A look back at some personal experiences and memories,
October 2, 2015
By Avi Green
We resume again with the next part of this listing of old letters
from the archaic Captain Comics site (previous
entry here), and my comments on what I think of the MSM
propagandist who ran it. This next bundle comes from January 3,
<<Most literary characters aimed at young boys
take the approach that girls are "yucky." I assume it's
deliberate, don't you? -- Captain Comics>>
1) Were comics really for kids? Weren't they staple reading for
a lot of soldiers in WWII? We forget that the Flintstones were
originally for an adult audience, and that the comics in
newspapers were really for the adults who actually bought and
read the paper. Adults were big fans of pulp fiction too.
2) The "girls are yucky" point of view certainly makes
sense from a selling angle, but historically I think that the
true "super-men" of literature are drawn sexless because it is a
necessary characteristic to achieve perfection. In comic books
that would divide up the heroes into two categories, the
adventurer and the "super-man." Batman and Green Arrow would be
the best example; one is a playboy looking for adventure and is
by far the more sexually active (whereas) the other is driven
towards perfection and so has cut off the emotional and physical
needs of lesser men. Superman, while having great powers, is not
driven to perfection, which leaves room for a Lois Lane. Wonder
Woman, however, is on a mission of world peace (a version of
perfection), ergo her love life has suffered. Not a pleasant
idea when put in writing but it is a concept I feel to be very
old. Many who seek religous enlightenment, a form of
super-being, usually give up the social aspects of life.
Maybe the search for perfection of literary heroes
contributed to the "girls are yucky" phase of boyhood for boys
in the '40s but lacking the wherewithall of obtaining that
perfection the boys were forced back into a social life in the
'50s and '60s that they were no longer prepared for which led to
a lack of respect for the opposite sex and in the '60s and '70s
brought the feminist out in full force leading to high divorce
rates, unruly boomer children, and a general lack of respect for
morals and traditions. Holy Cow! Comic books created Jerry
1) Comics were most certainly written with kids in mind --
regardless of who actually bought them -- into the '60s, when Stan
Lee started writing for older teens and college kids. Eventually
the headlines (and Marvel's sales) forced DC and others to write
for older readers. It was the popular wisdom in comic-book
publishing for 25 years that the average age of the readership was
12, that most people gave up comics by age 15, and that the
readership turned over three years. (Some might consider EC an
exception, since they was more literate than other comics, but I
don't know for a fact that M.C. Gaines's bullpen was specifically
targeting older readers.)
2) Having said that, I'll backtrack and note that I'm impressed
with your "religious enlightenment" argument. While I hardly think
that abstinence makes a man better -- it actually raises questions
about what strangeness is going on his head, since he's able to
handily dismiss the second strongest urge in the human psyche --
it's obviously quite true that abstinence is a theme running
throughout religious thought as a way to rise above "the world of
flesh" to divinity.
On the other hand, I still think the "girls-are-yucky" argument
has a lot to recommend it, too! Here's some more:
Personally, I’m wondering where the modern
“girls-are-yucky” mentality came from, and of course, I’m alluding
to Mister Smith’s embrace of Identity Crisis, in complete ignorance
of the nasty attitude it took towards women. And who is he to argue
about the lack of respect for morales/traditions? Man, that’s pretty
rich coming from a leftist who won’t even admit a lot of the
feminist and homosexual propaganda emerging at the time was a
product of left-liberal thinkers. Now, let’s turn to the other
letter he speaks of with a similar topic:
1) [name withheld] had a very interesting letter this week
about Captain America and Diamondback, and the sexuality (or
lack thereof) of superheroes. I remember Diamondback very fondly
-- Rachel Leighton was her name, and she was remarkably
realistic considering that she was a
villain-turned-love-interest in a comic that was never
particularly true to life. The writer (whoever it was -- don't
recall) spent a lot of time getting into her head, examining her
indecision about switching from villain to hero, from bad girl
to trying-to-be-good girl.
Actually, if you'll recall, Diamondback had been a member
of the Serpent Society, who attempted to kill her when she
"betrayed" them by dating Cap. And that whole team seemed to be
hot for each other -- there was this constant indication that
villains in the Society were dating each other (I remember a
panel of Cap swooping in on a pair of them making out --
clever). It was a well-appreciated concession to reality -- that
if there were supervillains, they'd still be looking for love,
and if they worked in groups, they'd find it with each other.
(Notice how you never saw the Legion of Doom getting it on on
the Super Friends cartoon.)
The concept of heroes like Captain America being sexless
is a really old one, the American hero archetype of the stoic
male who ventures into the savage wilderness, too preoccupied
with manly pursuits to indulge in the pleasures of the fairer
sex. His surrogate wife is often the loyal, savage guide -- the
Queequeg, the Tonto -- who really fulfills every wifely duty
apart from sex (and maybe that too in some cases). But it really
stems from the juvenile fantasy, the boyhood assumption, as you
put it, that girls are "yucky." This is why anyone who says that
Batman and Robin is some homosexual fantasy is talking nonsense
-- it's not a gay fantasy, it's a juvenile fantasy (although it
IS a gay fantasy if you want it to be, according to reception
theory, but that's a whole other story). When Frederic Wertham
claimed that Batman and Robin were "obviously" having sex with
each other, Jules Feiffer responded that B&R were no queerer
than the people who read them -- little boys who had no use for
girls amd expressed themselves through physical violence. This
is why to give Captain America (or Batman or Superman or
whoever) an actual sex life (not just giving Lois Lane a kiss on
the cheek) is to impart a level of realism that was almost
entirely absent from superhero comics before 10 or so years ago.
I'll stop now.
Well, you don't have to sell ME on the "girls-are-yucky" theory!
Thanks for your comments, […]. Oh, and the writer on Captain
America who introduced Diamondback was the late Mark Gruenwald,
who had a five-year run on the title.
But he is sold on “girls-are-yucky” as a
mindset; hence, his support for books like IC, and some of his
double-talk on the subject of discrimination. What a crock. Mr.
Smith, alas, is a juvenile stuck in an adult body.
Dear Cap'n: This is probably my favorite thing that
ever happened in a comic book. In Thor #400 Thor and a bunch of
gods are fighting some kind of false Ragnarok, complete with
Midgard Serpent while, meanwhile, The Black Knight is suffering
from some hereditary disease that's making him turn into the
same matierial as his ebon blade, which can cut through
anything, ya know. Just when things look really grim (and The
Black Knight is really hard) Hogun the Grim has a stroke of
genius and hurls The Black Knight through the Midgard Serpent,
That's what I call thinking on your feet. I laughed so
hard I nearly choked to death, and from then on no matter what
lame story Tom Defalco told, he still had that going for him in
So, does The Captain or anybody else out there have an
interesting superhero-type conflict resolution to share?
Hmmm. Well, there is the legendary scene in Justice League of
America #9 (Feb 62) that told the League's origin the first time,
in which Superman rubs a diamond creature "the wrong way" and
turns him into coal. And there was the Deadman parody in National
Lampoon (drawn by Neal Adams!), in which Deadman -- who's an
actual corpse -- is thrown off a roof onto some bank robbers. I'm
sure there are plenty more, and the floor is open for readers'
Oh, that’s pretty rich coming from a
correspondent who’s a J. Jonah Jameson wannabe. For somebody who
talks about foot-thinking, he didn’t think much himself about
honesty in journalism. Oh, and is he insulting DeFalco? Shame.
DeFalco did have flaws, but he was still very talented writing Thor.
Dear Cap: These days, everyone seems to be raving
about The Authority. I don't want to go and slam the book,
because I do enjoy it, but I feel like I have to present my
feelings on the situation.
I just don't think that Mark Millar is a good writer. He
has really good ideas, and puts in a lot of funny one-liners,
but that's about it. When I think back on his Authority issues,
all I can remember are the jokes and outrageous scenes. For
example, in issue 14, the faux-Hulk says "Comics are for
retards." The line made me laugh, but now it seems out of place.
And in issue 13, Hawksmoor made a pretty horrible comment about
Princess Diana, and while I have no love whatsoever for the
royal family, this comment seemed like sensationalistic crap.
Millar reminds me of (fellow Scot and frequent
collaborator) Grant Morrison; all ideas, no story. I liked
Morrison's JLA run, but after one issue of Mark Waid, I forgot
all about the first 40-some issues. I just feel that people like
Waid, Kurt Busiek, Chuck Dixon and Peter David are better at
telling stories without resorting to cheap tricks.
On a completely unrelated topic, I recieved Reinventing
Comics for Christmas, and just finished reading it. Scott
McCloud is incredible. In his first book, he forever changed the
way I think about comics, art and life. Not an easy task, and
then he goes and does it again. Pretty impressive.
I've gone on record before as saying that I think Morrison has
conspicuous trouble plotting; his work seems, as you say, all
gristle and no meat. But what great gristle! I think of Millar's
work much the same way, and don't mind it either -- comics need
all kinds of writers.
On the other hand, I strongly prefer capital-W writers like Waid,
Busek, Dixon, David, Greg Rucka and John Ostrander to the circus
tricks our Scottish friends are showing us.
Alas, not all the above writers are much
good anymore, either due to their politics, or even their knee-jerk
willingness to go along with the worst steps taken by the Big Two,
as Waid and Rucka have recently proven. Still, I’ll give some credit
to the guy for liking Waid’s work at the time better than
Morrison’s. After all, Morrison was fine with Emerald Twilight, as
he’d hinted in his work on JLA!
Funny as always how Mr. Smith thinks Morrison’s got difficulty
plotting in JLA and such, but later abandoned that stance when New
X-Men came around the bend. I think Smith’s got conspicuous trouble
keeping a consistent opinion!
Hey Cap: I've heard both 1968 and 1970 proposed as
the end of the Silver Age. Heck, I've even heard 1971, 1975 and
1986. And I've thought about it quite a bit, but before I tell
you my own opinions, let me recommend the Web site of Cheeks the
Toy Wonder who wrote a pretty good thesis on the subject
himself. (Captain's Note: I've been unable to access the
Cheeks site since Dec. 8. Anybody know what's up?)
All right, here we go. Unlike that of the Golden Age, the end
of the Silver Age will never be precise. The Golden Age is
marked by the end of superhero comic books (with the exceptions
of Superman, Batman, Wonder Woman, Aquaman and Green Arrow).
But the comic books that kicked off the Silver Age didn't
end. DC canceled the last of their "Silver Age" titles in 1986
but almost all of them (like Justice League and Flash) were
immediately re-launched. Marvel hung on to most of their Silver
Age titles until 1996, but immediately relaunched almost all of
them with No. 1s as well. Almost all of the titles that DC and
Marvel still publish have a clear tie back to the Silver Age.
So, the Silver Age never had a clear ending like the Golden Age.
Yet, we know the Silver Age ended. We can compare today's
titles to those of the 1960s and we know they're not the same.
So when did the Silver Age end? Let me start with the latest
possible date. In 1986, DC rewrote their history from scratch,
effectively undoing most of the Silver Age stories. At the same
time, they canceled such Silver Age stalwarts as the Justice
League of America and The Flash (which is usually credited with
launching the Silver Age in the first place).
So, the Silver Age is definitely over by 1986. However,
many of the changes in comic-book characterization and
story-telling preceded the DC overhaul. In fact, some of those
changes are the reasons behind DC's decision to overhaul its
continuity in the first place. Secondly, 30 years (from
1956-1986) seems like a long time for one "age." The Golden Age
was at most 15 years (1938-1953 as the outside dates). If we use
that to establish precedent, a 30-year Silver Age seems
So, we go back further. I've heard people propose 1970
because that's when Neal Adams and Denny O'Neil introduced
social relevance in Green Lantern/Green Arrow, 1971 because
that's when Bernie Wrightson and Len Wein introduced the Swamp
Thing into the pages of House of Mystery, and 1975 because Dave
Cockrum and that Len Wein fellow again introduced the world to
an All-New All-Different set of X-Men.
I would have to disagree with any of those reasons. Each
of those points to the start of something new and not the end of
something old. It's a new way of writing stories, a new kind of
character, a new breed of hero. But it's not the end of
something. By now, most comics historians or journalists are
willing to recognize that comics had a Bronze Age. Any of these
would serve as a wonderful herald to a new Bronze Age, but the
Silver Age had to die before the Bronze Age could be born. So
when did it die?
I think it's important at this point to note that there is
a difference between the fatal blow and the time of death. If we
use the Golden Age as our measuring stick, we can see that 1945
was the fatal blow. World War II ended and so did the disposable
income of a million GIs and the fascination with heroes of 10
million kids. But the Golden Age didn't end in 1945. Starman,
Angel and Sandman make it to 1946, while the first tier heroes
like Atom, Flash, Hawkman and Green Lantern keep going until
1949. MLJ (Archie) didn't give up on superheroes until 1948. All
Star Comics kept chugging along with Justice Society stories
until 1951. The Green Hornet and Captain Marvel stayed alive
until 1952 and 1953. The fatal blow (the end of World War II)
and the actual end (usually the cancellation of Captain Marvel
and the closing down of Fawcett) are separated by a number of
There's a real end to the Golden Age. In the end, there's
only one company still standing in the superhero field. That's
DC. But even they cut back on their number of heroes and titles
and started to concentrate on other genres.
Though, the finale isn't as climactic or resounding, I
think that the Silver Age ends similarly. At the end of the
Silver Age, there are only two companies still standing in the
superhero field. Marvel and DC. But even they had to cut back on
their number of heroes and titles and started to concentrate on
I think the fatal blows are first struck in 1968, and
that's why so many people point to it in this debate. Actually,
the Silver Age first started bleeding in 1967 when Harvey,
Archie and Dell all abandoned their superhero lines but both
Gold Key and Charlton were confident enough in the field that
they each launched a new character that year (The Owl and the
But in 1968, four major events changed comic books and
superheroes. First, as [name/location withheld] noted, DC fired
almost all of its writers in a dispute over health insurance and
other benefits resulting in a dramatic decrease in the quality
of the DC line. Second, Marvel was able to renegotiate their
distribution deal. With a new deal in place, Marvel launched
nearly a dozen new titles, effectively flooding the market while
at the same time decreasing the quality of the Marvel line.
Third, the Batman TV show was canceled, signalling the end of a
nation-wide superhero fad. Fourth, in the wake of the Marvel
explosion and due to internal problems, Charlton ceased
publishing superhero books.
So, 1968 is the fatal blow. But comic books limped along.
1969 signalled the end of both Tower and Gold Key. At the same
time, DC dumped Spectre, Atom and Hawkman. Marvel canceled some
titles of their own, starting with Dr. Strange and Captain
Marvel and then Uncanny X-Men and Silver Surfer in 1970.
Finally, in 1970, the only two publishers of superhero
comics were each hit with bad news. At DC, Mort Weisinger
retired, causing an editorial shake-up not seen since 1953. And
at Marvel, King Kirby walked out.
As I noted earlier, the end of the Silver Age does look a
lot like the end of the Golden Age. The corpses of former
companies and titles riddle the landscape. The remaining
publishers are rushing into new genres like horror and sword
& sorcery. And formerly stalwart titles are being given the
The Silver Age was too big to be killed by any one event.
Marvel certainly wasn't affected by DC laying off most of their
writers. DC certainly wasn't hurt by Jack Kirby's departure from
the House of Ideas he had built. But all of those events
together herald a true end. 1968 was the start of the decline,
the fatal blow as it were, but not the end itself. 1970, is in
my opinion, the end of the Silver Age.
Having 1970 be the end of the Silver Age has several other
distinct advantages. First, the Silver Age (1956-1970) is now
roughly the same length as the Golden Age (1938-1953) and the
Bronze (1970-1986) which makes for a rather nice fit. Secondly,
we tend to think in terms of decades as it is. So, calling 1970
the end is more natural, especially if talking to somebody who
thinks that the Silver Age has something to do with retirement
and not comic books. Third, it fits all companies and not just
DC (after all, how could T.H.U.N.D.E.R. Agents not be an
entirely Silver Age title?). Fourth, it's easier to reference.
If the firing of the DC writers is the end, then one has to know
the names of the writers involved and look at the credit box to
know if this is Silver Age or post-Silver Age. If it's 1970, one
can simply reference the date of publication instead of the
creative teams involved.
I guess, there's one more thing. If 1968 is the end, then
Iron Man, Sub-Mariner, Nick Fury, Agent of S.H.I.E.L.D., Captain
Marvel and Silver Surfer were all launched after the Silver Age
and that just doesn't seem right. Most of the titles in 1969
still feel more like the Silver Age than the Bronze and I guess
that plays a part.
Well, that's my long-winded argument for 1970 instead of
1968. I guess it all boils down to the fact that the Silver Age
might be done in 1968 but it's definitely over by 1970.
Sounds good to me, [withheld] -- my long-time guesstimate that the
Silver Age ended in 1970 was largely based on the fact that both
of the remaining Big Two had that shakeup you mentioned, not just
the one (as in 1968). There's also the fact that Stan Lee just
about left the writing field in 1970, leaving Marvel's flagship
Fantastic Four without either of its creators for the first time
-- clearly the end of an era. But you went much farther in your
analysis, and made some pretty persuasive points. (I especially
was impressed by the notation that Dr. Strange, Nick Fury, Silver
Surfer, et al -- inarguably Silver Age titles all -- weren't
launched until 1968.)
Sigh. Lee did not leave the writing field
all at once. He wrote Spider-Man and Thor up to 1972 before
relinquishing the reins to other writers like Gerry Conway and Roy
Thomas. And even then, he kept writing sporadically; that’s why the
She-Hulk came into existence!
The correspondent’s no longer correct that Marvel and DC’s books
have ties back to the Silver Age, because modern political
correctness mastered by Quesada and DiDio saw to it they’d be
unrecognizable. Come to think of it, even in the mid-90s, they were
straying pretty far from what was established in the Silver Age, as
TPTB no longer cared for consistency and coherency. So what’s the
guy’s point? Even back then, I don’t think he had one. Besides, the
Silver Age did end at a certain point, which would be 1968-69 –
that’s when they began taking on more serious issues than they did
earlier, as seen when the Spider-Man issue about drug abuse debuted.
Just wanted to say you got it totally wrong when you
described the Blink situation in the latest "Next Week's Comics"
section. ... The Blink (limited series) will simply take place
sometime in the Age of Apocalypse reality before it was
destroyed at the end of that event. Then Blink will somehow get
to 616 reality.
I was being facetious when I wrote that blurb about the Blink
miniseries, in which I said some rude things but didn't explain my
thinking fully. So here is that thinking:
Blink is a character who has died twice, and the one we're going
to see in the limited series isn't from our Earth, Level 616,
where she's dead. And where she comes from -- the "Age of
Apocalypse" world -- she's also dead. So what we'll see is the
character from her past, with the possibility of her outliving
both of her deaths, creating a third timeline. If she does indeed
stay here -- and Marvel says she'll get her own series if sales
warrant -- that means we'll have yet another X-character, like
Nate Grey and Rachel Summers, that is inordinately confusing to
anybody who hasn't immersed themselves in X-history since 1994.
I assume from your letter that you're a big Blink fan, as there
are apparently a lot of them. I applaud your enthusiasm, and I
hope the Blink Limited Series is everything you want it to be. But
my immediate take on the character is that she flies in the face
of what publisher Bill Jemas and EIC Joe Quesada have stated as
the goal by which Marvel is to survive: Making their comics
accessible to new readers. Blink has a hopelessly snarled
backstory, and cannot be explained easily to new readers.
Further, I personally have a growing concern for the relative ease
by which death is circumvented in comics -- the "death of Gwen
Stacy" story lost much of its power when Norman Osborn returned,
and the "The Phoenix Saga" became a story without a climax when
Jean Grey returned. Having a character like Blink walking around
after her powerful and dramatic death(s) renders ALL stories
ultimately meaningless, since death is not an immutable tragedy.
Death becomes, as Nick Fury's funeral was in Incredible Hulk #434
(Oct 95), a joke.
That's just my opinion, of course. And in the interests of
fairness, let me add your polite and well-written response:
Before we get to that, he sure wrote quite
a head-shaker in his beginning paragraph – he was being pretty rude
to the intellect when he fawned over Identity Crisis and never
explained his thinking on that subject at all. That’s even worse
than being facetious, it’s pure hypocrisy! Ditto his argument about
making the MCU accessible, when I’m sure he knows it hasn’t been
that way for a long, long time. Now for the other letter by the same
Dear Cap: Thanks for responding. You raise excellent
points about there being way too many alternate realities; I'm
glad to hear from Mark Millar that Ultimate X-Men will stay away
from anything of the sort.
However, the four months of "Age of Apocalypse" was for me
a bright spot. Check out Warren Ellis's X-Calibre four-parter
for a chilling take on Nightcrawler and Mystique. The whole
world just seemed very well-thought out and well-crafted by the
team that created it.
Unfortunately they decided to bring characters like Nate
Grey back into 616 reality, who have no real reason for being.
Now, I am a Blink fan, simply from reading the Astonishing X-Men
part of AoA. Those were some excellent issues.
You raise good concerns about Blink's accessibility, but
actually she is the best one to bring over because she does not
have a counterpart any more in the regular reality. The 616
Blink was briefly seen in the "Phalanx Covenant" storyline a few
months before "Legion Quest," as one of the new generation that
would become Gen X. But she died very quickly, with no backstory
really set up. Even in AoA, she has a very mysterious past that
has never been explored. So she really is quite accessible.
Here's all they have to say: "Blink is a teleporting mutant from
a dark alternate reality where mutants ruled viciously over
humans. Now she uses her powers to blah blah blah."
See? Much better than Nate, where you have to say "he's
the genetically engineered son of Jean Grey and Cyclops, except
not ours, the evil weird ones from another dimension, blah blah
blah." She is a virtually unknown character that has no real
ties to anyone not in her reality, so she could be very
accessible. You wouldn't need to know much about her reality.
Also, it sounds like her ongoing series will be a Sliders-type
of deal with her and a team lost in realities. This could, of
course, be a disaster, but remember the Cross-Time Caper in
Excalibur in the '80s? That was a lot of fun because they only
stayed in a reality for one or two issues, before the concept
got old. Mutant X is a failure because it just beats a dead
Anyway, now I'm rambling, but I honestly think she has
good potential for a series. As far as her death, I totally
agree with you that death should be more permanent, but it
really depends on how they do it, and with Blink's powers, it
wouldn't be very hard.
Now that the first issue of Blink is out, […], I'll be interested
to hear your take on it. Oh, and I'm with you 100 percent on
Mutant X. It defines the concept of beating a dead horse.
Man, isn’t that rich from somebody whose
commentaries define the concept of dumbing down journalism, to say
nothing of the internet! But hey, stay classy, I say, and keep
showing people how dishonest he can be in his particular field. Now,
here’s another letter by me:
Dear Andrew “Captain Comics” Smith,
I was very surprised to discover that [name withheld]
considers Psylocke’s name to be silly, seeing that it appeared
via his suggestion in the Silly Super-Names section. What’s so
silly about Betsy Braddock’s code name? And how is it that Mike
couldn’t understand that her name simply means a “psychological
mind lock” and stuff like that?
And what’s so wrong with all the bizarre physical changes
that she went through in the past two decades? I actually find
it very inventive that they should transform her from a British
into a Chinese ninja with a lot of courage. There’s nothing
wrong with making such bizarre alterations, since such things
can be very clever and inventive, and were. And I find her code
name to be far more sexy than silly. And hey: She still is, and
be, Captain Britain’s baby sister. And I was really hurt
when I saw that he thought that she should be killed off by the
writers, God forbid! She is one of my favorite X-girls, and I
would never want her to go the way of the Gwen Stacy Syndrome.
No way, she reminds me of the Etzel fighter Geula Cohen, a woman
who fought the British occupation of this country without fear,
and who could stand up for what she believed in. She almost was
done in by Sabretooth four years ago, but she managed to escape
the jaws of death. I would never want characters like her to be
If you need a silly super name that can replace that
however, then I got a name or two: Douglock. The Phalanx’s name
from Excalibur is a very ridiculous one. What’s it supposed to
mean exactly? A lock on Doug, or something like that? It just
sounds so meaningless. You can replace Psylocke’s name on the
Silly Super Names section with that, there’s a good one.
And then, did you happen to see a miniseries earlier this
year from DC that I think was called (The Supermen of America)?
You won’t believe the name I spotted in there: a character
called LOSER! That’s right, as I can recall, he was called
Loser. Anyone who gives a character a name like that is
completely off their rocker. Another name, and a very good one,
for the section.
And then, I’ve got a very good one for the Silly
Super-Togs section who can rank proudly alongside Gambit as
having the most ridiculous form of dress you’ve ever seen, a
character who’s really bent out of shape: Jubilee, who’s
combination of a trenchcoat and shorts from the past two decades
makes her look like a teenaged prostitute! In fact, it looked
even more ridiculous on the cartoon show from 1992-98. To say
the least, trenchcoats and shorts just don’t go together. If it
were to look plausible, she’d have to be wearing either a
college football jacket or a pair of jeans. And another
ludicrous thing about this early form of dress that she had is
that it looks to me like a MAN’S trenchcoat! Even in France,
where raincoats are fashionable, that would have people roaring
with laughter. And even in the realms of a comic book, it’s just
too stupid for words. And why does she have to wear that pair of
yellow gloves or even that pair of red sunglasses? The
short-cropped haircut doesn’t help either. ... And if I’m right,
Jubilee comes from California, doesn’t she? Like in Dixieland,
it’s blazing hot there, isn’t it? No place for such a way of
dressing, to be sure. And, not only is it unappealing, her
manner of dressing is not what I’d call a good example for girls
And given that professor Xavier, what with all the wealth
he made over the years from all his studies, is more or less the
X-wallet, you’d think that he’d give her several hundred dollars
and send her to JC Penny’s for some more decent clothes, or even
her very own Spandex costume, but no, that never seemed to
happen, and for at least the first decade of her addition to the
X-Men, she kept wearing that ludicrous getup. And although my
familiarity with the issues from the eighties is vague by now,
did she really go ROLLER SKATING around the X-mansion in that
trenchcoat and pair of shorts? If Jubilee did, then that would
have to be a howler.
Luckily, by 1994, they seemed to have corrected some of
those mistakes, and so Jubilee started wearing jeans more often,
and growing her hair a bit longer, making her more of the pretty
teenager she should’ve been years ago. And, at times, they drew
her wearing a more fitting sports jacket. Sadly, they seemed to
have reverted to most of the earlier style she had recently,
Jubilee once again wears her trenchcoat and a short haircut. At
least they draw her with jeans this time.
So anyway, considering that she’s a character that we the
readership are meant to sympathise with, given the hellish early
years she had after losing her parents and her inheritance, and
growing up in a hostile orphanage, I’m really disappointed that
Marvel’s writers have been so cruel to her. To say the least,
the yellow trenchcoat has got to go. And she’s got to grow her
hair longer again. If there’s anything that can remain however,
it’s Jubilee’s headband, since headbands look good on girls.
Yes, they do.
In fact, even Gambit’s duster has got to go. And of course
he doesn’t have to wear a big coat in order to carry all his
card decks. A black leather or a sports jacket could be just
perfect for that.
Oh yeah, and then, another very good character for the
Togs section, a villain this time, is STILTMAN! This crook with
an extendable cybernetic suit has surely got to be one of the
most pathetically incompetent villains I’ve even seen in the
Marvel Universe in all these years. ... In short, Stiltman is a
character who’s mechanical suit is more hindering than helpful.
Yet another character who’s quite winning of a mention in the
Thanks for the Silly Super-Togs suggestions, Avi --
you're right, Jubilee's outfit is a howler.
As to Psylocke, I have to admit that I find it hard to say with a
straight face, too, as every time I "hear" it in my head I think
of Shylock, the Shakespeare character. There is such a thing, I
guess, as reading too much -- and making associations that aren't
One sloppy thing I said then was calling
Betsy Braddock the “baby” sister instead of twin sister of Brian,
aka Capt. Britain. Then again, while my intentions with this letter
were good, I don’t think much of my writing style of the time. Okay,
maybe that’s not such a big deal; it’s not like even today I’m the
most talented commentator out there. But I do my best.
But wow, how amazing that, when bringing up Gambit in this
particular letter, I didn’t succumb to the particular mentality I’d
still been foolish enough to go by at the time, even if only with a
handful of characters, Remy included. However, I don’t see why I had
to cite Stilt-Man as worthy of silly outfits listings, because he’s
a crook, and a comical one at that. It’s the heroes we expect to
have better design, more so than the villains.
Hey Cap: As I've mentioned before, I'm a huge X-Men
fan. I read X-Men comics when I was an adolescent and it was
X-Men: Age of Apocalypse that brought me back when I was an
adult and realized that it wasn't childish to read comics. Well,
maybe a little childish, but in a good still amazed by the world
kind of way.
So, of course, this year has brought me a lot of joy.
Reading [...]'s recent reviews reminded me of that. The X-Men
movie was incredible. I saw it three times in the theatre and I
recently received the video for Christmas. The respectability
that a concept earns from a successful summer movie is uncanny
and fewer of my friends look down on my comics-buying habit than
The Ultimate X-Men is deserving of its title. I was busy
with work when I first bought a copy so it saw on my reading
pile for two days before I got to it. Meanwhile, my wife read
it. Twice. And when her sister visited us for Christmas, my wife
gave it to her to read. They both loved it. And I have to say I
can't wait for issue two. Grant Morrison and company are going
to have to work very hard to keep up with the revamped version
of Ultimate X-Men.
But in the midst of all of this praise, I've also
discovered why some people don't like the X-Men. I've known for
a while that some top creators like Kurt Busiek and Alex Ross
don't like the X-Men. I always thought they were a little
jealous of the franchise's success. Sure they gave other
reasons, but rarely do we recognize or admit to the truth. One
of those cover reasons was that the X-Men was never anything
more than a gang war between rival factions. That criticism
didn't make much sense to me when I first heard it. After
watching X-Men: Evolution, it does.
Don't get me wrong. I'm enjoying the cartoon series. My
wife and I are particularly fond of Shadowcat and Nightcrawler
and it's nice to see them in action again and having fun. But
six/seven episodes into the series and I'm worried. Up to this
point, we've yet to have anything more than a gang war between
rival factions. Oh sure, it's easy to figure out who's the good
gang and who's the bad, but what have the bad guys really done?
Toad was a pickpocket who lacked social manners. Avalanche
(whose powers were a lot closer to Rictor's than to his own) was
a bully and a cheater. Neither of them would have received any
jail time for their offenses. Some detention, yes; community
service, sure; but honest-to-goodness jail, no. The Blob was
just a misfit with a temper problem until he upped the ante by
kidnapping Jean Grey. The X-Men's involvement in that affair was
self-interest. And Quicksilver was a self-absorbed jerk who
didn't play well with others. Finally, he actually did something
worthy of the moniker "villain" when his downtown rampage
damaged dozens of shops and vehicles.
So far, all of the "villains" have been simple high school
nemeses. Sure, the shoplifter, the cheater, the bully and the
glory hog are unpleasant people to live with. Sure, they make
your life miserable, and to the children who are the intended
audience, they may even seem villainous. But they aren't yet
I'm holding out hope for the series though. Magneto and
Mystique seem to be the true villains. They've been gathering
together this band of misfits and juvenile delinquents for some
reason. I hope those reasons are of a greater magnitude than
simply harrassing the X-Men. Otherwise, this series will have
fallen into the pit described by Alex Ross. It's nothing but a
gang war between rival factions.
Interesting analysis, […] -- and when you put it that way, it's
easy to see.
Actually, my problem with the X-Men ever since 1963 (which I try
not to think about) is: Why do they wear masks? Why do they fight
evil mutants on their own? Why doesn't Professor X just fight
discrimination in the courts, using his responsible,
non-costume-wearing, non-supervillain-fighting, well-behaved
students as examples of "good" mutants? If Cyclops & Co.
really have a jones for fighting Magneto, why don't they join the
police or sign up for the military? Putting masks on kids and
having them fight in the shadows just INTENSIFIES suspicion -- why
don't they operate in the open, and use Martin Luther King Jr.
methods to fight persecution (non-violent protest, the court
system, public opinion)? This is America, after all -- I find it
hard to believe that the majority of people (including
African-Americans, Jews, and other minorities that have faced
persecution) are all dying to "kill me a mutie!"
It's not Xavier's dream that's flawed -- it's his methods.
As for Mr. Smith, everything about his MO
is flawed, from his superficial coverage to his inability to
maintain a consistent and logical standing.
Dear Cap: About all that mess between Batman and JLA,
and some opinions that Batman would be accepted again by
revealing his secret ID:
I was reading an old edition of New Titans (I don't
remember the number ... but it was when Tim Drake was being
introduced in DC Universe) and the Titans called Bruce Wayne's
mansion to get some news about Dick ... Well, that means that at
least Cyborg, Raven and some others Titans knows that Bruce is
Batman! (And it was very clear that they knew Batman was Bruce
Doesn't it mean that the ones who knows that Dick is Robin
(and it means a lotta Titans) would easily discover Batman's
secret ID? (As Tim Drake said, "When you discover Dick is Robin,
the rest is easy ...")
I don't recall when those issues were, either, [name withheld] --
but I suspect they've been pretty much retconned away. I think
some of the original Titans know Dick's ID (Donna Troy springs to
mind), but I doubt they all do. It's certainly not common
knowledge. And Oracle referred recently to how both Robin and
Nightwing are being regarded suspiciously by their teammates
because they won't divulge their identities. In short, I think
those old New Titans issues are are no more valid than, say, an
issue of World's Finest from 1960.
Umm, I think they had been in continuity
up to a certain point before DiDio destroyed everything. Not that
Mr. Smith cares, but I repeat myself. So let’s proceed to January
I just wanted to chime in on a discussion:
<<I don't recall when those (New Titans) issues were,
either, […] -- but I suspect they've been pretty much retconned
away. I think some of the original Titans know Dick's ID (Donna
Troy springs to mind), but I doubt they all do. It's certainly
not common knowledge. And Oracle referred recently to how both
Robin and Nightwing are being regarded suspiciously by their
teammates because they won't divulge their identities. In short,
I think those old New Titans issues are are no more valid than,
say, an issue of World's Finest from 1960. -- Captain
I think that a lot of the older Titans do know Dick's secret
identity. The other four originals (Wally, Roy, Donna and Garth)
definitely know Dick is Nightwing. And the Wolfman/Perez crew of
Changeling, Cyborg, Raven and Starfire (and maybe Lilith) would
also know the truth. Especially Starfire, who lived with Dick
for some time. And it's not like you can exactly hide secrets
from Raven or Lilith. In fact, the whole gang was there when
Dick decided to give up being Robin.
I don't think that's been retconned away. In the current
Titans series, all of those I mentioned above know that Dick is
Nightwing. Starfire/Kory stayed at Dick's apartment for a while.
In Titans Secret Files #2, Roy, Donna, Grant and Jessie Quick
drop by for a pizza with Dick and Clancy. However, as he's aged,
Dick (and his writers) has become more concerned with keeping
the secret. After all, even his close friends and teammates like
Terra and Jericho have betrayed the team or turned evil. So,
Dick isn't sharing the information with anyone else. The newer
Titans (Red Star, Pantha, Argent and Damage), with the exception
of Jessie, don't know and Dick isn't about to tell them. And as
he expects his friends to respect his desires in this matter,
the others have kept these new Titans out of the loop as well.
There have been stories in which Wally and Roy (Flash and
Arsenal) know that Bruce Wayne is Batman and stories in which
they don't. Since the stories in which they don't know the truth
are more recent, I'm guessing that's supposed to be the way it
is. But I don't find that problematic. Yes, as Tim Drake (and
Sergio) noticed, it's rather easy to find out (if you know Dick
was Robin). But you still have to do the work. It's perfectly
possible that the 10 who know Dick's secret would respect
Batman's need for secrecy and refrain from playing Sherlock
Holmes. It was Dick's decision to reveal himself to his friends.
As his friends, they haven't acted on that information. Batman
has similarly revealed his identity to at least three close
friends: Clark Kent, Barbara Gordon and J'onn J'onzz.
By the way, Tim Drake does not have the same freedom in
this regard as Dick Grayson. He is not allowed to tell anyone.
Batman does not yet trust him to use his own discretion (and
would you really want to trust Impulse with a secret?).
As to your statement, Captain:
<<And Oracle referred recently to how both Robin and
Nightwing are being regarded suspiciously by their teammates
because they won't divulge their identities.>>
I believe you're referring to JLA Secret Files #3. However,
Oracle only noted that Robin, Nightwing and herself were being
regarded suspiciously. She didn't give the reason. When The
Flash confronts Nightwing in the same story, he wonders if
Nightwing is keeping anti-Titans files. The issue for The Titans
is not the secrecy but the control. And seeing as The Titans
have always been more trusting with each other than the JLA, a
similar betrayal of trust by Nightwing would be far worse.
Similarly, Superboy wonders if Robin is cooking up "Anti-Young
Justice recipes." The issue isn't "why won't you tell us your
secrets" but "have you been trying to think of ways to kill us
in your spare time."
Revealing their secrets will offset those fears because
everyone will again have a similar balance of control. But even
Nightwing, whom his friends know to be Dick Grayson, is under
suspicion because he still could have created such files of
destruction about his friends.
Anyway, I've been enjoying the way that DC has been using
this and the
arguments that it's created among us fans.
It also reminds me that the Avengers have similar
problems. Originally, nobody knew each other's secrets. Now, at
least Captain America, Thor, Giant-Man, Wasp and Tigra know that
Tony Stark is Iron Man. How do they ever remember who knows
what? (Actually, that's more a problem for the writers and
editors than the characters.)
When I'm wrong, I'm wrong, […] -- and you're right. I'd forgotten
about that Titans Secret Files story where the bulk of the older
Titans visited Dick in his "secret identity." That's pretty
recent, and the "Secret Files" are being represented as post-Zero
Hour canon, so it must be so. Well, at least until the next
retcon. With DC's apparent policy of "sliding retrocontinuity,"
sometimes it's difficult to tell issue to issue what to believe!
Oh, and in addition to Oracle, Martian Manhunter and Superman,
other Leaguers who've been established as knowing Batman's secret
ID are Aquaman and Wonder Woman. Incidentally, one of the most
respected and trusted Leaguers is J'onn J'onzz, who not only once
kept files on all superheroes (JLA: Year One) but until recently
had hundreds of secret IDs that NOBODY knew about. So we must
conclude that secrecy alone is not the issue.
As to Tony "Iron Man" Stark, it would be difficult for him to keep
his identity secret from the female Avengers for sure -- since
he's slept with most of them! (Even The Wasp -- and she's
Oh my goodness, is that “captain” way out
of the loop! Janet Van Dyne was married to Hank Pym for nearly 15
years, but after that incident in 1981 where he’d gone mentally
unstable and smacked Jan twice, they fell apart and divorced,
certainly for a while. In fact, I’m not sure they ever remarried, or
that Jan ever married another guy afterwards. But that doesn’t even
begin to describe how wrong he is most of the time – from a moral
perspective! Now here’s a letter with responses to one of my own:
Hey Cap: Just read your latest Mailbag and thought
I'd chip in my two cents on a few issues.
<<There was this constant indication that villains in the
Society were dating each other (I remember a panel of Cap
swooping in on a pair of them making out -- clever). It was a
well-appreciated concession to reality -- that if there were
supervillains, they'd still be looking for love, and if they
worked in groups, they'd find it with each other.>>
Agreed. I like stories that explore the behavior
of the villains behind the masks. If you don't get to know a
little something about who they are outside of their costumes
and show that they have human needs and drives, they end up
being just cardboard stock characters and that's not very
exciting (Vibro anyone?). We know that the heroes lead pretty
complex lives outside of their superheroic identities; why
wouldn't the villains? And why not let the readers get a glimpse
of those lives once in a while?
Probably the best example along these lines that
immediately springs to mind was the Steeljack storyline in Kurt
Busiek's Astro City. It was an excellent look at what it's like
to be a 10-time loser of a supervillain in a city with the
largest superhero population on Earth. I remember another pretty
good story in the otherwise disappointing Blue Beetle series
about what it's like to be one of the faceless henchmen that
serve characters like The Joker, Penguin, etc.
Of course, the major theme of the Thunderbolts series is
to explore the personalities of the various supervillains as
they attempt to be heroes, but, overall, I'm not terribly
pleased or excited by the series. Frankly, too many of these
guys did some really reprehensible things during their careers
as villains for me to accept them as heroes (Goliath's attempt
to beat a drunk and unconscious Hercules to death springs
immediately to mind). Plus, their personalities as depicted in
the series really contradict a lot of what went before (e.g.,
Goliath being a relatively unassuming follower instead of an
arrogant jerk). Only Zemo, Moonstone, and ... um ... Mentallo's
old partner (can't seem to remember his name!) were true to
themselves. (CAPTAIN'S NOTE: [...] is thinking of
"Techno," formerly "The Fixer.") The rest of the
personality "developments" seem forced, contrived to make the
characters fit the concept of the series. I haven't picked up
the title since issue 12. ... Maybe it got a little more on
track. I dunno.
In any case, I prefer villains to be villains, even when
we are looking at them from a more personal perpective, not
wannabe heroes (you can have a charming personality with a great
social life and a loving relationship with your mother, and yet
still be a ruthless killer, y'know!).
A little more directly on topic re: [...]'s comments.
Yeah, the Serpent Society members were definitely dating each
other. Black Mamba and Sidewinder had something going on, and,
considering the French maid outfit she once wore for him, they
seemed to have a pretty imaginative sex life. Maybe that's a
little too much information about 'em! =)
Another item from Gruenwald's run that reinforces the idea
of supervillain socializing: The Bar With No Name. Some
enterprising crook opened a string of bars across the country
catering specifically to costumed supervillains. To the general
public, they all looked like run-down, abandoned truckstops and
the like from the outside; inside villains swigged a few beers,
made connections and swapped tall tales with their criminal
Avi Green Sez:
<<What’s so silly about Betsy Braddock’s codename? And
how is it that Mike couldn’t understand that her name simply
means a “psychological mind lock” and stuff like that?>>
Well, understanding what it means doesn't necessarily make it
any less silly. Superhero names and their accompanying
identities are meant to be evocative. They're meant to instantly
conjure an image or a feeling, whether it be fear (Batman),
wonder (Captain Marvel), awe (Superman), or just an idea of what
it is you're (reading about): The Flash, Green Arrow.
