World Comic Book Review

25th April 2024

A tale most clearly from long ago

“Dejah Thoris” # 1 (review)
Dynamite Entertainment, December 2015
Writer: Frank J Barbiere
Review by DG Stewart, 24 February 2016

US comic book publisher Dynamite Entertainment have sensed the change in the demographics of comic book readership, and tried to refresh some of its licensed female character concepts by:

a. employing female writers, who are likely to write female characters as women rather than as objects of desire (and in turn, lending an air of respectability to the title – female writers are more likely to be identified by their full names in promotional copy so as to make it plain that a woman is writing the script); and

b. covering the bare skin and ample breasts of characters best known for titillation of a male readership. “Red Sonja” (Dynamite Comics), “Vampirilla ” (Dynamite Comics), “Wonder Woman” (DC Comics) and “Tomb Raider” (Dark Horse Comics) are titles each best known for displaying a manifest abundance of cleavage on their respective comic book covers. But in 2016 these characters feature a new modesty. DC Comics’ flagship character Wonder Woman now wears very modern-looking full body armour. Red Sonja’s small chainmail bikini top is gone and replaced by a chainmail shirt. Vampirilla’s notoriously skimpy red swimsuit is now replaced by a red Steampunk riding suit. Lara Croft, the character featured in “Tomb Raider”, now wears practical attire for exploring, instead of a low cut singlet.

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Return of the Morningstar

Lucifer #1 (2016 series) [review]
DC Comic, December 2015
Writer: Holly Black
Review by Neil Raymundo, 21 December 2015.

In April 1989, the fourth issue of Neil Gaiman’s “The Sandman” introduced the fallen angel Lucifer. Mr Gaiman initially modelled the look of Lucifer after David Bowie, and the character seemed languid and detached from reality. When the character returned in the acclaimed story “Seasons of the Mist” within the pages of “The Sandman” he was somewhat different: tired, resentful if unrepentant, the abdicating ruler of Hell.

In 2000 writer Mike Carey began the ongoing adventures of the character. This iteration of Lucifer was different again. Obviously patterned after the Miltonian version, Lucifer does not tussle with superheroes, does not have ridiculously overbearing supervillain monologues (Mr Carey deliberately shied away from internal monologue, preferring the story to be told from the perspective of various supporting characters), and – unlike other depictions of the devil in comics – did not hide his name behind vague nom de guerres in an effort to mollify religiously conservative readers.

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Mark Waid’s Irredeemable: What Makes a Man Super?

With Warner Bros. and its subsidiary business DC Comics getting ready to lay all of their cards on the table in the forthcoming movie entitled “Batman v Superman: Dawn of Justice”, Superman is once again going to be the trump card. The character has to share the space with Batman, though, and if the movie stays true to the source material, The Man of Steel is not going to be cast in the brightest of lights. But the property is still the cinematic draw, which means Superman deconstructions and pastiches are going to become, again, a popular theme in comic book writing.

Case in point is one of the most recent and effective deconstructions of the Superman mythos: Mark Waid and Boom! Studios’ Irredeemable – a 37-issue series published from April 2009 to May 2012 about a Superman analogue called the Plutonian. This character, Superman by another name, went rogue and killed a large portion of the human population, before hunting down the rest of his former teammates (who are themselves based on various DC Superheroes.)

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Batman: a Study of Homages

An homage is defined as a special honour or act of respect delivered publicly. In the genre of super hero comic books, the character which is most frequently referenced by other publishers is Batman, a character property owned by DC Comics.

Mainstream superhero comics books since around the turn of the century have seemed like the ourobouros, the snake of mythology which consumes its own tail. Sometimes this has been dubbed “post-modern”, a reference to the school of fine art that questions the form through its limitations. A detached reader with an historical overview of trends in the genre might believe that the industry has instead been engaging for the past decade in a very contemporary concept, ecological recycling: no concept of value is allowed to go to landfill, and instead is put to a new use.

Part of the allure of reinvesting in a well-established concept must be the belief that the concept taps into the zeitgeist, and will have instant appeal to a pre-primed readership. Sometimes it allows a writer to creatively indulge in a character property which is owned by someone else, and to which the writer has no permission to use. Sometimes it is sheer laziness, and sometimes it is parody. Sometimes it works, and sometimes it doesn’t.

This essay is a survey of those homages.

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