americans are trying to do the same, but it’s not going very well. The Specialists are the team of superhumans they have so far, and most of the government regards them as something of a joke. The premise is similar to Kieron Gillen’s comic book Ãœber, but it’s less grim and desperate, with a little more humor. Fukalek’s art is a bit on the rough side, but it gets stronger as the story goes along. The story took a while to get going, but it’s paying off: The team is currently in the midst of their first battlefield test, which has brought several things to a head. Overall a strong strip.
Spindrift, by Elsa Kroese & Charlotte E. English: High fantasy with different species (some with wings, some with horns), class warfare, cross-species children, family responsibilities, and cultural burdens. Not exactly my sort of thing, and my interest has flagged since updates fell to once every three weeks. The art is attractive, though.
Stonebreaker, by Peter Wartman: I bought Wartman’s graphic novel Over the Wall some months ago (it’s also available online here), and Stonebreaker is billed as a sequel to it. A girl enters an ancient abandoned city searching for her brother and encounters the demons that live there. It’s still spinning up, it feels like. Nice black-and-white art, especially the details in the background.
Sufficiently Remarkable, by Maki Naro: Here’s a comic I enjoy more than I expected to: A couple of roommates, Riti and Meg, working through life in New York. Riti is a dreamer who’s constantly bogged down in the mundanity of every-day life, while Meg is a free spirit with little sense of responsibility. The writing could be tightened up a bit as sometimes the story feels a bit aimless, but some of the escapades are funny. The art reminds me a bit of that from Lilo and Stitch.
Supercakes, by Kat Layh: A series of vignettes about a pair of superhero girlfriends. Updates irregularly (last update was in August), but some fun character bits: A quiet morning, meeting family at the holidays, and a winter adventure against ice giants. Really strong artwork. Looking forward to more, when it arrives.
Trekker, by Ron Randall: Trekker was published as a series of comics back in the 80s, and a new chapter was printed recently in Dark Horse Presents. Ron Randall has all of that material available to read here, along with new chapters. Mercy St. Clair is a “Trekker”, essentially a bounty hunter working on future Earth to capture criminals the law can’t keep up with. Though she looks younger, there’s a developing thread of her being older and her body starting to break down on her, though she’s still one of the best in the business. More adventure than hard science fiction or noir, it’s a fun read for fans of that genre. Randall is also a terrific artist so the pages look great, and while Mercy is an attractive woman, there’s not a lot of cheesecake in the strip.
Unearth, by Mathew Van Dinter: Boy, I am not sure what to make of this strip. Steampunk fantasy in which – eventually – the characters will be burrowing into the Earth, I think, but so far it’s been an extensive set-up largely involving comedies of manners (especially poor manners). The artwork is very quirky, the poses having a weird mix of stiff and expressive. It seems like it has a lot of promise, but it’s taking a long time to get to it.
Utopia City, by Ron Gravelle: Aeons ago, space gods fought among themselves and eventually called a truce. Today, they empower proxies to fight their battles for them, but in Utopia City one man is working to defeat their minions and ultimately stop the gods themselves. A Kirby-esque pulp superhero yarn told in realistic black-and-white illustrations, it’s loud, hard-hitting, and not at all subtle, it frankly feels decidedly retro in the modern day. The art is good, if somewhat lacking in dynamism. The story hasn’t really grabbed me yet, as it’s light on characterization.
Witchy, by Ariel Ries: A fantasy ina kingdom of witches where the strength of your magic is determined by the length of your hair – but if it’s too long, you’re judged an enemy of the state are executed. Our heroine Nyneve had her father killed in that way when she was small, and now a teenager she hides the length of her hair to save herself from the same fate. But the day of being tested for entry into the Witch Guard is coming. The story is still in its prologue, building to its first major dramatic turning point, but it’s pretty good so far. The art is on the simple side – not many backgrounds, for instance – but it has some interesting character designs.

If there’s a common thread I notice when putting together these entries, it’s that long-form dramatic webcomics which don’t update regularly are hard to follow and hard to remember. This is compounded if the story doesn’t have memorable characters (either visually or in personality). Hell, it’s sometimes hard to remember what’s going on in Girl Genius, and it updates three times a week like clockwork. There are a lot of strips like that fighting to distinguish themselves from others, and it’s gotta be hard on the artist if they’ve been toiling away for a year or two and haven’t broken out.

Sometimes I wonder if some strips are too ambitious, so that a year or more of strips still feels like the story is in the prologue. Contrast with ongoing humor strips which often start with a small cast and build them out over time. I wonder whether dramatic strips might do better to take the same approach, especially if they update infrequently.

Still, it’s easy to say all that when you’re not doing your own strip, eh?