What, exactly, does "Psylocke" evoke, other than the
scratching of one's head as you pause to figure out what it
means? I think that's a problem with a lot of codenames today,
particularly in the X-books. (What the heck does the name Bishop
have to do with his powers, identity or character?)
<<And what’s so wrong with all the bizarre physical changes
that she went through in the past two decades? I actually find it
very inventive that they should transform her from a British into
a Chinese ninja.>>
I actually found it silly and unneccesary. One of the major
themes of the X-Men is the idea of this group of young people
learning to deal with this terrifying change in their lives as
they develop mutant powers, and trying to cope in a world that
(inexplicably) fears and hates them more than any other beings.
Some of the best moments of the old series featured the mutants
acting very much like real human beings, with real emotions,
real problems and realistic reactions to the world around them.
(Nightcrawler's interactions with his fellow mutants and/or
regular humans were especially poignant.)
Then came the Wolverine limited series ...
Don't get me wrong, I enjoyed that series, as well as many
of the revamped, code-of-honor Wolvie stories that followed
shortly thereafter. Unfortunately, however, Wolverine became so
darned popular (and his background ever more mysterious and
convoluted as his popularity continued to grow) that it seemed
like just about every new character introduced in the X-books
thereafter was a time-traveling, extra-dimensional, gun-toting,
ninja-cyborg-demon-spy-thief-clone-kung-fu-master with at least
two evil twins and an extremely convoluted (err ... I mean,
"mysterious") origin story.
The idea that one of the characters could just be an
ordinary Joe or Jane thrust into a frightening and extraordinary
situation went straight out the window. Real human pathos was
quickly replaced by "pithy" one-liners, assorted bad dialogue,
macho posturing, "dramatic" poses and costumes with lots and
lots of pouches that never seemed to actually hold anything.
Even established characters got revamped to make them more
"cool." (Storm shaved her head and developed a ruthless attitude
and sudden remarkable skill in the martial arts; Kitty Pryde
received ninja training; Thunderbird inexplicably put on a
hundred pounds of muscle, lost his quiet competence and
developed mucho machismo as Warpath -- blech!)
What's wrong with the revamp that turned Betsy into a
Chinese ninja girl with attitude? Nothing, if you go in for that
sort of thing (and apparently lots of people did for a while --
hence the early success of Image). But what would have been
wrong with leaving her as a Brit WASP and trying to develop her
further as a real human being instead of a psyhic killing
machine in a slutty costume? That would have been infinitely
preferable in my opinion. Heck, am I the only one who would have
preferred to see the New Mutants title canceled rather than see
them transformed into yet another mindless macho combat force
under Cable's leadership?
<<If you need a silly super name that can replace that
however, then I got a name or two: Douglock. The Phalanx’s name
from Excalibur is a very ridiculous one. What’s it supposed to
Well, Douglock is supposed to be an amalgam of Doug Ramsey and
his best friend Warlock, so they made his name an amalgam too.
But, like I said before, understanding what it means doesn't
make it any less silly ...
<<And then, I’ve got a very good one for the Silly
Super-Togs section who can rank proudly alongside Gambit as
having the most ridiculous form of dress you’ve ever seen, a
character who’s really bent out of shape: Jubilee, who’s
combination of a trenchcoat and shorts from the past two decades
makes her look like a teenaged prostitute!>>
A teenage prostitute? I think you're going just a wee bit
overboard there ...
As for the rest of the comments about her costume: When
she was first introduced, she was in a shopping mall in civilian
clothes and followed the X-Men through a dimensional warp to
their base in Australia, where she hid out from everyone for
weeks. She didn't develop an actual costume, because she didn't
plan on being one of the X-Men, so the artists had to come up
with a combination of street clothes that would be visually
striking and costume-like. That meant lots of primary colors.
More importantly, they were doing something a little
tongue-in-cheek when they designed her duds. When she finally
did get involved in the action, it was to help a wounded and
weary Wolverine escape from the murderous Reavers. It was just
she and Wolverine for several issues. It was the writers'
somewhat wry look at the idea of a
What does that have to do with her costume? Simple. Her
costume is essentially a copy of the costume of comics' very
first teenage sidekick, Robin the Boy Wonder. Think about it:
She had green boots, bare legs, green shorts, a yellow belt, a
red shirt, green gloves, a yellow jacket (in
place of a yellow cape) and green sunglasses (in place of
a green domino mask). She even wore earrings that, to my mind
anyway, bore a striking resemblence to the emblem Robin wore on
his chest. I think the short hair was another tip of the hat
towards the original teen sidekick's appearance.
They even made an inside joke about it during the big
Marvel vs. DC series when Jubilee commented to Robin about how
much she liked his taste in clothes.
<<And if I’m right, Jubilee comes from California,
doesn’t she? Like in Dixieland, it’s blazing hot there, isn’t
Not necessarily. California has generally fair weather
year-round. It only gets really hot in So. Cal in the summer,
and not always then. This year, it was a pretty mild summer,
only getting hot in late August and early October. So,
generally, people can wear jackets and coats year round if they
Also, many people in California, especially So. Cal.
teens, are extremely image conscious. They wouldn't let a little
thing like severe discomfort due to hot weather stand in the way
of making a fashion statement.
(Incidentally, I never got the impression it was supposed
to be a raincoat or trenchcoat anyway. It's just an oversized
yellow jacket similar to a style many young girls wore in the
'80s and early '90s, at least here in So. Cal.)
And, if you look at the X-Men movie, she dresses pretty
much in this costume (complete with yellow jacket) and it
doesn't look silly at all. In fact, she'd fit in quite nicely at
virtually any high school in any good neighborhood in Southern
California (I know, I went to one and still live only two blocks
away from it).
Cap, if you want an example of Silly Super-Togs from the
X-Men, how about Logan's eye-patch? During the post-"Siege
Perilous" adventures in Madripoor, when he was pretending to be
dead in order to hide from The Reavers, he assumed the identity
of Patch and ran around with the sole disguise of an eye-patch
(he didn't even bother to change that rather unique hairstyle of
his). Yet somehow this "costume" managed to fool even people who
had been quite familiar with Logan (such as the Silver Samurai
and Jessica Drew -- a detective, no less!). Talk about
suspension of disbelief!
Also, under Silly Super-Names, you write, under "Speedy":
<<Green Arrow's partner, introduced in 1941, has the most
inexplicable sidekick name yet. ... what does "Speedy" have to
do with archery?>>
Nothing. But I recall that in one of the many Green Arrow
origin stories over the years, Green Arrow and Speedy both made
their first public appearance at the same time and got their
names from some criminals they were fighting. They were being
assaulted by some hoods and defended themselves with bows &
arrows (the arrows were green for some reason that I don't
recall). During the battle, one of the hoods cries out something
like "This guy sure slings a mean green arrow!" And a second
replies, "Yeah, and this one sure is speedy!"
I'm not sure if that was the actual first origin story
published by DC for Green Arrow and Speedy, or if it was
something that was written far after the fact to explain the
lame name, but that's where it came from. Of course, that
doesn't make it any less silly ...
You also wrote in the same entry:
<<The brightly-colored Robin was supposed to offset the
dark, brooding Batman while maintaining the flight motif
Um, could somebody help me out with that one? From what I
understand, the Robin identity had nothing to do with
maintaining a flight motif. "Robin" was not a reference to the
bird of that name at all. Rather, as Dick Grayson saw himself as
something of a swashbuckler, it was a reference to Robin Hood
(and his costume was supposed to be some sort of Robin Hood like
outfit, hence the red jerkin and the design of the shoes). In
fact, I seem to remember a line where Robin is helping Batman
capture some criminals and yells out something like, "I'm Robin!
As in Robin Hood, not robbin' hoods like you!"
Am I just mis-remembering, hallucinating, or otherwise
totally out of my wig? Anybody know?
Regarding […]'s comments: What about The Outsiders? Do
they still know Batman's identity, or has that been retconned
away as well? What about Kobra? He learned of Batman's secret ID
from Halo during a Batman and the Outsiders storyline. Does "the
second most dangerous man (he's) ever met" (as he referred to
Kobra in that story) still know his ID, or has that been wiped
out of the continuity too? Just wondering.
Anyway, that's it for me. Keep up the great work!
Oy! I'm 0-for-2 today! I can't imagine how I forgot
the "Robin Hood" part of the Boy Wonder's origin -- chalk it up to
too many late nights. Like his mentor, Robin's origin draws from
many sources, including the editors' desires to have Robin have
some sort of flight motif to anchor him to Batman -- but you're
absolutely right, Robin Hood was the primary mythological source.
I will now force myself to re-read all the '40s Batman Archives in
penance for my omission.
As to your other points:
1) Here's what correspondent [name withheld] said about the Green
Arrow/Speedy origin you're remembering:
<<After debuting in More Fun Comics #73 (Nov, 41), Green
Arrow and Speedy went for 16 issues before being given an origin
in issue #89 (Mar 43). This was the origin in which Oliver Queen
and Roy Harper were thrown together when they were confronted by
gangsters on Lost Mesa. Using their archery skills, learned
independently, the pair defeated the villains and decided to
pursue careers as mystery men, taking their names from the
shouts of the crooks they captured: "Golly, that kid's speedy!"
"Watch out for the big guy! He shoots a mean green
Both characters went on to have different origins, which Adam
believes distinguishes the GA/Speedy of Earth-Two from that of
Earth-One. At any rate, the fact that we know HOW Speedy got that
dopey name doesn't make it any better -- after all, you said it
yourself, "Understanding what it means doesn't necessarily make it
any less silly."
2) In reference to Jubilee, I find the character irritating and
therefore try not to dwell on her too much. But her "costume's"
resemblance to Robin's was always obvious to me, as well as the
points you make about her actually wearing street clothes that are
as much like a costume as the artists could arrange. It's been a
long tradition in all visual media to have recurring characters
have "uniforms" for quick viewer identification; Little Orphan
Annie wore the same outfit for 60 years, and Lois Lane wore the
same Jackie Kennedy business suit and pillbox hat (usually in a
secondary or subdued color) for about a decade. Even Luthor failed
to change out of his prison grays after escaping jail during the
Silver Age -- THAT passed for his "costume." So nothing about
Jubilee's outfit has really bothered me, especially since it was
understandable what the artists were doing, and it could, as you
point out, pass for street clothes in any high school in America.
(Unlike, say, Gambit's inexplicable Battlefield
Earth-meets-Gladiator ensemble. What ARE those spider-web thingies
around his neck?)
Also, in regard to Avi's remarks about California weather, I can't
resist quoting Mark Twain: "The coldest winter I ever spent was a
summer in San Francisco." OK, that may or may not be applicable.
But I like impressing people with Mark Twain quotes!
3) Your comments on the Psylocke issue were a hair more personal
vis-a-vis Avi than I would have liked, but you did allow that he's
entitled to his opinions, and were careful to couch your
criticisms with terms like "I think" and "in my opinion." You also
buttressed your opinions with lots of factual information. And you
were not asserting that you were Right and he was Wrong. But I did
feel some discomfort here and there -- as, I'm sure, did Avi.
Having said that, I must admit that I'm pleased that you picked up
the ball on Psylocke. I have pretty strong feelings about the
character -- I actually dislike her quite a bit -- but I resisted
the temptation to immediately refute Avi's original comments. As I
said, Avi's entitled to his opinions, and I respect them. If he's
a big Psylocke fan, more power to him. Further, I don't want to
abuse the hammer I have of being able to get in the last word --
that's simply not fair. But since you went ahead and kicked in the
door, I'll chime in with my opinion ...
Betsy Braddock was more interesting to me when she was a reserved,
shy English lass suddenly forced into physical and emotional
confrontations by her mutation, than after she became yet another
Claremont warrior babe with a bizarre, complex origin. (Do you
remember when, for a while, there were TWO of them running around
simultaneously? What a headache!) If the purpose was to have a
Chinese X-Man, why not just create a new one? As Psylocke stands
now, she's indistinguishable from dozens of other
post-Liefeld/Claremont Tough Chicks and -- to my mind -- adds
little to the team, as even her powers are largely redundant.
(Ninja skills? Unnecessary with Wolverine & Shadowcat around,
not to mention all the feral types that preceded her. "Psychic
blade?" Oh, please. Cable, X-Man and Jean Grey are all more
powerful telekinetics -- and they're all telepathic, as well.)
In short, if you're going to revamp Betsy Braddock, do something
new instead of plowing the same old ground. I found her
transformation from a unique character to a redundant one not only
silly, but a really bad judgment call on the part of the writer.
(Oops! There I go Claremont-bashing again!)
And, yeah, I still think "Psylocke" is a silly codename -- like
many Liefeld/Image codenames, it seems like two vaguely pertinent
words taken from a Thesaurus slammed together because it sounds
"cool." Avi, if you're reading this, I hope it's some consolation
that I think "Cable," "Bishop" and "Gambit" are even worse! Those
names are just random words. Two of 'em are just random chess
terms! Gambit could be called Checkmate, and Bishop could be
called Rook, and it would make no difference. What next? A
character named Ruy Lopez? (It's a chess term, trust me.) And what
about "Wolfsbane"? Wolfsbane means -- literally -- "killer of
wolves," and is a Eurasian flower that Eastern European folklore
held to be effective at driving off wolves. Pretty dumb name for a
character who turns into a wolf. Yeah, I know, she doesn't like
being a werewolf, but "Wolfsbane" doesn't mean "reluctant wolf."
Wait, I'm ranting. Deep breath. Let me just add that Grant
Morrison has stated in interviews that his first step when taking
over X-Men will be to drop characters with names that don't
reflect their powers or personae. Beast, Iceman and Cyclops are
in; Gambit, Bishop and Cable are out. Now, let's move on to
another Jubilee comment:
Sigh. Based on his embrace of Identity
Crisis, to say nothing of his assertion that Jubilee is “irritating”
instead of how she’s characterized, I’m afraid there’s no
consolation at all.
And Morrison’s jettisoning some characters by killing them off in a
Sentinel attack on Genosha rather than trying to make improvements
for them is cheap too, though nothing compared to the alienating
story structure he used. One of the most galling things he did was
have Beast shout through the phone at reporter Trish Tilby that he
was “gay” as a means of getting her to keep away from the X-mansion
while it was being attacked by villains. But there were a gazillion
other, far more plausible ways of conceiving a scene where he urged
her to stay in a safe spot without being so insulting to the
intellect. Why would any sane person want to embarrass and insult
himself that badly? For somebody interested in characters with
codenames reflecting their powers/personae, Morrison sure didn’t
seem very interested in writing them in-character, that’s for sure.
Dear Cap: Just for the record, yes, Jubilee's outfit
may look stupid, but remember that she was introduced almost as
a joke in the pages of Wolverine -- the joke being that she was
Robin to his Batman, and at least initially, her outfit was
colored to match Robin's. (That's probably also why she and Tim
Drake romanced in the Marvel/DC cross-overs.) For a time (maybe
still -- I've long since dropped the X-titles) she even wore her
"X" where Robin had the "R."
And one more point regarding the Superman age. Maybe
someone else pointed this out, but last night I was re-reading
The Greatest Golden Age Stories Ever Told (man, I miss that
series of books ...) and came to "Superman Returns To Krypton,"
the story where he first encounters kryptonite. He follows
lightrays back to Krypton, watches it explode, and follows his
infant self to Kansas. After realizing that he himself is the
baby in the rocket, he thinks "Now I'll fly back to the 20th
Century ..." As this story was first published in 1949, this
would make him at least 50!
He certainly handles it well, don't you think?
Far better than Mr. Smith handles
anything, that’s for sure. Now, I get the part about Jubilee being a
semi-parody of Robin, but who ever thought her initial outfit would
be so awkward at best? Some people think Dick Grayson’s original
costume design was embarrassing, and it’s debatable, but who knew
he’d get a female variant with a similar drawback?
In fact, now that I think of it, any problems had with the Robin
costume of yesteryear were an overreaction, because he was usually
wearing short sleeved shirts along with his tights, and it was all
meant to be a takeoff on what trapeze acrobats wear, so I just can't
understand how such a Wertham-like fuss wound up being made that
later led to the tights being discarded by the end of the 80s. Plus,
Robin was wearing a cape, not a trenchcoat, or it could've looked a
lot more embarrassing than some must think. That's why Jubilee's
first outfit is so ridiculous compared with the Robin outfit. Some
garments just don't mesh well with others. If she'd been wearing
jeans with the coat, it would've worked better, or, if it were a
cape with the shorts...
Hey Cap: Having just watched the Batman Beyond:
Return of the Joker movie a couple of times, I'm pretty
impressed. Much like the X-Men movie, my comic-despising friends
and anti-superhero/pro-Vertigo girlfriend enjoyed it as much as
I did, which is always a good sign.
Anyway, I know a handful of scenes were cut from the final
version of the movie, which I won't spoil here. As much of a
supporter of artistic vision (as I am), I still think the movie
is worth watching, and is more suitable for all ages without the
amplified violence. I love my "adult content" as much as the
next guy, but I'm satisfied with the movie as is. I'm a bit too
old to be influenced by cartoon violence, but based on the cut
scenes I found online, I wouldn't expect a "kids" movie to be
any more violent than the released version anyways. So what did
Also, Batman: RotJ and the recent JLA cameos on the Batman
Beyond show have resparked my interest in the series. Other than
the two Batman Beyond movies on DVD (Return of The Joker and the
pilot), are Warner Brothers planning on releasing the rest of
the episodes on DVD? I've been to about a thousand Web sites
looking for info, to no avail.
I haven't heard anything about Batman Beyond being released on
video or DVD, but Columbia House is releasing the various
"regular" Batman animated series in a slick, professional VHS
package that I've been snapping up. I suspect that if that Batman
series is successful, then Batman Beyond could get the treatment
next. I'm posting your letter to see if any Legion of Superfluous
Heroes members have any hard information for us.
And I haven't seen Return of The Joker yet. In general, I think
the issue of kids being influenced by violent shows is overblown;
I watched a whole lot of Roadrunner cartoons (now removed from
circulation in the U.S.) as a kid and never once considered
dropping an anvil on anybody's head. And, despite all those women
chained up in my basement, I turned out pretty well-adjusted. I
think that kids generally understand the difference between
cartoon violence and the real thing; those that don't or who are
tempted to re-create cartoon violence or D&D scenarios in real
life have a LOT more problems upstairs than what TV shows they
watch. Certainly, parental guidance is called for -- but I see it
in the form of discussing with the kids what they see, so they
develop a healthy understanding of the world and their place in
it. Banning books and TV shows isn't going to solve anything and
will likely make things much worse. Of course, my suggestion
requires that parents actually be parents, and we're all far too
busy for that, aren't we? Much easier to use the boob tube as a
substitute parent and then blame the media when our
attention-starved kids start setting cats on fire.
Having said that, I also have no problem with Warner Bros. taking
care that their product is suitable for all ages in whatever way
they see fit. It's their product, and the market will reflect if
their efforts are misguided or not. If, for example, the chopping
in BB: Joker results in a movie that isn't enjoyable, then it
won't sell and that will be its own punishment. From your
comments, that's not the case.
Whoops! There I go ranting again! Better switch to decaf, even if
it is 4:30 a.m. Anyway, if any Legionnaires want to comment on
Return of The Joker, feel free to use this space.
This from somebody who clearly doesn’t
think Identity Crisis could possibly be misogynistic. Sure, there
are some kids who can tell the difference between fantasy and
reality, but it all depends on what kind of education they’re
getting. If he doesn’t think cartoon violence could influence
children, does he think that Nazism, the Koran and Scientology
couldn’t possibly influence anybody either? Let us be perfectly
clear: if cartoons were part of a religion, they’d be used to screw
up young minds too. 2 decades ago, I watched TV programs and films
broadcast on Jordanian television. In some instances, they would
censor sexual scenes – certainly kissing – but violence remained
perfectly intact, and that may have included rape scenes, chillingly
enough. There’s some things I watched on their channel which, in
that specific circumstance, makes me feel very dirty in retrospect.
And here’s something else to consider: what if some of these kids he
speaks of grew up to read Identity Crisis, Avengers: Disassembled
and other similar horrors? Even if they didn’t turn violent
afterwards, there’s still the danger of their being led to think
sexual abuse is a trivial issue, while viewing the culprit’s
“rights” as far more crucial than the victim’s. That’s another
something Smith hasn’t pondered, and probably never will. But it’s a
very valid concern, and after reading an account of a blogmistress
who was harassed by a 51-year-old cybertroll who gleefully gloated
that IC had the “best rape scene ever”, I think there’s a legitimate
argument to be made that IC appeals to the lowest common
denominators in society, and sadism can both draw and encourage
sadism. And that IC has gone on to be used as a tool for sexual
harassment. How can the apologists for that screed keep a straight
face and continue to uphold it with all the bad influence it’s had?
And funny how WB takes care of their cartoon output, but not their
comics output. I have nothing against exploring mature themes in
comics, but it has to be done with a clear perspective of right and
wrong, which IC did not feature, and Smith refused to tell his
audience about in his paper columns.
Dear Captain: In re Canceled Comics Cavalcade and
Considering I am the biggest, insane, diehard Valiant
Comics fan, I ... put a fork into Acclaim Comics the day after
the press release, as my E-Zine read:
THE END OF ACCLAIM COMICS
Acclaim Entertainment announced yesterday in its quarterly
report a loss of $131.7 million dollars, and laid out its plan
for 2001 which included the discontinuation of all Acclaim
Comics. To quote from the Web site:
<<... Also in fiscal 2000, the Company recorded a charge of
$17.9 million to write-off the remaining goodwill associated with
its comic book and strategy guide publishing business. This
operation is not projected to generate sufficient operating cash
flows to support recoverability of the goodwill. The Company will
continue to publish strategy guides, but not comic book
SO WHAT DOES THIS MEAN?
This means it is the end of Acclaim Comics.
We won't ever see the remaining three issues of Unity
2000, or the "VH3" relaunch (a teaser for the VH3 relaunch can
be seen at Sonicdan's Web site here).
SO WHAT DOES THIS MEAN FOR VALIANT FANS?
Nothing. Valiant Comics stopped publishing in 1996.
SO WHAT DOES THIS MEAN FOR ACCLAIM FANS?
It means the Valiant/Acclaim Heroes/Acclaim comic books
have all ended at 878 issues.
I don't feel either way for the end of Acclaim Comics. My
only regret was that we'll never get to see the end of Unity
2000. I recently spoke to Jim Shooter, who told me one day I'll
get the scripts for those unpublished issues, so one day I'll at
least get to READ the entire story.
THE HISTORY OF VALIANT COMICS
Valiant/Acclaim went from a grass-roots movement started
by Jim Shooter and Steve Massarsky, who enjoyed immense
gratification from creating something truly unique and
memorable; something that fans today, nine years later, still
talk about (and when was the last time you all looked back on
"the golden days" when Wildcats #1 came out?). The company
prospered and grew, to be sold to Acclaim Entertainment when
they were at the top of their form for $65 million dollars.
Acclaim Comics downsized a bit, and continued putting out
comics. Then the gradual decline began right after "The Chaos
Effect;" "Birthquake" (cut) the titles to eight and the staff in
half. One memorable bright star was Jeff Gomez, the late
Valiant/early Acclaim's answer to Jim Shooter, who published
Magic: The Gathering for Acclaim in addition to his editorial
duties on "the future books." His film, Red Light August, was
released in 1998; it got 7 out of 10 stars from The Internet
Movie Database, which ain't easy to do. Then one day, Acclaim
stopped making VH1 comics.
Approximately a year later, Acclaim budgeted millions to
develop a VH2, "Valiant Heroes" line of comic books. Although
this attempt had good intentions, I would credit its failure to
the lack of continuity and erratic shipping which was partly the
fault of Acclaim Entertainment (the "too many cooks in one
VH3 had a weak relaunch in 1998/99 with the return of
Turok and Shadowman, to be quickly followed by Unity 2000. Unity
2000 would have in effect accomplished what Fabian Nicieza
intended to do with VH2 in uniting all Valiant Universes into
one, encompassing Universe with all the current versions of V/A
characters in it. From there, the plan was an official VH3 (or
is it VH4?) with the return of Master Darque, a
corporate-raiding 41st-century Magnus, a reanimated Bloodshot
and so on. But this will never happen. (At least), from Acclaim
You know, of all the e-mail I get from Valiant fans across
the world, the two most frequently said sentiments are "I wish
Jim Shooter would take over and do it all over again! MAN, those
early Valiants were killer!" and "I wish someone would buy the
Valiant characters and do it right." At this point, I finally
agree. But the reality of Valiant selling off its characters is
slim, and if they decided to do it, who would shell out that
kind of money anyway?
The longest-employed Valiant staffer was Scott
Friedlander, who started with Valiant in 1990, elbow to elbow
with Joe Quesada in the pits of Knob Row (bet you didn't know
that fact) and left when they closed their New York offices. In
Glen Cove there was a return to a grass-roots movement in 1998
with four people in the "comic books" department (Omar Banmally,
Mike Marts, James Perham and Walter Black), then three, then
two, then one, now none. They have been summarily made extinct.
There are a great deal of people whose entire professional
comics career consisted of Valiant Comics, who have since moved
on to graphic design/advertising/films/flipping burgers. There
were many who worked at Valiant and springboarded into something
more successful in the same media (Bernard Chang at Disney, Sean
Chen at Marvel, Rags (Morales) at DC, David Lapham's Stray
Bullets and so on). There were those who worked for Valiant, as
they did with several other companies over their illustrious
careers (Jim Shooter, Barry Windsor-Smith, Bob Layton, etc.),
one person who ended their career with Valiant (Don Perlin) and
one person who died while an employee of Acclaim (Seaborn
Adamson). I would like to reflect on the people who put out
these books for the past decade and thank them all. The last
Valiant employee, their final architect in the hopes of a
revival is James Perham, who should have no problem finding
employment in comic books, if that is his desire.
So what's next? Let's just hope someone wins the lottery
and decides to make the magic happen again. I would recommend
(to) fellow Valiant readers other comics to read, but I am not
qualified, since I stopped reading comics at the end of VH2 with
the exception of Unity 2000, and you comics readers have already
since moved on to other titles. The VEO website will continue,
as I know [name withheld]'s valiantcomics.com and Sonicdan's
Thanks, [withheld]. Heckuvan obituary.
As interesting as some, if not all, of
Valiant’s original output probably was, Morales’ involvement makes
me feel ill, because he’s the artist who should go down in history
in disgrace and shame for the revolting job he did in Identity
Crisis. As of now, I’m glad I parted ways with the Hawkman trades I
once owned. The stories there, now that I think of it, were not what
they could’ve been.
Oh, and about Unity 2000, wasn’t that the crossover Valiant did back
in the day? If there was any mistake they made from a business
perspective, that would have to be it. (The mistake from a story
perspective would have to be the
premise in the original Archer & Armstrong, which was
rather disgusting.) They may have learned their lesson, but it was
too late, and now, look how the revived Valiant’s making the same
Dear Cap: How about a 100-page weekly comic book for
free in every Sunday paper across the country?
1) Wider audience
3) It would put comic books in the hands of people who
4) People love comic strips, maybe by putting a comic book
in the newspaper it would change peoples minds about comic
1) The cost. I don't know what it would cost, but if one
company couldn't do it then maybe two or more could. Image,
Superman, X-Men, Mystic, Planetary, Witchblade, Spider-Man --
all in one free weekly book. What do you think?
I think I would have died and gone to heaven, […]. Which is
probably the only place such a scheme would work, given the
financial woes of both the comic-book and newspaper industries.
Further, the common wisdom at newspaper syndicates (right or
wrong) is that the adventure strip is dead -- and they're not too
high on gag-a-days, either. There's not an editor in America who'd
consider the proposal, or a comics company that could afford it.
But it is a nice thought, isn't it?
If it were possible, they’d have to be
careful what kind of story structures they put in, because failure
would only mean there’s no chance a general audience would buy into
the idea. But don’t count on Mr. Smith to realize an ounce of that.
Dear Cap'n: First off, the end of the Silver Age
should be borne from extensive thought and consideration -- it
would be a tragic error as historians if we force-fit the date
for arbitrary reasons (such as [name withheld]'s desire for a
balance of years per era). History is never nice and neat and we
should respect its complexity.
One major problem that vexes fixing definite dates for the
SA is the overlap where companies developed at differing
schedules and evolved along differing lines. DC has more or less
evolved through content. Marvel, however, has more-or-less
evolved through creators.
For DC, the Silver Age began in '56 with all new costumes.
For Marvel, the SA began in '61 with an all-new approach to
writing. Marvel's comics were comparably "relevant" (utilizing
real-world personalities/characteristics) from the beginning. DC
didn't catch on until Denny O'Neil came along in '67 (and
continued with Infantino's "woe-is-me" superhero philosophy). DC
informally adopted O'Neil's writing and Neal Adams's art as
their "house style," thus ushering in a whole new approach to
their comics. Thus, in one sense, ending DC's SA between '68-'70
seems about right.
But Marvel's approach to their comics seems fairly
unchanged from '61 till about the time Frank Miller took over
Daredevil. Under Shooter in the early '80s, stories and art
became markedly different than the previous "house style." The
proliferation of Marvel titles in '68 provided just more of the
same and the loss of Kirby didn't effect the house style (which
was being seen through a John Buscema lens and later a John
Byrne lens). From '61-'80 Marvel was pretty much making the same
comics over and over (the same way AC/DC has been remaking Back
In Black for 20 years). Under Shooter, that would change. Thus,
I would end Marvel's SA vaguely around 1980.
Interjection: I wouldn't give Marvel a "Bronze Age."
Marvel went from the foundational "Stan Lee Age" to the advanced
"Jim Shooter Age" to the eroded "Perelman Age" (where all that
Lee/Shooter had built crumbled into chaos) to the current
"Scavenger Age" (where pieces are being spit-shined for
Some DC followers end DC's SA in '86 with the Crisis
relaunches. If eras are determined by costumes/continuity, then
DC's SA should in fact extend from '56 to '86. It's easy to
break up DC's history according to costumes/continuity and
harder according to story/art philosophy. Note: Alan Moore could
have revamped DC's writing philosophy as O'Neil's did. But
editorially DC had no clue what to do with Moore so they put him
and his ilk in their own separate group called Vertigo --
leaving the superhero books in their traditional form.
DC didn't unshackle itself from its conservative creative
approach until about 1990 or thereafter, well after the latest
SA end. So, I think, DC should be historically divided according
to costume/continuity. Marvel, traditionally being progressive
(until the '90s), should be historically divided according to
creative style. This doesn't make getting a definitive date
easier, but it's a more accurate way of studying the companies.
Convenience shouldn't be the lens through which we study
You make a compelling argument, [name withheld], and I appreciate
your analysis. Very thoughtful, very articulate.
Although, I must defend [name withheld] when you accuse him of
using "convenience" as a "lens through which we study comics'
past." Nobody would disagree that history is complex and doesn't
fall neatly into pre-ordained slots. But everybody involved in
this debate, yourself included, are using shorthand techniques as
useful demarcations to make their points quickly and digestibly.
We're not writing a scholarly text here -- we are, to coin a
phrase, writing the first draft of history. I think we can afford
a little flexibility in our approach.
Meantime, I'd like to address some of your points. To wit: If you
want to argue that Marvel's "Ages" begin and end with writing
style, then I would contend that Marvel's Silver Age ended well
before 1980. Here's my position:
Marvel's Silver Age was marked by a wild enthusiasm and creative
fecundity, fomented by Stan Lee's spontaneous personality and
loose writing style, and blown wide open by formerly-restrained
artists like Jack Kirby and Steve Ditko thriving creatively in
that environment. I was there for that ride, and I remember it
stopping -- abruptly -- in the early '70s. What I noticed first
and foremost is that the stories had a different "feel" -- nothing
was happening. I was USED to things HAPPENING. Sure enough, I
checked the credit boxes, and none of the names I'd been used to
seeing for close to a decade were there any more. Something was
wrong! I was so dismayed, in fact, that I started looking around
for a new thrill -- I started buying Green Lantern/Green Arrow,
and O'Neil/Adams Batman. (It kinda looked like Marvel, anyway.)
What had happened, and became more apparent in the next few years,
was that all the "old masters" had been replaced by young fanboys
who merely aped what the previous generation had done. That's not
a slam on the Thomases and Conways and Weins and Wolfmans and
Engleharts and Moenchs and Isabellas -- the best of the bunch --
but they had grown up thrilled by Stan & Jack's work, and I'm
guessing that they didn't want to change or destroy what they
themselves loved. Or, to put it another way, Stan never looked
over his shoulder in 1963 at some mythological Founding Father. He
just did whatever he wanted. But these new guys, perforce, were
always second-guessing whether "Stan would like this." That's
quite a sea change, and it resulted in cautious, tentative
writing. As inventive as these guys may have been, or could have
been, they were straightjacketing themselves so as not to damage
Mt. Rushmore. Nor did upper management want any changes, since Mt.
Rushmore was making piles of money -- Marvel surpassed DC in sales
The result of this was that by the mid-'70s the characters
themselves had stopped evolving -- Spider-Man had stopped aging,
for example -- and a status quo was achieved for all the
"old-guard" characters that never varied from what Lee/Kirby, et
al, had established. The new characters created in the '70s --
Ghost Rider, Luke Cage, Nova, etc. -- were pale imitations with
less-than-stellar motivations and origins, and therefore destined
for second-tier status. (Nova, for example, tried desperately to
repeat the Spider-Man "formula" of
-- but with none of the heart that Lee/Ditko had given Peter
Parker. It succeeded only in being incredibly boring, with a "been
there, done that" feel to it. Like most of the line, I might add.)
And I have to emphasize here what a traumatic thing it was when
Marvel's characters stopped aging. They stopped being real. The
stories didn't matter any more. Marvel's characters had always
aged with me and my whole generation, my whole life. Spidey was
always my age. Reed Richards was always my dad's age. Suddenly,
Spider-Man was just like Superman -- a boring, unchanging icon. If
you're under 35, you have never lived in an era where comic-book
characters aged, and you can't imagine the sense of loss I felt.
It took me years to stop looking for "old" Marvel, and learn to
appreciate what was available, here and now. ("Love the one you're
with ... ")
And what did that reflect about the thinking of the savants in
charge of Marvel? What profound change had occurred, from Stan
enthusiastically growing Peter Parker monthly for eight years, to
Roy Thomas "freezing" Spidey at age 27? Isn't that a profound
change in "writing style"?
Nobody at any level at Marvel wanted anything to change in the
'70s, because Marvel was at the top. Nothing could change, because
the driving energy and singular personality behind Marvel in the
'60s (with apologies to Kirby fans) was Stan Lee -- and he was
gone, replaced by various "writer/editor" fiefdoms and a
constantly rotating "editor in chief" with no power. The watchword
was "consolidate," not "create." Marvel in the '70s was, in fact,
much like DC in the '60s -- very businesslike, and pretty dull. It
had grown a bureaucracy!
In short, Marvel's creatively explosive Silver Age ended the
minute Peter Parker stopped aging. That's a quick shorthand for a
variety of things, not the least of which was Stan, Jack, Steve
and the rest bowing to young replacements who were more inclined
to entrench rather than advance. Circle the wagons where you are,
don't head West.
Like a shark, Marvel's Silver Age died when it stopped moving
forward. And the first warning signs of that -- such as the
changing of the guard on Fantastic Four and Amazing Spider-Man
from the Founding Fathers to their wetnose replacements and the
resultant creative drift -- was in 1970. The same year,
coinkadently, that Mort Weisinger retired at DC, taking away the
iron fist and allowing creative blossoming there for good or ill
-- the first, immediate act being Superman regressing from 35 to
29 years of age. It was also the year that saw the first issue of
Green Lantern/Green Arrow, and O'Neil and Adams teaming on Batman.
Not that I'm saying that THE SILVER AGE ENDED IN 1970 IN A VERY
NEAT AND ORDERLY FASHION. I'm just saying, hmm, here's a handy
place to plant a flag. Something was happening here.
So, anyway, I see little impact from Shooter's ascension to the
top spot around 1980; he was, to me, merely emblematic of a trend
that I had watched in action for years. "My" era had ended
already, and I knew it. I watched Shooter rise the whole time, and
he was, to me, the "anti-Stan" -- he enforced rules, whereas Lee
embraced experimentation; he insisted on order, whereas Kirby and
Ditko had thrived on chaos; he insisted on formula, whereas Marvel
had exploded in the '60s precisely from the reverse. The Bullpen
-- and the comics -- were dry, static and formulaic in the '70s
and early '80s. The characters were unchanging, unmoving, unaging,
and simply went through the motions as various interchangeable
writers recycled old Stan Lee scripts. The house art style during
Shooter's tenure was neither Kirby nor Buscema nor Romita
(although I agree with you that all three had their time in the
sun), but rather, it was simply workmanlike -- Don Perlin, if you
will (who followed Shooter to Valiant).
Not that this makes Shooter a bad guy -- to my mind, he rose to
the top because he best epitomized the ossification that had
already occurred, and was merely codifying it. Silver Age Marvel
was already dead, killed by success and the emigration of its
authors. It simply took 10 years for the corpse to cool enough so
that it became obvious in hindsight that something drastic had
happened between 1968 and 1980. Me, I knew it at the time.
I see the Lee/Kirby period as an easily quantifiable "Age" --
Marvel's exuberant "adolescence." And the moribund '70s and early
'80s were Marvel's sober, plodding middle age. (Strangely,
Marvel's wildly experimental youth was overseen by men in their
40s and 50s and 60s-- and their conservative middle age was
administered by guys in their 20s and 30s. Go figure.) Things have
changed since then and my analogy breaks down -- as you note,
history isn't handily segmented -- but that's how it appeared to
Since you feel strongly about a "Shooter Era" and I don't, I
suspect we'll disagree. That's probably a reflection of our
But, hey, that's just my opinion. And, after all, the "Ages" of
comics are an entirely arbitrary and subjective convenience we
create for ourselves. A historian 1,000 years from now will likely
look back at comic books 1938-2000 and conclude that it was all
ONE age -- the dead one!
Hurm. I may be ranting again. Ah, well. At least my mail will be
And my response will be even more, though
I obviously can’t guarantee it’ll be so clever. What is Smith’s
problem with characters not aging? I don’t buy for a moment that
it’s impossible to make the characters compelling if they don’t age
physically. Besides, did he ever really think the editors – and
especially the audience, no matter what age they are – want the
heroes to become a bunch of toothless, gray-haired geriatrics? That
wouldn’t be wish fulfillment if they did, and besides, what about
character interactions with relatives, friends, business partners
and acquaintances? That never occurs to people like Smith, does it?
And I disagree that DC only broke the shackles of its “conservative”
approach to storytelling in the 1990s. They did it earlier in the
Bronze Age, as Green Lantern/Arrow makes clear enough, and even in
the 80s they handled storytelling well enough, though that doesn’t
mean there weren’t questionable things turning up at the time. Some
of the Vertigo output may work well, but the problem is how they
basically abandoned cohesion in their superhero line for the sake of
“adult” storytelling, and in the case of their superhero universe,
for the sake of ideas that appeal to perverts.
Dear Cap: In regard to The Best of 2000
I agreed with you regarding your recommendations,
especially Allred's AAAPOP, and (have a few to add), such as:
Cartoon Books' Bone by Jeff Smith
Rose by Smith & Charles Vess
Castle Waiting by Linda Medley
Bongo's Simpsons & related titles
Jill Thompson's Scary Godmother (the comics; the
hardcovers are too pricy for me)
Akiko by Mark Crilley
Thanks. I am glad CBG added your column.
I'm glad CBG added my column, too, […]! And thanks for the "Best
I’m glad the correspondent didn’t think of
Sacco’s blood libels, though I’m galled at this point anybody
would recommend the Simpsons anymore. Today, I’ve concluded it’s a
colossally overrated cartoon, period. And a shame CBG had to add
Smith’s columns when it was still around. Now here’s another letter
of mind, where I brought up what makes for great “good girl art”:
Dear “Andrew “Captain Comics” Smith: On December 14,
2000, [name withheld] asked about what "Good Girl Art" means,
and you responded that it has a whole lot of different meanings
to diffenrent people. And so I thought I’d add my thoughts on
what Good Girl Art is to me. And in my viewpoint, it means:
Gorgeous and smooth bods
Big, pouty lips
Lots of makeup (escpecially blue and purple eyeshadow)
A really sexy pair of legs
A beautiful pair of eyes
A heaving bosom
Sexy hairdos that fall to the waist
Plenty of cleavage, or even a Spandex suit that can
lovingly hug their every curve
A shapely pair of buttocks
And even, decidedly, fighting skills. I consider girls in
comic books to look better in action than being held prisoner
and tied up.
And when speaking about good-girl art, it is decidedly
something that should refer only to GOOD GIRLS. Meaning, in
other words, ladies who take the side of good and honesty,
kindness, upholding the law, stuff like that. In my opinion,
villianesses shouldn’t be drawn with most of these features. ...
As far as I’m concerned, only the good gals should be drawn with
really sexy features, and only they should be truly gravity
And oh, if you’re wondering just what is it that’s holding
up the really loose-looking costumes and keeps them glued so
well to their bods, well, I’d say that it’s either the
writer/artist/readers imagination or even sci-fi/magic powers,
if they’ve got any.
Avi, I'm growing concerned about you. That e-mail was ...
Anyway, if there's anybody who's seen one of Adam Hughes's Wonder
Woman covers and doesn't think that the Amazing Amazon can defy
gravity, they need to get their eyes checked! And I'm starting to
grow strangely fascinated by The Scarlet Witch -- !
Even if that’s meant to be a positive
reply, I don’t buy his own blather for a moment. He ultimately went
along with the premise seen in Avengers: Disassembled, and never
lamented how Rick Remender wiped
out Scarlet Witch yet again in Uncanny Avengers, along with Rogue.
And of course, there’s that aforementioned DC monstrosity he also
embraced. As a result, I don’t think he’s very supportive of beauty
if he tolerates stories
that desecrate it.
Incidentally, “good girl art” is something I don’t hear or see being
mentioned much these days. IMO, that’s not a good sign. Let’s go
next to a letter following up on one of mine from January 17, 2001:
Dear Cap: I read your Q&A column and I was kinda
intrigued by Avi Green of Jerusalem, Israel, (whose) letter
ask(ed) what part of Canada Wolverine was from, or was he an
American because of his slang.
1) He said we Canadians used the word "lad" instead of
"Bub." I never heard anybody in Canada use the word "lad." OK, I
realize Canada is big and I don't know all parts of this
beautiful country. (But) I have a nice satellite dish with
stations all over Canada -- (and) I get different dialects but
no "lad". ... I have traveled and lived in some parts of the
country, even some cities with very British descendants, (and)
never have I heard the word "lad" been pronunced as a
replacement for the word "Bub"!
2) Canada has the longest unprotected frontier, and we are
so close to the USA that we are sometimes assimilated with the
American culture and dialect. Since half the TV stations are
from the USA, we can and do pick up some slang. Since some
military compounds are close to the USA and Wolverine was a
member of the force maybe he picked the word "Bub" from there!
3) I can't name another person who uses the word "Bub"!
4) As for the descendants of this fine country, it is a
mix of French, Scots, English, Irish, etc. ... same as the USA!
5) Since Wolverine has had his origin told countless times
as being Canadian
why would it be false?
6) He was part of Canada's only superhero group Alpha
Flight. Why would an
American be part of a Canadian-only group?
As I said last week, [name withheld], Wolverine has shown an
incredible facility for language, and his lengthy lifespan has
allowed him many travels. Wolverine has spoken Russian, French,
English and Japanese (that I can recall offhand), so there's
absolutely no telling where he got "Bub" from. But, as far as I
can tell, there's no question that he's Canadian (although
everything else seems up for grabs ...)
And thanks for giving us the Canadian viewpoint, which, as you
note, is often drowned out by the cultural cacophany from the
Wolverine may have great facility, thanks
to past writers with talent, but Mr. Smith has no facility for great
language or talent at all. But thanks to the guy who’d written this
letter all the same, and he’s in a better position than Smith will
Dear Captain: With regards to [name withheld]'s
inquiry about why the "Big Guns" don't sue other companies for
"ripoffs" of their characters (posted on the Jan. 4, 2001,
Q&A column), I can cite at least one other time DC sued for
trademark infringement (a la their suit against Fawcett over
In the '80s, DC sued the producers of Greatest American
Hero for trademark infringement. If I recall correctly,
the judge threw the case out, stating that the
similarities were not that great. The judge described Superman
as "cool," while GAH was a klutz; also, that Superman
hid his secret ID from Lois, while Ralph Hinkley (our
hero) shared his secret with his girlfriend.
Great Web site! I log on every day for updates, and
appreciate all your work. Thanks!
And thanks to you, [withheld], for that info. It could suggest
another reason for DC not suing very often -- it might not work!
Perhaps they prefer the threat rather than taking chances in
court. Here's another letter on the Captain Marvel court case:
I do know that Smith’s columns don’t work,
and never did since he’d begun over 2 decades ago. They’re like a
car with gas-guzzling automatic transmission that runs out of steam
far too soon. And another way to describe him would be the way the
judge in the case described GAH, though it’d still be putting things
Dear Captain Comics: I hate to be negative but I just
noticed a few little mistakes you made that I thought you should
First, you suggested in Jan 4th's Q&A that the (high)
sales of Captain Marvel (were) the reason that they were sued
(and not other '40s Superman pretenders or Image knockoffs).
However, apparently earlier than the CM court case in 1940,
Wonderman of Fox Comics went to an early retirement thanks to a
copyright suit over his resemblance to Superman. So I have to
wonder if CM was singled out that much. Remember that if you
allow people to violate your copyrights you run the risk of
losing them. That is a big reason for these suits.
On a related issue, (in) Dec. 21's Q&A you say that DC
never won the suit against Fawcett and that it was settled out
of court. They did settle but only after the courts had ruled
that Captain Marvel did infringe on rights, however the question
of damages had to be settled on. How do I know all this? I read
it in Bob Ingersoll's colummn at The Law is a Ass Installment #
66, originally ... published in Comics Buyer's Guide #602, May
31, 1985, and Alter Ego Vol. 3, No. 3 (also check out
installment #70 for more on copyright). I have a lot of fun
reading those columns (I also liked the Captain America book he
I hope I do not come off as too negative or not enjoying
your columns or Web site. They are great and a lot of fun. I
just thought you would want to know. Please keep up the good
You're not a bit negative, [withheld] -- I welcome errata and
addenda, because you can never be too accurate -- and nobody
(including me, cuss it) knows everything.
Anyway, in reference to Captain Marvel's sales and DC's lawsuit,
I'm using as my source Dick Lupoff of All in Color for a Dime, who
cited CM's sales as the specific reason he was singled out. If he
was wrong, then he was wrong -- but he was the only historian I
could find who even addressed the subject, and so I quoted him.
Frankly, until DC's lawyers tell us what their criteria for
lawsuits are, we'll just have to speculate.
Ingersoll is quoted in Dime also as saying that Fawcett had lost
the case for all intents and purposes, but Lupoff immediately said
the reverse. I didn't use Ingersoll's remarks because all the
other sources I looked up -- Jim Steranko, Ron Goulart and Les
Daniels -- were all careful to say that the case wasn't over, and
that nobody knows the terms of Fawcett's "surrender." Without
corroboration, I could only assume that what Ingersoll wrote was
his opinion, rather than fact, and so avoided mention of it.
Mr. Lupoff couldn’t be as wrong as Mr.
Smith is ever so often, mainly from a moral perspective, as I’ve
noted at least once before.
Dear Cap: Isn't it an exciting time to be a comic
I just realized this while reading the news bulletin about
the Quitely/Churchill appointments. What other medium allows its
enthusiasts to be this involved in its decisions?
Changes will be made that will affect the entire industry
soon: the format is obselete and demands a completely different
model; we're finally relaxing our conditions for admittance into
our "fanboy" club so as to attract people who couldn't care
whether it's Mxyzptlk or Mxyztplk; and the people in charge are
finally allowing real creators to do real and important work
(dead mutants in 2001, YEAH!). I admit we have a gauntlet to
run, but I have faith. It's a vital artform and our icons have
simply become too human to die.
You put your finger on an interesting contradiction, [name
withheld] -- the industry is teetering on the brink of extinction,
and yet the comics themselves have never been better written, more
diverse, or more lucrative for the creators (those who can FIND
work, that is).
Larry Young, publisher/writer of Astronauts in Trouble, has
declaimed on another Web site that the day of the 32-page pamphlet
is dead (I agree with him). Writer Steven Grant has predicted that
2001 will be "The Year of Blood," in which a decisive shakeup will
change the face of comics forever.
Maybe so, maybe no. But let's hope that whatever form our beloved
little hobby takes in the future, that the aspect of fan
involvement so unique to comics continues.
After all, we're a special group of people! We respond to the
phrase "dead mutants in 2001" with cheers, and that's simply too
valuable to be lost! :) But here's different reaction to the
Grant may have predicted something –
specifically, a very awful precedent in the 21st century, but
Smith’s never had any objections to what came up this past decade.
And since this was written, Marvel’s become
a closed shop, and fans have been 99 percent shut out of all
Dear Capn: In addressing the issue of supervillains'
love lives, [name withheld] says:
<<If you don't get to know a little something about who they
are outside of their costumes and show that they have human needs
and drives, they end up being just cardboard stock characters and
that's not very exciting (Vibro anyone?).>>
I don't know, the supervillain on the make might just find
"Vibro" very interesting indeed.
I myself never had any trouble with the superhero name
Speedy. It really seemed to fit the spirit of a plucky child
adventurer who debuted in the 'forties. Spunk, a bit of naivete,
gosh-darnit-ness. And it always made immediate "arrow sense" to
me, too, since arrows are quite swift when expertly shot.
Can I take this opportunity to tell you how utterly
depressing I find it that Mark Millar, Frank Quitely, Axel
Alonso and Mike Allred have all gone over not only to Marvel but
to X-MEN books on top of it? Mike freakin' Allred -- on an X-
This is the part where you tell my exactly why it is I
shouldn't just end it all now, Capn.
I certainly hope they make a whole heapin' helpin' of the
green stuff -- I do try to look for the silver lining.
Thanks for that listing of upcoming Dark Horse releases.
It was the first word I'd come across about the next American
Splendor comic book! Hey, you should do a column on ol' Harvey
(Pekar), if you haven't already!
Oh, also ... I read somewhere on the Net (maybe it was
your site?) that Oni Press has announced the imminent return of
Jetcat! The bossest superhero ever. I believe her title is to be
a bi-monthly or quarterly series, each issue part color, part
black-and-white. Oh, Capn, when this gets released can you
PLEASE push the sweet patootie out of it? JETCAT ROCKS.
Seriously, Jay Stephens's creation is really wonderful --
fun and silly, with just enough cranky edge and identifiable
"childhood" sense. If you haven't seen her yet, please do check
out the Dark Horse four-issue The Land of Nod miniseries from
1997 (and I believe the material has been collected in either
The Land of Nod Treasury or The Land of Nod Rockabye Book).
Jetcat has also had a feature in Nickelodeon Magazine, and
hopefully those short strips will one day be collected.
If you like Speedy, […], more power to you. I was never been a big
fan of archer characters in general -- taking arrows to a gunfight
never seemed particularly bright to me -- but at least "Green
Arrow" and "Hawkeye" made sense, whereas "Speedy" sounded like he
ought to be sidekicking with The Flash. Ah, well, c'est la vie.
And if you want reassurance that all of your favorite creators
will now be working on X-Men, look at it this way: The books have
got to improve. X-Men might actually end up pointing toward the
next wave of comics evolution! And, as Warren Ellis said in one of
his newsletters, you can't fault the creators for choosing this
path -- they're going where they feel they need or want to go, and
we don't know what those reasons are. If it's right for them, then
it's right for them.
And Jetcat is indeed coming to Oni in April in a bi-monthly
series. Jetcat Clubhouse will be a 24-page B&W every
even-numbered issue, and have eight color pages in the
odd-numbered issues. A Land of Nod Treasury, collecting early Jay
Stephens material, is slated for May.
No mention of good writing that could make
him enjoy the archers better than he says he did, I see. Nor has
there been any improvement for the X-books, just a lot more
laughable travesty, as seen with the Avengers vs. X-Men crossover, a
major embarrassment that put Xavier in death limbo.
<<While I find Promethea both aesthetically pleasing and
intellectually stimulating, and Top Ten enjoyable, the remainder
of the ABC line leaves me cold. – […]>>
Well, Mike still thinks more highly of the line than I do. The
only title I liked at all was Tom Strong, and even that I didn't
enjoy enough to buy more than a few issues.
Solicitation: "XENA: WARRIOR PRINCESS -- BLOOD AND SHADOWS
I think it is a good sign that even though the regular
series was canceled, Dark Horse thinks there are still enough
Xena fans to put out another TPB.
<<And if [...] is right ... -- Avi Green>>
If? If?!? Is there really any question?
Sorry. Sudden ego surge. I need my medication.
<<And although my familiarity with the issues
from the 'eighties is vague by now, did she really go ROLLER
SKATING around the X-mansion in that trenchcoat and pair of
shorts? If Jubilee did, then that would have to be a
Not only did Jubilee roller blade at the X-Estate, but she got
Professor X to join her! The professor temporarily regained use
of his legs (Uncanny #297, just after the "Executioner's Song"
storyline). Jubilee told him that "... you ain't lived until
you've bladed." They had a pleasant afternoon until Xavier
started losing control of his legs again. Jubilee then helped
him back to his wheelchair. It was actually a touching scene.
<<I’m really disappointed that Marvel’s writers have been so
cruel to (Jubilee). -- Avi Green>>
If you think Marvel's writers have been cruel then you should
definitely avoid the Generation X TV movie! Not only did they
have her in an even more bright version of her "Robin" costume,
but they made her Caucasian. Now, how's that for a slap in the
<<What's the status on the Watchmen action figures from DC
Direct that were announced several months ago? – […]>>
When Alan Moore decided to pull his support from DC's planned
Watchmen celebration, DC themselves pulled the plug on the
Watchmen figures and the hardcover collection. Granted, a
15-year anniversary seems like a strange thing to celebrate and
I sure don't need a hardcover collection of a story that I
already have, but I was looking forward to the action figures.
It seems a crying shame that DC, in an attempt to appease Moore,
is depriving the fans of something that they would enjoy.
<<WizardWorld.com be damned -- there's no such thing as a
"comics portfolio." -- Captain Comics>>
One of the biggest problems there is that anything Wizard
recommends slabbing is automatically not worth bothering (with)
because thousands upon thousands of other fanboys are reading
the same article. That pushes supply up and -- unless demand is
abnormally high -- value down.
<<Do you know anything about this retcon Avengers team? –
The '50s Avengers also appeared in the Avengers Forever limited
series. Check it out.
<<... the Sub-Mariner clone named Roman -- Namor backwards!
-- Captain Comics>>
I remember reading -- I think in the pages of Comics Buyer's
Guide -- that Subby was named Namor BECAUSE it was "Roman"
<<Are there dealers that buy collections as a whole? –
Besides eBay/Yahoo/Amazon, check out the classified ads in
Comic Buyer's Guide. I've seen advertisments for dealers looking
to buy collections in there before.
What's that? You don't get CBG? That's easy to solve.
Check out www.comicbuyersguide.com for subscription info. It is
much, much less to subscribe than to pay cover price from you
retailer (if your retailer will even order it for you -- some
don't carry it).
You weren't the only to write in with that Avengers Forever
appearance by the '50s Avengers, […], but they were immediately
"erased" from the timeline, though, so I didn't think that
appearance "counted." Guess I shoulda mentioned it anyway.
And it's true that Namor was Roman backwards on purpose. Bill
Everett was looking for something noble-sounding, so he started
with Roman and ended up reversing it. I wonder if the kids who
invented "Roman" had any idea how ironic their plagiarism was.
It’s worth noting the co-columnist who
wrote this wasn’t worth bothering about in retrospect. Mainly
because I don’t think he was ever as enthusiastic about GI Joe as he
was about Transformers, just to give an idea what his politics were
like. Say, I just remembered something! He was also accepting of
Identity Crisis, which was cruel to both many superheroes and their
co-stars! How’s that for a slap in the face?
Dear Cap: There are several fascinating aspects of
superhero mythology. One of them being that while the mystery
men and women have lost battles, they have never actually lost
wars. The ability to emerge victorious with every battle or
against every obstacle is a trick that no one has mastered in
real life. Then again, I could be wrong. Elijah Price went
looking for a person who rested on the other end of the spectrum
in the movie Unbreakable. A nigh-invulnerable man to his fragile
physical form. Well, what if there were such a person who rested
on the opposite side of the spectrum from the rest of us? He or
she has never lost in life. Call it having the luck of the gods,
the ability to turn any obstacle into an opportunity, or
whatever else you may want to call it, the question I ask is
could life be imitating art (comic book)? And if such a person
were to exist should he or be saving the day for the rest of us?
While, I must say that it would be thrilling and somewhat
fascinating to see that a fantasy has become reality and hope
that such a person could bring about a change for the better,
the truth is that person would owe the rest of us nothing. It
will be within their right to want to live his or her own life
for the individual and/or whomever else that he or she wants to
make a part of it.
I recall the classic issue of Superman when Destiny had
prevented the Man of Steel from saving the day so that the
people of Metropolis would learn to turn to themselves for help.
A lesson for us all. Still, just to be on the safe side, it
would not hurt to know that someone would respond to the
ultra-sonic emergency calls on our pagers.
I've wanted an ultrasonic signal watch to summon my own superhero
since I was seven years old, […] -- so far, no luck.
Good! He doesn’t deserve one! I’m sure
glad he didn’t achieve the ability to summon a Bahdnesian hex-bolt
genie like Johnny Thunder did either! Goodness knows what harm he’d
cause, all at the genie’s expense!
Greetings Captain: I hope your holidays were as
enjoyable as mine. Just thought I'd contribute to a few of the
discussions currently active on the online comics community that
1) From the ongoing debate department: It seems to me that
Batman was guilty not just of dishonesty, but of supreme
overconfidence in his betrayal of the JLA. The Dark Knight used
his knowledge of his fellow Leaguers' weaknesses to devise plans
to take them down in case any of them ever get taken over by
aliens or turned to the dark side. Of course this presumes that
Batman himself is impervious to alien mind control and the
seduction of evil. If Bruce Wayne ever did become possessed by a
malevolent force, the bad guys would have an immediate method of
eliminating the Justice League, which, incidently, is pretty
much what happened. Sure, Superman has tried to take over the
world a time or two, but he never let Batman's secret identity
out of the bag. I think at the very least Batman should have to
say "I'm sorry" real sincere-like. I can't wait to see how Mark
Waid resolves this issue.
2) From the stupid question department: Why exactly does
slabbing increase the price of a comic? I ignore all articles
and discussions that treat our mutual hobby as an investment, so
I had never even heard of slabbing before last week. Since then
I've done some research into the practice, and I don't
understand the resulting inflation of prices. All CGC appears to
be doing is guaranteeing the condition of a comic. Assuming
prices were accurate before CGC came along shouldn't they stay
about the same after being slabbed. It makes sense that an
investor would be more willing to pay book price over an
Internet auction if they know they are getting the condition
described, but that doesn't explain a book going for six times
the value listed in the Overstreet Price Guide (as apparently
happened with a copy of Incredible Hulk #181.) I think this is
probably just another of those ridiculous fads (like beanie
babies), and we true fans can wait it out. Here's hoping you
find those Sgt. Fury issues.
I've really enjoyed your columns lately. Keep up the good
1) I hope you've read JLA #50 by now, […] -- what did you think of
2) As I've said before about CGC, it's enormously stupid -- so,
naturally, people jump on it immediately and prices go insane.
Here's another letter on the subject:
Whatever solution Waid had wasn’t much
help. Not after writers like Greg Rucka exploited his storylines for
even weaker ideas as followups.
Hi Cap: Going thru this weeks Q&A column I wanted
to offer a couple of thoughts:
Regarding […]'s comment on "CGC pricing" -- The CGC
organization is not a pricing service, but a grading service.
There is a difference: the CGC does not assign or set prices on
books, but merely offers an opinion as to the condition of the
books they entomb. Discounting any sort of conspiracy theory,
and not wanting to sound like an apologist for the CGC, but it
is the consumer market that is setting the outrageous prices for
CGC-graded books, and I don't think the CGC receives any
kickback on any sale of the books they have graded. That said,
it doesn't make the idea of MAKING READING MATERIAL UNREADABLE
any less absurd.
Regarding […]'s Superhero Movie Quest: Debates aside over
"What exactly IS a super-hero?" and the inclusion or exclusion
of animated work in his quest, might I highly recommend the
Fleischer Brothers' Superman short cartoon features (1941-43),
available in a variety of collections on tape and DVD.
Those are terrific cartoons, […] -- better drawn, anyway, than the
Better written than his awful columns too,
or even some of the letters by the correspondent who wrote this,
ditto the one who spoke about movies! Why? Because they’re both
moonbats, much like a certain “captain” is. Here’s another letter of
Dear Andrew “Captain Comics” Smith: Okay, having read
The Company Line report on how Marvel is now unleashing its new
Ultimate Marvel magazine, I guess it’s possible to say that
comic books are finally on their way back to the supermarkets
and bookstores, right? Well, I’m so glad. When I was in
Philadelphia last year, I saw that old TV shows like the
Rockford Files and the Streets of San Francisco had returned to
air on the local and non-cable stations after being broadcast
for years on cable TV stations like A&E. And if old
television shows like those can make a welcome return to local
stations, then so too can comic books make an even more welcome
return to the bookstores and supermarkets.
And that’s why, hopefully, even the regular Marvel comics
can be returned to bookstores as well, even if it's got to be in
almost the same way that the Ultimate line is making its
appearance there. For example, Marvel could come up with some
special magazines that could hold even some of the regular
comics, such as some that could contain both of the current
Spider-Man titles. And in the case of the X-Men, since there are
currently a dozen in publication, they could come up with
magazines that could contain at least three of each. Likewise,
they could even come up with magazines that could contain the
issues of Captain America, Fantastic Four, Iron Man, The
Avengers, and so on.
Meanwhile, turning to the other contents of the Ultimate
Marvel magazines themselves, as I understand, they’re also going
to contain movie and music reviews, the kind of stuff that
today’s teens are interested in.
However, I think it could also be a good idea to try and
publish some other subjects as well, like theater, opera music
and dance. Let’s be clear, violent movies and heavy rock 'n' rap
is not really what today’s teens should be exposed to. They
should also be encouraged to take interest in quieter subjects
as well. In fact, there are many times in comics when even the
superheroes themselves are shown going to see plays, opera and
dance. And it’d be a very good idea if Marvel too could publish
some reviews in their new Ultimate magazine on such subjects.
For also, just how well publicized is the theater these days? A
few years ago, Mark Steyn, the theater critic for the New
Criterion, said in his Culture Vultures column for the American
Spectator on August 1997 that “theater is now almost invisible
in the wider cultural medium; it’s not covered by Entertainment
Weekly, or even Entertainment Tonight, and it has no stars to
put on the Tonight Show or even the covers of People.”
That’s why I think that it could be a very good idea if
Marvel were to show that they can give even the theater the
attention it deserves. And also the opera and dance genres.
There are so many kids these days who really need to know that
there’s more to life than just mayhem and explosions. And in
their many comic books, the characters themselves know that too.
Which is also probably why they’re even shown reading comic
books within comic books, a clever concept that Marvel’s editors
thought of last year, and which you also mentioned a year ago.
And it’s a very good thing if they’re shown taking up some quiet
Also, thanks very much to [withheld] for his addendums on
Psylocke’s tattoo (which, as I’ve noticed, she layers with
makeup to conceal it when in public) that looks almost like a
Chinese sai (dagger). And yes, it looks just as cool as when
Marvel’s artists draw her with a purple hairdo.
I agree completely that Marvel's return to the newsstand is
welcome, whatever the format or content. Industry analysts note
that almost 90 percent of Marvel's total sales are at comics
shops, where the audience is shrinking. And the industry as a
whole is in terrible shape, having lost more than 75 percent of
its sales since 1993!
There's a lot of argument on the Net (and sometimes on this site)
about comics prices, but the truth of the matter is: The day of
the 32-page pamphlet is over. It's not economically viable no
matter what paper you use or what price you assign. Comics MUST
find a new venue/format, or they simply won't survive.
Which is why I don't think we'll be seeing theater reviews in
Ultimate Marvel Magazine -- whatever our personal feelings about
educating today's youth, Marvel's not going to be covering
subjects that the audience has already rejected. Nope, they're
going to pander to the lowest common denominator -- which would be
objectionable if they weren't on the verge of going out of
business. But they are, so let's cut 'em some slack and hope they
can grow a market where none exists by whatever method they can.
In late 2013, Marvel pulled
out of newsstands yet again, or, more specifically, some
bookstore chains like Borders. Not that anyone’s missing anything of
their output since 2004 though.
But whoa, look who’s talking about low denominators! Exactly what
Smith did when Identity Crisis came out! And let us be clear:
sometimes, it’s better to just go out of business and keep our best
held beliefs rather than succumb to crudeness and political
correctness. And since when did the audience – save for the most
ghetto-mentality-minded – ever reject topics like theater? I
certainly haven’t, and find it stultifying he has to be so weak in
his own viewpoints.
<<Plus, (the Thunderbolts') personalities as depicted in
the series really contradict a lot of what went before (e.g.,
Goliath being a relatively unassuming follower instead of an
arrogant jerk). – [withheld]>>
Based on what I've been able to dig up from TPBs and the
Thunderbolts Monster issue, Erik Josten was relatively
unassuming until he became Goliath, after which he was an
arrogant, semi-intelligent jerk until The Fixer freed him from
Kosmos, removing the Pym particles from Erik in the process.
Hmm. Maybe that explains the personality switch. Could
there be something about mixing Pym particles and ionic
enhancements that turns a human stupid, arrogant and violent?
I'll have to go looking for Erik's first appearance now, just to
get a feel for his personality when he was first powered up.
That sounds good to me, […]. After all, how many times did our
mothers warn us about running with scissors, or mixing ionic
enhancements and Pym particles? If she said it once, she must have
said it a thousand times.
Incidentally, you didn't ask, but I'll tell you anyway: Erik
Josten's first appearance was in Avengers 21-22 (Oct-Nov, 1965),
where he played as a not-too-bright thug who mooned over The
Enchantress a lot.
I wonder if there’s something about
leftist education that can turn a human into a most truly awful
person? And if I were the parent of a certain somebody, I’d be
outraged if I found him gushing about Identity Crisis and Civil War.
Also, that certain somebody might want to look at himself in the
mirror when he speaks of not-too-bright and wonder why he’s little
Hey Capn: In your upcoming comics section, you wrote:
<<ACTION GIRL COMICS #19: I couldn't find any
solicitation info on this title; I don't even know who the
publisher is. But I'm betting it's either a Danger Girl ripoff,
or some serious p***!>>
Actually, it's neither. It's been around before Danger Girl
(although with a number like #19 and Danger Girl's shipping
schedule, it's hard to tell), and p*** is pretty darn far from
what it is. It's a girl-friendly (but never anti-boy) anthology
compiled & edited by Sarah Dyer, half of the Dorkin-Dyer
brain trust behind Space Ghost Coast to Coast. Most (usually
all, but I think there was an all-boy issue in the works) of the
contributors are women comics creators, and the stories range
from slice-of-life stuff to light-hearted superhero adventure. I
think Chynna Clugston-Major's Blue Monday (which reminds me of a
manga-ized Archie comics with a little more libido) got its
start there. It doesn't appear too often (quarterly, I think)
but it's worth checking out when it does.
Whew! Well, when I'm an idiot, I'm an idiot -- and my ignorance on
Action Girl is now a thing of the past. Thanks, folks!
Yawn. If he doesn’t admit to idiocy – and
irresponsibility and near-sightedness – when he talks about Identity
Crisis – a title that’s very anti-women – then his ignorance is
still a thing of the present and remains unchanged. But not
unchallenged. Now for January 24, 2001:
[Name withheld] finds ... The Stupidest Man In
It's ... hard to believe. The link takes you to
WizardWorld's "News" site, which has the following press
<<CGC ‘PERFECT 10’ SPAWN #1 SETS RECORD Landmark Issue
Goes For $810
Would you spend $810 for a comic that books for $15?
Collector Matt Prucher would. And he’s tickled pink about it.
On Jan. 8, Prucher bought a Comics Guaranty Corporation
(CGC)-graded copy of Spawn #1 for the princely sum of $810. The
kicker? The CGC grade was 10.0, making it a theoretically
Prucher made the purchase in a wild eBay.com auction that
saw the comic’s price rise a staggering $100 in the auction’s
last two minutes.
"Once I saw [the comic] on eBay, I knew that I wanted it,"
Prucher says. "I put in a maximum bid of $820, thinking that
this would seal the deal. But I barely won the auction by the
seat of my pants."
Meaning, of course, that there’s someone willing to pay at
least $800 for the next perfect Spawn #1 that comes along.
"When the auction closed, I was pumped," Prucher adds. "I
had just barely won the highest-CGC-graded Spawn #1 in
existence. Then once I absorbed what just happened -- it all
happened so quickly -- I also realized that I officially owned
the most expensive CGC-graded Spawn #1 in existence. On the
other hand, I’d be kicking myself if I had lost the auction by
Would Prucher have paid $830 for the comic? $850? $1,000?
Prucher, who bought the comic to add to his collection of key
Spawn issues and Silver Age comics, says he isn’t sure.
"If I’d been outbid, it’s hard to say what price I would
have counter-offered," he says.
Prucher says he plans to keep the comic: "Think about it:
This comic is graded at a perfect 10.0. You can't get higher
than that. It's not like Spinal Tap, where the amps go to 11."
In the end, you’ve got to be happy with what you’ve got,
and Prucher is definitely a happy man -- if a little bit lighter
in the wallet area: "It’s a key Modern Age comic that’s been
given the highest CGC grade possible. I’m very happy with
I hope he is. Since Spawn #1 is probably the most-slabbed comic
book in America -- and one of the high-demand books for which
there is a LOT of supply -- economic theory suggests that it's not
likely to rise terribly much in value.
The pretentious correspondent who
presented that press article from an awful magazine did NOT find the
stupidest man in America; that title belongs to a certain somebody
else. Or, depending upon one’s viewpoint, he did find him, and
didn’t realize it! Besides, Smith’s never complained much about all
this stupid slabbing and grading in his columns, if at all, and if
you don’t do it up front, it’ll only continue. If his columns were
comics, they wouldn’t have much value either.
Dear Cap: Just wanted to comment on a strange
coincidence I've been noticing. In (the Jan. 18) Q&A, an
unidentified correspondent asks questions about Justice League
of America #111, citing it as his "re-introduction to DC after a
In his August 24, 2000 column, […] talks about his
recollections of JLA #111.
Add to this my experience: JLA #111 is the first superhero
comic I remember ever buying. I must have been eight years old,
and was a devotee of Harvey's Sad Sack and Richie Rich comics
prior to that time. The Libra character certainly made an
impression on my young mind, and the heroes and villains
(particularly Shadow Thief and The Tattooed Man) were way cool.
Twenty-seven years later, the Justice League is still my
favorite comics concept, and I've followed it through all its
So what is it with this particular issue?
Well, the secret's finally out. Justice League of America #111 was
coated with an invisible, odorless substance that acts on the
serotonin receptors of the brain. More addictive than crack
cocaine, faster-acting than nicotine, this highly-classified
substance was introduced to JLA #111 by the CIA in hopes of
developing the perfect mind-control agent. It worked, of course,
and we are all currently under the control of the U.S. government.
Explains a lot, doesn't it?
Actually, I have no idea why this particular book is so memorable,
unless it's because it was one of the first to jump up to the
100-Page Super-Spectacular format back in the '70s. JLA was one
title that really benefited from the extra space, allowing it to
run old JSA stories and reprints of a host of characters who had
no other berth (Dr. Mid-Nite, Wildcat, etc.). That's my best
guess, utilizing my foggy memory, and otherwise The Captain is
open to suggestions.
His memory can’t be as foggy as his grasp
on morale. Which I should’ve realized myself years ago, and
thankfully, I do now.
Dear Cap: I haven't written in a while, as I kept
going to the old 80cyberhost.net address ---- you might want to
leave a note there about the change over.
(CAPTAIN'S NOTE: This is all news to me! Is anybody else having
trouble with 80cyberhost.net? I've been on two systems since the
inception of this site, one on AOL (where, after four years, I
still have a forwarding address) and the current address.
Neither had anything to do with "80cyberhost.net." What is it,
and is it a problem?)
But I do have some news.
As far as The Crimson Avenger as DC's first masked hero or
costumed hero, well, excluding Doctor Occult (who did not wear a
mask and but did wear an odd uniform once), there is another
hero to consider: The Clock. The Clock was not originally a DC
hero (which may be the reason that The Crimson Avenger is
honored, as he is a DC creation); rather, The Clock was
originally a Quality hero. The author of one of the articles
below indicates that The Clock may now be in the public domain,
and thus not owned by DC or anyone. However, The Clock appeared
and died in Starman #17, indicating that he is a part of DC
(Yes, "The Clock" does not have the same ring to it as
"The Crimson Avenger" does, as your stupid names page points
Other Crimson Avenger facts: Someone actually started a
Web site about the Gummi Bears (Disney '80s animated series).
This person mentioned how one of the Gummi Bears, at one point,
decided to fight crime as ... The Crimson Avenger! (Whether this
was intentional homage or not, I can't say.)
Finally, a quick note: it was noted in Secret Origins that
The Crimson Avenger fought in the Spanish Civil War. For those
who may be interested, the Spanish Civil War resulted when the
Spanish people voted for a leftist coalition government, and the
conservative elements of Spanish society rebelled. General
Francisco Franco was the leader of the conservative victors in
the Spanish Civil War, with significant Hitler (and Mussolini)
assistance. Although often huffed off as a Nazi, Franco actually
used black soldiers in his army!
As we've discussed before on this site, it's pretty clear that in
the "real" world The Crimson Avenger was nothing special. But in
the DC Universe, he is ensconced as the FIRST MYSTERY MAN -- the
position formerly held at DC by Superman pre-Crisis. It wouldn't
take too much effort to find lots of characters that preceded The
Crimson, and certainly The Clock would be among them.
But thanks for the info, […] -- it wouldn't hurt for us Legion of
Superfluous Heroes members to research this thoroughly and render
an accurate timeline. Thanks for getting us started.
But I have a quick query for my own satisfaction: Wasn't The Clock
among the Justice League International villains who took a bus
ride to a crime about a decade ago during the "silly" Justice
League era? Or was that Clock King?
As to the Spanish Civil War -- roughly 1936-39 -- it's a
fascinating thing to explore if you have any interest in history.
For one thing, Hitler got to experiment with the elements of his
blitzkrieg against civilian populations, like the Stuka
dive-bomber, mobile armor/infantry elements and
command-and-control with a centralized General Staff (an idea
which, believe it or not, the German High Command learned from
Robert E. Lee in 1861-65 in the American Civil War, and used to
great effect in the Franco-Prussian war of 1871 and World War I).
But the political implications, which John alluded to, are
absorbing -- and I leave it to the reader to discover those
independently. As a warm-up for World War II, it's an obvious
thing -- as a warm-up for the left/right political arguments (and
the Cold War) for the next 40 years, it's another. Oh, and it gave
us some great art, songs, literature and probably the first
recognizeable 20th-century-style propaganda. Need I mention
ambulance-driver Ernest Hemingway (who later wrote The Sun Also
Rises set in the Spanish Civil War), or Picasso's La Guernica?
Heck, The Clash had a hit song Spanish Bombs in the '80s!) None of
history goes away, folks ---- it just comes 'round and 'round and
'round again. Sort of like X-Men plots.
Or, like Smith’s own dishonesty! I
wouldn’t count on him to research Crimson Avengers well either.
Since Starman comes up again, how
pretentious and overrated a series it was when first debuting in
1994. Once, I might’ve thought it made for a great relief from
that disaster called Zero Hour. But today, I know better, and reject
James Robinson’s take. Speaking of which, here it comes again:
Dear Cap: Yes, most of "Bloodlines" was worthless,
and I'm impressed you could name as many of them as you did, but
you left out the one successful character: Hitman. There's a
long and spotty history of DC creating a big event and using it
to springboard new titles; New Guardians, anyone? But then, if
not for Zero Hour, we might not have had Starman. So sometimes
it does work out all right. We just have to wade through a lot
of crap to see the light at the end of the tunnel. Now that I've
sufficiently mixed metaphors, I'll sign off.
I didn't mention Hitman, […], because it was a peculiar exception
to my point that Bloodlines was bloody awful! He was a success
story, but I submit that it wasn't such because he was a
well-conceived character, but because he was subsequently
well-written. Any character out of Bloodlines might have been
successful if A) Garth Ennis wrote them, and B) their super-powers
and origin were virtually ignored.
And I'm grateful for Starman, too -- but, of course, there you
have James Robinson on the word processor. Do you think Starman
would have been half as good if, say, Chris Claremont wrote him?
Remember, a rolling stone is worth two in the bush. (Now you've
got ME doing it!)
To which […] responded:
Dear Cap: I quite agree with you that it's about the writing.
And James Robinson definitely was/is the reason that Starman has
survived long past that strange and terrible Manhunter series
that debuted at the same time. Starman is clearly a labor of
love, not commerce. (And damn him for making me well up with
tears three issues in a row ... but I digress.)
You're also leaving out Marvel, which was guilty of the
same crime the same year as Bloodlines. I don't remember what
they called their summer annual event, but I do remember it
being touted as "a new hero in every issue!"(and I don't think
anybody could name any of those heroes today). I think it was
the same summer as Dark Horse's "Comics Greatest World" and
possibly the launch of the late lamented Ultraverse. Something
was up that year, and I don't know what. A response to Image? It
might be worth a column or something.
I think it's possible -- yea, even likely -- that both Marvel and
DC were flooding the market in that seminal year with lots of
product to try to push the new kids off the block. But I don't
have any specific info to that effect from the pros I correspond
with. Anybody know?
Boy, those clowns must
really enjoy wallowing in such hypocrisy! Sure, Bloodlines was
awful, but so too was Identity Crisis, yet they embraced the latter.
I suppose they consider it fine because, instead of creating new
vigilantes this time, they forcibly replaced established heroes like
Atom and Firestorm with different characters in the same costumes,
namely, minority group members. Apparently, “diversity”, which has
only become worse in recent times, is more important than good
storytelling, and we’re supposed to care about the costume more than
the character wearing it.
I don’t think Starman would be great if Claremont wrote it, but it
might actually be better than Robinson’s take if Claremont didn’t
resort to killing off a couple of co-stars for the sake of moving
the story “forward”. I'll have to recall though that just a few
issues into Excalibur, he did kill off Courtney Ross. And all after
writing her so likeably! So maybe it wouldn't be that good an idea,
now that I think of it.
Dear Captain: I always read your column when I'm at
my mother-in-law's in Memphis, but just discovered your
wonderful Web site!
I just watched Toy Story 2 (on video this time) and was
again knocked out by this amazing format for telling fantastic
stories visually. Is it just me who thinks this level of
computer animation would be the ultimate way to bring comics to
the big screen? Just imagine the first three or four issues of
Spider-Man faithfully retold AND RENDERED IN STEVE DITKOESQUE
GLORY! Fanboys around the world would soil themselves with joy!
Not to mention the possibility of seeing Benjamin J. Grimm
belting Norrin Radd though Missus Binn's upstairs wall and
shouting "YOU FIGGER IT OUT" in Sensurround stereo. Whaddaya
think? Could someone stick this idea under Steve Jobs's nose? It
would beat Bug's Life 2.
Yeah, but so would root canal. Seriously, movie F/X are getting
better and better, and comics concepts formerly unthinkable
(Galactus trilogy, anybody?) are becoming possible, if not
inevitable. It's a good time to be a comics-2-film fan.
Actually, I've already seen a Thing/Hulk or a Thor/Hulk fight on
screen. It was in Terminator 2, when the T-1 and the T-2 were
slamming each other against the walls in the basement of a
shopping mall and shaking the building. I remember thinking at the
the time: "These computer-generated animation guys have read Jack
Root canal would be better than having to
endure some of the most obnoxious visuals seen in Identity Crisis,
like the part where Dr. Light grabs Sue Dibny by the rectum. And
he’s wrong about FX – they’re only making things worse. No wonder I
prefer to watch simpler forms of screen tales today, rather than be
bored out of my skull by a lot of FX that drown out the substance.
Hello Captain! Thanks for writing about Captain
America #155-156. What a blast from the past! I remember when
those issues were hot off the stands. I was 11 years old, and my
friend and I smashed into each other for hours in the snow with
circular sleds as shields trying to see which of us was the fake
Cap! Your article brought it all back. I own the original art of
the #155 page where the '50s cap first belts the real Cap.
I'm currently updating the Jack Kirby Checklist for The
The Form letter:
We need the help of Kirby fans out there who have these
comics. The following list of comics are listed in Overstreet
but not the Kirby Checklist! If you have any of these can you
please check them out for the benefit of Kirby fans everywhere?
This List is growing much smaller due to the great information
sent in since Christmas by Kirby fans everywhere. The
information is due back by Jan. 31, 2001. Please respond to
[withheld] The results will be published in the April, 2001,
Treasury-Sized edition of The Jack Kirby Collector. All
contributions will be duly noted.
Headline Comics #56 S&K -- cover?
Justice Traps The Guilty #27 S&K -- cover?
Justice Traps The Guilty #28 Kirby -- cover?
Justice Traps The Guilty #30 S&K -- cover/art?
Marvel Double Feature #11,12,14,15 Kirby -- art (reprint)?
Mystic Comics #6 Kirby/Schomburg -- cover? (no definitive
word on this)
The Official Handbook of the Marvel Universe #3 Kirby --
Prize Comics Western #78 S&K -- art?
Punch & Judy Comics V2 #2 Kirby -- art?
Punch & Judy Comics V2 #10 Kirby -- art? (one-page
Super Rabbit #1 (Timely Comics) Fall 1944: One-page war
effort recycling public service announcement by S&K?
Young Love & Young Romance -- These two are such a
mass of conflicting information, only someone with access to all
of the books can ever really figure these two titles out.
Hopefully the majority of Kirby work is already listed in the
Now here are the final set of questions (unrelated to
Overstreet) that need to be answered. Please provide accurate
story titles, credits, page counts, publishers and dates.
Periodicals with Kirby articles are also needed if omitted from
the 1998 Checklist. All information sources will be duly noted.
Thank you for your interest and persistence in helping to
strengthen the Jack Kirby Checklist.
Captain America Ashcan #1 (1994) features partial Kirby --
Complete Detective Cases #1 (July 1941) (pulp features
Kirby Devil ink & wash illustration) publisher? (Timely
related); story name?; other Kirby art?
The Essential Thor (according to PREVIEWS, reprints
Journey Into Mystery 83-112. Page count is listed as 528 pages)
(Actual entire story content including "Tales Of Asgard" would
be more like 437 pages -- what exactly is in this book?)
Fantastic Four Ashcan #1 (1994) features partial Kirby --
From Here To Insanity #12 (Charlton) Kirby -- art?
Marvel Tales #21 -- Human Torch (one-page pin-up reprinted
Mighty Marvel Western #6 (two pages of pin-ups reprinted
Pulp Fiction #1 1997: (A-List Comics) (purportedly
reprints a story called “The Vengeful Corpse” by S&K. Is
this a re--titled story reprinting “Come Claim My Corpse” from
Black Magic V2 #12? Or is it “The Case Of The Floating Corpse”
from Headline Comics #24? The World Around Us #32 (Apr 61;
Classics Illustrated) "For Gold and Glory" "Desert Treasure:
Part 2" fuor pages Kirby -- art?
WOW What A Magazine!: David McKay/Hensley Publishing Co.
(magazine format comics; 52 pages; features original and reprint
#1 Jul 1936: Kirby -- art?
#2 Aug 1936: Kirby -- art?
#3 Sep 1936: Kirby -- art?
#4 Nov 1936: Kirby -- art?
(Note: The Gerber Photo Journal designates the scarcity of
these four books from “8” to “10” indicating that fewer than
five to 20 copies of each issue are presumed to exist.)
From an interview translated by Fabio Paolo Barbieri:
Lucca, Italy, 1976:
Nessim Vaturi: You said earlier that early in your career
you used to work for a book called WOW!
Jack Kirby: Yes, it was the first magazine I worked for.
Jerry Siegel and Will Eisner used to publish it. They were my
bosses back then, and those were the first years of comics, and
WOW! What A Magazine was one of the first comic magazines.
This mystery still intrigues. Why would Kirby distinctly
remember by title, working on this comic? Has anyone ever seen
one in person to dispute Kirby’s memory?
Any help that you may have is greatly appreciated by Kirby
Thank You for your efforts regarding locating these final,
elusive pieces of information. Which will, one day, become a
definitive list of the work of the vivid imagination and hard
work of Jack Kirby (1917-1994).
OK, I'll play. I looked up and scanned the cover to
Marvel Double Feature #5 with an all-new Kirby cover. Any other
Legion of Superfluous Heroes out there want to contribute? Tell
'im The Captain sent ya!
No true Kirby fan should ask an awful
columnist like Smith for help, and it’s a pity the above did. In
fact, where was Smith when Scarlet Witch was being mistreated so
badly? He didn’t actually describe Avengers: Disassembled when he
allegedly panned it, or say it’s terrible a wonderful girl like her
was being misused, nor did he criticize Brian Bendis for a very
stupid storyline where Hawkeye took advantage of an amnesiac Wanda
in 2006. Yeah, some Kirby fan he is alright!
Mr. Smith: In the beginning of you stated you were
asked for more opinions and less news. Tell you editor he
dosen't know what he's talking about. True I, as a HUGE Ray
Park/Marvel fan, already knew about the upcoming Iron Fist
project. But many don't, and what I knew was just the storyline.
I had never read Iron Fist and really appreciated the extra
info, especially the picture of the comic itself. As a watcher
of movies and reader of comics I really enjoy learning all new
facts on upcoming projects, so naturally your column kicks
An X-fan 'till the end
P.S. Speaking of movies and comics, you should add
something on your page about the hidden "Marvel" blooper on the
X-Men DVD; it's hillarious.
Mr. Smith doesn’t know what he’s talking
about either, and his editor’s still guilty of greenlighting such a
phony to start with.
Dear Cap: Tell your editor that you're the BEST! Don't
listen to him, Cap!
In defense of […], my harrassed editor, he really is a swell
guy. He got a kick out of the column, stating "I've never been a
If his editor is a leftist, he may not be
so swell. I wonder if Smith would love being a supervillain? In a
way, he is. Or, at the least, he’d make a great villain in TV crime
series like Mannix, Cannon, Hawaii 5-0, the Streets of San Francisco
and the Equalizer.
In reference to the on-going discussion about the end
of the Silver Age, I would like to put my two cents in. I was
involved in the same discussion about six months ago and after
much debate, we decided that the end of the Silver Age was in
1970. Yes, the Big Two were alive and well long after that date,
but by then that was all that was left. The public interest in
superheroes generated by Batman on television (and the
imitators) had died. All the other comic companies that had
entered the market such as Tower, Harvey, Charlton and Dell were
either gone or on their way out. The one issue that we decided,
however, was defining was when Jack Kirby started his fourth
world saga in Superman's Pal Jimmy Olsen #133. Two major things
happened with this. The collaboration between Stan Lee and Jack
Kirby that helped define the early years of the Marvel Age of
Comics was over. The early creativity and exuberance that marked
Marvel were now over. Marvel would retreat from a position of
innovation to a position of stability that had (hobbled) DC for
so long. With the introduction of the Fourth World, DC would
start off in a new direction in an effort to make up the ground
that they had lost to Marvel. Things would never be the same for
The end of the Silver Age does not have the clear
delineation that the end of the Golden Age. There were so many
on going factors that have been pointed out in your column that
it is hard to single out one. I think that Kirby starting out at
DC is the best factor.
Since I've stated before that IMHO 1970 is my favorite date for
ending the Silver Age (and for many of the same reasons you
state), I don't have much to add. Comments, anyone? Questions?
Anyone care for a mint?
Not from him. And the Silver Age’s end
does have a clear delineation, 1969, a year earlier than Smith
Dear Captain Comics: I've been reading regularly but
haven't had the time to sit down and write; there are several
topics that have come up I wanted to weigh in on. Here goes:
About Mr. Mxyzptlk and the spelling and pronunciation of
his name: It took me a while, but I dug out the definitive
source -- The Great Superman Book by Michael L. Fleisher. (For
those of you who don't know -- and aren't lucky enough to have
one -- it's one of a planned series of encyclopedias about
Golden Age and Silver Age superheroes, although only the Batman,
Wonder Woman and Superman volumes were ever published. All
information is from the first 35 years or so of each hero's
career, culled from the titles in which each character was a
<<Mxyzptlk is pronounced Mix-yez-pitel-ick. Mxyzptlk
backwards -- Kltpzyxm -- is pronounced Kel-tipz-yex-im.
From Sep-Oct 44, the date of Mr. Mxyzptlk's textual debut
(Superman #30/third story: "The Mysterious Mr. Mxyztplk!"),
through Mar 55, Mr. Mxyzptlk's name is consistently rendered as
Mxyztplk, i.e., with the letters "p" and "t" transposed
(Superman #96/second story: "Mr. Mxyztplk -- Mayor of
Metropolis!"; and others). In Sep 55, however, both spellings
are employed (Action Comics #208: "The Magic of Mr. Mxyztplk"),
and, from Aug 59 onward, the new spelling -- Mxyzptlk -- is used
exclusively (Superman #131/first story, "The Menace of Mr.
Mxyzptlk!"; and others).>>
About real-world counterparts to DC Universe cities: Fleisher
<<Although the name Metropolis is itself fictional,
Metropolis as it is described in the texts is modeled after, and
fully intended to represent, the city of New York.>>
In the earliest texts of the Superman chronicles, Superman's
home city remains unidentified. Action Comics #11 explicitly
identifies it as Cleveland, Ohio (Apr 39), but Action Comics #13
contradicts this by placing Superman's resident city within
close proximity to the Sing Sing state prison, in Ossining, NY
(Jun 39). In late 1939, the name Metropolis appears in the
chronicles for the first time (Action #16, Sep 39), and the city
is situated definitely in New York State (Superman #2/second
story, Fall 39: "Superman Champions Universal Peace!")
<<The evidence identifying Metropolis with the city of
New York is overwhelming, despite the appearance of an
occasional text identifying Metropolis and New York as two
Among the common characteristics (I won't list them all): It's
on an island sold to white settlers by the Indians; it's home to
the United Nations; the Statue of Liberty is in the harbor; its
neighborhoods include Queens, Chinatown, Fifth Avenue, the Great
White Way, the waterfront and the financial district; and
several New York landmarks and neighborhoods -- the Empire State
Building, Carnegie Hall, the New York Public Library, the Museum
of Natural History, the East Side, Hell's Kitchen, the Bowery,
etc. -- appear with slightly altered names.
The same is true of Gotham City, as Fleisher writes in the
Batman volume, even though Metropolis and Gotham City aren't
supposed to be the same place. However, I remember reading a
comment by Marv Wolfman years ago (I think it was in The Comics
Journal) that he always saw Gotham City as Chicago. After all,
Batman's Gotham City in the '30s and '40s was much like Dick
Tracy's Chicago of the day: a dark, shadowy place, in the grip
of organized crime and flooded with grotesque, deformed
gangsters. For all we know, Dick Tracy was at work by day while
Batman toiled by night.
Of course, everything in those encyclopedias has been
supplanted by the Crisis and Zero Hour. Wouldn't it be great if
they were updated?
About Iron Man's secret identity: In the Iron Man/Captain
America '99 Annual, Tony Stark erased the knowledge of his
secret from everyone, and revealed it to a select few Avengers
About Batman and the JLA: JLA wasn't one of my regular
titles, but there's been so much buzz about Batman being kicked
off the team, I picked up those stories, and I was appalled! The
idea that Batman spends his spare time devising deathtraps for
his teammates is monstrous!
Showing Batman meticulously crafting ways to kill his
colleagues is wholly out of character. It is inhuman, and
inhumane. Also, it's inconsistent. I asserted not long ago in
this very forum that Batman is not a killer, and more important,
is not a murderer. But this story makes him out to be just that
-- a would-be murderer who lacks only sufficient provocation to
follow through. Worse, it makes him out to be a paranoid
sociopath who sees absolutely everyone as his enemy.
The only proper response the JLA can have isn't to kick
him off the team and say he can't join in their reindeer games;
they have to shut him down. That's right -- they have to put him
out of business and destroy his capability of rebuilding.
How can they ever be sure he doesn't have alternate strike
plans? How can they ever be sure he doesn't have a "final
sanction" in mind for all those crooks and psychos he keeps
sending to Blackgate Prison and Arkham Asylum? How can they ever
be sure he hasn't disposed of a few, just to test his methods?
And how can they ever be sure he doesn't have plans against
other heroes and villains? Given who the U.S. President is in
the DC Universe, the JLA should be very afraid. Their only
responsible course is to take Wayne Manor and the Batcave apart,
stone by stone. Having Batman share his secrets with the rest of
the team doesn't come close to being a sufficient remedy for
such heinous actions.
I just can't see how DC is going to write itself out of
this one; this puts Batman squarely in the company of demented
maniacs like the Punisher and Hitman. This story should be
consigned to Hypertime, or Earth-X, or wherever stories that
don't fit continuity go these days.
Well, I assume you've read JLA #50. So what, to
paraphrase Spock in Wrath of Khan, did you think of Waid's
solution to the no-win scenario?
As to the rest of your letter, I can offer no response except a
simple bow of respect. Nicely done, [name withheld] -- well
Wow, he really sees the storyline as no
big deal, right? But I see it as an embarrassment. I don’t think it
would work in Avengers either. It wouldn’t be plausible if Iron Man
did it, so why should it be so when Batman’s depicted that way? Yet
what happened to Bruce Wayne is pretty much what’s happening with
Tony Stark now in Marvel’s Original Sin crossover, an extension of
the notion Tony should be portrayed as some kind of rich madman.
<<I've wanted an ultrasonic signal watch to
summon my own superhero since I was seven years old, […] -- so
far, no luck. -- Captain Comics>>
I wanted supervillains to attack my wedding, but Jenn said I
couldn't. Darn it. It turned out to be a terrific day anyway.
<<Gen13 #61: These brats still set my teeth on edge. I
guess I'm just from the wrong generation. -- Captain
It's not just your generation. […] & I dropped the title
months ago and a couple more people recently canceled their
"pulls" on the title at the shop I work part time.
<<... but a team that needs Zatanna to fill out its
roster is a team that's in trouble. -- Captain Comics>>
It's not the team roster that I want Zatanna to fill; it's
those fishnet stockings! Mrrrow!
<<Daredevil #13 was originally solicited for April, 2000
(when it actually shipped, I don't recall). Now issue #14 is
arriving nine months later, and in the meantime there have been
two DD miniseries. Can anybody explain this to me? -- Captain
There's more than just two limited series. Ol' Hornhead is also
a focal character in the Black Widow: Breakdowns miniseries and
stars in the monthly Marvel Knights series. Who does the
creative team of Daredevil think they work for? Cliffhanger?
<<When is The Void going to get here, already? For a
supervillain, he sure is slow. -- Captain Comics>>
I hope I'm wrong, but the reality of The Void seems pretty
obvious to me. It looks like The Void is some kind of dark
manifestation of Sentry's powers. That's why he had to go
underground and have everyone forget about him for all those
years. Sentry himself is the source of the threat. Again, I hope
I am wrong. Paul Jenkins usually isn't that predictable.
<<AREA 52 #1: Delayed from last week, and the week
before. -- Captain Comics>>
It actually came out. I haven't read it, but I did see it.
<<LIBERTY MEADOWS #18: Delayed from a last week. --
And it was darn-tootin' good. The best issue in a while. I have
to question what could make this title late, though. It's not as
if Frank Cho has to come up with new material. Every strip in
this title was created years ago. Maybe I'm shooting myself in
the foot here, but how hard could this title really be to
I have the same reaction to the interminable delays on the Brian
Michael Bendis Torso TPB. It's a reprint -- how hard can it be to
package and ship?
You're probably right about The Void, but perhaps Jenkins will
surprise us. Although, if true, it would certainly make it easy to
send The Sentry back to comic-book limbo after the mini is over.
It's looking grim for The Golden Guardian of Good -- !
And I'm still laughing about your remarsk vis-a-vis your wedding,
Zatanna and -- especially -- Daredevil. Cliffhanger, indeed!
Jenkins, as he proved with that Spider-Man
story involving a PLO activist, can be quite disgusting. And isn't
impatience with anything Bendis writes a moot point? He’s hardly
worth the effort of reading as it is.
Ahoy, Captain! I'm a subscriber to CBG, and I enjoy
reading your column on a regular basis. But you wrote something
a couple of weeks ago in your year-end wrap-up column that I'd
like to respond to.
You said that nothing much is going on at Vertigo other
than the Brian Azzarello titles. Sadly, I generally agree with
this statement. I've very much enjoyed the Vertigo line since
its inception. I read as many titles as I can that claim to have
mature content (i.e., titles without grownups running around in
tights) and have been most consistently happy with the Vertigo
line. Alas, though, gone are the excellent miniseries like
Terminal City, Nevada, Enigma -- and even Winter's Edge did not
appear this year. I fear the worst for the line.
But, does no one read Lucifer? I find it, hands down, the
best title published in comics now. I look forward to each issue
like no other. Mike Carey is crafting a completely intriguing
story, filling it with totally unexpected twists and turns,
populating it with an amazing supporting cast, and he's doing it
with a skill I haven't seen since Neil Gaiman. This guy can
write. I loved his mini-series Petrefax, but he keeps ratcheting
up the bar with every new issue of Lucifer.
So why does no one say anything about it? I am completely
baffled on this point. I also liked the earlier writing of
Caitlin Keirnan on The Dreaming, but could understand why it
might not be to everyone's taste. But Lucifer just leaves me
breathless every month, gasping for more. Literally, there have
been times while I've read the comic, when my heart rate must
have doubled. Could no one else see what I see in the comic?
Do you have any answers on this? Do you suppose people are
just not picking up Lucifer? Could people be reading it and
remain unimpressed? I don't see how this could be. Have you read
it and found it wanting in any way, or have you just not picked
it up since there doesn't appear to be any buzz for it?
And, lastly, do you have any suggestions on what I might
do to try to publicize how great I think this comic is? I would
really, really hate to see it canceled, and also would like to
bring it to the attention of other readers who like a complex,
compelling story. I really like it more than any comic since
Thanks for your time, and I hope if you haven't read
Lucifer, you'll pick it up and feel the same as I do.
I do read Lucifer, and -- while it doesn't hit me as strongly as
it does you -- I find it enjoyable. My guess as to why there isn't
more PR on the title would be that few publicists or journalists
feel terribly comfortable putting themselves in the sights of the
Bluenose Mothers of America by championing a title featuring the
Judeo-Christian Adversary. Maybe I'm underestimating folks,
though, and it's simply a matter of taste.
Incidentally, I read an interview with writer Mike Carey which
explained the philosophy of the series -- one I had missed
entirely. Apparently, Lucifer's quest is to prove that he doesn't
have to be what Scripture and (presumably) God want him to be --
in essence, he's trying to prove that he has free will. It's left
open-ended whether or not that's even possible, but it does show
appropriate Hubris and, in a sense, a certain heroism. And it's
certainly a question that has fueled philosophical and theological
debate for centuries. Too bad John Calvin isn't alive to comment.
As to how to publicize the title, you're
doing it the best and most convincing way possible -- by word of
mouth. Your comments are hereby printed in hopes of reaching willing
If only Jack Kirby and Gardner Fox were alive to comment on how
Smith turned his back on the fine contributions they made to
comicdom. As for Sandman, it was not really the big deal some people
are saying it was. Next comes January 31, 2001:
Hey Cap: When I checked out your site I found under
Friday, Jan. 12's "The Company Line" the following headline:
"CrossGen sells out for the first time."
My first thought was that the next issues would all
feature foil covers, and there would be a swimsuit issue with
Sephie in a string bikini. Imagine my relief when I actually
read the article!
The first time CrossGen publishes a Meridian Swimsuit Issue is the
last CrossGen comic book I buy. I don't think there's any danger
of that, though!
Unfortunately, there was the danger they’d
go bankrupt, and the worst part is how the company founder wouldn’t
be honest about it till the last minute. While I think their
original output had potential, it’s still stupefying how poorly Mark
Alessi handled business in retrospect.
Dear Cap: Action Girl is a title put out by Sarah
Dyer under Slave Labor Graphics. It's advertised as being a
"female-positive, boy-friendly" superhero title for all ages.
It is not a Danger Girl-ripoff (its existence predates
Danger Girl) or a p*** comic. I don't read the book, but I've
seen it advertised in Milk & Cheese.
Thanks, […]! We covered my misapprehension about Action Girl
pretty thoroughly in the Jan. 17 Mailbag, but your missive arrived
too late to join the others banging the truth into The Captain's
thick head. But fair's fair, so I gave you a shot at me, too!
And what a thick head it is indeed! So
much that he fails to comprehend the misogyny in Identity Crisis. Or
that, if it walks like a duck, quacks like a duck, then it IS a
Dear Cap: I think that interesting stories set in an
alternate universe could be written about Marvel Comics'
characters. Big Town is an interesting concept. I like the
inside art for the book and I think that the possibility of it
being a regular series could be explored. If such an avenue is
taken, I think that chances should be taken to bring in bold new
concepts and not re-hash familiar plot devices. I am not stating
that these "chances" could be taken because it is not the
"regular" Marvel Universe that we are accustomed to but rather
there is a much-needed injection of originality in Marvel
Comics' outtake of the superhero fantasy genre.
After all, look at what being original has done for
WildStorm's The Authority and Planetary.
I've wondered since I was a youngster how come the advent of "Pym
particles" and "unstable molecules" and "wafer-thin mesh armor"
didn't change the Marvel Universe more fundamentally than it did.
Sure, Tony Stark was willing to go through "Armor Wars" to get his
technology back under his control, but if history has taught us
anything, it's that what one man can create, another can
duplicate. Pym particles alone would make a handy weapon for
terrorists; imagine shrinking bombs or Sarin gas and putting the
weapons in your ear, going through customs, and planting them in,
say, Tel Aviv. And didn't Reed Richards just sell all his existing
patents? Seems to me that the Gideon Corporation would find a
ready sellers' market for "unstable molecules" and
computer-integrated uniforms and Fantasticars among the world's
military powers -- much less the civilian clothing and
Take a look at the concept as approached in Alan Moore's Watchmen.
No sooner did Dr. Manhattan make his appearance than the world was
changed fundamentally. Not only did the U.S. become the undisputed
superpower as early as 1973, but the sudden existence of cheap,
safe and abundant energy transformed the world's transportation
systems (among other things) almost overnight.
If anything, Big Town doesn't go far enough to suit me. It seems
the alignment of "powers" is still pretty much the same, with the
FF and the Avengers simply more bureaucratic and centralized
whereas the "bad guys" have been forced into an uneasy alliance as
a counterweight. And why is there still prejudice against mutants
in a benevolent technocracy? A populace that embraces
technological change would probably be thrilled that their son or
daughter would have the possibility of developing a "superpower"
and joining the elite. I fully expected Scott Summers to be a
field leader for the Avengers and Hank McCoy to be working
side-by-side with Henry Pym in Big Town. But, no, all the X-Men
are street punks! So the irrational and increasingly inexplicable
persecution of mutants continues in even this version of the
Marvel Universe, in what appears to be editorial fiat to generate
storylines. We've made some headway on race relations in the real
world in the last 35 years -- at least there's no overt Jim Crow
or "separate-but-equal" nonsense anymore -- why can't the MU do
Why can’t ignoramuses like him recognize
anti-female discrimination for what it is? Hey, what if I find out
he’s fine with the Satmar’s own anti-female prejudice to boot?
Hello, Captain! Good column today! I like the recent
JLA storyline, too, and I can't wait to find out who that guy in
the black suit at the end of #50 is. One correction, however!
Batman was NOT trying to KILL the other Leaguers, just
neutralize them. None of the methods were lethal, though all
seemed quite painful. It even said that Bats was trying to
synthesize a non-lethal form of kryptonite. (Notice what color
it was? Waid's mind at work again!) Yes, the League had good
reason to be distrustful, but not because of fear for their
And respectfully received, [name withheld]. And you're right -- as
JLA Secret Files #3 makes clear, all of Batman's
"counter-measures" were meant to be reversible. However, when the
debate began in the Mailbag, all we had to go by was JLA #43-46 --
and that was a pretty grim indictment. In fact, Wonder Woman's
trap in particular was meant to lead to a massive, fatal heart
attack. Of course, now we know that it is Ra's al Ghul who was
murderous, not The Dark Knight. But to the League (and to us), it
certainly appeared that Batman had a lot of explaining to do! (In
subsequent columns I have avoided painting the Gotham Guardian as
a potential murderer.)
I think Mr. Smith’s got a lot of
explaining to do, about why he’s against making the Dark Knight and
Green Lantern murderous, but perfectly fine with turning Jean Loring
that way. What a hypocrite! And the revelation about what fate
awaited WW is disgusting, and only reinforces the opinions of any
detractors in that JLA story. No wonder I’m glad I don’t own the
trade paperback of that bizarre dud.
Dear Cap'n: In your most recent Q&A, you wrote:
<<I could read the phone book as long as Kevin Maguire
was illustrating it, so I tolerated the "silly" League as long
as KM's art graced its pages. But I never thought the venerable
Justice League was the proper forum for that sort of humor; a
spinoff book would have been more appropriate, with the "real"
JLA handling the crises that pop up every month (twice on
fifth-week months). And, as you noted, it didn't age well --
particularly when less-talented (and less funny) writers than
Keith Giffen took over the series. It gave us some good
material, like the "Chocos" bit that was recently handled so
well in Martian Manhunter #24 (Nov 00). But, like Chocos,
deconstructive satire is tasty once in a while but isn't healthy
as a steady diet.>>
I respectfully disagree with a few of your points.
On deconstructive satire and its place in the Justice
League: It's not so much a disagreement as a clarification. The
Justice League (post-Legends) was a brilliant way to bring about
the resurrection of the JLA after it had been mishandled and
misthought by many a writer and editor previous to this
incarnation. At the time, they wouldn't let them have Superman
or Wonder Woman or Hal Jordan. When given lemons ...
People tend to focus on the humor aspect far too much, I
think. Look at the humanity and the stripped-down action that
Giffen and J. M. DeMatteis (overlooked and underappreciated in
his contributions to the book) brought to the book. One of the
best moments was early on when they were fighting the Grey Man
in that Vermont town. Captain Marvel had been possessed and
Batman ordered J'onn to take him down. Beetle questions Batman
and he replies something like, "He's been doing longer than any
of us and the only one I trust to do it right." The first couple
of issues where -- on the brink of nuclear meltdown -- the
"villain" stops fighting and shuts down the nuclear reactor all
on his own, pretty much dying in the process. Between Giffen's
moebius-mind-wrapping plots, DeMatteis's gift for dialogue and
story and Maguire's early contributions, Justice League was
great. I was excited about comics because I couldn't wait to see
what happened next month. Who would've thought that I could
actually like the Blue Beetle and Booster Gold as a comedy team?
I will concede one point. There were times when you could
tell that the jokes were stretched to fit the story instead of
blending in (which really happened more often than not, I
believe). Especially when they made two books (JLI and JLA). The
jokes became far too overlapping. But I collected up to the
point where DeMatteis and Giffen were summarily kicked off the
book. More times than not, the book was on, especially by the
time that Adam Hughes was gracing the book with his pencils and
treating us to the Despero storyline. If you want to nitpick,
it's the first time that we start seeing Aquaman as (an angry)
undersea environmentalist. Ask Peter David where he started with
that. I always felt it balanced the humor with the serious
action sequences. I never got the feeling that the JLA was
disrespected. It was a different perspective with the cast they
I think that deconstructive satire has its place and can
thrive within any medium. While Saturday Night Live's record is
less than stellar, it has survived more than a quarter of a
century. The Simpsons show no signs of slowing down. South Park
continues to produce guilty giggles despite the same dire
predictions you make (that satire feeds upon itself and
eventually dies). Deadpool (while pretty schlocky now) was one
of the funniest books to come along in a long time, straddling
that fine line between satire and action.
I would like to know your thoughts on Black Panther. The
book made me laugh harder than any book since Giffen &
DeMatteis's JLA. But, it too straddles that fine line between
serious action and outright slapstick. But it works and
continues to do so under Christopher Priest's able hand. God
forbid if he leaves and we see a new millennium version of
Satire is only as good as the writing. Imagine if West
Wing were written by the same writers who did Melrose Place.
Yeah, it wouldn't be as good. Just as Gerard Jones and Ron
Randall on Justice League weren't as good as Giffen, DeMatteis
and Maguire on their worst days.
You're right in the respect that satire as a sole source
of entertainment is not healthy. But it implies that it's not
worthy to be applied to something like the Justice League.
That's the kind of thinking that has contributed to the stodgy
and stagnant market we know and love as comic books. Sometimes I
think that the X-Men should be given the same treatment. Set up
the team with a bunch of second-stringers (Havok, Polaris,
Iceman, Banshee, Cannonball, Nightcrawler, etc.) and send them
out with someone like Giffen at the helm.
Anyway, hope the rambling made some sense.
Thanks for the thoughtful dialogue on comic books without
resorting to silly fanboy euphemisms. I read the whole
discussion on comic-book characters and their religious
affiliations. I wish people who thought comic-book readers were
a bunch of dope smokers, emotionally-stunted juvenile
delinquents would read about the people who are talking about
I've said it before: The readers of this site
consistently impress me with their wide range of knowledge,
articulate argument and respectful approach to disagreement.
And one of the reasons that's so is because I've seen countless
examples on this site of readers willing to admit they're wrong.
"I'm wrong" may be the two hardest words for most people to say,
but I was brought up to believe it is a strength, not a weakness.
If you never admit error, you never learn anything.
And in that vein, when it comes to my remarks about the
"appropriateness" of the Giffen-DeMatteis Justice League: I was
wrong. There was nothing wrong with taking that venerable concept
and giving it a satirical makeover. You're right, that's fanboy
thinking. Dunno why I said such a thing -- must be the crack
Anyway, I did tire of the concept, but primarily because of lesser
writers handling it less well. As someone once said, "Drama is
easy. Comedy is hard." Giffen-DeMatteis had a flair for the
concept that had me consistently chuckling; Gerard Jones's efforts
looked labored and the plot stretched to match the punchline. By
the time we had "Kooey Kooey Kooey" I found the title difficult to
read. To use your Saturday Night Live analogy, Justice League
became a sketch that went on too long -- and we've all squirmed
through some of those on SNL. But, from my perspective, it was a
talent problem, not a conceptual one.
And I also have to interject that I never said that satire isn't a
workable vehicle for storytelling; I said that deconstructionist
satire is self-limiting. The point of deconstruction is to reduce
a genre to its basic elements, stripping away the barnacles of
convention, then begin anew with a purer approach that takes
advantage of what made the genre popular in the first place. By
definition, you deconstruct to reconstruct, so there's a limit
somewhere or you end up tearing down what others have built
without offering anything constructive of your own.
Plain-and-simple satire, in the right hands, can be terrific -- as
your many examples demonstrate. Oh, and I'm definitely a big Black
He may think deconstructionist satire has limits,
but he doesn’t think the same about forcing darkness down everyone’s
throats in today’s DCU, which has kept up well after Flashpoint. I
doubt he was being serious when he admitted he was wrong. If he
meant it, he’d never have supporting veering so far in the opposite
direction with Identity Crisis, or even Countdown to Infinite
Crisis, which sought to claim the satirical viewpoint in
Giffen/DeMatties’ League was merely manipulations by Max Lord. This
made no sense, and was nothing more than Geoff Johns, Greg Rucka and
Judd Winick’s way of tarnishing past writing to suit Dan DiDio’s
narrow viewpoints. Not to mention they also ruined some of the best
4th wall breaking jokes in their publication history. Yet Smith was
fine with that, simply by failing to condemn it in his columns. Nor
did he condemn how the Countdown story wiped out Ted Kord.
Dear Cap: I think this is news all B5 fans have been
From the Pittsburgh Post-Gazette:
<<But a more intriguing announcement from Sci-Fi Channel
general manager Bonnie Hammer concerned a new project she's
developing with Babylon 5 executive producers J. Michael
Straczynski and Douglas Netter. Hammer said nothing is final,
but the parties are having discussions.
"We're talking about a lot of things, and the thing we're
focusing on most ... is (an) exclusive Babylon 5 movie for
Sci-Fi, a new one," Hammer said. "That's one of the things.
Everything is open for conversation. We love that creative team.
Take a look at how Babylon 5 is doing on Sci-Fi in its
gazillionth repeats -- it's doing amazingly well."
Hammer said she's also thinking about picking up rerun
rights to Crusade, Straczynski's B5 spin-off that was aborted by
TNT. (Straczynski also is developing a new series for
The Digital Bits.com has confirmed that B5 will be released on
DVD but not before the summer. Now with news that the series
might be reborn with the Sci-Fi Channel, things are looking
Ugh, more JMS nonsense to contend with at
the time. I’m definitely not a fan of B5 after the terrible job JMS
did on Spider-Man!
Dear Cap: You wrote:
<<Remind me to do the "Chant of Making" for you
That wouldn't be "annal nethrok, oothsbahn bethud, dostiyay
deyenvey" would it? Haven't seen (Excalibur) in maybe 15 years,
but I can still remember the Chant of Making! (Well, some of
Keep up the fun stuff. I read your column in CBG; just
popped onto the site today. Looks like I'll be a regular
That's the Chant of Making, all right. I'm curious to see what
posting ancient Celtic spells on the Internet will do. Maybe Bill
Gates will turn into a lizard, or something.
Maybe a certain “captain” will be demoted
to the ranks! Wishful thinking, to be sure, but that’s where he
belongs, in the janitor’s service.
Hey Cap, here are some of the things that I want to
see in 2001. Some are distinctly possible, some are patently
ridiculous. But then again, you never know. Last year, one big
wish was to see Grant Morrison write the X-Men and I didn't
think there was a snowball's chance of that one coming true.
1) It's time for Giant-Man to be the chairman of the
Avengers. Every other founding member has held the chair as well
as plenty of Johnny- and Jenny-come-latelys. Let's see: Captain
America, Iron Man, Thor, The Wasp, The Black Widow, the Photon
Captain Marvel -- and even Dr. Druid, for crying out loud!
Hawkeye and The Scarlet Witch have both served as deputies or
led other teams, but never Henry Pym (as Ant-Man, Giant-Man,
Goliath or Yellowjacket). I thought that at the end of the
latest Ultron saga he might get a shot, but now he's got a whole
other Yellowjacket running around. Don't get me wrong, I'm
loving this sub-plot, but when it's finally resolved, maybe
Henry Pym can get his due.
2) New issues of Astro City. For that matter, I wouldn't
be disappointed by new issues of Section Zero, Superstar, Top
Ten, Tom Strong or Rising Stars.
3) Starman/Black Canary. Both of these are well-rounded,
well-written characters who operate outside of the normal
Spandex. Yeah, their parents had an affair back in the day, but
I think it'd be a pretty interesting miniseries, one-shot or
4) The end of the Fifth-Week Event. When DC started doing
these events, they were always new and different and exciting.
They were headed up by top creators like Dan Jurgens (Tangent)
or James Robinson (the Justice Society) who wanted to try
something different. Now, they've become a showcase for new
talent and about as predictable as the average crossover. I know
that DC will keep them around as long as we keep picking them
up, but very few of them are deserving of the name "event"
5) An X-Men title I can both look forward to and read
without complaint. They've given me one in Ultimate X-Men. I'm
hoping they can pull off the trifecta with the new gangs in
6) Firestorm. Oh, he probably wouldn't hold up in his own
title and he's too powerful to be a team player, or so the
theory goes. As long as you abandon the split personality, the
character has a lot of potential. It would be particularly fun
and appropriate for him to drop by The Titans. They traded
titles for a while in the '70s and are products of the same
generation, so it just might be a good match.
7) Tony Harris. Where's he been since the Dr. Strange
miniseries he did for Marvel Knights?
8) Jim Lee. Where's he been since Divine Right? Didn't he
sell WildStorm to DC so that he could go make to making comic
9) More Phil Jimenez on Wonder Woman. More Carlos Pacheco
on Fantastic Four. More George Perez on anything.
10) A real and consistent creative team on Wolverine.
Yeah, yeah, the book keeps selling in the top five so why fix
what ain't broken, but any title with no direction isn't going
to last long. Maybe Steve Skroce would sign up for a long-term
11) No more Marvel teams. The Defenders is already
redundant with both Thunderbolts and Marvel Knights on the
stand. One of the three is probably going to get squeezed out.
Why does Marvel insist on competing with itself?
12) An industry award that doesn't either A) pander to the
fans and simply tell us what was the most popular (something we
already knew without the Wizard Fan Awards, thank you very
much), B) come from a company that also makes comics (once
again, thank you Wizard and marvel.com) or C) pander to the
independent scene, refusing to acknowledge that the corporate
behemoths make a few good books of their own. In the comics
industry, we're being told that we don't need the Oscars because
we have the Sundance and the People's Choice award. Instead, the
Eisners and the Harveys seem to go out of their way to exclude
anything that's selling well (Lone Wolf and Cub being a
Mark Waid wants to do it. Kurt Busiek wants to do it.
George Perez has it written in his contract that he can be
excused if the project moves ahead. DC and Marvel are at least
on speaking terms, recently letting Steve Rude make his
Superman/Fantastic Four book. The fans want it. And the two
books have never been more popular.
What's the hold up? Where's the problem? Why can't we get
what we all want? Thanks for letting me rant!
That's quite a wish list, […]! But few of your choices are ones
I'd disagree with. Here are my comments:
1) Remember that Hank Pym has been demonstrated to be mentally
unstable. Note that with the current Yellowjacket sub-plot, his
wife and teammates' first fear is that his "old problems" are
re-surfacing. He doesn't exactly inspire confidence. Who knows --
being chairman might be just what he needs. But don't expect it
2) Astro City has been delayed by Kurt Busiek's health problems,
but supposedly he's given Brent Anderson a plot to work on. All
the Gorilla Comics are being delayed by their ongoing problems
with financing. I have no official excuses for delays of
"America's Best Comics" (except that Alan Moore's workload is
enormous) or Rising Stars (and there, presumably, Michael J.
Straczynski focuses more on projects that make more money, with
Joe's Comics at the bottom of his priority list).
3) Sounds good to me -- presuming that Jack Knight is still alive
and/or Starman at the end of the series.
4) I agree: "Fifth-Week Event" has become an oxymoron.
5) The X-titles are slated for some serious changes; I cannot even
imagine what X-Force (by Peter Milligan and Mike Allred) will be
like. But I'm looking forward to the end of the current status
6) Firestorm was never one of my favorites. Hope you get what you
7) Don't know where Tony Harris is. Presumably making more money
elsewhere than he could in comics.
8) Jim Lee is probably enjoying the life of a very, very wealthy
young man. The good news is that he will be doing one of the "Stan
Lee Creates ..." books.
9) You'll get all three.
10) Skroce would be my choice -- and Marvel's. He's declined.
11) I agree: Defenders is redundant. Marvel Knights already has
the "non-team" niche sewn up, and does a terrific job of it. Who
12) Hmmmm. "Captain Comics Awards," anybody?
13) The last I heard, contractual problems between DC and Marvel
are the last hangup (albeit a big one) preventing JLA/Avengers.
How about a Razzie award for dishonest
journalists, ditto hypocrites? Namely, one that’d be reserved for
correspondents like the above, who had the sick gall to support
Identity Crisis a few years later.
Mr. Smith again fails to note the elephant in the room, long after
it came up and trumpeted in his face: why doesn’t he complain about
the problems 1981’s story with Hank Pym slapping his wife twice led
to? Or, more to the point, why doesn’t he complain about how Jim
Shooter just HAD to come up with that embarrassment at all? A
storyline that keeps boomeranging, and surely the worst place was in
Chuck Austen and Brian Bendis’ writings. Why can’t it just be put to
bed already, and a storyline written where Hank’s confirmed as a
rehabilitated, remorseful man, ready to take up leadership for a
change? Then again, with Joe Quesada and Tom Brevoort running the
And I’m quite disappointed with his take on Firestorm too. But, what
can you expect from such a charlatan?
Hi Cap! I am a big fan of your site and enjoy it
every week. A few of the topics raised in the Mailbag and
Q&A in the past few weeks made me think of (something) I
would like to share:
Batman is a failure.
Batman is supposed to be one of the (if not THE) smartest
and greatest hero in the DCU. According to Wizard magazine and
various fans, he can beat any member of the JLA and any enemy
you throw at him. He is virtually unstoppable and one of the the
most dangerous men alive.
Then why is he such a failure in his war on crime?
Basically he keeps fighting, then locking up, and then
fighting again the same various psychopaths over and over and
over. Each time one of his enemies get out they usually manage
to kill a few (or more) Gotham citizens (so the writers can
display how "cool" and "tough" they are). Batman is stuck in an
endless, murderous loop with his opponents with no end in site.
Batman is supposed to be one of the smartest men alive.
Does he not realize the security at Arkham is a joke -- and
maybe he should do something directly about it? After a decade
of fighting The Joker with hundreds of people dead at The
Joker's hands maybe his current methods of dealing with these
supervillains are not working? He dressed up like a bat to scare
"superstitious and cowardly" criminals, but this has also
attracted many homicidal maniacs to dress up as well and commit
multiple crimes and murders to challenge/annoy/torture The
I mean, if Batman is ruthless and daring enough to set up
(potentially) lethal protocols against the JLA, why is he so
tepid about fixing the mess in his own backyard? Given his
wealth, resources and intelligence he could, behind the scenes,
run Gotham if he wanted.
I have heard people say if Batman was not there Gotham
would be a lot worse than it is -- but I am not sure about that.
While I would not condone his methods, if The Punisher showed up
and starting knocking off the various Bat-foes wouldn't Gotham
be safer than it is now? At this point is reforming The Joker
going to make up for all the people he killed and lives he
damaged? He would have to live the life of Mother Teresa to
atone for his past sins.
In the past it has been established that many of
(Batman's) foes (Riddler, Joker, etc.) enjoy playing these
mental games with Bats, almost like a game of chess, in order to
show they are smarter than he is. Maybe a more powerful but
"dumber" hero, like Green Lantern or Firestorm would be more
effective in Gotham? They could use their super-powers to
outmatch and outpower the non-powered villains, and they would
less of an authority figure for the villains to feel inclined to
A lot of this is limitations in the format of the current
superhero comic. (Can't change too much: Can't give The Joker
the death penalty, Batman has to keep fighting his war on crime
and stay angry about it, he can't age, etc.) But for someone
with such an attitude he really is not that impressive compared
to some of his peers -- who can manage crime in their respective
Thanks again for a great Web site!
Thanks for a great letter, […]! You bring up an interesting point
that I'd like other readers to comment on: Is Batman a failure? Is
there something more, eh, permanent he could do without betraying
his devotion to justice and "nobody dies tonight" mantra?
And as long as we're on the subject, writer Steven Grant points
out that Superman is going to spend the next four years as an
"impotent (male member)" because he's going to simply wringing his
hands while arch-enemy Lex Luthor has his way with the
Are our heroes completely ineffective? Here's another take on
I can comment on it now, and in some ways
better than I could years before: the writers and editors are the
failures, not Batman. Maybe the problem is that he’s never been
depicted trying to cripple the deadliest villains permanently and
let them pay for their own wheelchairs, but that’s also a fault of
TPTB, who’re just too cowardly to try a challenging idea like that.
In fact, they came close with Jim Gordon injuring the Joker in the
leg at the end of No Man’s Land, but the Clown Prince of Crime
recovered from that bullet in a jiffy, and wasn’t crippled. Superman
suffers the same problems, since the writers/editors can’t decide if
to have him do something similar with the deadliest villains in his
Re: The fan who bought the CGC Spawn #1
Dear Cap: Sheesh! I bought Spawn The First about a year
ago as part of a collection that I bought from a guy who was
moving out of my dorm. The collection cost five dollars and
contained about 80 books, so according to my non-math-major
calculations I got it for about six cents, bagged, boarded and
That collection also included all of "Funeral for a
Friend," Batman #500, three Turok #1's (so now I've got four for
28 cents), basically anything that was hot and sought by
speculators in the early '90s.
I read the comic, which was OK, if not memorable, and then
threw it on the Comics Pile, a spare bedroom in which my
thousands of comics sit in their un-bagged and un-boarded
majesty. I'm not bragging about the purchase, I just think it's
silly to regard comics as an investment.
Moving farther into the fanboy arena, a letter in your
latest update got me thinking about why Batman isn't a killer.
Could it be because he's never had to? Captain America killed a
terrorist once, gunning him down when he opened fire on a
crowded plane. Even though Cap agonized over it, I don't think
that makes him a murderer.
I don't think Bats would ever become a murderer, a
cold-blooded killer for some ethical, philosophical, or personal
reason. He'd have squashed a defenseless and beaten Joker's
skull by now for Jason Todd, Barbara Gordon, Jim Gordon's wife,
etc ... He wouldn't kill even if he knew The Joker was going to
escape again, just because it's the wrong thing to do.
But if Batman were in Cap's place on that plane, I think
he'd do the same thing. For that reason, I don't think he really
did anything wrong in taking a little extra precaution to deal
with mad Justice Leaguers. "Gee, Superman just killed Cuba at
superspeed and he's moving toward Tahiti. Wish I'd thought of
something in advance. There goes Mexico."
Hey, Superman gave him that kryptonite. Superman saw what
happened on the world Matrix comes from. He should know better.
That's just me. Do you think Batman would kill if he
absolutely had to? Has he?
Oh! I almost got started about R. A. Jones, the guy who
did reviews for Amazing Heroes back in the '80s, but I've
thought of something more important. I have here before me what
I think is the last issue of Neil the Horse, by Arn Saba, from
Renegade Press, #15. The first part is a bunch of old newspaper
Neil the Horse stories and other stuff. Neat! The second part,
however, is a fascinating almost-textbook that details the
development of the characters for a TV show. They are changed
considerably along the way to fit into their new Muppet Baby
world, and it's kind of sad, like watching someone pull the
wings off a butterfly. What I want to find out is if this
cartoon was ever made (maybe in Canada?) and what is was like. I
thought about e-mailing Scott Shaw!, but he almost seems like
the villain of the piece, insisting on the changes that
straightjacket the characters the most. I guess it was just his
job. I'd also like to find out more generally about Neil the
Horse. On the Web, almost nothing on Yahoo!, Alta Vista and
And finally, a Land of Nod Treasury, by Jay Stephens came
out in 1994, I think, because I have a book with that copyright
date. It's the cat's whiskers, but I haven't found the original
Sin Comics, and some the book seems like bridging material,
especially some scenes with a comic-book reading club where a
character named Dave holds up an issue featuring the secret
origin of the Sinister Horde. Is that in the originals? All the
Jumbohead strips that a little Joey guy reads are in the book,
which make me suspect a bridging device. This book saved me from
a very dissapointing comic-store visit, so I'd recommend this to
anyone who is stuck. And also Cud Comics by Terry Laban, Bitchy
Bitch by Roberta Gregory, Dork by Evan Dorkin, any Rumiko
Takashi, or old Badger and Nexus comics -- even Steve Gerber
Howard the Duck. You are also free to buy a random Marvel, DC,
or Image comic and cry on the pages over your wasted three
I couldn't find Neil the Horse on Yesterdayland.com's
comprehensive TV cartoon site, so I dunno if it was made or not.
And the upcoming Land of Nod Treasury is indeed a reprint of the
'94 book you own.
And Batman did kill in his earliest days; he used to carry a gun
and once threw a crook off a roof! But DC established decades ago
that their heroes aren't killers. Well, except for Hitman. And
Vigilante. And Deathstroke. And Green Arrow, occasionally. Hmmm.
This is getting complex.
Anyway, here's another Bat-Comment:
But first, let’s note what a phony that
correspondent is, since he was anti-Israel and pro-Islam. Make what
you will of Batman killing or not, what’s offensive here is the
correspondent’s bizarre animus towards Israel, and likely towards
families of 9-11 victims. (One can only wonder what he thinks of
Liam Neeson’s movie
called Non-Stop.) I can’t feel too sorry for him if he wasted
money on Spawn, though it was pretty worthless and made Todd
McFarlane look more like he was throwing away his potential at the
Big Two just for his own self-interests. If that matters.
Say, I notice he may have read Mike Baron’s Nexus and Badger! Does
he still do that, despite Baron’s conservatism, which has gotten him
all but blacklisted in today’s medium? I don’t know, but don’t be
surprised if he shared Mr. Smith’s take on the Punisher!
Dear Cap: I finally got to read JLA #50 and, man, am
I happy! Of course they gave themselves an out so there won't
similar revelations in Titans or Young Justice, but I can live
with that. It will be interesting to see if they explore this
more or just leave it lying. While I saw this as the natural
end, (it) leads to something I hadn't thought before. Like if
the general team knew Bats had maneuvered Plas and Huntress on
the team as pseudo-spies, why wasn't there trust issues long
before this? Oh well, JLA could easily focus whole issues on
team dynamics. This was a good moment and definitely comes under
the heading of "re-readable."
On the news that Marvel is having a month of silence, I
give kudos to anyone trying anything original. I am disappointed
that they said they weren't familiar with G. I. Joe #21. To be
blunt, this is one of the best comics ever and the one I
remember most vividly. I can still picture the entire issue in
my head. It wasn't about just good art either, (but) a very,
very good story was being told and it was the beginning of one
of the best storylines in that series. It was like a
choreographed dance -- every frame counted, every movement,
every facial expression. Its funny how whenever you turn off one
of the senses the imagination runs wild. In this case you were
deaf because no one was "speaking," but that just meant you had
to pay so much more attention. A true classic.
Apparently Bill Jemas and I are the only two people on the planet
who never read that issue of G. I. Joe! I feel ... incomplete,
Honestly, Mr. Smith doesn’t deserve to
read the famous GI Joe run from the 80s, since he’s not worthy of it
with his politics. Then again, maybe the reason he hasn’t read it is
because he doesn’t admire the “Real American Hero” concept very
much! Food for thought. A pity the correspondent enjoyed that take
on JLA though.
Dear Cap: [name withheld] here. I haven't written in
awhile, but still remain a devoted reader. I have been surprised
that neither you or any of your (other) devoted readers have
mentioned Sony's recent display of the costume they will use in
the Spider-Man movie coming next year. I remember when the
X-Movie costumes came out, everyone was talking about them. Yet
nothing about the Spidey costume.
Myself, I think the costume is great. Sure, what has been
shown is only two pictures photographed to look really, really
good, but still it is very great. The costume keeps the classic
look with some modern twists and looks, and makes a Spandex-like
costume look very good in real life. Other than the organic
webshooter debate (which really in the end is very, very minor,
if they nail the spirit of Spider-Man in every other way), I
think that the movie will truly capture the spirit and much of
the continuity the Spider-Man mythos.
I can't wait for May 2002. Given Spider-man, and some
outer-space movie coming out that month, it will be a great time
to be a comic/sci-fi fanboy.
You know, it is funny that nobody's said anything about the Spidey
suit. Should we assume silence means approval?
Actually, I do have a comment: It's lucky that Spider-Man (unlike
the X-Men) is a character who has a great rationale for the
Spandex. He started as a wrestler/performer, and needs freedom of
movement akin to that of a dancer or gymnast -- hence, a
gymnast/wrestler outfit. And from those two pictures, a remarkably
Funny he doesn’t lament how the X-Men
movie’s director had no rationale for spandex, or how lucky it is
that Sam Raimi and company were in favor of it. Here’s a letter I
wrote that I decidedly regret in restrospect:
Dear Andrew “Captain Comics” Smith,
Last year, in Amazing Spider-Man (annual) 2000, I
discovered that The Sandman, one of Spidey’s earliest enemies,
had returned to his old ways after joining the good side under
the auspices of Silver Sable’s Wild Pack security agency for
several years. While Hydroman may have remained in his evil ways
all these years, The Sandman switched sides for a while. I had
found out about his supposedly becoming honest a few years ago
when I read an issue of Fantastic Four from 1993, in which
Silver Sable and The Sandman were making guest appearances. And
when I read an issue of Spider-Man from April 1998, he’d still
been on the good side. But now, as I’ve discovered, he’s finally
returned to the evil side. And I think I may have noticed a
regular issue of the Amazing Spider-Man where he was featured as
having returned to his old ways too, possibly in August.
While admittedly, some of these least expected story
twists and turns can be clever, The Sandman is one of various
villains who I’d rather remain the crooks they are. To say the
least, he’s not the kind of character who’d fit the bill as a
good guy, and in fact, it seems pretty ridiculous to depict him
that way, so therefore of course, I’d prefer that he remain a
crooked character. He also provides more excitement by being the
dangerous villain that he is. When it comes to reforming certain
comic-book crooks, I prefer that it be characters like White
Queen, Hawkeye, Black Cat and Elektra, because -- unlike The
Sandman -- they’re not mean-spirited and cruel like he is.
And you know something, it was amazing to discover, via
Silver Sable that he “never spent any of the money that I paid
you!” Really? From that, it sounds to me like he just wasn’t
used to spending money that he earned honestly. Wow. A crook
who’d rather spend money that’s stolen, not earned.
And speaking of villains, I just recently read the 25th
issue of Spider-Man in which Peter Parker was brutally tortured
by Norman Osborn/Green Goblin, and it seemed to me like he was
using some sort of electrical powers to zap him into
worshipping, in this case, the darkness. This is what furthers
my wondering as to (whether) he’s undergone any kind of
metamorphosis since the first volume (of Amazing Spider-Man).
Did the Scriers give him any kind of advanced powers? It’s a
very good question. And only time will tell just what’s happened
to The Green Goblin.
Also, having read [name withheld]’s addendums on
Wolverine, Canadian slang words and culture -- well, do you know
where I saw the word “lad” being used? It was in some
Toronto-based newspapers, such as the Globe and Mail. One of
their entertainment reporters there was using the word “laddies”
in her entertainment columns. And there was another paper where
I saw someone using the term “lad magazines.” It could be that
they were doing so because they were of a very Scottish or Irish
background. And it was because of this that I assumed that
Canadians use such slang words.
Whatever, [withheld] is quite right that a lot of
Canadians do indeed use plenty of U.S. slang, and I thank him
very much for his notes. One difference though, is that in
Canada, (British) and French nationalism is much more noticeable
than in the U.S. And also, unlike the U.S., both anglophones and
francophones write words like "color" with a letter U in them,
just like their European counterparts!
Oh, and I’m also very delighted with the introduction of
[withheld]’s new columns, and I also thought to send him a
welcome note. So indeed, you were able to find someone who could
fill the gap left by [withheld], congratulations! His reports
were also very interesting and are a very good addition to the
I'm also quite pleased with the advent of [withheld], Avi!
As to The Sandman, your remarks echo some others on this site
recently expressing disbelief that formerly hard-core bad guys
like Atlas (nee Power Man) of The Thunderbolts could possibly turn
over a new leaf. (Or that we should forgive them past trespasses
even if they do.)
I'm ambivalent about that. On the one hand, it is pretty hard to
believe that formerly despicable characters could possibly find it
in themselves to be swell fellas. Nor should we forget their
former abominable attitudes and actions.
On the other hand, it's encouraging to see that even a creep like
William Baker wasn't completely rotten. And I do remember fondly a
Marvel Two-In-One that consisted of nothing but The Thing and
Sandman drinking beer in a bar and discovering that they had as
much in common as different. So, pretty good stories can come of
"conversions," and it would hardly be charitable of us to write
off anyone as irredeemable. Further, it's a testament to common
sense -- if you'd been defeated as often as The Sandman, wouldn't
you consider trying something different?
I'm curious to see what others think.
As to Norman Osborn, he went through some changes in "The
Gathering of The Five" in the final issues of volume one of
Amazing Spider-Man that haven't been fully explained -- and
probably won't be, given Marvel's current attitude of looking
forward, rather than embracing "old" continuity.
Looking back at this, that’s what I
thought about Marvel’s Sandman at the time? Man, was I stupid and
brainless. That he reformed was actually one of the better written
storylines. I’m similarly/honestly glad somebody – maybe Frank
Miller – thought of putting Elektra on the path to redemption, but
that’s another story.
His note on Marvel looking “forward, rather than” is ambiguous.
Shouldn’t that be moving forward while respecting past history?
Indeed, there’s a little slip on his part.
Having noted that, I reiterate how embarrassed I am for putting down
the idea of a villain reforming. It’s goodies turning into baddies I
should be concerned about, and that’s even worse.
On reference to the letter from [name withheld] in
your letter column of Jan. 24, 2001, regarding The Crimson
Avenger, Roy Thomas provided a timeline of the first appearance
of the DC Golden Age heroes in the letter column of Secret
Origins (second series) #23 (Feb 88). The first nine heroes were
(including the issue of the first appearance and date) were:
1) Dr. Occult: More Fun #6 (Oct 35)
2) The Clock: Funny Pages vol. 6 (Jun 37)
3) Superman: Action #1 (Jun 38)
4) Zatara: Action #1 (Jun 38)
5) Crimson Avenger: Detective #20 (Oct 38)
6) Black X: Feature Funnies #13 (Oct 38)
7) Hop Harrigan: All-American #1 (Apr 39)
8) Batman: Detective #27 (May 39)
9) Sandman: Adventure #40 (Jun 39)
The list goes on for another two columns, but this covers
the area in discussion. This list is not only for DC, but
Quality heroes. The Crimson Avenger is fifth.
Before The Crimson Avenger started wearing the longjohns,
he was a typical Mystery Man in the pulp school with the likes
of The Shadow, Green Hornet and The Spider. He wore a fedora, a
suit and a huge cape; carried and used a gun; and had no powers
except a strong will, detective abilities and exceptional
atheletic skills. The Crimson Avenger never made it to the
A-list even when he became a member of the Seven Soldiers of
Victory. Unlike the other heroes that DC has that are on a
moving timeline (i.e., age frozen at 30, give or take a few
years), DC has seemingly frozen The Crimson Avenger in the
'30s-to-'40s time frame. With his mythos established in that
time frame, The Crimson Avenger became the "first" Mystery Man
in the DC Universe, not based upon when he was first released,
but on the basis of his time frame. This is also a way that DC
is paying tribute to the pulp heroes who were the predecessors
of the comic books.
In reference to the letter from [withheld] about Justice
League of America #111 (May-Jun 74), I am not sure what the
importance of this issue was. It was not the first 100-Page
issue, they started three years earlier with DC 100-Page
Super-Spectacular #4 (May-Jun 71). It was not the first JLA
100-Page issue, the previous issue (#110) was. The Golden Age
reprints of the origins of the members of the JSA was in the
series of JLA '90s. This particular issue did not even have a
JSA reprint; JLA issues 110, 113 and 115 did. The highlights of
the issue was the first half of a Seven Soldiers of Victory
story from Leading #2 that was finished in the next issue.
Incidentally, this was the only Seven Soldiers of Victory story
that was ever reprinted. The topper, though, was a battle
between the JLA and the Injustice Gang of the World, led by
Libra. I read it when it first came out and liked it but it was
That's my memory as well, [withheld] -- I enjoyed it, but not
exceptionally. I do recall that it was the first I'd ever heard of
the Seven Soldiers of Victory, which answered my young fanboy
concern that Green Arrow's membership in the JLA was not mirrored
by his Golden Age counterpart being in the JSA. (Ah! He was
already spoken for!) But others sure remember it well. Perhaps it
was all that Spandex, with two super-teams vying for supremacy.
And I still think the 100-Page aspect was important; while the
100-Page Super-Spectacular format made its debut in '71, it wasn't
a commonplace until 1974, when Justice League, Superman Family,
Batman Family, Tarzan Family and a couple of others jumped to the
format as an ongoing thing. I DO recall being excited at the
possibility of lots of reprints from DC's (then) 40-year history
that I'd have no other means to read. Perhaps others felt the
But why speculate? Here an explanation from one of those who loved
Yawn. He can’t consider 100-pagers
important if he doesn’t think the same about consistency in
characterization, ditto doing your best to work out the best
Dear Cap: Just to clarify and elaborate on a few
points re: JLA #111 (I'm about to set some sort of record for
colons in a sentence):
I am the "unidentified correspondent" whose questions and
observations about Libra and other things were posted a few
weeks back in your "Captain's Mailbag" section. (By the way,
what constitutes inclusion in "Captain's Mailbag" rather than
"Your Letters: Captain's Q&A"?) My name and hometown are
listed at the end of the missive but [name withheld] must have
missed it. I'd like to send my copy of JLA #111 to Chin Ho at
the 5-0 lab to check on that invisible, odorless and addictive
substance you mentioned but I just love this
comic too much. Actually, many of your observations as to the
secret to this comic's popularity are true:
It's the first DC 100-Pager I ever remember; it had a cool
new story and a couple really cool reprints featuring characters
I'd never seen or heard of before.
Which brings me to why it's one of my all-time faves. Not
to give you too great a glimpse into my tortured psyche, but the
main reason it's so special is that my mom bought it for me when
I was a sick 12- or 13-year-old, along with, I believe, a "Wrath
of Spectre" issue of Adventure Comics (actually, I must have
picked these out, I doubt my mother would have chosen a comic
with a menacing Spectre cover) and a couple Fantastic Fours,
around the #144 or #145 range (if I recall correctly, Medusa was
a member of the FF, the Torch had the red uniform and in these
issues, they fought a race of mountain creatures.)
But, again, along with its sentimental/nostalgic/personal
meaning, this comic really knocked me for a loop. A child of
1962, my comics reading began primarily with mid-'60s Batmans
and Supermans and a few other DCs, often shared with my older
brother. By the late '60s I had given up DCs and sworn
allegiance to Marvel, only occasionally reading some DC mags.
Most of my DC reading at that time was through comics I had
picked up in trades or "reading swaps" where you and your buddy
would trade and read each other's collections and then trade
back. Also, I was able to pick up some older, used and coverless
DCs at junk shops, used-book stores, etc. I recently gave away
five or six coverless DC over-sized collector's editions that I
bought for seven cents each. Ah, those were the days.
But I digress: JLA #111 was the first DC, new and off the
rack, I had read in a long time. I was pleased with the 100-Page
format but especially excited about the new story, because for
once it seemed DC came up with a real threat to its mega-powered
super-team. Who among us was not disappointed to see Batman,
Superman, Martian Manhunter, Wonder Woman, etc., held at bay by
lame-os like Shaggy Man, Queen Bee, etc.? In one early JLA, the
team was overcome by exhaust fumes from a gang's getaway car,
for cryin' out loud!
So anyway, I really liked the new story and -- if memory
serves -- the reprints were a "Seven Soldiers of Victory" story
from the 1940s and the first JLA/JSA team from JLA #20-21. All
of the stories were continued, which again, probably hacked off
most DC fans. But being a Marvel Zombie, I was used to it. I
The only problem was: I didn't get to read JLA #112 -- the
conclusions to these stories -- until about a year later. I
missed it when it hit the stands but was able to read it later
in one of those "collection trades." A few years later -- this
must have been around 1977 or '78, I saw #112 for $3 at a
back-issue sale at a mall. Convinced none of my friends would
see me -- by this time I was a teen and had renounced comics, at
least as far as my peers knew -- I bought it and an FF Annual
which featured a reprint of the origin of Dr. Doom.
I liked the conclusion of the new story in #112 but it
didn't thrill me like #111. I did, however, enjoy the reprints
immensely, especially the "Seven Soldiers of Victory," whom I'd
never heard of before. Not to wax overly nostalgic but,
numerically speaking, I have a close coincidence to the story
I acquired Fantastic Four #112 -- a Hulk/Thing battle ish
with a tremendous cover -- from my cousin Michael in the '60s
and didn't read the conclusion until around 15 years later. FF
#113 was one of the first comics I bought when I got back into
the hobby in the mid-1980s. I was pretty disappointed with #113
and the whole "Overmind" saga. But at least I found out what
No need to worry that we won't understand, […] --
every fan has a couple of "legendary" comics that he or she sought
for years with increasing obstinacy (and guilt). For me, several
that spring to mind are Amazing Spider-Man #56, Fantastic Four #73
and Conan the Barbarian #3. And, oh, what a feeling when you
finally nail that elusive puppy!
Oh, and commentary goes into Mailbag; questions into Q&A.
Commentary following up older questions ("Errata and addenda")
also goes into Q&A. It's not perfect, but it does help me keep
Please, do tell us about organizing. Not
if he lacks a genuine sense of morale he doesn’t keep things that
Dear Cap: I have not bought a Marvel Annual in years
(and few DC ones either) due to the fact that every year there
has to be a crossover through all annuals. If it is not that, it
is a lame attempt to create more characters when (they're) not
even using the ones (they) have to best effect.
I am making a call to have a summer of fun where the
annuals are good. I think the Marvel staff ought to be locked in
a room with all pre-1970s annuals and then come out with carbon
copies of the 1960s -- NOT! I don't want to see Kirby and Ditko
clones ( the only time it was done well was the 1963 series by
Veitch, Moore and company), what I want to see is Marvel make a
return to the sort of annuals with a single real big event, full
of fun features and back-up material that made you want to give
up that quarter as a kid.
As for DC, I would like them to do more of those 80-Page
Giants (like they were doing with the reprints but with new
stories mixed with the old). Look at Starman (I know it is
ending soon) but they have material from a multitude of Starmen
to use as a back-up for the new material.
While I am on the soapbox (until knocked off) I would like
to say the art of the short comic story also known as the
back-up is dead. I remember Action Comics in the 1970s had some
killer back-up stories that were only seven or eight pages. Most
of Stan and Jack's greatest works were only one issue. The
Spirit and ECs were seven or eight pages at most. Restriction
sometimes breed genius. There is a certain ecomomy to
storytelling that has been lost and the new annuals might be a
place to try to revive it.
Maybe this summer or next as a challenge the Big Two ought
to try 64-Page annuals with eight eight-page stories (I know I
am not counting ads). Just a suggestion.
And a fine one, [name withheld]. I've speculated before that
perhaps a new format for comics would be a return to the 100-Page
Super-Spectacular, 80-Page Giant or 64-Page Special with one new
story and tons of reprint back-ups (which are cheap to produce).
Why not a monthly 100-Page Batman comic book, newsstand-only, with
nothing but G-rated reprints from the '50s, '60s and '70s? The
price could be kept moderately low ($4.95, say?), and you'd get a
lot more bang for the buck than the standard $2.95, 32-page,
four-color pamphlet that is quickly losing ground to other forms
of entertainment. Plus, you'd hook a lot of kids on Batman comics,
who might seek out the comic shops for newer material.
Of course, we're not the only ones to have thought of this.
Marvel's 100-Page Monsters are an experiment in that direction
(which I greatly enjoy, although I own all the stories they're
reprinting -- I just like seeing 'em again). And Detective Comics
and Batman: Gotham Knights contain eight-page back-ups; this month
Gotham Knights sports a short story by the legendary Harlan
Ellison. And what is a trade paperback -- like the recent Mystery
in Space -- but the modern incarnation of the 100-Page
Let's hope these formats take off -- I'd love to see reams of
The 100-page format didn’t last long, but
that’s okay, because paperbacks are better, an idea that otherwise
completely eludes him. Similarly, he doesn’t have what it takes to
comprehend that padded storylines –the kind Brian Bendis influenced
since he took over at Marvel – have caused considerable problems for
writers who might be able to tell a better story in just 2 or 3
issues. Now for February 7, 2001:
Dear Cap: A few thoughts about the whole Batman/JLA
1) That this issue comes up at all brings out one of the
aspects of the way Batman is currently portrayed that I
personally find distasteful. I agree that no one wants a return
to the "goofy Boy Scout" portrayal of the character of the late
Golden Age and early Silver Age, best exemplified by the Adam
West-era Batman, if for no other reason than that no one's going
to play a "goofy" Batman better than Mr. West anyway. However,
when I first started reading comics (circa 1976), Batman was
portrayed as having respect for and even a sense of comradeship
with his fellow JLAers -- in effect, a strong collegial
relationship. He certainly didn't have the arrogant
almost-disdain of the current version.
2) Personally, I think that a prerequisite of membership
in an organization like the JLA (or the Avengers, for that
matter) would be the sharing of one's secret identity with one's
fellow members. Anyone who wouldn't trust the rest of the
membership with the knowledge of who they are certainly should
not even be considered for membership, Batman or not. Taking the
Avengers as an example, it's always perturbed me that Iron Man's
identity was only known to a select few. Just about anyone could
be in that armor, after all. This kind of basic mistrust has no
place in what is supposed to be a team.
3) Security certainly would be an issue in a world filled
with shapeshifters and mind-controllers and certainly an
organization like the JLA should give some thought to such
things. But the problem with Batman's solution as presented is
that sooner or later his secret plans would have come out, if
only when next a JLAer went "rogue," as it were. A smart guy
like Batman should have foreseen that his plans were bound to
come out. What should he have done? That's a tougher question. I
suppose he might've convened a meeting of the JLA and spoken
"As you all know, security is a major concern of mine,
particularly in light of the existence of beings like Agamemno
with his mind-switching powers and heroes-gone-bad like Extant.
No one likes to think about such things, and no one likes to
consider a comrade as a potential threat or to think of
'plotting' against one's friends. But we do have to deal with
the world as it is, and as it is we must be prepared for all
contingencies, however unpleasant. In aid of this, I've asked
you here today to let you know that I have developed a series of
protocols for controlling the situation should any one or any
combination of you be drawn under outside control or otherwise
come to engage in contra-indicated behavior, and to encourage
each and every one of you to draw up such protocols of your own,
to include protocols concerning me. I would further urge you not
to share these protocols with anyone, especially fellow members,
and to treat such protocols as items of the highest security.
Understand, it is not my intention to create disunity or
suspicion amongts us, and it is my fondest wish that these
protocols will never be be used, but I feel that on the one hand
it would be extremely negligent on my part to ignore any
potential threat and on the other hand dishonest to create such
protocols without informing you of their existence."
Would this work? Frankly, it might not. Even if Batman had
been completely up front about his plans it might still have led
to disunity within the JLA as individual Leaguers looked at one
another thinking, "What kind of plans has he/she drawn up to
deal with me?"
4) In the final analysis, however, I come back once again
to my feeling that Batman as currently portrayed violates the
notion of what it means to be a "superhero," as comics have
traditionally presented them. Traditionally, superheroes
accepted their peers as allies in the struggle against evil.
Superheroes were presented as people who followed a certain
code, well aware that adhering to that code left them with
certain unique vulnerabilities. It was proceeding in the face of
those vulnerabilities that made them heroes, in my opinion.
Additionally, Batman is presented as an individual who has an
answer for every situation, who always wants to be ready for
anything. But a man as clever as Batman is supposed to be should
know that that kind of control is impossible. I'd love to see a
Batman/Captain America miniseries, one in which Batman spends
some time with someone who is frankly, an even better fighter
than he is, and yet has a much healthier relationship with his
peers. Maybe it's true what The Joker said in the second
Batman/Punisher crossover,that Batman is still reacting as the
frightened child he once was.
Anyway, Cap, I could go on all day, but you're probably
fast asleep by now.
ZZZZzzzzz -- uh, what?
Just kidding, [withheld], I was listening intently. As you note,
the situation is not an easy one, and I want to hear from all
sides on it.
Interestingly, in the '60s I always thought it was completely in
character for the Marvel characters to hide their secret IDs from
each other, and out of character for DC characters to do the same.
I had some idea, I suppose, that DC characters were idealized
heroes who were not remotely realistic and should be held to a
perfect standard, whereas the Marvel characters I thought of as
just plain, everyday people who somehow ended up wearing Spandex.
The edginess that resulted from the Avengers not knowing much
about each other was part of Marvel's verisimilitude, whereas I
wanted the JLA to be the perfect club without real life
necessarily intruding. I think they call this "having your cake
and eating it too."
The reason I mention this is that I wonder if some of the angst
directed toward the Batman/JLA situation isn't partially from some
of us having our idealized club sullied by real-life situations?
Just a thought.
And speaking of Bat-thoughts, here's another:
One written by me, but first let’s comment
on the above, and how laughable it is that a man who accepts an
unrealistic vision in Identity Crisis and Avengers: Disassembled.
Talk about having cake and eating it too indeed! One can only wonder
what he thinks of people who’d rather their favorite heroes and
co-stars from childhood not be sullied by the grime from real life.
And to make matters worse, the correspondent who wrote that letter
may have been fine with both those dirty stories to boot.
Dear Andrew “Captain Comics” Smith: This week, I
think I’ll join other readers and add my two cents on Batman’s
expulsion from the JLA.
So what I can say is this: Batman’s idea of concocting
weapons that he could use on his own pals in the JLA most
certainly does sound insane. Or, should I say, it certainly does
sound as if he himself has gone insane. I know that he’s always
been a very grim-minded character, escpecially these days, but
why should he feel like his friends are his enemies? There are
certainly many questions that can be raised by all this. Did he
think that it was all necessary for if they’d been brainwashed
by the JLA’s actual foes like Darkseid, for example? Come to
think of it, I can’t say that even in a case like that that such
weapons would be necessary. So for me, for one, it just doesn’t
make much sense that he would want to build weapons for fighting
his own cohorts in the JLA. If he felt that defense against his
own pals was necessary, then what he should’ve done was to build
some non-lethal weapons that could immobilize them, and even
relieve them from the effects of brainwashing, should they ever
undergo such a thing.
I don’t think however, that tearing the Wayne manor and
Batcave to pieces is the answer to the problem. What the JLA
would probably have to do in a case like this is put Batman
under psychiatric therapy. For is it possible that the trauma he
suffered from the loss of his parents is starting to become
almost like slow poison that’s sending him so mad that he’s
become distrustful and fearing even of his own friends?
One sure thing though, it’s hard to say if this is as
controversial an issue as when DC corrupted the first Green
Lantern, Hal Jordan. But one thing is certain: Batman’s ouster
from the JLA could be in effect for years. For unlike Warbird of
the Avengers, who was just destroying herself when she became
addicted to alcohol three years ago, Batman was working upon
doing something that could destroy others, in this case, his
colleagues in the JLA. And in Warbird’s case, well, none of the
other Avengers wanted to expel her, although they insisted upon
demoting her to the less active Avengers ranks, whereupon she
was unwilling to accept this, and so for almost a year, she
resigned from the Avengers and went freelance, but she was
always welcome to return, even if they’d still refrain from
making her part of the more active team members for awhile. In
Batman’s case, however, he was completely expelled, and it could
be for a very long time.
And that’s why the Dark Knight is going to have to work
very hard to regain the trust if his friends in the JLA if he’s
ever to return. To do this, he’s going to have to study his
moralities again as best as possible. I sure hope he’ll do his
best to regain their trust in him in the next few years.
Hmm, I do wonder if the Batman-JLA ouster could eventually
become the next subject on the Debates index? Well, of course, a
lot of letters to be sure are needed for such a thing, and with
any luck, this too can probably be added to the Debates menu.
I have to note, as one reader did last week, that Batman's
protocols were indeed non-lethal and meant to restrain. It was
Ra's al Ghul who used them in a lethal fashion.
On the other hand, most people who suffer childhood traumas -- the
loss of their parents, for example -- DO get therapy to get over
their trauma, moving on to normal lives. Does it strike anybody
but me as odd to see a 37-year-old man weeping over the graves of
parents that have been dead almost three decades? I mean, he only
knew them for eight years, and probably doesn't remember much of
that. Shouldn't the pain have dulled a bit by now? Sometimes when
I see Bats getting all maudlin in front of his parent's portrait I
just want to slap him and say, "Get over it, already." What is he,
Inego Montoya of Princess Bride? "Hallo. My name is Inego Montoya.
You killed my father. Prepare to die. I say that to everybody.
Sooner or later I'll be right."
Oh, and I'm sure the Batman/JLA conversation will hit the debates
list, just as soon as I add the Oracle "sin-tax" debate and a
couple of others. They're just stacking up like cordwood here in
the Comics Cave.
Meanwhile, last week a reader asked if Batman was a failure for
not being able to put more than a dent into Gotham crime. Here's
Before we get to that, I look back at what
I wrote at the time, and can’t believe how unintelligable I'd been.
Even if Ra’s al Ghul was the one who stole the weapons and tried to
use them on the JLA, my failure to say whether I think the most
apparent revelation – Batman building potentially lethal tools to
use against his fellow Leaguers that could be extremely dangerous
for WW – makes me feel awful and ashamed of my inability to say the
writer (Mark Waid) was wrong to come up with such balderdash in the
first place. Granted, he did have a positive while working on that
volume – he reversed the fate of Alanna Strange from 1990’s Adam
Strange miniseries by Richard Bruning – but his whole notion that
Batman would do this is little more than an insulting mutation of
the characterization that became problematic in the mid-90s. About
the only thing I wrote in the past here I like is the note on Hal
Jordan’s status, yet even that’s a bit underwhelming, making me feel
sadder still. If only I grasped the full problem with GL at the
time, I might’ve been able to say something more convincing.
Hi Capn: I've been enjoying your column in CBG and
spent two hours on your site and links the other day. Good thing
they have a computer at work, huh?
Is Batman a failure? In his mission, certainly, for the
very reasons given by the questioner. Some more permanent
solution, you ask, Cap'n? What, like the cells Punisher 2099 put
below his HQ? Absolutely; makes sense to me. Bruce has plenty of
money and he claims to want to make Gotham safe. Pull the scum
off the streets and house them humanely. "Well, he can't take
the law into his own hands." That's exactly what he's been doing
for his entire career, and only the pocket approval of Gordon
has allowed that to happen. Perhaps the current "Officer Down"
storyline will change that, especially since the only thing
Bruce has done so far is stand by Jim's bedside wringing his
hands and let the shooter know he wasn't going to bring him in.
By-and-large, the Bat-writers have shown they have a plan and I
hope they'll bring a believable conclusion to this, but Bruce's
problems are just beginning here.
Why doesn't Batman do something real about Gotham? Why
does he let Joker et al walk? Maybe, if we get him on Hugo
Strange's couch for a little while, we can see. If Batman really
did clean up Gotham permanently, or at least bring the crime
down to a manageable point so that his lieutenants and the
police could hold their own, what would he then do? It's been
said over and over that Superman is really Clark Kent, but Bruce
Wayne is really Batman.Wayne is just a front, a mostly needless
pretense by which Batman occasionally gathers information or
works some political scheme. If Batman fulfilled his purpose,
what would Bruce do?
The bigger problem may be that Bruce has no real life,
having avoided all non-nocturnal-related activity of any real
depth all his life. Why else would he be so attracted to Talia?
Only she has lived a similarly fantastic life, and she is one of
the few toward whom Bruce feels he could develop any attachment,
precisely because she too has had no normal human interaction.
Dr. Kinsolving? A similar devotion to her fellow man, but
now out of the picture. Catwoman? Well, that's another topic for
another day. We all know it's too perfect to happen. Vicki Vale,
Silver St. Cloud, etc. -- probably not even canonical anymore,
let alone valid partners. Bruce's failure in his mission is not
so alarming to me as is his general failure as a person; when we
see him crying at his parents' graves, I don't really think he's
crying over their loss. I think he's crying because he knows he
is a disappointment to them.
That's an interesting insight, […]. If I'm reading you right,
you're saying Batman is subconsciously dragging his feet so that
he won't put himself out of a job -- and the subconscious guilt is
what's making him feel so sorry for himself. Whoa, I'll have to
think about that one for a while! Here's another opinion:
What neither is saying is whether they’re
disappointed in the writers who brought Batman to this point; the
real failures here. In which case, we can only guess who else are
failures, can’t we?
Dear Cap: I wanted to rebut [name withheld]'s
statements in last weeks' Mailbag.
First of all, to call Batman a failure is to call every
superhero in the DC and Marvel universes a failure. Not one of
them has ever really managed to take a major villain out of
commission for any length of time.
To call Batman a failure because of society's inability to
keep these homicidal maniacs behind bars would be the same as
dismissing community watch programs because they can only drive
drug dealers a couple of blocks away. Ultimately, what Batman
and all of the other superheroes do is similar to community
watches or the Guardian Angels or any other group that tries to
have a positive effect upon society's ills while staying within
the law. At least they're trying to do something.
Should Batman try to do something more permanent to his
major villains, like crippling them or somesuch? If you
remember, Daredevil did just that to Bullseye during Frank
Miller's run, and ultimately it had no effect. In the case of
villains like The Joker, I think it would have very little
effect. The reason why these characters are so effective and
frightening is not because of their physical aspects but because
of their warped way of thinking. If you crippled the Scarecrow
he could still get someone to mix his chemicals to make his fear
I don't think stronger powered heroes in Gotham would be
the answer either. After all, Lex Luthor has no super-powers,
and yet he causes Superman more problems than anyone. There are
30 or 40 superheroes operating in New York in the Marvel
Universe, yet The Kingpin thrives in the city. I think a more
powerful hero would be considered a challenge, not a deterrent.
Finally, if Batman, as Bruce Wayne, decided to control the
city he more than likely could. However, this would leave him no
time to be Batman, and would likely involve him in business
relationships that would ultimately put him in a legally
A good point, […], that Batman is no more of a failure vis-a-vis
The Joker than Superman is vis-a-vis Lex Luthor. And you know,
during the "Rock of Ages" storyline in JLA, writer Grant Morrison
alluded to the fact that Bruce Wayne was battling Lex Luthor in
the financial arena while the JLA was battling the Injustice Gang
physically -- and that Wayne stopped Luthor cold. That's something
neither Superman nor Clark Kent could have done, and I'd like to
have heard more about it. On the other hand, I was a bit
disappointed that it was LexCorp and not WayneTech that came to
Gotham's aid at the end of No Man's Land. Never have been able to
swallow that one.
Meanwhile, here's a concurring opinion:
Why don’t they ask whether assigned
writers can depict the heroes trying what they speak of? Funny how
Miller and Morrison are mentioned, yet not the mentality of
criticizing fictional characters instead of the writers – or just as
importantly, the editors and publishers – for not having the guts?
Ignorant as usual, aren't they.
Dear Cap: Batman is not a failure.
Let me start by breaking the proverbial fourth wall. The
reason why The Joker and Scarface and Poison Ivy continually
escape Arkham Asylum and other correctional or mental
institutions is not that Arkham has ineffective security, or
that Gotham prisons are over-flowing or that Batman is a
failure. They escape because we fans want them too. We don't
want Joker to serve a life sentence. We don't even want Joker to
die (and it has nothing to do with a political stance on death
or capital punishment). We want to see The Joker wreaking havoc
and making mayhem. We buy trade paperbacks titled The Greatest
Joker Stories Ever Told and graphic novels like The Killing
Joke. We like a good villain.
And DC knows that we like a good villain. And DC knows
that a good villain can sell comics as well as a good hero. When
they try to drum up interest in Wonder Woman, she squares off
against Darkseid (the beginning of John Byrne's run), Clayface
or The Joker. And it works. Joker fans (and Batman fans) pick up
Wonder Woman for a couple of months, and maybe a couple of them
stick around. DC isn't about to take a popular character that
can raise circulation out of their circulation.
Furthermore, comic-book creators like a good villain. I
don't know how Bob Schreck runs the Bat-office, but under his
predecessor, writers had to reserve villains in advance in order
to make sure that people weren't telling two Riddler stories at
once. If you, as a Bat-writer, wanted to tell a good Two-Face
story in the year 2001, you had to reserve him sometime in the
year 2000. A smart writer isn't about to kill him off because he
may want to use him again (and his editor won't let him because
somebody else has already reserved him for the next story arc).
Finally, a good villain is hard to find. Star Trek has
always had a race of villains (Klingons, Romulans, Cardassians
and Borg) as well as other interesting nemeses like Q. The most
popular character in The Phantom Menace was the villain Darth
Maul, which shouldn't surprise anyone because Darth Vader was
the most popular character in the other three films. Having good
villains is a necessary ingredient for success. I loved Valiant
comics but they all fought the same villain (Master Darque).
Without a recurring Rogues Gallery, the writers had difficulties
in coming up with engaging stories.
Even when we argue about who is the best hero, we drag the
villains into the debate. Who has the better class of villains?
Batman? Spider-Man? Superman? The Fantastic Four?
Batman isn't a failure. He's one of the most successful
characters of all time, partly because he is so well-defined
that writers can create villains which are his ideological
Of course, that takes all of the fun out of the debate.
What we really want to know is: Within the perspective of the
fictional world of the DC universe, is Batman a failure?
Even in that regards, I say no, Batman is not a failure.
As a member of the JLA, he has provided leadership and
solutions that enabled the team to counter any number of threats
(including the Pale Martians, the "IT" from the Tomorrow Woman
issue, the Advance Man and the Injustice Gang). He was the
leader of the renewed Justice League until their public
affiliation with the United Nations at which time he wisely
deferred to the leadership of J'onn J'onzz. Without Batman, the
world would have been enslaved by the Gray Man, the Know Man,
the Lord of Time and any number of would-be conquerors.
Secondly, Batman has become the mentor of more heroes than
any other individual in the known world (kind of shoots that
"he's a loner" theory full of holes). He has trained Dick
Grayson as Robin/Nightwing. He has trained Tim Drake as Robin.
He has trained Barbara Gordon as Batgirl/Oracle. He is currently
tutoring Huntress, Azrael and Batgirl. He founded, trained and
led the Outsiders, including notable heroes like Katana, Halo,
Black Lightning, Metamorpho and Geo-Force. The men and women
under his direct tutelage have been a significant part of the
success of The Titans, Young Justice, later editions of The
Outsiders and the Justice League. Because of them, the world has
been protected from the threats of Triton, Kali, the Extremists,
Goth and many others. Yes, many of those disciples have strained
relationships with Batman. But hockey players resent Scotty
Bowman, and football players hated Vince Lombardi, while
begrudgingly admitting that those coaches prepared them to win.
More than any other hero, Batman has concentrated on training
the next generation.
As to his personal War on Crime, he does appear to be
losing. But if he is a failure, then so is every cop, every FBI
agent, every DEA agent, every vigilante, every superhero, every
superheroine and every member of any law enforcement agency up
to and including Fox Mulder. To me, that is a failure which must
be placed on the whole of society and not on any one individual.
Batman is stopping as many crimes as he can, and probably more
than anyone else and therefore he isn't a failure. We as a
society are producing more and more criminals, even more than he
can handle and we should look at other causes before we blame
the one individual who is willing to devote his entire life to a
Maybe Batman could stop a few more crimes. But in order to
do so, he would have to cross a line himself. And the Batman we
know isn't about to stop villains by becoming one himself. Why
else would we get into such heated debates when he or one of his
disciples (like Oracle) cross or even get close to what we
consider to be that line?
Anyway, that kind of losing battle makes for an
interesting read. And whenever a writer wants to challenge those
conventions and actually let The Joker pay for his crimes, well,
that's why DC invented the imaginary story (or Elseworlds, if
you prefer). Joker has gotten his just desserts in Kingdom Come
and in The Nail. The DC heroes built an immense and inescapable
prison in Kingdom Come, but the Batman created his own
crime-free police state again in Kingdom Come. But were Batman
ever to win his war in DC continuity, then the story would be
over. Even if he made progress, the story would be over, because
we always want our stories to be bigger, better, more momentous,
more violent than the last.
Batman isn't a failure. Not by my standards.
If he is a failure according to you, ask yourself this:
Would you really want to read about a successful Batman?
Thanks for listening.
When you consider how many times Batman has saved the world, […],
I guess it's hard to argue that he's any kind of failure. That
Joker thing sure nags, but as you say: If he did something
"permanent," then he wouldn't be much of a hero, successful or
not. Here's yet another opinion:
Of course Batman’s not a failure, and I
already made clear who is. To which we must sadly add another
somebody, that being the very correspondent who wrote the letter
above; he was one who embraced Identity Crisis, which also implies
Batman is a failure. So his argument doesn’t mean squat.
Hey Cap: Just read the Mailbag for Wednesday
01-31-01, and thought that I would throw in my two percent of a
dollar on a few topics:
1) Re: [name withheld]'s comments on Batman's failure as a
hero, the Cap'n writes:
<<Thanks for a great letter, Jeff! You bring up an
interesting point that I'd like other readers to comment on: Is
Batman a failure? Is there something more, eh, permanent he
could do without betraying his devotion to justice and "nobody
dies tonight" mantra?>>
I would have to say that Batman is not a failure. Batman is a
private citizen, acting to prevent crime where possible,
apprehend criminals where not. He is in most respects similar to
a police officer, but without some of the legal constraints
imposed by the Constitution upon police officers as agents of
Like a policeman, Batman's job is to catch criminals so
that they can be prosecuted by the state. In that respect, he
can in no way be considered a failure. In fact, he's the
ultimate success story. It's pretty much a given that if Bats
puts his mind and resources to solving a crime and capturing a
criminal, he is going to succeed. He has a 100-percent arrest
rate, and no policeman could ask for more than that.
It's not Batman's fault if the state bungles the
prosecution or, worse, secures a conviction but then allows the
criminal to escape by sloppy security procedures. We wouldn't
hold a police detective responsible if, despite a textbook
investigation, the D.A.'s office couldn't convince the jury to
return a guilty verdict (the fact that it is so easy in Gotham
to get a "not guilty by reason of insanity" verdict and a trip
to the most security-deficient mental hospital in the world is
appalling, but not the fault of Batman or the police). We
certainly wouldn't hold the detective responsible if the
criminal later escaped from incarceration or was legally
paroled. Why do we hold Batman to a higher standard?
By the same token, we don't want our policemen, frustrated
by the "revolving door" nature of the justice system, to take
the law into their own hands and start carrying out their own
brand of justice on the streets. We don't want them killing
suspected criminals, we don't want them framing them with false
evidence, etc. Why? Because if we let them execute their own
justice, rather than relying upon our Constitutionally
established justice system, then what's to stop them from going
after us next?
The same standard applies to Batman. Yes, it's frustrating
and horrifying how often the Bat-villains escape justice, but
it's not Batman's job to determine legal guilt or carry out
execution of sentence. It's his job to catch persons suspected
of or wanted for committing a crime and turn them over to the
state for prosecution, preventing loss of life and property in
the process, if possible. In that regard, he is very successful.
You can't blame Batman because he hasn't won the war on
crime. That's a war against human nature, a war that's been
fought since mankind first congregated together in caves around
campfires. It's a social ill that's too big for any one man to
rectify alone, even the Batman. All we can do is pitch in as
best we can, and Batman does a lot more than most.
All that being said, I do think that there is more that he
can do. Bruce Wayne is one of the wealthiest men in the DCU, and
has one of the world's most brilliant minds. How much more good
could he do if he applied that brain and those resources on a
more global level, working with the authorities directly rather
than in uneasy alliance?
Why not improve the security at Arkham? He'd cut down on
the Gotham crime rate considerably just by ensuring that the
Bat-Psychos stayed put. Heck, he's a former teammate and ally of
Scott Free. If anyone could design a containment system
sophisticated enough to make escape pretty much impossible for
Batman's Rogues Gallery (who are, after all, mostly human), it
would be him. And if anybody could afford to build it, it would
be Bruce Wayne.
Why not work with the violent crimes unit to improve their
investigative techniques (which must need improvement, since
they're always 10 steps behind Batman), or to build an offender
database as efficient as the Bat-computer? Why not let the
police in on the secret of "those wonderful toys" he uses. I'm
sure that they'd love to have weapons based upon his Bat-lasers,
or kevlar suits so cunningly woven that they'll stop a rifle
shot while remaining lightweight enough for someone to swim or
do acrobatic feats while wearing.
Imagine what Batman could do for this country as director
of the FBI ...
But, no, his insistence on maintaining a loner identity,
on doing it all himself, hamstrings these possibilities. So,
yeah, he does more than most, but I think Batman could do more.
A lot more.
<<And as long as we're on the subject, writer
Steven Grant points out that Superman is going to spend the next
four years as an "impotent (male member)" because he's going to
simply wringing his hands while arch-enemy Lex Luthor has his way
with the Constitution!>>
Huh? Since when does the President have his way with the
Constitution? There are checks and balances in place to prevent
that sort of thing, you know. That's not to say that the
President can't abuse his powers to push a personal agenda (as I
am sure Lex Luthor will), but I think it's a far cry from having
his way with the Constitution.
Of course, if you want to talk about a man who could do
more, Superman is pretty much it. If he spent a little more time
dealing with ordinary criminals instead of squaring off against
superhuman freaks in colorful costumes, how much better would
the world be?
2) Re: [withheld] letter, […] writes:
<<Moving farther into the fanboy arena, a letter in your
latest update got me thinking about why Batman isn't a killer.
Could it be because he's never had to? Captain America killed a
terrorist once, gunning him down when he opened fire on a
crowded plane. Even though Cap agonized over it, I don't think
that makes him a murderer.>>
No, it doesn't make him a murderer. The rule of self-defense
allows you to use lethal force to save your own life or the life
of a third person. Cap would not be a murderer, under the law or
On the other hand, I do take issue with the idea that Cap
"had to" shoot the terrorist (or that Batman would do the same
thing if put into a situation where he "had to" kill someone to
save an innocent person's life).
Captain America, pretty much by virtue of who he is, never
"has to" resort to killing to stop a criminal (in this case, an
agent of one of the most totally lame terrorist groups in comics
-- Flag Smasher's Ultimatum). He will always come up with some
alternative plan for dealing with the bad guy, and, by virtue of
his consummate skill, pull it off with no loss of life on either
side. He's been in tougher situations than the one in that issue
(Hydra agent has gun pressed to temple of innocent bystander,
anyone?) and never resorted to killing as his only option. He'd
bounce his shield off a half dozen walls until it smacked the
Hydra agent in the back of the head, for example, or come up
with any number of alternate plans. It's what makes him who he
is as a character.
The simple fact is that the writers wanted to deal with
Cap's emotional angst as he was forced to deal with the
consequences of his action, so they contrived a situation in
which he "had to" kill the Ultimatim agent (as if Marvel didn't
have enough angst in their other titles, they had to go mess
with the one book that was always pretty much angst free!). I
mean, c'mon, Cap couldn't handle an Ultimatum agent? Even on the
worst day of his life, Cap shouldn't have had much difficulty
thwarting one of Flag-Smasher's flunkies (heck, even D-Man could
handle Ultimatum!). It was, to me, a much-reviled storyline, and
not one of the high points of the series.
Similarly, I find it hard to believe that a man like
Batman, who can run through "57 ways to disable a man from this
position" in his mind in seconds, would ever find himself in a
situation in which he could come up with no alternative to
killing his opponent. Especially since, as the latest JLA
storyline attests, he's a man who always plans ahead.
3) Avi Greene writes:
<<While admittedly, some of these least expected story
twists and turns can be clever, The Sandman is one of various
villains who I’d rather remain the crooks they are.>>
Actually, I rather liked The Sandman as a good guy (which is, I
know, a reversal from some of my previous letters about villains
turned heroes). He always seemed like a likeable schlub, one who
was only into villainy because he was talked into acting as
flunky by "master" villains like the Wizard and the Leader. I
rather enjoyed his turns as a would-be hero in Spider-Man, the
FF, and the Avengers, and I'm disappointed to learn that he has
returned to villainy.
On the other hand, I freely admit that I am not all that
familiar with Sandman's earlier, more villainous apperances. I
don't know how vicious he may or may not have been, and so have
nothing to compare against to make me disbelieve the possibility
of his reforming (as I disbelieved Goliath's reformation into
Atlas, having read him do some pretty awful things in the pages
of the Avengers and elsewhere).
Anyway, that's it for me. Thanks for listening.
Thanks for the Bat-thoughts, [name withheld] -- Batman as
super-cop (and not super-jury, or super-judge) is always how I
thought of him, and I wouldn't like to see him cross the line (as
this site debated on the Oracle "sin tax" issue). As to President
Luthor, I was paraphrasing Steven Grant, who was simply making the
point that Superman was looking mighty helpless and unheroic while
Luthor was looking mighty successful -- and unless Supes gets a
lot more pro-active, Luthor's likely to get away with pretty much
anything he wants to, Constitution notwithstanding.
Of course, what we'd really like to see is the press catch Luthor
in a fling with a secretary (read: Monica) or with a DUI in his
past (read: Dubya) or some illegal activity (read: Watergate) or
some other scandal (Lord knows he's got enough skeletons in his
closet) and thereby become undone by his own ambition. Now that
he's given up the rights to privacy he had as a private citizen to
become a politician (as per New York Times vs. Sullivan, 1925),
he's got no legal defense against all sorts of people snooping
into his affairs. That truly would be the American Way, wouldn't
it? And it would justify Superman's faith in The System, as well
as making him look more like a staunch believer in democracy and
less like a Super-sap.
Today, I agree with the correspondent of
the above on the Sandman subject. The undoing of William Baker’s
past characterization was sloppy. Curious Mr. Smith, surely a
stalwart supporter of Clinton, would allude to the Monica
Lewinsky scandal, since you’d think a vehement leftist would
rather refrain from condemning his fellow leftist for the most part.
And now that I think of it, he probably would and does, since it's
not like leftists of his standing have ever panned Clinton for another
shocking scandal only discovered later. However, note that
there’s two rightists cited here as compared to one leftist, and he
chooses rather easy examples for citation, so you can figure what
<<Wasn't The Clock among the Justice League International
villains who took a bus ride to a crime about a decade ago
during the "silly" Justice League era? Or was that Clock King --
It was the Clock King. Don't forget, that's my favorite Justice
<<Many longtime readers may remember a "silent" issue of
G. I. Joe from the mid-1980s. – [withheld]>>
There were actually two issues of G.I. Joe that were silent.
The first one was #21, "Silent Interlude." The second was #85,
"SFX." John Byrne wrote a rather excellent issue of Batman, #433
(part one of "The Many Deaths of the Batman"), that was also
silent as were the first several pages of the following issue.
I think that, like most company-wide events, there will be
exceptionally good issues, exceptionally bad issues, and a wide
range of stories in between. I am struck by how far in advance
they're announcing this particular event.
That is interesting, isn't it? I'm fresh out of theories why that
would be. Brian Michael Bendis has alluded in interviews that it's
to allow creators plenty of time to work it into their plans, and
maybe that's actually true. And here's another mention of the
Ahem. Only Bendis gets the time to work
anything into his plans, and whatever that is, he’s long made clear
it’s nothing good at all.
Say, is the correspondent – also a onetime writer for Smith’s
overrated site – praising company-wide crossovers? I must shake my
head in despair.
Dear Cap: I just read the other day about "silent"
month happening at Marvel later on this year. I had heard about
the Snake Eyes G.I. Joe issue but never read it ... looked at it
... read it ... whatever. However, I do recall DC doing
something similar about 11 or so years back with Batman. I think
it was a small arc that saw several bodies turning up at the
morgue wearing Batman costumes. The rest of the arc had dialogue
but the first issue (written by John Byrne) was either entirely
silent or had no dialogue except for one balloon on the last
panel. Just thought I'd share.
Thanks for sharing! It seems that Batman issue was as memorable to
readers of this site as G.I. Joe #21.
And a lot more memorable than Smith’s
pedestrian sugarfests, that’s for sure! These days, save for the
value of examining how pretentious his work is, his columns are a
major borefest. As are his responses to the next letter from
February 14, 2001:
Greetings Wise One: I've always been an X-Men fan,
and in fact it's because of the X-Men comics that I got back in
the game about three years ago. Back around when Excalibur
disbanded and Excalibur's "Big Three" came back home (Uncanny
X-Men #360, X-Men #80), I decided it was high time I gave the
industry another chance. So I started reading/collecting again.
Marvel's MC2 helped spur me into action as well.
But I'm beginning to wonder if it was worth it. After the
tremendous success of the X-Men movie this summer, Marvel has
started to adapt the comics to the movie. I thought the movie
was supposed to be an adaption of the comics! Suddenly Toad has
the extended tongue power. I have to admit that it was cool in
the movie, but they should at least explain it before they plop
it into the comics. If you look at Mystique in a couple (of)
panels while she's shapeshifting (the exact issues slip my mind
at the moment, sorry), you will see that part of her body,
usually her arms, have the little scales that she had in the
movie. Due to the "Maximum Security" story arch, Rogue now has
the power to use any power she's absorbed before, but she can't
control it. When she first gets Wolverine's claws and healing
factor, she becomes a scared little girl and it's up to
Wolverine to become her mentor and calm her down. I thought this
was kind of interesting, but it's still just trying to make the
comic into the movie. It's not to say that I didn't like the
movie, I did like it, very much. BUT these were supposed to be
two separate continuities, or so I thought. I suppose if the
Spider-Man movie does well we can expect Peter Parker to go
through some kind of new mutation or evolution and instantly
have organic webshooters. If DC did what Marvel is doing, Batman
would be showing up at charity auctions for publicity with his
MasterCard and Superman would be constantly turning back time to
defeat his enemies.
Anyway, back on the X-Men: In the "Dream's End" storyline
a few months back, the Brotherhood consisted of none other than
Mystique, Toad and Sabretooth. Not only that, the Cerebro room
suddenly looks exactly like it did in the movie. I realize that
Marvel is trying to hook new readers who liked the movie by
giving them some better parallels, but I feel insulted.
Some of my other gripes:
MC2: Spider-Girl is the only book that has survived, and
this "powerless" story arc is kind of getting dull for me. I
wonder how long it will be before they decide to put the Spider
back in Spider-Girl. I don't know how well The Buzz and Dark
Devil miniseries sold but I somewhat enjoyed them and I hope
that Marvel either does more or brings back some A-Next or J2 or
something! They left some slight story threads unresolved in
A-Next and it'd be nice if they'd answer them with a recurring
series or a book published every now and then with
(SPOILER WARNING: Don't read beyond this point if you
haven't read up through Uncanny X-Men #390, X-Men #110 and X-Men
Recent X-terminations: How many recurring characters have
died in the past few months in the X-books? Moira McTaggart,
Pyro, Senator Kelly and Colossus. And that's only if you count
the past couple months. Before that we had Synch and the
pseudo-death of Cyclops.
Removing Excalibur from the "core" X-books: Colossus,
Kitty Pryde and Nightcrawler were some of my favorite
characters. Colossus is dead -- curing the Legacy Virus, a noble
death -- but I'll still miss the character, but I'll get over
it. Kitty Pryde has been AWOL for a few months now and then we
find out where she is in X-Men #90 only to discover that she
isn't coming back to the X-Men. In X-Men Unlimited #30, we find
that Nightcrawler, in grief of Colossus's death, has decided to
take some time off. So Colossus, Kitty and the Fuzzy Elf have
GenX: I have to agree with the comment you made in your
canceled comics section. I liked the old GenX when they were
happy-go-lucky, but this gritty version was getting on my
nerves, especially when all it had effectively done was to wipe
out Synch in a storyline where we didn't get to find out exactly
what happened for eight issues. I'm still kind of sad to see the
book get canceled though -- the recent "Four Days" story was
starting to get me interested in the team, especially the scene
were Monet and Jubilee had to deal with
Synch's death and the fact that they both had had feelings
I'm sorry if this sounds like a massive gripe fest, but I
just wanted to voice my opinion on the matter and see what you
I think griping is pretty healthy, [withheld] -- if you didn't
care for the characters, then none of this would bother you,
Further, I think you have a right to gripe. You've been loyal,
paid your money, learned your continuity. And then Marvel alters
the comics to reflect the status quo of the movie -- which could
be construed as a slap in the face to the existing fans.
But notice I said "could." It's clearly in Marvel's best interest
to reach out to new fans -- but it's equally clearly in their best
interest not to alienate the old ones. So I wouldn't assign evil
intent to the X-editors; they're doing the best they can to keep
old fans while attracting new ones.
Which, unfortunately, is about the only way Marvel is going to
survive. Saddled with debt as they are, and in a declining market
for both comics and toys, they are struggling mightily to keep
afloat. In desperate times, desperate measures are called for --
and these are clearly desperate times, so I can forgive them a
great deal. Further, as Mr. Spock would say, "the only constant in
the universe is change." For our heroes to continue to stay in
print, to continue to attract a healthy fan base with each
succeeding year, they have to change with the times. Look how many
changes Batman has been through in 60-plus years -- or ask Hal
Jordan. A static, unchanging X-world would be one dying a slow
The upshot is: The X-Men are going to change. Not only now, but
with each generation on into the future. As loyal older fans, that
might not sit well with us, but it's the nature of the universe.
The only question is: Are the changes GOOD ones?
Hal Jordan turning into Parallax? Bad change. Batman becoming a
creature of the night again? Good change. Colossus getting killed
... ? I doubt it's a good change, but I'm willing to give Marvel
some room to experiment and grow. Let's see how they handle it.
After all, death isn't really all THAT permanent in comics, is it?
I understand your complaints, [...], and sympathize. Frankly, I
was disappointed to see Colossus bite the big weenie, as he was
always one of my favorites. But I do understand Marvel's desperate
need to do SOMETHING, and all we as fans can do is adjudge whether
we still enjoy reading the titles or not. If we do, then all is
well; if not, then we vote with our wallets.
As to your other remarks:
On MC2: The letters page of Spider-Girl #30 (presumably written by
Assistant Editor Frank Dunkerley) said, "While we love Dark Devil
as much as you do, we're sorry to report that his recent limited
series didn't sell well enough to earn him a regular series ..."
Presumably The Buzz sold no better.
On X-terminations: There will be more. Here's what Rich Johnston's
"All The Rage" rumor column at www.silverbulletcomicbooks.com has
"As for those that will die, in his plot outline Morrison just
revealed there would be a 'Culling of many mutants', but as the
first issue script is the only one which has yet been seen by
anyone, so far only Cecilia Reyes and Husk have been killed,
'though from what's been going 'round the Marvel offices it's
reported that by the end of the arc around a dozen X-Men will be
dead. The only ones assured of safe passage are those that were in
the first X-Men movie, as even Quesada agreed that it would be bad
for new readers to not find the most commercially known characters
in the comics, so as a result Rogue, Storm, Cyclops, Wolverine,
Jean Grey and Professor X have been made off limits from
Note that "Rage" is a RUMOR column, and Johnston only assigns a
probability of four in 10 that the above is true. Still, it's safe
to say that more X-Men will be X-punged.
On Excalibur: Y'know, I hadn't noticed that the first three
characters X-cised from the X-books were the Big Three of
Excalibur. Maybe it's coincidence -- none of the three were in the
movie, which is a more likely reason for their X-cision than some
unspoken Marvel jihad against Excalibur.
On GenX: I also thought "Four Days" was the best Generation X
story I'd seen since the glory days of Lobdell/Bachalo or
Faerber/Dodsons. But, alas, the axe was already on its way down.
If it's of any comfort, Banshee, Jubilee, M and Chamber are all
believed to be X-Men in the revamped X-books, Uncanny X-Men and
New X-Men. I hope it's not as cannon fodder, though!
For another take on your X-Men continuity conundrum, here's
another perplexed fan:
The X-Men changed, alright, and not for
the better. In fact, the way they changed only proves why the old
adage, “the more things change, the more they stay the same” are
ever so relevant – if there was something that remained, it was the
darkness, and the X-Men became more like isolationists than they’d
ever been in most earlier iterations.
Interesting how he cites Morrison’s statements without comment or
opinion on whether “culling” is tasteful, creative, or even
respectful to readers who may have liked the specific characters to
begin with. Also note that towards the end of Morrison’s nearly 3
year run, he did get rid of Jean, all so that Scott could hook up
with Emma Frost, and all the while depicting her with a very
questionable, shallow personality. Though even if he hadn’t, it
still wouldn’t be any excuse for throwing Jean away like used tissue
paper. Needless to say, I’m quite disappointed with him for viewing
unnatural death at all costs in comics as perfectly fine, and even
Oh, and about his take on Colossus: that story was one of the worst,
mainly because it was dull, and the gimmick for getting rid of Piotr
was laughable. So why’s he saying he’s willing to give it a chance?
No, it wasn’t like the more gratituous deaths at hands of villains
and such, but it was still very stupid and uncreative. And his
inability to argue why it wasn’t necessary is a real head-shaker.
Dear Captain: I read something that made me feel
slightly ashamed in your Canceled Comics Cavalcade.
In the part of March 2001 cancellations, you wrote a
well-thought-out description of X-Man, the strengths of the
title and its very apparent reason (convoluted continuity from
SOOO many different writers dipping in the X-pool) for being
stopped in its tracks.
You wrote in conclusion:
<<If you understand all that, then you're one of the roughly
150,000 who've been studying X-Men like it's James Joyce's Ulysses
for the last decade or so. And if you don't understand all that,
you're among the 277 million Americans who don't read X-comics,
and probably won't ever try.>>
When I was 10, I just started reading comics. The first one I
picked up was (Uncanny) X-Men #123. I was in awe. It had real
people, not just Spandex-clad buffoons saying really silly
things. It had black humor (for what I could discern at the
tender age of 10) in the form of Arcade, Spider-Man
guest-starred and the coolest superheroes who had the greatest
abilities (a man with retractable claws, another who could turn
to steel with a thought and a demon-looking teleporter). I just
remember that I needed to know more about these guys. How did
they come together? How did Wolverine get that cool set of
claws? How was a Russian in the United States (remember I was 10
in the early '80s)? I wanted to know it all. I became a
continuity geek without knowing it.
I spent something like the next 10 years gathering every
piece of the continuity puzzle without going broke. I obtained
all but the rare and prized issues of Uncanny X-Men (from about
'94-'97) and filled in my own gaps with the Classic X-Men series
once it started. I had an original run at one time from #98 to
#292. I had also (of course) collected most of the off-shoots
and limited series (excepting Kitty Pride and Logan: C'mon, Al
Milgrom draws Wolverine? YUCK!). I couldn't keep my room clean,
but I could trace for you the evolution of Wolverine's costume
and why he changed it (I grew up with the brown-and-orange
version for the most part). When the Official Handbook Of The
Marvel Universe came out, you know that I read them like the
Bible, especially issue #15 (the technical guide to weapons and
other sundries like Wolverine's claws and bone structure). To be
fair, I did this with most of the comics I liked, but we all
know that the X-Men hold a special place in our hearts.
I took a special pride in knowing this kind of junk,
walking into the specialty shops and flaunting my knowledge like
a loud shirt. X-Men Forever should have been more of a joy to
me. But I will have to admit that in the last four or five
years, that enthusiasm has dipped. (Scott) Lobdell and (Howard)
Mackie and Jim Lee and Whilce Portacio and Larry Hama have made
the appeal to knowing something a bit of shame. They introduced
elements that split and contradicted already established
continuity. Much like watching the X-Men cartoon, they just made
me mad with stories that didn't make any sense with what I knew.
It's like they'd never read Claremont or cared about the
integrity of the characters. That's why I quit reading the
majority of them.
I picked them up again a couple of years later and found
that I liked some of the new blood, but every time they talked
about something that I didn't know about. And I was used to
knowing everything. I found that these new story elements were
confusing and they didn't tend to lend to the story. Your
example of the Nate Grey/Rachel Summers/Cable analogy is
perfect. I would add to that mix, "Where did Wolverine come from
and why?' I used to care, but if I came on the tail end of that
and had to explain to someone (with the off-chance they might be
enticed by the books), I wouldn't read them either.
Comics are a big soap opera in four-color. I noticed that
I have occasionally gotten sucked into prime-time soaps, mostly
because I've been conditioned by comics. But the ones I stay
with are the ones where I pick up the gist of it fast (West
Wing, X-Files in the first three seasons, ER) and stay
entertained on a consistent basis without having to know
everything about everyone on the show (strike X-Files from that
I now see that comics salvation is to let go of some of
the preconditions of continuity that bog down any medium
(X-Files now and certain aspects of the Star Trek franchise). Is
it any wonder that they wanted a stripped down X-Men? Who wants
to go through where Storm has been and how many hairdos she's
been through? Remember the FIRST Punisher series from Marvel
Knights? Take a look at the second. If continuity had to be
addressed strictly, what a mess that would be.
So as of now, I let go of the ego that comes with knowing
and hope for comics that entertain without having to buy a Bible
to understand how good the material is. It should stand on its
Thanks for letting me rant and confess all at the same
Thank you, [withheld], for a letter that probably
addresses [same here]'s concerns better than I did.
Yeah, continuity is a great thing -- no, a NECESSARY thing,
particularly in science-fiction/fantasy soap opera. If you have
characters doing impossible things -- Superman flying, for
instance -- you have to be especially consistent on how you
portray that ability, and when and how it can be used, and what
its limitations are, or you completely destroy the audience's
suspension of disbelief. If you suddenly have Lois Lane flying
around with no explanation, then all the drama is sucked right
out: It's a dream fantasy with no rules, and about as interesting
as listening to somebody else talk about their dreams. ("I was in
school -- no, it was church -- and I was a really big hat. No,
first I was a hat, then I was a carrot. Oh, and it was school, at
least for that part. Then I was a hat again, but this time I had a
big, blue bow. No, wait, it was pink. Then I was a blue carrot, in
church. With a bow. No, wait, it was school again. And I was
naked. Gee, what do you think it means?") Dullsville, baby.
Further, I insist that the creators pay attention to What Has Gone
Before. If THEY don't care enough about the characters to present
them more or less consistently, why should I?
So, too little continuity is a Bad Thing -- no soap opera can
survive if the stories don't make sense and don't intrigue the
audience. But too much continuity is a Bad Thing also -- it
becomes a noose, strangling potentially good stories. How many
creators have we heard complain that they had a great idea but
they couldn't use it, because Snot Boy was busy in another title,
or because Mucus Man had temporarily lost his powers, or because
the editor said it would conflict with Sneeze Lad's established
If I was to choose to err, it would be on the side of too LITTLE
continuity. I'd rather have entertaining stories, even if this
year's Captain Phlegm #23 doesn't quite jibe with Sgt. Phlegm and
his Howling Horkers #116 from 1973.
I think it's extraordinarily mature of you, […], to realize that
you'd become a continuity fetishist without realizing it, playing
Continuity Cop and Trivia King instead of simply reading the
stories for entertainment. And that you're acting on the
realization. In my weaker moments, when my fanboy continuity
fetishism surfaces, I may be calling you for counseling.
And now, for some comedy relief on the X-front:
I hate to say it, but I’m mighty
disappointed with this correspondent, who seems to think continuity
only cripples. If anything, when coherent characterization is
abandoned and denigrated, that’s when it’s really bad to be
unconcerned with continuity. That’s precisely why Identity Crisis
was one of the worst books of the past decade, and in fact, the
century: because it depicts the cast of heroes and co-stars very
badly in a story that’s contrived and forced at worst. Besides,
don’t we want to like and appreciate both the heroes and co-stars?
And that’s one of Mr. Smith’s biggest problems – despite what he
might tell you, he doesn’t like heroes or co-stars. Otherwise, he
would never have turned a blind eye or limited his gaze to the
simplest of details in that notorious miniseries.
Hi Cap: I was just entering my last few months' worth
of comic-book purchases into my database when I noticed a fun
goof. The cover of X-Men Forever #1 says that it is "one of
three." Seems that someone in the House of Ideas wasn't paying
attention when they did the layout for that issue's cover.
Whoops! The X-office must be pretty nervous these days!
And the Smith office must be feeling that
way too, since he knows there’s folks on the internet courageous
enough to confront his dishonesties. That’s what Clark Kent would do
too if he existed in real life.
Wow! One of my humble e-mails was included in Captain
Comics' weekly colum! My life is now complete. Now on to a few
responses to recent statements made on your site.
1) In your response to my last e-mail you asked what I
thought of (Mark) Waid's solution to the "Justice Protocols"
dilemma. It makes sense that DC's Big Seven should all know each
other's secret identities (although Plastic Man being privy to
that knowledge seems kind of odd), and I hope it lasts longer
than one issue. I'm looking forward to seeing what's up with
that last page (in JLA #50).
2) [name withheld] raised some good points with his
treatise on Batman's ineffectiveness. It seems irresponsible to
lock up The Joker in Arkham Asylum when you know he's just going
to escape and kill another half-dozen people. On the other hand,
Batman comics wouldn't be nearly as cool if Gotham City wasn't
such a crime-infested pit. I'll take the current Batman over the
campy '60s version any day. Maybe this is one of those
continuity issues you just have to ignore to enjoy the story.
3) "... writer Steven Grant points out that Superman is
going to spend the next four years as an 'impotent (male
member)' because he's going to simply wringing his hands while
arch-enemy Lex Luthor has his way with the Constitution!" Is DC
really planning on dragging out this concept for that long? One
of my big gripes about the Lex-Luthor-as-businessman concept is
that Superman never actually gets to defeat his arch-enemy. Back
when Lex was an evil genius he could be completely humiliated
and hauled off to prison, and then next month he would break out
and invent another Earth-threatening death ray. If the current
Luthor ever lost his fortune he would be harmless. It may be
cheesy, but I like to see the good guys win at the end of a
superhero comic. If I have to put up with the Man of Steel
losing every fight with Luthor for the next four years I'm going
to be real upset. Also, if Superman lets Luthor serve his full
term then Lex will end up pardoning everyone in Arkham the day
before he leaves office.
4) I think Batman would kill if he had to. The Gotham
Guardian shot a street thug in The Dark Knight Returns in order
to save an innocent child's life.
Thanks for the Bat-comments, […] -- the debate rages ever on!
On "Bat-killer," I'm of two minds. In the real world, I'd expect
Batman to carry a gun and use it as needed -- otherwise he really
WOULD be a loony. (Who brings a "Batarang" to a gunfight?) But in
the comics, I still want my heroes to be heroes, and I want Batman
(and Captain America, to name another) to live up to their
principles and find another way. Otherwise they ought to hang up
the masks and join the FBI.
As to Luthor, occasionally Superman's impotence in dealing with
him annoys me -- I really think the writers should let the Man o'
Steel win SOMETHING once in a while, or at least make Superman a
little more pro-active in trying to take Luthor down -- especially
as Clark Kent, reporter! After all, isn't it usually the press
that humbles politicians? Watergate, Monica Lewinsky, the Gulf of
Tonkin Resolution, Teapot Dome, Tammany Hall, Iran/Contra -- the
list is endless! And why isn't super-reporter Lois Lane doing
anything about the greatest evil in Metropolis? Why isn't
super-editor Perry White assigning armies of reporters to research
every business deal and interview every victim in Luthor's shady
career? As a newspaperman, I'd love to see it.
But on the other hand, I also remember how deadly dull Luthor was
in the green-and-purple armor days, when he was absolutely no
threat whatsoever to the Metropolis Marvel. In the '70s I dreaded
Luthor appearances, since I had to watch the writers jump through
hoops to keep Supes from handing Lex his head by Page Three. And I
still didn't believe it that it took Supes a whole 20 pages to
kick Luthor's can. Heck, even the '70s Batman would have done it
The Lex-as-businessman angle isn't perfect, I agree. But I
maintain -- as a guy who lived through the Luthor-as-mad-scientist
days -- that the Modern Age beats the Silver Age hands down on
this particular point.
What do the rest of you think?
I think Mr. Smith’s ignorant of the real
picture – it’s the press that coddles politicians, based on what
politics either/both sides go by! In Clinton’s case, it was the
leftist press that would let him off the hook for his affair with
Lewinsky, because he’s a leftist too. If Ronald Reagan had been the
president when this happened, you can be sure they’d never stop
attacking him till the day he resigned and went into recluse. On the
other hand, if conservative press dared turn a blind eye to anything
worse like Islamofascism and the failure to combat it properly,
they’d be doing themselves a terrible disservice.
Dear Cap: As for your Batman "debate". Yes, any
"real" person would put The Joker out of our misery a long time
ago. If nothing else, Gordon would have done it at the end of No
Man's Land. But, this is comics. That is something they get
right over the movies. Don't kill all the promising Bat-villains
and leave the annoying wannabees alive! See, unlike what passes
for heroes today in comics, Bats has morals. Sure, Spawn would
fry The Joker and not think nothing of it. That is why Spawn,
The Punisher and all those "killers" are (just) protagonists,
NOT heroes. Sure, heroes are put into situations that force them
to kill -- i.e. the Captain America/terrorist story, the Starman
story where Ted (Knight), Jay Garrick, & Alan Scott "kill"
The Doll (while not meaning to), Superman and the Phantom Zone
criminals. The point is, they show remorse. Not that remorse
makes it right, but call me old-fashioned, a hero doesn't kill
unless he has too. Batman (the character) is not a killer. If
the state decides to kill The Joker (here's a story idea), he
would NOT stop the killing unless it's something The Joker
didn't do (like a recent Elseworlds that I can't recall the
title to). In the real world, we would probably all cheer when
The Joker is fried for his crimes. (Guess that make me look at
Magog in a slightly different light.) But, we aren't in the real
world when we read comics.
Lastly, I would like to thank John Byrne for one
incredible thing he did during his run on Wonder Woman. Thank
You for putting Hippolyta in the JSA! Now, if we could get
Batman and Superman in there somehow ... Doubtful, considering
the JLA/JSA: 2000 crossover. Gosh, I miss those ...
Thanks for hearing my ranting.
And thanks for adding your thoughts, […]. Given what I said above,
I tend to agree with your concept of heroes vs. protagonists. Oh,
and the graphic novel where Batman saves The Joker from execution
for a crime he didn't commit was called Batman: Devil's Advocate
-- and it wasn't an Elseworlds!
Now here's some thoughts on superheroes as icons, or as "real"
Actually, Batman is at fault, in a way:
he’s never slammed the authorities for failing to make sure the
Joker will be done away with at their hands! Seriously though,
that’s what I think is a problem with the writing efforts DC’s
Dear Cap: I think you're right. While I still read
and enjoy DC Comics, I definitely felt as though I lost
something at the time of the Crisis. I started reading comics
around 1975 and the period from then until the Crisis is one I
look back to with great nostalgia. I never had a problem with
the whole "multiple Earths" scenario, even when I was a little
kid. I always felt that the way the Crisis was handled betrayed
a lack of imagination on DC's part. I still believe it might've
been possible to have cleaned up DC continuity without
destroying large chunks of it, especially when you consider
that, whatever DC says, the whole thing came undone 10 years
As far as Marvel's characters are concerned, I guess I'm
in the minority in that I never wanted my heroes to seem like
"real" people. The reason I read comic books was for escape, not
to listen to some hero whine about his personal life. Don't get
me wrong, I've read and enjoyed a lot of Marvel books over the
years (particularly the Avengers), but I always tended to tune
out the "soap opera" side of things. I guess that's why I never
was a huge Spider-Man fan, especially since so many of his
problems seemed to be of his own making.
I agree the JLAers seemed more like icons or archetypes
(although if Captain America and Thor aren't "iconic"
characters, then I don't understand the term.) -- Superman was
the strongest, Batman was the cleverest, the Flash was the
fastest, the Elongated Man was, was, was ... what was he doing
Well, at any rate, it's all a matter a personal
preference, I suppose, and I haven't read the "Batman" books on
a regular basis in a long time. I just remember the old Brave
and the Bold as an example of how Batman could be a serious
character and still relate to his peers as equals.
Elongated Man had the happiest wife. Here's more on the nature of
Well well. Look who’s bringing up
Elongated Man and his wife Sue Dibny, 3 years before DC published
that horrorfest called Identity Crisis – Mr. Smith himself. You’d
think reading the above line that he actually liked Ralph and Sue
Dibny, but, as he made clear 3 years after, he does not. Otherwise,
he’d never have approved of a story where she was turned
retroactively into a rape victim, and had her memory wiped.
Incidentally, his assertion Sue was a happy wife is far from true: in
some of the older stories, it was told how she was sometimes
mad and annoyed over not being the Number One Debutante since she’d
married Ralph. So I’m not sure how or why anyone would think Sue was
some utterly cheerful chick at every turn, nor why nobody ever
thought to point that out.
At least the correspondent had something to say here I can agree
with – I’m not demanding Marvel’s heroes seem like “real” people in
every way, shape and form either, nor do I read the Marvel universe
solely for “reality”. Anybody who insists that's how it has to be
has no business reading the books at all.
Dear Captain: Your readers posed some interesting
questions and comments last week and I just had to catch up and
1) A Captain Comics Award for great comics?
In theory I think this is a good idea. However, awards are
rarely anything other than popularity contests. The mainstream
books are the one that most readers buy, thus mainstream books
Sometimes the categories come down to personal tastes and
personal experiences. Carmine Infantino and George Perez were
the first artists that made me take notice of the beauty of
their work. Steve Leialoha has held a soft spot (in my heart)
because of the lushness of his art. The Captain mentioned Alan
Davis and I have to admit, he is impressive. Very impressive ...
but guess who I would vote for?
I am cynical. After Linda Fiorentino wasn't nominated for
The Last Seduction in 1994 and the award went to Jessica Lange
for Blue Skies, I lost faith in award shows. Just because it
wins an award doesn't mean its good.
If the Captain proceeds with an award, I will be eager to
assist and vote. I just feel the whole thing would be one-sided
before it even began.
2) Batman: To kill or not to kill.
The writers, for the most part, have been good about
making sure that The Joker isn't actively killing anyone in
Batman's presence. At the end of No Man's Land, The Joker was
turning himself in when Batman would have had a chance to kill
him. Is it noble to kill someone who is handcuffed and
surrendering? Of course not.
I agree with DC on the belief that heroes shouldn't kill.
The Punisher hunts his victims and kills them. Wolverine gets
angry, hunts his victims and skewers them. These aren't heroes.
These are mad men who need to be restrained.
Batman does not view himself as the judge, jury or
executioner. He is the protector of Gotham City. It is not his
right to decide who can live and who can die. If the criminals
keep escaping from prison, that is a problem with the "system."
We've had a lot of prison escapes this year in the United
States. Should it be legal if some guys got together with
shotguns and hunted them down? You can say they are hunting down
murderers, but I certainly wouldn't want to look out my window
to see my neighbor leaving with a shotgun to go shoot someone.
Should prisons have a reform program? Yes. Should they have
higher security? Yes. Is it my responsibility? Only through my
tax dollars, profession and votes.
Batman also leads by example. Nightwing, Robin, the
Justice League (especially during the Giffen/DeMatteis period),
Young Justice, Teen Titans, Outsiders, even Superman all look up
to Batman. They may not like the intimidation, but they know he
does a good and effective job. Killing criminals does not set a
Superheroes should only kill when its absolutely
necessary, and if it is within character. An example of this is
in Wonder Woman (second series) #5 (that Perez art again).
During the course of the story, Wonder Woman is attacked by
Ares's son Deimos. She is tied down by a thousand poisonous
snakes, controlled by Deimos, who are strangling her and
poisoning her. Simultaneously, Deimos is also releasing all the
nuclear weapons to cause the "Ultimate War" for Ares. Diana is
passing out from the snake venom. She does what she has to do.
She removes her tiara and decapitates Deimos. She then moves on
to stop Ares. This is within character because Diana is an
Amazon, a race of female warriors. This was also a situation
were more than herself would have perished if she did not act.
3) Can villains be reformed without changing their
I don't know, but the book Thunderbolts makes me want to
The book has pointed out several issues as to why these
people "went bad." Lack of self-confidence, want of a better
life, child abuse, etc. I remember in Omega the Unknown, there
was a character named Blockbuster that robbed banks so his son
could profit and not turn out like him. Omega thought this was a
valid reason to rob banks and let him go. It only feels like the
Thunderbolts characters have been changed because we haven't
looked at them this way before. The purpose of the book is for
the characters to FIND change.
Should they still be punished? I am not sure I can answer
that one. I recently have been reminded that people rarely are
the same people they were a year ago. People change. Should
someone still be punished for a crime they did 5, 10, 20 years
ago? I don't know. Maybe we should ask the Captain!
Thanks for letting me rant ... at least I didn't sing
And we are all thankful for your restraint, [...]. (A
reference to [withheld]'s letter to Comics Buyer's Guide, apearing
in the Feb. 23 issue.)
1) Yeah, awards of any stripe are almost pre-determined by the
questions. I was wondering aloud if it might not be a fun
exercise, though -- after all. WE'D get to frame the questions! If
there's no interest, though, it's moot.
2) I think I've pretty much accepted that I think of Batman as a
cop (albeit somewhat, um, non-traditional) and I prefer he not
stretch his extra-curricular activities to being a freelance judge
or a freelance jury. As a cop, all he can do is arrest The Joker
-- it's up to "The System" to impose sentence. If he did started
acting like a judge, I think the other super-cops would feel the
need to shut him down. And I would be pretty scared of him, too.
3) Terrific point on Thunderbolts. You may have hit on the
underlying point of the series, which is to see these characters
as people instead of stock "villains." Here's more on the same
That’s all Batman can do? Is Captain
Charlatan sure he can’t be depicted performing activism to get the
local justice system to mete out sounder justice if that’s what it
takes to get the Joker a serious punishment for his crimes? Or at
least to get a better maximum security prison developed? Honestly,
Mr. Smith’s failure to think big is a major disappointment.
Dear Captain: I know this is a little late, but I was
reading your description of Erik Jostein/Atlas/Power Man's first
appearance. And I instantly remembered it from reading it in
Essential Avengers Vol. 1. I thought he was fun with his ironic
distain for the silly accoutrements of super-villainy. He
protests to The Enchantress about having to wear a costume, and
protests that he does not want a "cornball" name like Wonder
Man, inspiring her to name him Power Man. Also, his exclamation
upon the appearance of The Enchantress before him, "From this
moment forward I do believe in Santa Claus." So, see? He is not
all bad he believes in Santa. :)
One image that sticks in my mind from those stories is
Captain America swining on a pole kicking Power Man and saying
"Listen to me when I am talking to you!" Makes me wonder what
would happen if Foghorn Leghorn became a superhero. :)
On the question of villains converting to the side of the
angels, I think that villains changing to good guys (or at least
non-bad guys) can be inspiring, reaffirming and hopeful. It is
horrible to me to imagine that people would be stuck in such an
empty and destructive existence. If characters with such big
problems can make changes, (then) maybe we can too. Also, it is
interesting to think what kind of thinking would go on in that
kind of process -- what convinces them to throw off their
criminal past? Love, conscience, inspiration by others,
exhaustion, God? The temptation to return, lots of gripping
psychological drama here, great depths to plumb. Also, it does
happen in real life (if that matters). I get the impression even
violent criminals can change. Still some villains are clearly so
twisted or cast in stone that for them to change would be
unconvincing without a full frontal lobotomy (like, say, The
Also, it is important to remember just because you realize
the error of your ways does not mean you get a pardon for all
criminal misdeeds, even if you have saved the world a hundred
times that does not mean you earn a get-out-of-jail-free card. I
think a powerful indication of such a change in someone's life
would be their willingness to face up to the consquences of
their actions and put themselves at the mercy of the courts.
That being said I am not a believer in the need to extract a
pound of flesh from criminals, but I think consquences are
needed and society needs to ensure that it protect its citzens.
The point being that if a villain sees the light and then goes
conspicously without any legal (and other) consquences for their
past misdeeds, it weakens the story of redemption, ignores the
painful unavoidable consquences of criminal acts and strains
credibility. However, if people can truly overcome their
mistakes, faults, foibles and dark side, it seems a poor return
to reject them because of their past misdeeds.
We (well, you at least, judging from your comments on old
Hal Jordan) do not forgive heroes gone bad their crimes because
of their past good deeds and character. How much sense does it
make to refuse to recognize the heroism in people because of
their past villainy?
Of course, part of the reason I like redemption stories is
that I am not particularly a fan of villains. Sure they can be
exciting sometimes, they can impress, they can make me laugh and
they can even evoke pathos. However I am not sure I have ever
felt that they were someone I wanted to be like or could really
admire. Really they are all just sad little men who take their
problems out on others. Give me a hero any day, someone who
knows what the right thing to do is, has the courage to do it
and sometimes even manages to pull it off. That is what I want.
Sure, there are some impressive and fun villains but they still
are not the same as even the lowliest of heroes. So a villain
trying to turn over a new leaf gives me something to root for
and something to appreciate. However, I am a big sap, my
favorite heroes are of the true-blue and noble type and those
that never ever ever give up.
Mine too, [withheld]. I learned my moral lessons at the feet of
men in brightly-colored boots.
And I'm a believer in redemption, too; if Sandman says "I'm sorry
I robbed all those banks, I don't want to rob banks any more, can
I have a do-over?" then I'm inclined to give him a hand. After
all, it was just money. Put him to work as a superhero for 3-to-5
as community service and then send him on his way.
I have a little harder time with murder; if The Red Skull decided
to give up being a Nazi and plant flowers, I'd be reluctant to let
him off the hook for the many people he's killed. It's a pretty
unlikely scenario, but one worth pondering.
Which is not my problem with Hal Jordan. He was clearly a Looney
Tune in "Emerald Twilight" -- he needed therapy, not a jail
sentence. My chief problem is people like Superman saying things
like, "Don't you believe in redemption, Batman?" and "He was the
greatest Green Lantern of them all!"
Hal Jordan isn't in need of redemption; he was crazy at the time.
"Emerald Twlight" was a sad end for Jordan, it had horrific
consequences for others, but he's not a villain. He was insane.
And, unlike The Joker, his acts while insane were completely out
of character and resulted in deep remorse. He didn't need
punishment, he needed Prozac.
The part that bugs me is that he was NOT "the greatest Green
Lantern of them all." Frankly, even Sinestro has a better track
record as a GL -- at least he never managed to wipe out the entire
Corps. He tried, sure -- but it was Jordan who succeeded. Hal
Jordan is the greatest traitor the Corps ever produced.
No, he wasn't the "greatest Green Lantern of them all." He was at
one time. But whatever he was BEFORE "Emerald Twilight" is
irrelevant. I mean, does anybody know anything about that
day-trader in Atlanta before he went postal? Did he love dogs? Was
he a Boy Scout? Did he help old ladies across the street? Who
cares? All he's remembered for is that one terrible day.
I think that should be true of Jordan as well. He should be one of
the most hated guys in the galaxy, not one that people remember
fondly. As written, Hal's a guy who went postal and killed all of
his friends and co-workers before killing himself (albeit somewhat
later). As it happens, his friends and co-workers constituted a
police force, so add "cop-killer" to his list of transgressions.
As it happens, his friends and co-workers included an entire alien
race (the Oans), so add "genocide" to his list. No, Superman
should not be overlooking these little matters; he should feel
sadness, yes, but not admiration or loyalty. His loyalty should be
to his (sane) friend Hal Jordan, not to whoever that unhinged guy
was in "Emerald Twilight," who did some pretty awful things.
No, my problem isn't with Hal Jordan, who clearly had some mental
problems and should have been helped long before he snapped. My
problem is with Superman & Co., who persist in ignoring their
own moral codes and embracing Jordan as a worthy, if somewhat
tarnished, colleague. For shame! Somehow I don't picture Kilowog's
parents or friends or lovers seeing it that way! I don't picture
other cops seeing it that way! I don't see all the races who've
suffered because their Green Lantern is dead seeing it that way!
No, I gotta go with Batman on this one. It isn't a matter of
redemption, it's a matter of how you regard a mad dog after he's
put down. Sad, when you remember when he was a happy, playful
puppy. Grim and bitter, when you remember his final, brutal acts.
Hey, even Josef Stalin was a cute little kid once. At no point
does lionization as "the greatest Green Lantern of them all" come
Hey, I got to rant that time! Now some more on Batman-as-failure:
Umm, Hal didn’t develop those mental
problems himself because he doesn’t exist. It was the
writers/editors like Kevin Dooley and Ron Marz who came up with
that. Another commentary he wrote laced with defeatism, because
irrelevancy is exactly what DC’s editors decreed would be the case:
they didn’t care whether new readers took interest in the older
stories or not; all they cared about was money. Of course the weird
way DC’s cast kept acting like Hal’s a hero is implausible, but that
doesn’t mean we wanted Hal to become a villain in the first place
any more than we’d want Steve Rogers to become a criminal. So why
was he acting as though Hal’s denigration must become fait accompli,
never to be contested? If he hadn’t been so defeatist at the time
and argued in his columns why Emerald Twilight should be reversed,
maybe the mess by Geoff Johns wouldn’t have come to be.
So I was the only hard-liner who said Batman is a
failure, huh? Maybe we should define our terms.
As a commercial venture, Batman is obviously a huge
success. But it is that very commercial success that prevents
him from realizing his goals. As [name withheld] (and others,
historically) pointed out, any hero is only as good as his
villains. Batman's villains are among the best, and it would be
disastrous to eliminate them from continuity. Miraculously, that
has not prevented DC from making significant changes to those
villains over the years, while allowing them to remain active;
however, it does prevent Batman from finding a more permanent
solution to their activity. Like [withheld], I maintain that
Batman could be a more effective hero, but I think his failings
are primarily within his ability to resolve.
[withheld] says Bruce Wayne's fortunes could be better
expended in his crime-fighting campaign; absolutely true. Yes,
the weapons, garments, etc., would be a godsend to Gotham
police. In fact, much like the "retired" Batman of Kingdom Come,
I have to think Bruce could do more good already working behind
the scenes instead of going out every night. Face it: If crime
is really so prevalent in Gotham that Batman can go out every
night and bust up a mugging, a kidnapping, drug shipments,
numbers rackets, etc., etc., how much good has he done over the
last 12 years? Especially when you factor in three Robins, two
Batgirls, a Huntress, Azrael, Spoiler, Butcher, Etrigan -- the
only way I can't see him failing in his mission is in that he
won't give up hope!
Speaking of his lieutenants, is it not also
psychologically revealing that he keeps training these youths,
then summarily turning his back on them, sometimes before their
training is even complete? [withheld] believes it's one of
Batman's great triumphs to have trained so many heroes; I can't
imagine a worse role model among DC's classic characters to
train youngsters than Batman as he's now being presented. We're
supposed to believe Tim Drake is the great failure in his life
(again, a Batman's-universe-vs.-the-real-world contest), because
he didn't protect him, even set him up to fail to a certain
extent. What if Batman has persisted in lining up these junior
partners because he wants a surrogate child to die as he feels
he should have died with his parents?
Back to the permanent-solution question. [name withheld]
wrote that Daredevil sought some final solution for Bullseye,
but it didn't stick. The above argument again: Bullseye is too
good a character to leave crippled, so Marvel had to pull the
adamantium rabbit out of its hat, making Bullseye even more
powerful. In the real world, had DD actually had this mass
murderer by the scruff -- why not take him to the Slab, or ask
the Avengers to drop the guy on a deserted planet with the
proper atmosphere? Yeah, Murdock's a lawyer, not a judge, blah
blah blah. Again, suit up in red leather every night and tell me
you're not taking the law into your own hands.
By the way, [name withheld] states that "it's (Batman's)
job" to apprehend these criminals and crazies; minor quibble,
maybe, but really, it's not. It's his hobby. It's the cops' job.
His relationship with the police has varied throughout his
career, but I don't think many of them truly see him as a peer.
A nuisance, a comrade, a vigilante; but without the badge, I
can't believe many of the police truly accept him as one of
Now we've seen the resolution of the "Officer Down!" arc;
what a great opportunity for Jim Gordon to join Batman in the
cave and add more directly to his campaign. At last, without his
hands tied by bureaucracy, and with no personal ties who aren't
already involved in the war on crime in Gotham, Gordon can seek
justice for his wife, his daughter -- even perhaps greater
advances against the maniacs of Gotham whom he has previously
left to Batman.
Despite all this, don't think I don't enjoy Batman. As a
study of one of fiction's best-developed characters, I think he
and his cast are fascinating. I just don't think his methods are
appropriate for his stated goals.
Phrased that way, […], it's hard to argue with. It's
the same complaint I have with Professor X, who wants to make
humanity trust mutants by training teenagers in masks to battle in
And you raised a heckuva a prospect: Gordon in the Batcave, a full
partner. Whoa! Jim & Barbara working side-by-side, with Gordon
eventually -- dare I say it -- running for mayor? Talk about
behind-the-scenes control ... they could establish their own
secret police state, in both senses of the word! The Penguin would
be forced to turn to the courts for protection from an organized
secret government that was persecuting him ... Man, that could be
fun! And the legal debates between Bruce and Jim ...!
Here's some more Bat-thoughts from […]:
I must very seriously disagree with the
claim every superhero is only as good as his/her villains. No, every
hero and heroine are only as good as the scriptwriting allows them
to be. This is just what they’ve been missing for a long time, and I
wouldn’t expect them to make an improvement in their observations.
1) I've been reading the downright visceral reactions many
of your readers are having to Batman's "Justice Protocols". I
find one simple flaw in the logic of several readers' arguments:
The assertion that the JLA are Batman's "friends" or "pals."
Co-workers, yes. Confidantes, in a few cases. But I don't
believe a guy with such control issues and obsessive tendencies
has the capacity for friendship. I think he knows that and I
think more than a few of the other Leaguers know it. So his
secret plans, while probably a violation of some unspoken trust
or code among the team, should not be portrayed as some personal
For example, how many of you out there have contingencies
in mind if Janet in marketing takes that new job in accounting?
Who gets the office, who jockeys for position, who gets her days
off, etc. I think we all have plans for "if this, then that"
floating about our gray matter. Hopefully none with such
sinister undertones as The Bat's. But again, nothing we intend
as a personal affront to someone else, just ideas to protect
ourselves if the need arises.
2) In response to why the advance warning on Marvel's
silent stunt, it was suggested by someone at Marvel (although I
can't remember by whom) that the early notice not only gave
creators plenty of time to make it happen, but also helps build
interest and gives readers time to get used to it. The thinking
being that instead of picking up Avengers in December and
saying, "There's been a horrible printing error, what have these
fools done?!?" readers will be more inclined to say, "Oh! here's
that silent thing they've been touting for months! Golly, have
been looking forward to this!!" Makes sense to me.
1) One of the subtexts to this debate is that some
people seem to really dislike the modern characterization of
Batman. They don't like to see him as the grim, Spock-like,
friendless machine that he is, as written. But that IS how he is
written -- and that means that the "Justice Protocols" are
something that the other members should have half-expected.
2) If […] says it, it must be so. Let it be so written.
Now, here's some more Bat-thoughts:
I’m afraid many of the people let down by
the unfriendly manner he was written in since the 1990s, if any
time, are the ones with a point here. Since then, he’s seemed a lot
less human, and Identity Crisis rendered him less so: he cared more
about Dr. Light than Sue Dibny. And people like Mr. Smith gave it
their seal of approval, proving they never cared for a more human
Batman despite any arguments to the contrary.
Hi, Cap: I haven't made comment on any items in your
columns lately, since my comics forte is principally Silver Age;
if the topic doesn't go there, there's not much I can
However, the recent "Is the Batman a failure?" issue and
the surrounding ancilliary discussions raised a few points of
consideration which I would like to submit.
1) I have to disagree with [name withheld]'s opinion that
a hero sharing his vital secrets (the most potentially damning,
of course, being his alter ego) with his fellow team members is
requisite. At least, as far as the Justice League is concerned.
One has to bear in mind that the Justice League of America
is, conceptually, a different kind of team than most of the
teams in superherodom.
In most superhero teams, the members primarily exist as
heroes as part of the team, in support of the team, essentially
because of the team. Examples of this would be the Blackhawks,
the Challengers, the Doom Patrol, the Legion of Super-Heroes.
While the members of teams like this may act heroically
independently if the circumstance arises, their raison d'etre is
to be part of the team. In the real world, this equates to a
police force, or a Navy ship's crew, or a squad of Marines.
The Justice League, however, is comprised of individual
superheroes -- people who primarily act as independent heroes,
who only come together at regular intervals or when the need
arises. The Justice Society and the original membership of the
Avengers fits this description. Being a member of one of these
teams would be like you or I being a member of the Knights of
Columbus, or the Shriners, or a city's Disaster Response Team.
In the former case, the members are more likely to become
close and know each other well -- because they work together
virtually every day. Personal secrets are bound to be shared.
But in the latter case, with members who only see each other
occasionally, the closeness is not as necessary, nor is it
Realistically, if Superman is unwilling to share the
knowledge of his secret identity with people he sees every day
and trusts, like Jimmy Olsen or Perry White, why would he
disclose it to Aquaman or Green Lantern, whom he might see only
once or twice a month?
As far as the JLA's ability to function in crises, there
is nothing to be gained by the mutual divulging of secret
identities. (Yes, at least one story has been written purporting
to illustrate why this need exists; however, the circumstances
were contrived and, in any event, the recurrence of which could
have been circumvented without revealing secret identities to
each other.) Frankly, in a group like the Justice League, each
member's right to privacy outweighs the group's right to know.
2) Cap, your observation that Bruce (Batman) Wayne should
have come to terms with the trauma of his parents' murder by now
again shows the clear thinking of comics -- respectful but not
adulating -- which attracted me to your column in the first
place. After being The Batman for so many years, his motivation
would have shifted, from pursuing a course of vengeance to doing
his job because he is a professional and because few others can
do it. Although the number of writers could not have had that in
mind, the first 15 years of Batman stories reflects this change:
from a dark, secretive shadow of vengeance to a public,
Unfortunately, the concept of an idealized hero -- thereby
giving the reader someone with virtues to admire and to strive
to emulate -- or the early-Marvel-type hero with a personal
problem to overcome, thus showing the reader than hardships can
be defeated, are not popular today. My own feeling is it is
because heroes of this type subtly imply that work is required
on the reader's part -- work to strive to be a better person or
to overcome hardship. However, today's readers prefer heroes who
are not just flawed, but seriously bent, psychotic and who,
instead of overcoming such negative qualities, revel in them or
capitalize on them. Going back to my pet opinion, I feel this is
because the fan of this kind of hero can think to himself "Hey,
maybe I can't lift a panel truck over my head, but at least I'm
not as screwed up as this hero is."
The best depiction of the Batman in the comics was in that
brief, halcyon period between Jack Schiff's alien-of-the-month
Batman and the camp Batman inspired by the television show
--that two-year period (1964-65) that showed the Batman acting
like a professional lawman and detective, but possessing
sufficient distinguishing skills and resources to make his aid
respected by law-enforcement agencies and superheroes alike.
3) The concept of the Batman being an "urban legend" is
patently absurd. There have been too many instances of The
Batman's public presence to deny that (at least, not without
some very long leaps of plausibity to "explain" them). It is
also less advantageous than being known as a superhero. Who is a
criminal going to be more afraid of: some vague legend or of
possibly running afoul of a hero tough enough hold his own with
the other, super-powered members of the Justice League, a hero
who has saved the world on a number of occasions, a hero who has
outwitted and brought to justice countless other criminals, and
a hero who watches over this city? The only advantage of the
Batman being an urban legend is that it is "cool".
1) If I were The Batman, and my life and the lives of
those around me depended on my identity remaining secret, I
certainly wouldn't reveal it to, oh, Kyle Rayner, who can't even
keep his own identity secret. And as pointed out elsewhere in this
Mailbag, it does seem ... odd ... for Plastic Man to know who
Batman is, particularly when Commissioner Gordon, Renee Montoya,
Harvey Bullock and other, closer partners of The Bat don't. In
short, I agree with you: I don't see any reason why Justice
Leaguers must trust their closest, deadliest secrets to people
they see only occasionally, any more than I would tell the
features editor I work with on Tuesdays anything about my personal
life at all. And, as the expression goes, a secret ceases to be a
secret when two people know it. If Batman tells seven Justice
Leaguers who he is on Monday, by Friday 30 Justice Leaguers, their
spouses, their lovers, their children, two postmen and a clerk at
Wal-Mart will know who he is. And by Saturday morning Alfred,
Barbara Gordon, Tim Drake and Leslie Thompkins will all be dead.
2) Once upon a time there was a type of entertainment called "The
Geek." This was a guy at circuses who would bite the heads off
chickens or perform some other creepy act for the "rubes" who
would pay to see the freak show. The psychological underpinning of
The Geek's appeal is that the audience members felt reassured
after witnessing his act -- no matter what their problems were,
they were still more "normal" than a guy who bites the heads of
chickens for a living. The freak show is still with us; it has
evolved into The Jerry Springer Show and the like. Those who watch
such shows do so to see people with more problems than they have
and to feel relatively superior for an ephemeral moment.
Interesting that you take the same line of reasoning when talking
about fans who like screwed-up heroes. More interesting still,
"geek" is a term liberally applied to comic-book fans. I'm not
making any kind of point here, just an observation.
3) I actually see the utility of Batman being an urban legend;
with less scrutiny comes more freedom, and fear (his primary tool)
is driven by the unknown. On the other hand, Batman as a Justice
Leaguer must assume some sort of public role, and must be an
entirely different kind of superguy if he is to work with very
public heroes like Superman. In short, I don't see
Batman-as-urban-legend being a problem, but I do see
Batman-as-urban-legend and Batman as-Justice-Leaguer as a prima
facie contradiction. A Justice League Batman couldn't possibly be
an urban legend; an urban legend Batman wouldn't trust the League
and they wouldn't tolerate him. He couldn't possibly function (and
be accepted) in both roles unless he was bi-polar. Maybe Two-Face
should apply for the job.
And, for the record, the short-lived Julius Schwartz-Carmine
Infantino-Joe Giella Batman of 1964-65 is when I first liked the
character. In fact, it was the first place I ever discovered that
being smart could be cool.
Such big words from somebody who’s not as
smart as he thinks he is, and does nothing to protest bad writing
that also rates as dumb. Much like his own columns, which are so not
cool. I think I can understand why he brought up Springer as an
Years after this was written, Bruce Wayne did reveal his identity to
the world not unlike how Tony Stark did in a story by Mike Grell
that was sloppily and hastily written (it may not have lasted).
Interestingly, the correspondent is a man who embraced Identity
Crisis, contradicting any claim he made that he was a Silver Age
fan. As a result, I’m beginning to wonder whether he really did stop
reading DC and Marvel for a time in the late 1980s, as he once said
Dear Cap: I just wanna make a few points:
1) An interesting fact: Do you remember one of "Armaggedon
2001" stories where in 2001 Superman becames the USA President
after a shot at Pete Ross, the candidate? Doesn't it sound funny
that in 2001 Luthor became the President and Pete Ross his vice?
2) About all that mess JLA vs. Batman ... I was thinking
about one point: If when Superman was accusing Batman about the
Protocols (and Batman's original plans weren't lethal), Batman
looked at Superman and said: "At least I never intentionally
killed anyone. Did you?"
3) Unbreakable is a concept movie just like Scream. While
Scream was always enumerating the horror/thriller elements while
they were happening, Unbreakable was always enumerating the
comic-book elements, while a comic-book story was happening.
Thanks for the points, […]. And, yeah, Batman could have whipped
out a number of points to Supes that he didn't, like 1) Superman
has killed, and Batman hasn't, 2) Superman had given him
kryptonite as a kind of rudimentary Justice Protocol already, 3)
that Batman is the only Leaguer who has no defense against a
simple bullet, 4) that his life and career depend on secrecy
whereas half the League (Wonder Woman, Aquaman, Flash, Green
Lantern) have no secret IDs to speak of, 5) that Superman and
Martian Manhunter both keep a LOT of secrets, 6) every one of the
League's Big Guns had been mind-controlled in recent memory, etc.
But I think it was handled very, very shrewdly, when the artist
drew a three-panel scene of Batman just THINKING. It implied to
me, anyway, that Batman's lightning-fast mind whipped through all
the possibilities and permutations and he decided that revealing
his ID was the best plan. And then, with no second thoughts, he
implemented it. We still don't know what Batman's reasoning was,
but you can bet it was chillingly methodical.
Here's still more:
Oh, this brings to mind something else Mr.
Smith ignored: a few years later, when Wonder Woman broke Max Lord’s
neck in a most contrived and forced Infinite Crisis tie-in, Superman
and Batman turned against her, after all the trouble she went
through to save Superman from the brainwashing effects Lord put him
under in an otherwise out-of-character rendition. Lord may not have
been a saint, but he was no outright villain either in the days of
the Giffen/DeMatties Justice League. Simply put, he was a comedy
One of your Mailbag letter writers last week
mentioned that Batman had trained more heroes to follow him than
any of the other main heroes in comics today. He's so effective
in training because his skills are those that, theoretically,
anyone can learn, with enough dedication. Superman can't teach
heat vision to aspiring young do-gooders, but Batman can teach
crime scene investigations and criminology to any that wish to
This teaching ability might be just the answer to both the
problems of Batman's paranoid preparations against his teammates
and his "failure" to better control the criminal elements in
Gotham City. Instead of having just a few students training
under the Dark Knight, he could open sort of a crime fighting
school. Legions of new heroes would then take to the streets of
Gotham, adhering to Batman's ethical codes of no killing or
extreme violence, but still eliminating most of the crime that
plagues the city.
Even established heroes with superpowers of their own
would benefit from Batman's school. Batman is the least likely
it seems to become controlled by an evil alien, a superpowered
criminal etc. This resistance isn't necessarily a natural trait.
It could be taught to others, making Batman feel more secure
about trusting the JLA and the superhero community at large. The
powered heroes could also benefit from Batman's other learnable
skills. Superman could use martial arts on those frequent
occasions when his powers are gone; a Green Lantern with
knowledge of chemicals could make all sorts of unique ring
creations; and all the powered heroes (with the possible
exception of the Martian Manhunter) could use better detective
With his army of Gotham recruits, and his trained powered
heroes, Batman the teacher would do more for the world than even
Batman the Dark Knight would. Bring on The Bat-School!
It seems one of the points that has cropped up in this discussion
over and over is that Batman is an incredibly competent guy going
about his business in a remarkably ineffective way. Bat-School?
Great idea! Outfitting the GCPD with Bat-gadgets? Outstanding!
Batman as mayor/FBI chief/NSA chairman? Criminals beware!
Man dressed up in Halloween costume hanging out on rooftops? Um
Batman may be able to resist mind control,
but that’s still a lot more than can be said about certain leftists
who can’t resist their own indoctrine.
<<I'd like to hear from younger readers, though
-- does the new/old Krypton have any appeal, or do you prefer
John Byrne's version that's been in place for the last 15 years?
-- Captain Comics>>
I don't know if I qualify as a younger reader (I just turned 30
last year), but I like them both.
The old Krypton appeals to me in the way that the original
Flash Gordon spaceships and tail fins on 1950s cars do. It's eye
candy. Plus, it's hard to imagine people of pure science
belittling Jor-El for being overly concerned, rather than
saying, "Explode? A strange theory, but if it is correct,
something must be done. Send everybody a copy of your notes, and
we will attempt to verify your conclusions. We re-convene in two
But Byrne's version produced such neat toys. The
Eradicator, the birthing matrix ... (Hmm. Matrix. Naah ...)
things that wouldn't make sense in the bright, sunny Krypton
Then again, The Eradicator could be from a time before the
Kryptonian race "grew up," accepting that emotions were valid
reasons to make a decision.
If I had to choose a place to live, the choice would be
easy. But choosing which one is real isn't.
Same here, [withheld] -- I'd rather wear a sunburst on my chest
than those silly ruffle things Byrne's Kryptonians all wore.
By the way, you reminded of a scene -- maybe in Man of Steel? --
where one of the Science Council guys says something like, "We've
looked at your data, Jor-El, and it simply doesn't support your
alarmist claims." In other words, in this version Jor-El was a
crackpot to the Science Council, who actually were reasonable guys
who looked at his findings and found them, well, lunatic. I
remember that scene because it was the first time I ever
considered the possibility that maybe the Science Council guys
weren't just being short-sighted jerks, but maybe, just maybe ...
Jor-El WAS a crackpot! What if Krypton blowing up was simply
coincidental with a delusional man's wild ravings? I mean, the guy
carrying the sign "The end is near!" will accidentally be right
I think Mr. Smith should look at himself
in the mirror after saying that.
Dear Cap: I posted this (with some alterations) to a
message board (ifanboy.com) in response to a query about the
rights Todd McFarlane Productions (TMP) owns with respect to
Todd McFarlane doesn't own the complete publishing rights
to Miracleman, and therefore literally has no legal right to
Much of this information based on a feature from issue
#128 (Dec 2000) of the UK magazine Comics International, and the
Usenet rec.arts.comics FAQ list:
Since the early 1980s (when Marvelman was revived in
England's WARRIOR Magazine) the rights to publishing Miracleman
stories have been have been split in various percentages between
the publisher of the story and the creative teams involved. The
rights have been owned by various combinations of Quality
Communications (WARRIOR Mag's publisher, MM's UK publisher),
Alan Moore, various artists during his run (including Garry
Leach, Alan Davis and John Totleben), Eclipse Comics (MM's
eventual U.S. publisher) and Neil Gaiman and Mark Buckingham the
last writer and artist of record on the title.
The Quality share eventually was bought out by Eclipse, as
was the "Warrior artist" (Leach/Davis) share, and these combined
shares were bought by Todd when he bought the assets of the
going-bankrupt Eclipse Comics. One could argue that if he did
not purchase these assets they would have faded away -- the
amount he paid for the entirety of the Eclipse assets was in the
tens of thousands of dollars. The total claim on the MM
publishing rights by Todd, according to CI, is 70 percent of
those rights. The Moore share (the remaining 30 percent) was
passed on to Gaiman/Buckingham, where it has remained.
The REAL roadblock preventing MM's return is that
70/30-percent split of ownership and the animosity between the
two owners, reportedly over rights to the creation of the Angela
character in SPAWN. If Todd and Gaiman could mend their
differences, perhaps we'd see MM again, and no amount of
publicity stunts will bring MM back -- only a 100-percent
agreement by ownership will do that.
The breakdown goes like this:
1982: Quality (represented by Dez Skinn) revives Marvelman
in Warrior Magazine with Alan Moore and Garry Leach.
Ownership breakdown: Quality: 20 percent, Moore: 40
percent, Leach: 40 percent
1984: Alan Davis becomes artist, an equal share from all
is given to Davis.
Ownership breakdown: Quality: 10 percent, Moore: 30
percent, Leach: 30 percent, Davis: 30 percent
1985: Eclipse brings MM to the US: Eclipse becomes the
main publisher of MM, renaming Marvelman to Miracleman to avoid
problems with Marvel Comics, and buys the Quality share, and the
combined Leach/Davis shares. Moore splits his share with his
artist, most notably Totleben, and control of this share is
effectively retained by Moore.
Ownership breakdown: Eclipse: 70 percent, Moore/Totleben:
(The publishing relation between artist and publisher
remains cordial during this transfer.)
1989: Moore leaves MM, completing his stated run on the
title, and passes share to Gaiman and Mark Buckingham, who
arrange a similar relation as Moore and Totleben did, with
Gaiman in effective control of the Moore share.
Ownership breakdown: Eclipse: 70 percent,
Gaiman/Buckingham: 30 percent
(The publishing relation between artist and publisher
remains cordial during this transfer, as MM stories continue to
be published. Eclipse and Gaiman even allow others to produce MM
stories, including Kurt Busiek and Alex Ross in MM: Apocrypha)
1993: Gaiman creates Angela for TMP; rights battle over
Angela ensues, unrelated to MM, leading to a breakdown in the
1996: Eclipse declares bankruptcy; TMP buys all of
Eclipse's assets, including MM.
Ownership breakdown: TMP: 70 percent, Gaiman/Buckingham:
(The poor publishing relation between Todd and Gaiman
established before spills over into the MM publisher/artist
relation, leaving the MM property in limbo.)
Even these figures may be in doubt, as, Mick Anglo, the
original MM publisher between 1954-1963, according to some
reports, has asserted a claim to MM. But Anglo's claim is not
considered here, as none of the other parties have considered
the claim themselves. (MM was not published between 1963-1982).
Thanks, […]. The Miracleman fiasco is one of the
perennial questions that crops up, like "When will they do JLA vs.
Avengers?" and "Why won't Alan Moore do a Watchmen sequel?"
No, the perennial query is why Mr. Smith
can’t be honest and transparent about the content of certain stories
he’s fawned over. Why he won’t address the complaints of
institutionalized sexism in the industry in depth. And why he
doesn’t ask for better formats for comics like paperbacks? Who’s the
real fiasco then?
Cap: I just wanted to congratulate you on your site.
A lot of Web sites make claims about updating their content
daily, but you truly do! And the updates are both substantial
and meticulous. I would have more to say, expect that you've
been so right-on in your comments lately! Keep up the praise for
Batgirl, Black Panther, Lucifer and Marvel Knights (though the
latter could stand a bit more heft, no?). I'd also add Fantastic
Four and Green Lantern, two books I'm buying monthly for the
first time in years. If you haven't already, maybe you could
drop in a kind word about the artist on Hellblazer (I forget his
name), whose clean lines and characterizations signify a star on
Thanks for the kind words, […] -- sometimes that's all you need to
edit ... one ... more ... letter. :) Oh, and the artist you're
thinking of is Marcelo Frusin, whose faces, postures and
atmosphere in Hellblazer are distinctive and memorable.
Gee, whoever wrote that letter sure has no
idea how to tell bad storytelling effects as seen in Green Lantern
at the time. Fantastic Four was still okay at the time, but GL was
in very bad shape, thanks in no small part to the editorial mandate,
much more tangible than most others from that period. Let’s go on to
February 21, 2001:
Dear Cap: Greetings from London!
Helping the good Captain out a few weeks ago with his
super secret '70s project (about which I'm sure he will tell in
his own good time) got me thinking about how the heck I ever got
interested in the four-colour world in the first place. Adding
to this was coming across the December 2000 issue of Comics
International, where Dez Skinn mourned the fact that the ways
British fans got interested in comics have almost completely
disappeared. So bear with this crusty curmudgeon as he steps
back in time 30 years and relives some childhood memories ...
I grew up in a town called Linlithgow, nestled in the
Forth Valley between Edinburgh and Stirling. If you are a
true-blue and long lost Trekkie, then yes, it's the same
Linlithgow that many years in the future is allegedly the
birthplace of one Montgomery Scott -- but that is a tale for
another place. In 1971, it was a sleepy little provincial town
in which a far too shy and bespectacled 8-year-old was beginning
to find his way around. At that time, there were four newsagents
in the town, and in the main the only comics you could get were
the weekly D C Thomson (Beano, Dandy, Beezer, Topper) and IPC
ones beloved by all in the UK. In 1971, however, I began to
notice that three of these newsagents were stocking strange new
things in racks that spun -- US comics! All going for the cheap
price of 6d old money, or 3 pence new money. The fact that today
the same comic would set you back about 2 pounds in the local
Forbidden Planet is a tale for another day.
The strange thing was that of these four newsagents, they
all stocked different comics. I started to get into the habit of
checking them all out to see what I could find. First up was
what I used to call Wee Wilson's -- setting the Scots aside for
a minute, it was the smaller branch of the main newsagent in
town. It was famous both for stocking Airfix model airplanes,
and for the fact their racks were full of Harvey comics -- the
original Casper, Wendy the Good Witch, Richie Rich and all that
fun crew. Now remember that I was 8, and the artists were never
clearly identified in those days (I know it wasn't Dan DeCarlo,
but the artwork was very similar).
All this young lad knew was they were bright, they were
funny and they told good stories. I was hooked -- completely,
totally and utterly in love with this new-found medium. The fact
that they got deliveries of these wonders only every three
months just made me more determined to hunt the things down.
I started to look in the other newsagents, and the next
one down (Dairymples) didn't stock the colour comics. They had
thick, small black-and-white comics in their racks, filled with
tales of strange phantoms, terrifying monsters and (even to a
little nipper like myself) badly-written superhero comics. This
was the world of Alan Class, and he introduced me to the likes
of Steve Ditko before I even saw Spider-Man. Alan Class is a man
who served a valuable place in the UK comic scene, and his
reprints were still going storng in the mid-'80s. You don't see
them anymore -- which is a shame because it means the only way
to find the early Charlton and Atlas/Marvel stuff now is to
scour the Bargain Bins and hope you find a decent copy. To me,
however, it opened up more worlds of wonder and excitement.
Further on our travels and another newsagent (Baxter's) --
this was the one that had NPC/DC and Marvel in their rack -- and
a proprietor who would not sell them to under-tens! Fortunately,
I had an older brother who was a delivery boy for them, and he
used to get me copies of the likes of Captain America, Teen
Titans, JLA and the other "cool cat" titles of the time. This
was to my young eyes the greatest eye-opener of all, and I
remember following piecemeal tales such as the "Michael Saga,"
Warlock and Captain Marvel under Jim Starlin, and all the
JLA/JSA crossovers. It had to be piecemeal -- Baxter's had no
control over what they were sent, so you took what you could
find both through my brother and (once I turned 10) on my own. I
even managed to get some Atlas/Seaboard comics when they first
came out -- I suspect the only place in the UK you could get
So it was that Casper, Alan Class and Jim Starlin opened
my eyes to the wonders of American comics. It was soon after
that that Mighty World of Marvel started up in the UK, and we
got proper reprints of the '60s Marvel tales. Before that it was
three-colour reprints in UK comics produced by IPC. That was not
to say we did not have full-colour UK comics, mind you. When I
was 11, at the end of term at school we were allowed to read
vast piles of a magazine called Look And Learn, which was full
of the sort of things proper boys and girls should learn. That
wasn't what caught my eye though -- it was Don Lawrence's The
Trigan Empire, possibly the finest UK-originated strip of the
1960s. One of my greatest finds in the '80s was a bound copy of
the first of those strips. There was also the gorgeous Century
21 adaptations of Thunderbirds, Captain Scarlet, etc -- but that
is a digression for another day.
I re-visited my home town recently. Wee Wilson's -- now a
wine bar. Dairymples -- a branch of a chain of newsagents that
does not stack comic books these days. Baxter's -- a fashion
boutique. The fourth newsagent is still there, but they don't
stock these books any more. The first exposure my kids have had
to comic books is with the last remnants of a collection I had
to sell to pay off some debts -- things like Greatest Superman,
Greatest Batman and a copy of Star Wars Episode 1 that I got as
a Father's Day present. You can't find boxes of comic books at
market stalls any more. Marvel UK does not really exist. Even I
don't buy too many comic books these days -- I wait and get the
collected editions, although if anyone has a copy of Watchmen or
V for Vendetta going spare I need to replace my moth-eaten
So let's do all we can to help today's eight-year-olds to
look on with wide-eyed wonder -- it means we have put back a
little of the pleasure we got.
Thanks for the anecdote, […] -- it reminds me of my own misspent
youth, searching from one drugstore to another to collect my
favorites. Distribution was so helter-skelter in my neck of the
woods that sometimes it was possible to find three consecutive
issues of a single title in one store, and none at all in six
others. The thrill of the chase was part of the fun, and it
certainly kept me healthy pedaling all over Memphis and Chicago on
my little Sting-Ray bike searching for that elusive issue of Sgt.
Fury or Superboy I was missing. If my mother had known just how
far I went, she'd have had a heart attack -- and then grounded me
It is a shame that the li'l nippers of today aren't exposed to
comics as we were, and that realization alone makes me fear for
the industry. I do my bit to introduce kids to comics, but that's
not the same as that thrill of discovery one has on one's own at
the magic age of eight or so.
And, of course, I'm fascinated by the titles you mentioned that
never made it across the pond. Beano? The Trigan Empire? I wonder
if my little Sting-Ray would've carried me to Scotland ... !
Anyway, you might want to offer some input on [name withheld]'s
letter in the Q&A this week (Thursday), which references Night
Raven (which did make it to the US, as Nocturne) and a 1995 Nick
Fury/Black Widow comic book that I seemed to have missed
completely and may well be Marvel UK.
If anybody else wants to contribute any anecdotes on how they got
hooked on this wacky hobby, I'd love to hear 'em.
He misspent his youth alright, on leftism!
That’s why he has no ability today to hold onto a solid stand. I
can’t say I’m comfortable with the correspondent’s reference to V
for Vendetta either, if only because of it’s questionable politics
towards conservatism. It’s a shame the li’l nippers of today don’t
have an honest journalist who can explain what’s wrong with modern
comics, and doesn’t act like he/she is obligated to side with the
publisher’s visions at all costs.
Dear Cap: Another interesting point: Did you know
that the DC editors here in Brasil decided to not publish the
JLA story arc "World War III"? Here JLA stories (that are
presented in a 160-page Superman comic that includes Superman,
JLA and Flash with luxurious paper and cover that costs 10
Reais, or about $5 US) will jump from
the-White-Martian-as-Bruce-Wayne story to the "Tower of Babel"
story arc. They said that the story (WW3) was bad, the Americans
(you) really dislike it, and that it wasn't important for JLA's
chronology. What do you think of it?
That's fascinating info for us here in the States, […] -- I didn't
know local editors could make such sweeping decisions.
Was "World War III" a bad story? I didn't think so. It didn't live
up to its hype -- "Grant Morrison's final, best JLA story!" -- in
that it was only so-so. In fact, Morrison's faults (incoherent
plotting) were more on display than his strengths (believable
dialogue, spot-on characterization, inventive use of powers). But
I wouldn't call it "bad." The good news is that the trade
paperback will be available (in English, anyway) online at
Amazon.com and other places in a few months.
Maybe WW3 wasn’t bad, but Morrison’s
portfolio still has a big portion of perfectly dreadful items, and
if the Brazilian translators decided it wasn’t worth the paper, I
don’t mind. I’ve got a feeling most readers in Brazil probably
would’ve fallen asleep anyway. Now another letter I wrote:
Dear Cap: In this week’s new comics for February 21,
<<I've complained before of superheroines who seem to gain
the ability to fight hordes of armed thugs and perform incredible
combat gymnastics by the simple of expedient of pulling on a pair
I don’t get it, what’s wrong with that? A woman who’s an
effective combatant is usually something to admire. And for the
male audience, it can come as pretty entertaining to see a girl
getting the best of thugs who’re bigger and seemingly stronger
than her. And for the girl audience, it can be entertaining if
it’s something that they’d like to be able to do too. I’ll say
this though, that current Batsuit that the current Batgirl’s got
looks pretty scary!
And now, let me add to the debate upon the X-changes to be
worked on in the next few months. I’ve noticed some of the
storylines that are meant to be almost like what’s in the movie,
and the "Dream’s End" storyline is one of them. And before
Colossus kicked the bucket, it was Sen. Kelly who did. I’ll have
to note that he actually had it coming to him all this time,
mainly because it’s probably time to introduce a new political
villain who’s more under-the-table than he is, just like Lex
Luthor. In my opinion, the drawback for Kelly is that he
displays his hostility towards mutants out in the open. That’s
why I’ve often thought that a villain who planned his evil
intentions towards mutants under the table could have more
advantages in storytelling, and could prove to be more of a
challenge to the X-Men, just like Lex Luthor is to Superman. At
least Chris Claremont’s writing surprisingly improved a tad by
the end of the year. And now that he’s about to launch X-Treme
(formerly Maximum) X-Men, in which they become a traveling team,
well, I guess here’s his chance to both show that he can make
some writing improvements and also put some things back to
normal -- like switch Jean Grey and Psylocke’s powers back, and
also explain how Cable suddenly joined the team after more than
a decade of refraining. One thing that won’t be easy to explain
however, is how Gambit became a trusted team member!
But most of the other developments that are meant to
parallel the movie were decidedly unnecessary, and in Rogue’s
case, a bit too hard to swallow. I can certainly buy if she’s
able to duplicate Wolverine’s healing powers, but that she
should be able to develop her own claws like his is too
I’m also concerned that Marvel will even make the same
mistake that the movie industry has made all these years -- that
bigger is better. Not at all. Too often in fact it becomes
overwhelmingly tiresome and ridiculous, and it just doesn’t make
the story any better. And while I’m delighted if moviegoers can
convert to comic readers, I certainly hope that they don’t start
wanting the comics companies to top every idea of theirs all the
time. I mean, hey, is it every issue that Spider-Man and
Superman take on titanic beings? Of course not. And it helps
that they don’t always do so.
On the death of Colossus: I was certainly sad to see that
he kicked the bucket, he was one of my favorite X-Men too, and
it’s worrisome for me that it’s apparently setting a precedent
for more deaths in the coming year. But OK, not all the deaths
have bothered me, since if it’s characters that I don’t care
about, than it’s excusable to some extent. So let me see,
Cecilia Reyes is also biting the bullet? Well, I have to admit,
aside from not trying to write a code name for her, they didn’t
try to make her an interesting addition either (Cecilia dear, we
hardly knew ye). She first appeared in 1997 when Bastion was
trying to vanquish the X-Men, as a character who found herself
caught in the middle, but she wore out her interest pretty fast,
and became a very redundant supporting character. And her force
shield is hardly the most effective that I’ve ever seen. And as
for Husk, well, her abilities were even more useless.
In regard to Joe Quesada’s claim however, that Colossus is
“gone and goodbye,” well, let me point out that that’s really
only during his tenure. It is quite possible for any of his
successors in the future to resurrect the Russian giant, so
there’s no telling if he’ll ever show up in the Book of the Dead
section that easily (although you’re probably working on the
possibility of adding him there already). And there was an
artist who once said that it’s hard to kill off any of the
characters since, as he’d said, “they’re your friends!”
Cecilia Reyes could turn up in the Book of the Dead
someday though, since like Omega the Unknown, she’s not a
character who anyone’s asking be resurrected. Also, I’ve been
doing some thinking recently, and now that I think of it, if a
character like Gambit is ever killed off, I won’t mind, because
even I’ve never been particularly fond of him, and also, because
Rogue deserves far better than him. So they could introduce a
new boyfriend for her, and even a new southerner/Cajun too, with
both a better background and costume! Oh, and won’t mind if even
the mutant named Maggot kicks the bucket, since he, too, wore
out any interest he had pretty fast too.
I remember that a few weeks ago, you said in Next Week’s
Comics that you were hoping for some fun in the X-Men. Well, if
Marvel’s going to kill off a few of them, then sadly, it doesn’t
look like there’ll be any in such a hurry. That’s why I sure
hope that maybe X-Treme X-Men, in which several of the team
travel on a quest to find the missing volumes of the “Books of
Truth” could try to offer some happiness during their travels.
Yes indeed, it’s about time that some real fun came around again
in the X-World.
Also, in your latest column, you wrote:
<<Since the standard 32-page monthly comic book may soon
be facing economic extinction, it could well be that trade
paperbacks are the form comics will take in the future.>>
Well, not necessarily. If any companies can follow Marvel’s
example with the Ultimate Marvel Magazine, including DC, then it
could be that their sales could improve too. But I do agree that
TPBs can be a much easier way to store comics around the house,
since they’re easier to fit on bookshelves. In fact, TPBs could
be one of the best ways these days for independent artists, such
as those whose works Son of Salmon reviews, to get their works
I also read your extra column about Crossgen, and it was
great. And chairman Mark Alessi is to be commended for his
marketing and scriptwriting schedule strategy, which makes it a
lot easier for the writers and artists to get their work done on
time, and his strategy could serve as a good example for many
other comic-book publishers on how to plan ahead on publishing
and marketing. I’ve been able to see some of their work so far
and it’s fantastic. And it’s certainly what can help draw new
readers who prefer characters who don’t wear Spandex. I’m sure
that this is the start of a successful new independent comic
book business, and I wish CrossGen a big success in the next
CrossGen is certainly doing everything right. If nothing else,
they actually act like a professional publishing company
interested in selling their product! Marvel, DC and others have
never acted that way -- in fact, for most of the decade I've done
the newspaper column, Marvel Comics hasn't even had a public
relations department, which is almost unheard of in American
On the X-Men X-tinctions, it certainly is a lively topic, with
everyone crossing their fingers for their favorites. I'm game for
it, though, if it'll improve the books -- even if they take Pyotr
Rasputin from us. And, as you noted, his death could be undone at
any time, especially -- as is inevitable -- a new regime takes
Oh, and given your remarks about bigger-not-being-better, it
echoes my own thoughts. X-Men has always been more soap opera than
Sturm und Drang, and what I want to see is more personality in the
books -- especially believable ones that follow the characters as
we've come to know them. (Gambit as trusted team leader? Oh,
THAT'S gonna take some explanation.) And as it happens, I'm happy
to report that a recent interview with Frank Quitely at Fandom.com
said essentially the same thing: Morrison and Casey are looking to
emphasize personality over power conflicts. I certainly can't
complain about that!
And Colossus is heading for the Book of the Dead -- Fanboy
volunteered to write it. In fact, if any readers have a dead
character they want entered into the BotD, they need only submit
something that includes the general information the other ones do
and I'll be happy to edit it in and provide appropriate credit.
Finally, in addressing the girls-in-Spandex thing, I believe we're
talking at cross-purposes here. I don't have any problem with
effective female characters -- but I have a problem with any
character, male or female, who suddenly develops the ability to do
a triple-backflip out of the way of a bullet with no explanation.
My classic example is the original Batgirl (Barbara Gordon), who
was a librarian, for Pete's sake, and the only mention of any
training in her debut in 1966 was that she was "pretty athletic in
college." Well, gee whiz, so was I -- but I certainly couldn't do
what Batman does! I think it's asking a lot of our suspension of
disbelief to accept that simply calling yourself "Crimefighter
Boy" suddenly makes you as athletic as Batman, who's trained since
he was eight years old -- and I think it diminishes Batman's
achievements as well, when anybody can get them by just pulling on
longjohns. It's laziness on the part of the writers, and sexist as
well, since that syndrome seems to apply largely to female
characters, like the original comic-book Batgirl, Huntress and the
Alicia Silverstone Batgirl in the movies. Granted, most of these
characters have been retconned to show intense training -- but
when they debuted, no mention was made of any special effort, yet
suddenly they could do amazing things, and that is what I find
So that's what I was referring to with my remarks on the new
Batgirl. One of the things I find refreshing about the character
is that the writers took the time to establish her abilities and
motivation -- which makes her a solid, plausible,
three-dimensional character, and not just an excuse to trademark
the name "Batgirl."
That whole Book of Dead feature from his
original site was pointless, and since then, Colossus was
resurrected almost 4 years afterwards, and other dead characters,
regardless of whether their curtain call was badly written or not,
came back along with him. In case I hadn’t said so before, killing
off Colossus, even if not in the worst way possible, was still
pretty badly done, and Marvel did it just to “prove” they could keep
a hero dead or something like that.
And whoa, look who’s talking about sexism! Did it ever occur to Mr.
Smith how sexist it is to have a story where a costumed supervillain
rapes a woman and her plight is swept under the rug like nothing
happened? A syndrome that may apply to female characters more than
the idea they could develop serious combat skills overnight, I might
Dear Cap: I just wanted to do a quick reply (to the
repentant-criminal debate). On the question of murderers and the
like who repent, as I said they should serve the time for their
crimes. For people like the Red Skull that would mean at least
life in prison if not execution. Still, a reformed criminal can
make the most of his time in jail, and do all kinds of useful
and fufilling stuff. I recall that one of the biggest
contributers to the original Oxford English Dictionary was
confined to a madhouse. Harder for people who are executed to do
much with their new found attitude, but it is an imperfect world
and then again I do not believe in capital punishment.
Your comments on Hal Jordan reminds me of the ancient
Athenian lawgiver Solon who said roughly "Call no man blessed
before he dies."
Just one last thing to shift topics; on Batman as failure.
It seems to me the best way to fight crime is to prevent it and
while effective law enforcement will do that to some extent I am
not sure it can be a whole solution -- well maybe in a universe
where beings like the Flash and Superman exist it can be (at
least until they commit the crimes). Really, to reduce crime I
think their are almost certainly social causes (like poverty)
that have to be addressed and often the solutions to those
problems are not known themselves.
Really, Batman -- if he has not already done so -- should
be funding research into the root causes of crime and (begin)
initiatives to attack those things at the root. As Bruce Wayne
he should lend his voice and energies to helping groups that do
this kind of work as well. That being said, I do not think he is
a failure in his nocturnal prowling; he has undoubtedly
personally saved hundreds if not thousands from the deprivations
of crime, but it is only part of the solution to crime. Just as
the local cop, the sociologist who studies crime and solutions
to it and the politcian who tries to get legislation enacted to
stop crime all play a different role, success for one is not
success for another. I think Batman has probably been more
successful in his efforts than most. Still Batman's war on crime
should -- if genuine -- proceed on many fronts and in myriad of
Finally, though, crime is something that will almost
certainly exist as long as men live and are free. If to succeed
Batman must wipe out all crime then he is doomed to failure --
just like a doctor, he can only delay the inevitable. Here is to
delaying the inevitable!
Well my reply was not as quick as I would have liked. :)
Thanks for the additional thoughts, [name withheld]. A number of
readers seem to agree with you that Batman isn't crazy for
fighting crime, or a failure -- just that, given his resources, he
could be doing a much better job of it on a much broader scale
than pulling on a Halloween suit and popping muggers.
As to redeemed villains, I need to note for the record that in
Thunderbolts, Hawkeye's first act as leader was to insist that
Mach One turn himself into the authorities for a murder he
committed as The Beetle. He did indeed surrender to pay the piper
-- and the government put him to work inside the jail doing other
things than making license plates. (Apparently, no other
Thunderbolts were known to be guilty of murder.)
Here's another letter on the subject of Batman's effectiveness --
and, believe it or not, our only letter this week from a resident
of the US:
The correspondent may not think Batman’s a
failure, but does he think the writers are failures for not
exploring the ideas he’s got in mind? And we can only wonder what
Mr. Smith thinks of the modern mindset that heroes are crazy for
crimefighting, leading to embarrassments like Civil War?
Dear Cap: It seems to me that Batman is very
effective at his job -- catching the criminals. The problem is
that (the authorities) those the criminals are handed over to
are incredibly incompetent.
My problem with Batman is that he doesn't do something
about that incompetence. As Bruce Wayne, he has the resources to
make sure that Arkham would be staffed by those who would be
able to do their jobs and have the equipment to insure the
incarceration of the metahuman loonies (such as Poison Ivy).
Let's face it: Wayne could buy Arkham and not break a sweat.
Granted, I don't think he could (buy) the local prison
(Blackgate?) but he could make sure that their funding was well
off enough that they wouldn't have to worry about break-outs
from their metahuman population. And he could buy his way onto
the board of directors to make sure that the prison's policies
are in line with his ideals of how prisoners should be treated.
I've made it very clear before that The Joker should die.
The fact that no one has just walked up to him while he's in
handcuffs and put a bullet through his head just amazes me, even
more than I'm amazed that the courts haven't sentenced him to
death for crimes he did commit. Just how much abuse will the
citizens and authorities in Gotham take before they break?
The recent issue of Harley Quinn in which someone dressed
as The Joker is shot to death by security guards is more in line
with how I think things would happen. (OK, sure, the real Joker
wouldn't have been standing around like a schmuck, but that is
how anyone should treat him. Shoot first; ask questions later.)
Another thought is that Batman (should) not turn The Joker
over to authorities next time Bats captures him. I remember
reading a pre-Crisis Superman story in which Supes had made a
special cell for The Parasite because no regular means of
incarceration would be safe or effective. Why doesn't Batman do
that? Make a special cell in some deep recess of the Batcave.
Joker could be fed and have cleaning facilities but no human
contact. Ever. If someone were to ask Batman where The Joker had
gone to, all he would have to do is lie. He's very good at
Oh, and as to the Justice League of Arkham one-shot: Never
happened. Would never happen. Could never happen.
I found Justice Leagues: Arkham unpalatable as well.
And as ridiculous as it is for Batman to work with The Joker,
think about Barbara Gordon! My suspension of disbelief went south
in a hurry on that one, and the best I could do to manage my way
through the issue was to try to remember that the whole world was
under telepathic mind control, so that wasn't really "our" Batman
doing it, right? OK, that's weak, but it's all I could come up
As the previous correspondent noted, it does seem that Bruce Wayne
could do a lot more to make his alter ego's life (and Gotham's
life) easier, such as funding anti-poverty programs and -- as you
noted -- buying Arkham and fixing that darn revolving door. I do
draw the line at Batman taking it on himself to incarcerate
criminals though -- not only would we have to change the name of
the book to Punisher 2099, but he would be crossing the line from
policeman to judge, and I'm uncomfortable with that.
Did his suspension of disbelief go south
after Identity Crisis told how the JLA covered up a crime entirely
and wouldn’t tell the world about it? How they cowered in fear of
the notion Dr. Light – who never killed/raped innocent women and
children within the first two decades of his existence – would
threaten their families and other bizarre gibberish he’d never been
written with before? His commentary crashes to earth with a
deafening thud because it’s pretty clear he suspends his disbelief
at all costs when PC dictates the final say on a story.
I find it fascinating the correspondent would argue that Joker
should die, because the guy who wrote that is somebody who opposed
the Iraq war, and probably doesn’t think Saddam or even jihadists
like al Qaeda should die for all the mass murder and sexual abuse
they committed. He probably doesn’t even think ISIS should be
punished severely for their own crimes against groups like the
Yazidi. His paradox illustrates a serious double-standard some
leftists have when dealing with fiction and reality. So let’s
proceed to March 7, 2001:
Dear Cap: I just read a bunch of issues of Iron Man.
I kind of enjoyed the last arc, but as much as I love retro
changes I'm not wild about these "life-long old friend of a
long-running character that we readers never knew about who
comes back and turns out to have hated the hero all these
years"-type tales. Is that a sub-genre? On the other hand, I've
enjoyed the "Protocide" story in Captain America. Do I sound
confused? Well I usually am. It's my normal state of mind.
Thanks for your time, Cap.
And thanks for your letter, […]! The "old friend we've never heard
of" story must be some kind of cliche, since it happens all the
time in comics (and soap operas) and it's never convincing. In
fact, I wouldn't even call it a sub-genre as much as I would just
plain old bad writing.
And I wouldn’t call Mr. Smith’s arguments
sincere so much as I would call them a smokescreen. Such a buffoon
he is, yet not even amusing. It’s also never convincing when it’s
claimed the JLA covered up a violent sexual crime. In fact, it’s
never convincing to make it look as though the supervillain who
committed said crime had always been as sick as Identity Crisis
makes him out to be.
Dear Cap: The plot for the movie Galaxy Quest was
rather interesting and original. Take actors who who only, well,
act in a television show where they are depicted as heroes and
put them in a "real life" space opera where they have to prove
themselves to be the heroes and constant victors that they
always appear to be. Sigourney Weaver's acting was not bad as a
character who was frightened and cautious of actually being
engaged in battle against a ruthless enemy.
Well, imagine (and pray that it remains an imaginary
story) whereby Captain Comics and his Legion of Superfluous
Heroes are actually thought to be the real thing. Imagine we are
being called upon to save an alternate universe where their
champions of truth and justice have fallen against a
multiversity-destroying threat that makes beings like Galactus,
Nightmare, Thanos, Darkseid and The Stranger (to name a few)
look like the Vienna Boys' Choir.
In which case, we'd all be dead, and that would be our answer,
[name withheld]! Unless, of course, this multiversity-destroying
threat wanted to engage in contests involving comics trivia or
beer swilling, in which case my money would be on the Legion of
Oh please! Who’d mistake Mr. Smith for a
“hero”? Only the most naïve. IMHO, it’s more likely he’d be
perceived as the villain he actually is, even worse than J. Jonah
Jameson and Bethany Snow, and some supercrook planet would probably
want to recruit him so he could menace the superheroes. Which,
judging from his acceptance of Identity Crisis and Civil War, he’d
probably have no qualms doing. The Legion of Superfluous Heroes, on
the other hand, would do well do abandon ship not unlike some crooks
hired by an awkward alien who appeared in the 4th Avengers issue in
1964, when Captain America returned to active status in the MCU.
<<Some will argue with me here, but comics like Alley
Cat, Fathom and FemForce seem to me to have little reason to
exist other than to show improbably structured women in various
sates of undress. -- Captain Comics>>
You were right -- some will argue with you. While I agree that
titles like Alley Cat and Fathom fall under the T&A heading,
FemForce had more going for it than just scantily-clad heroines
with big (breasts and rear ends). There were actual stories
there, and character development. Personally, I think all those
"Bad Girl" comics like Lady Death and that kind of thing are
more T&A than FemForce. Of course. if you're a heterosexual
male who happens to be a breast man, I think you'd rather see
your heroines with some curves, showing some skin, rather than a
woman with an ironing board-shaped body swathed in yards of
You've got a point, [name withheld] -- FemForce did actually try
to tell stories. (Although, you have to admit, there was quite an
emphasis on the female physique!) Still, I'll adjust my thinking
accordingly, and let's just substitute Lady Death for FemForce as
an example of T&A. Howzat?
Boy, this correspondent doesn’t know what
he just implied! Sure, big breasts is something guys like in
gorgeous women, but big rear ends? Umm, I think cute little rear
ends are something guys prefer. Big butts just aren’t appealing. And
while Michael Turner did at least one thing that galls me (the
covers for Identity Crisis), I don’t think we should be complaining
about T&A. Besides, Identity Crisis suffered from far worse.
Dear Captain Comics: Not to beat the Batman thing to
the ground, but you hit the nail on the head with your remark in
the Feb. 14 Mailbag of the dislike for the modern
characterization of Batman.
I recall an issue of Detective Comics, written by Denny
O'Neil and drawn by the late Don Newton, in which Batman rescues
someone from drowning, and he says, "What's with you? I thought
you were only about catching crooks." Batman responds, "You're
not alone in thinking that. I wish you were." By the end of the
story, he catches the villain -- a wannabee mob boss staging a
takeover -- and the gangster says, "What's with you? I thought
you were only about helping people." Batman responds, "You're
not alone in thinking that. I wish you were."
That's what's lacking in this modern interpretation of
Batman. The writers have gone so far with this grim-and-gritty
stuff, especially in the years since The Dark Knight Returns,
that there is no balance. Several of your readers question why
Bruce Wayne doesn't use his money to fight crime from the other
end. Well, the Bruce Wayne I grew up with often used his family
money for civic projects around town. Moreover, he established
not one, but TWO charitable organizations to do just that -- the
Thomas and Martha Wayne Foundation and the Victims Incorporated
Program. Not that most readers ever see any evidence of this,
because the writers rarely show Batman out of costume doing
anything but punching out thugs. When Bruce Wayne appeared in
Gotham Knights #4 visiting a man on behalf of V.I.P., I was
startled; I'd bet every Image title I own that it was the first
time V.I.P. was mentioned in a Bat-title in 25 years. (Many
thanks to writer Devin Grayson.)
But then again, as I've pointed out before, Bruce Wayne
himself has nearly been written out of the Bat-titles, too. And
without him, we readers are cheated of a three-dimensional
rendering of the character. Take any 12-month run of any of the
core Superman titles and the core Batman titles, and compare:
How often would Clark Kent appear, and how often would Bruce
Wayne appear? I'd bet Clark would show up in at least half, and
Bruce in one or two, or maybe even none. Sure, there have been
some token appearances of Batman's Brucie-the-Party-Boy act, but
there's a wealth of story potential there -- Wayne the business
mogul, Wayne juggling his party act with his mission, Wayne
steering the work of VIP.
But with or without Wayne, we have seen Batman gradually
being changed from a hero into something else. Now we have
people questioning whether he's a failure, because the writers
are failing to present all the good of the characters. Now we
have even prominent people arguing that Batman could beat
Captain America "because Batman cheats." And I notice that no
one in this forum -- even critics of the Justice Protocols --
has suggested that Batman show remorse for the harm he caused,
let alone admit he was wrong.
I fear that Batman is being pushed into the same place Hal
Jordan is, where one more bad, ill-considered story will ruin
the character for good. Sure, Batman's popular, but has
Spider-Man recovered from the damage from the Clone Saga? Aren't
the X-Men and their tangled continuity popular to an
ever-shrinking pool of fans, and irrelevant to everyone else?
That's what I fear is happening to Batman. Thanks for listening.
And thanks for writing […]!
You've raised some more interesting points -- and far from
"beating this Batman thing into the ground," I think they deserve
I wouldn't worry too much about Bruce turning into Hal -- Batman's
far too valuable a property (as opposed to the lesser-known Green
Lantern) for Warner Bros. to allow that to happen! If the
character becomes unpopular, they'll just pull the plug, fire
everybody, and start over with more accessible aspects of the
character -- as they appear to be doing with the movie franchise.
And a number of folks on the site have suggested Batman was wrong,
and [name withheld] even suggested a few weeks ago that "I think
at the very least Batman should have to say 'I'm sorry' real
Anyway, one thing I've mentioned on this site before is that I'd
like to see a lot more of Bruce Wayne outfoxing bad guys (like
Luthor) in his corporate-mogul mode. (I'd like to see more of that
from Tony Stark, too, but that's a different discussion.) It's
been mentioned before (like in the "Injustice Gang" story in JLA),
but we never get to SEE it and (outside of Tony Stark) it's not
something other superheroes can do. Perhaps one reason Bruce
doesn't do more with the Wayne Foundation and VIP is that his
corporate time and money is working constantly to keep Luthor or
Ra's al Ghul from taking over the world quietly! That would
certainly add a new dimension to the Dark Knight -- Corporate
White Knight working overtime to keep the Bad Guys in check. (Gee,
it even makes a good chess metaphor!)
On the other hand, I'd also like to mount a mild defense of the
Batman-as-anti-social-creep characterization. I'm pretty sure I
wouldn't like the current Batman if I met him, but it DOES make a
certain story sense.
For one thing, for Batman to have the precise, Spock-like mind he
does, able to winnow information and derive accurate conclusions
without his ratiocination being tainted by emotion (his and
others') -- why, wouldn't he be a lot like Mr. Spock, or Sherlock
Holmes? With "normal" folks it's usually the case -- in fact, very
human -- that you see what you want instead of what is in any
given situation, and for Batman to filter that out ... well, he
wouldn't act very human, would he?
Secondly, I think we all know how dedicated one has to be to
become the best in a given field -- like Olympic competitors, who
virtually give up anything resembling a normal life for at least
four years in their pursuit of the gold. Now think of Batman,
who's good at EVERYTHING -- and consider what he'd have to give up
to achieve that. In fact, I would find it hard to believe if
Batman/Bruce was remotely well-socialized -- becoming a nice guy
takes time, effort and compromises. A man who frequently
compromises or is greatly concerned about the feelings of others
doesn't become Batman (he becomes a therapist).
Clearly, Bruce Wayne has given up the things that the rest of us
take for granted as the sweet things in life -- good meals,
companionship, romance, peaceful evenings at home, a family life.
That being the case, wouldn't he be a bit stand-offish? None of
the normal drives and considerations that motivate the rest of us
are of any use or interest to him. In fact, all that social white
noise would be an impediment.
Thirdly, the "spooky" act is necessary for his continued
effectiveness. It doesn't come as a surprise to me that he doesn't
turn it off when around the JLA -- it's probably ingrained in his
behavior. And, while he can certainly trust Superman, Martian
Manhunter, Wonder Woman, Aquaman and possibly The Flash -- what
about the perpetually adolescent Green Lantern? The absurd Plastic
Man? What does he know about peripheral Leaguers, like The Ray or
Captain Atom, that he should trust them? I can fully believe that
he would routinely keep his cards close to his chest armor as a
matter of course.
Fourthly, his inhuman focus makes Batman unique, and not just
another costumed athlete. He's the one guy that nobody, friend or
foe, can figure out. I think it's kinda cool that Ra's al Ghul and
Kobra are contemptuous of the Big Blue Boy Scout -- but Batman has
them worried. For a guy with no super-powers, that's just awesome.
Fifthly, he IS a guy with no super-powers, which means he has to
do something to compensate. If Batman was written as just another
Nightwing, I wouldn't expect him to be very effective at much more
than stopping muggers. But as the uniquely-focused Dark Knight,
disciplined beyond anything we regard as normal, I can utterly
believe that he can look at a situation frustrating the whole JLA
and come up with an outrageous explanation -- which inevitably
turns out to be true, and, in retrospect, obvious. Obvious, that
is, if your computer-like mind is filtering out the usual social
amenities and concentrating on Just The Facts, Ma'am. I would
expect someone with that disciplined a mind to eschew chit-chat.
In short, I don't really expect Batman to act normal -- because
nobody normal could do what he does. And, from a writing
standpoint, I like that he has to pay a price to be that good --
and is willing to pay it for the sake of protecting human life.
(Which is one reason, as I've mentioned before, that I'm turned
off when they depict him whining over his parents' graves. That
sort of self-pity isn't a very admirable motivation.)
I think one of the things that is a turn-off about the
grim-and-gritty aspect is that so MANY characters are doing that
riff now. If he was the only DC character doing it -- and, by all
rights, he certainly deserves the franchise -- then he would be
unique, and certainly a show-stopper.
Which is not to say that I wouldn't like to see more of Bruce
Wayne, or that I'm not occasionally disappointed that Batman is
such a hardcase, especially around Dick Grayson, Barbara Gordon
and Tim Drake. (Geez, lighten up, fella! That's your surrogate
family!) But I do appreciate that his behavior makes story sense,
and it sometimes results in some terrific comic-book moments --
like the Justice Protocols, or just staring down Guy Gardner. When
Batman is written as just another hail-fellow-well-met, Captain
America-in-a-cape type, he's a lot less impressive -- and I WANT
Batman to be impressive.
Well, that's sure to stir up some hornets!
Oh, you better believe it. My issue here
is with the correspondent, whom I may recall being among the
supporters of Identity Crisis. What business does he have then
complaining about grim and gritty when he obviously never meant what
Dear Cap: A quick thought about the death of Colossus
in the Marvel X-books: I was also saddened to see Piotr killed,
as he's always been one of my top five favorite characters --
visually and conceptually, at least, as his
personality/characterization had become somewhat murky lately.
I'm still finding it hard to believe that Marvel would let one
of their more recognizable icons slide away. I think I remember,
though, that Piotr actually fathered a child in the Savage Land
during one of his X-adventures. Am I correct? And if so, it's
not much of a stretch to imagine that Marvel would plan to
quick-age his son and bring him into the mutant-hero fold
There was an implication that Piotr got a little mischievous with
one or more of the ladies of the Savage Land, and that a child was
the result. But given that it was never mentioned again, I'd lay
money that a higher power saw that and said, "No way."
I’m skeptical the correspondent cares
about Colossus, because this was a far-left moonbat who sympathized
with jihadism and wrote an article in a weekly paper that was
hostile to the US military and their campaign in Iraq. It’s not too
hard to guess where he could stand on women who were victims
of rape under Saddam’s reign (and, probably not hard to guess
where he stood on Identity Crisis either!). Who’s the real savage
Dear Cap: I want a Major Bummer (DC Comics) action
figure. Perhaps I should say, "inaction figure".
LOL! That's exactly what I thought about Toy Biz's Professor X
"action" figure! ("He sits! He sits some more!")
While I don’t really care for superhero
worlds as toy merchandise, and think that’s one way famous comics
became victims of their own success, if I did want some action
figures, I’d ask for ones based on co-stars sans superpowers! Yeah,
why not Iris West Allen as an action figure? But seriously, I think
it’s time to stop emphasizing superhero worlds as licensed
merchandise and get back to basics of storytelling. Next still
another by me, about a onetime hobby I had in the early 90s:
Dear Cap: We’ve all heard of people who collect comic
books, right? But how often have you heard of people who collect
comic strips from newspapers?
Back in the early '80s, when I was little, that’s what I
did, I used to collect comic strips that I cut out of the daily
and Sunday newspapers. While I’d always had plenty of comic
books around the house, such as several issues of Fantastic
Four, Justice League of America, Spider-Man and The Flash, we
had comic strips like Peanuts, Garfield and more coming into the
house via the newspapers which we bought a lot more. I was very
much into humor at the time, always looking for something (to)
make me laugh, and I read quite a lot of comic strips from the
newspapers, and also borrowed the compilations of them from the
Free Library of Philadelphia many times too. And then, when I
was eight years old, I got an idea: to collect comic strips by
cutting them out of the newspaper.
I first began by collecting the Sunday strips from the now
defunct Evening Bulletin, and then from the Philadelphia
Inquirer. I cut out such strips as Peanuts, Garfield, Momma,
Beetle Bailey, Hagar the Horrible, Dennis the Menace, B.C, The
Wizard of Id, For Better or for Worse, Shoe, Blondie and Hi
& Lois. I cut them out of the Sunday comics section and put
them in piles in one of my bedroom drawers.
But then, in late 1983, we moved out of Philadelphia and
came (to Israel), and so I had no comic strips to collect for
about five years, although some of my relatives from the US
brought me some Sunday comics sections from the Philadelphia
Inquirer two or three times. I was living for almost two years
in the development town of Kfar Adumim (which in English could
translate as Reds Village) and didn’t travel outside the area
much, so I couldn’t get to visit the newspaper and bookstores
very much. So all I could do then was resort to reading the
compilations of past strips my parents had bought me years ago,
such as Charlie Brown’s Super Book of Questions and Answers, and
Garfield Takes the Cake.
But then, in late 1988, I had luck at this again, my
family started reading the International Herald Tribune, which
is co-owned by the Washington Post and The New York Times (and
which can be reached at http://www.iht.com), and they had a lot
of what I’d grown up with in the US, and I took to reading them
there as well. And then, suddenly, I was encouraged once again
to collect newspaper comic strips.
This time my scope was a bit more limited, and the strips
I began collecting this time were just Peanuts, Garfield and
sometimes The Far Side by Gary Larson (now defunct), soon to be
followed by Doonesbury. When I resumed my hobby, it was just a
few months after Charles Schulz had changed the panel format
from one to five panels, which was how it’d continue for its
final 12 years. My parents would often bring home the IHT, and
there was also an office building in town where the workers read
it too, and where I could get them to give me a lot of their
discarded copies, and I brought them home to work on as well,
and this helped me to fill the gaps many times. I’d sit in the
living room or on my bed and I’d take a scissors and snip the
comics of my choice out of the paper, and put them in piles
according to which strip they were, whether it be Peanuts or
Garfield or Doonesbury. And sometimes, courtesy of my relatives
in the US, I could even get some of the comic strips, including
those from Sunday, I wanted from the Philadelphia Inquirer, and
even the Boston Globe, Chicago Tribune, and New York Newsday.
To store them better, and to prevent them from turning
yellow, I got myself an airtight plastic bag, and also a
shoebox, and I put them inside. And even now and often, I’d take
them out and read them, and get lots of laughs out of them.
And I enjoyed it. All these funny little drawings and all
these goofy characters. And I kept doing it for at least seven
or eight years. During 1990 and 1993, I was reading more comic
strips than anything else. It was so fun to build up this
collection and I must have had more than 5,000 strips in all.
And I remember some of these storylines pretty well, such as
when Snoopy’s daffy brother Spike imagined the cactuses of the
desert county of Needles talking to him, the “ugly dog contest”,
in which another of Snoopy’s brothers, Olaf, was a contestant,
Charlie Brown’s first kiss at summer camp in 1995 (finally!),
Garfield’s getting caught in a time warp because he was
suffering from loneliness, and his new habit of squishing
spiders, the introduction of Mr. Butts, who somehow popped out
of Michael Doonesbury’s imagination, J.J’s birth of their
daughter Alexis, and B.D’s drafting into service during the Gulf
War. It was such fun for me.
In 1994, I even tried to start collecting Calvin &
Hobbes, which had drawn my interest for a few years already. And
so I also got to see about the short-lived introduction of
Calvin’s uncle Max, and even see him grow so big that he fell
off the planet.
So you can imagine how disappointed I was when Calvin
& Hobbes ended in early 1996, after about ten and a third
years, because Bill Watterson’s bag of tricks was running out.
The mistake he made was that he was trying many times to top
many of his storylines, such as the ones involving the
babysitter Rosyln, a problem that both Charles Schulz and Jim
Davis had managed to avoid very well. In fact, by 1994,
Watterson had lessened the more imaginative fantasy sequences
and had all but relegated them to Sundays. A real pity, because
it was one of the best strips of its kind, even at times
featuring some intelligent words and vocabulary.
By late 1996 though, I began to drift away from my
childhood hobby. I’d been trying to devote more time to reading
comic books as well, and it was becoming a bit harder than it
had been before for me to get newspapers to work on. And my
mother was finding it to be a bit messy. So eventually, I sadly
had to part with my collection of daily and Sunday strips and
dispose of it. And whenever we got Sunday comics sections, from
then on, I started giving them to my mother, who’s a tutor,
instead, because she often found them useful when teaching her
When you collect newspaper comic strips, you probably wait
until the yearly compliations come out in bookstores from
companies like Ballentine Books, mainly because they’re much
tidier to keep around the house, and it’s easier to put them,
and even comic book TPBs, on a bookshelf. And that’s something
that I hope I can do someday too. Someday, I hope I can get back
all those comic strips I collected in book format and could this
time store them on my shelves at home. I do still have some of
the old compilations I mentioned before, and I hope that someday
I can add more to those.
It’s an amazing story, isn’t it? For indeed, how many
other people do you know who collect newspaper comic strips by
cutting them out of the newspapers? Not many, to be sure, but it
was a lot of fun for me, and it’s a shame that it had to
eventually end. But someday, with any luck, I’ll be able to get
them back; the older Peanuts strips are available in books for
example, as well as the newer ones, and someday, maybe I’ll be
able to form a collection of all those once again.
This letter has been a labor of love for me. I hope you’ll
And it was a joy to read. I love anecdotes!
Believe it or not, I also cut out newspaper strips and collected
them as a kid. Dozens of strips. Tumbleweeds I remember in
particular, because my effort wasn't being duplicated in
paperback. I savored those stolen moments from the past ... then
Tumbleweeds paperbacks started coming out, and all my carefully
pasted notebooks, annotated and lovingly filed, became irrelevant.
Ah, well, we all grow up. But it sure was fun!
Incidentally, in defense of Watterson:
He didn't quit because he was going stale -- he said it was
because he feared growing stale (and, rightly or wrongly, he used
Charles Schulz's Peanuts as an example). And the fact that he was
a millionaire after only three or so years made it possible for
him to "retire". Plus, Watterson had always had an ongong feud
with the syndicates (and the newspapers who ran him), because he
felt the American comic strip was being run too small. The reason
his more outre fantasy sequences were reserved for Sundays was
because he didn't feel the shrinking hole he had in dailies was
sufficient room for what he wanted to draw. So you only saw
dinosaurs on Sunday, when he had a panel big enough to draw one.
And since that hole was shrinking as well, he just said the heck
with it and retired.
Boy, I sure wish I could give more credit
to this man for taking the same kind of hobby as I once had. But
with his belief system, I cannot, or no longer can. Mr. Smith, alas,
made himself irrelevant long ago by adhering to PC tactics.
Hi Cap: This is in response to your Q&A statement
that Will Eisner is the Tiger Woods of comics. He's actually
more like Arnold Palmer or Ben Hogan or Bobby Jones, if you want
to stay with golf, but ...
I must warn you this is my Grand Theory of Comics Artists
-- you will surely think I am nuts after reading this.
I probably watch too WAAAYYYY much basketball and read
WAAAYYYY too many of (Frank) Miller's books, but I'm throwing
this out to my fellow Miller nuts:
FRANK MILLER: THE MICHAEL JORDAN OF COMICS?
I've been calling Miller "The Jordan of Comics" in
conversation for many years now, and I believe with good
justification. Looking at both of their careers closely to this
point, the similarities are uncanny ...
Both are tremendous successes at their chosen professions,
and are considered by many the very best of all time at what
Both are considered among the greatest ever at the
essentials of their profession. On a fundamental level they are
impeccable and exemplary -- you can find little wrong in what
they do, and moreover almost everything is done perfectly right.
And because of their strength in the fundamentals of their
craft, they are able to be spectacular at times, almost at will:
MJ: scoring and defense
FM: drawing and writing
Both combine in their work a rare mix -- an intense
ferocity over-reaching his peers, reminiscent of:
MJ: basketball's greatest winner, Bill Russell
FM: comics essential storyteller, Will Eisner
And a sublime elegance, beauty, power and spectacle,
MJ: Wilt Chamberlain, a legendary, larger-than-life figure
in basketball history, and owner of basketball's gaudiest
numbers (100 points in a single game is most notable)
FM: Jack Kirby, a legendary, larger-than-life figure in
comics history, and owner of comics' gaudiest artistic
achievements (100 issues of Fantastic Four is most notable)
And both have acknowledged the influence of the two men in
Each cut his teeth and refined his "chops" early in his
career during the early 1980s:
MJ: at the University of North Carolina
FM: drawing, then writing, Daredevil
Both shortly after moved onto a different stage in an
MJ: at the 1984 Olympics, showing his stuff against
FM: moving to DC, to create the creator-owned project
RONIN, showing the influence of international artists Moebius
and Goseki Kojima
Fans still rave about things he did in the spring of 1986:
MJ: scoring 63 points against the Boston Celtics in the
FM: producing THE DARK KNIGHT RETURNS
He began a breathtaking, show-stopping creative assault on
his profession at large shortly after this work:
MJ: winning two slam-dunk competitions, winning Defensive
Player of the Year, showing his all-around talent, and setting
the highest season scoring average by someone other than Wilt
Chamberlain (37.1, also the best of his career) between
1987-1990, becoming probably the most prominent star in
FM: puting out a varied body of work ELEKTRA: ASSASSIN,
BATMAN: YEAR ONE, DAREDEVIL: BORN AGAIN, DAREDEVIL LOVE AND WAR,
ELEKTRA LIVES AGAIN (personally I think this is his high point
yet as an artist), mostly as a
writer, showing his all around talent, between 1987-1990,
the most prominent star in comics.
Both have had a significant effect on the larger economy:
MJ: thru his success as a commercial spokesperson. Fortune
magazine once estimated the contribution of Jordan to the
success of the businesses he was involved in as $10 billion US.
FM: thru his success at revitalizing Batman as a
character, he revitalized the Batman merchandising franchise,
leading to movies and TV series that owed more to DARK KNIGHT
rather than Adam West. He also inspired the TEENAGE MUTANT NINJA
TURTLES (largely a parody of his series RONIN), indirectly
building one of the most successful line of toys and merchandise
from the '90s.
Both have been under the long-time commercial association
of a company located in Oregon:
MJ: Nike of Beaverton, OR
FM: Dark Horse of Milwaukie, OR
Major color schemes:
Chicago Bulls: Red, White, and Black
Sin City: Black, White and Red
Both took major break at the height of their career and
power from their chosen profession:
MJ: to try and play major league baseball (1993-94)
FM: to try and become a Hollywood screenwriter (1989-90)
And did not do as well as they did away from the
profession that brought them fame:
MJ: barely breaking a .200 batting average in double-A
FM: Robocop 2 and 3
Both returned from that break and sucked originally coming
out of the gate, with one really spectacular moment:
MJ: that whole #45 jersey thing, and getting knocked out
the playoffs for the only time in the '90s; 55 points against
the New York Knicks
FM: Martha Washington and Spawn/Batman; HARD BOILED
And after the bumpy restart, got down to business and came
out with a more efficient, yet still devastating style:
MJ: developing a fadeaway jumper, posting a record 72-10
won-lost record for a season, and winning three more NBA
championships for a total of six over the decade
FM: developing the stark black-and-white SIN CITY style,
producing 300, and producing a total of nine SIN CITY graphic
novels over the decade
Entered the 21st century making a controversial move to
work on the "establishment" side of his profession:
MJ: as director of basketball operations for the
FM: returning to DC to produce (work-for-hire) a sequel to
BATMAN:THE DARK KNIGHT RETURNS.
They have had one very significant collaborator through
the bulk of their career:
MJ: Scottie Pippen
FM: Lynn Varley
Other significant collaborators:
MJ: Dean Smith (college coach), Phil Jackson (pro coach,
championship era), Horace Grant (workhorse power forward,
pre-baseball), Dennis Rodman (gonzo power forward,
FM: Denny O'Neil (editor at Marvel and DC), Diana Schutz
(editor at Dark Horse, SIN CITY era), Klaus Janson (workhorse
inker, pre-Hollywood), Geof Darrow (gonzo artist,
And really stretching it... both played themselves in a
MJ: SPACE JAM
FM: Jugular Wine: A Vampire Odyssey (1994 -- find it on
Other comic-book hoops:
Brian Bendis: Vince Carter
Alan Moore: Larry Bird (80s) AND Charles Barkley (90s)
Todd McFarlane: Shaquille O'Neal
Neal Adams: Doctor J
Warren Ellis: Kobe Bryant
Howard Chaykin: Charles Barkley (80s)
No individual is quite like Chuck -- or Alan Moore for
that matter ...
Yes, I have lost my mind: SIN CITY = Bulls Tickets for me
when the issues came out.
After careful consideration of your points, [...], I've come to
conclude that you're right: You ARE absolutely nuts.
Actually, I've long nursed my own comics comparison. In my mind,
the John Lennon-Paul McCartney team (The Beatles) = the Stan
Lee-Jack Kirby team (the Marvel Age of Comics). Consider:
Both teams began in the early '60s and broke up in 1970.
Both members of both teams were good at every aspect of their
craft, only one could do something the other specifically
Lennon/McCartney: Both were good lyricists, musicians, composers
and producers -- but Lennon could only play a few instruments,
whereas McCartney could play anything
Lee/Kirby: Both were good storytellers, writers and editors -- but
Lee couldn't draw and Kirby could draw anything
Both were astonishingly good as a team; as solo artists, one
became a commercial mediocrity while the other had occasional
inspired brilliance but mostly spiralled into stuff that was just
L/M: The Beatles made precious few missteps; but McCartney solo
gave us Ram (medicore but commercially viable) but Lennon solo
gave us mostly awful stuff like Plastic Ono Band with the
occasionally brilliant piece like Imagine
L/K: The Marvel Age of Comics made precious few missteps; Lee solo
gave us Savage She-Hulk (mediocre but commercially viable) and
Kirby solo gave us mostly awful stuff like Captain Victory and the
Galactic Rangers and Devil Dinosaur with the occasionally
brilliant piece like "The Fourth World"
Both teams inspire fanatical arguments about who was "really" the
genius of the team, whereas the principals themselves stated
repeatedly that it was a give-and-take collaboration
Kirby recognized Lee's ability, but felt betrayed by him when Lee
wouldn't support him in his struggle to get his artwork back;
Lennon recognized McCartney's ability, but felt betrayed by him
when he embraced the pop aspect of The Beatles's music when he
wanted to go elsewhere
In both teams, the strengths of the individuals were played up and
their weaknesses covered up until they went solo:
L/M: McCartney's songs were catchy but sappy and Lennon's were
profound but self-absorbed; as The Beatles you got profound songs
that were catchy, and nobody knew McCartney was shallow or that
Lennon was a whiner until the team broke up
L/K: Kirby couldn't write dialogue and Lee couldn't draw; the
comics they produced were dynamically drawn and superbly written,
and you didn't know that Kirby had a tin ear for dialogue or that
Lee was so dependent on his artist until the team broke up
Both teams transformed and revitalized a formerly fading
youth-culture sub-genre that had become so co-opted by
corporations as to be boring:
L/M: Rescued rock & roll from pre-fab corporate singers like
Frankie Valley and Frankie Avalon
L/K: Rescued comic books from the boring pap forced on comics by
the Comics Code
Both teams had one member who stayed "establishment" and did well
financially, while the other didn't do so well:
L/M: McCartney went on to own his own record company, own the
rights to Beatles songs and be a multimillionaire by "playing the
game"; Lennon became a "house-husband"
L/K: Lee stayed on as the "house brand" at Marvel and eventually
went on to make millions of dollars for doing nothing; Kirby
struggled financially until he died
My even-handedness in discussing the strengths and weaknesses of
the members of both teams will result in flame mail:
L/M: There are virulent McCartney-haters out there who will not
accept the idea that he had anything to do with The Beatles' '60s
success and think Lennon did it all
L/K: There are virulent Lee-haters out there who will not accept
the idea that he had anything to do with Marvel Comics' '60s
success and think Kirby did it all
And now for something completely different, as a correspondent
explains DC's All-New Collector's Edition #C-62, which purported
to be an adaptation of the first Superman movie but was something
Before we turn to that, I wonder what the
correspondent and Mr. Smith think of Miller now after he became more
conservative, and penned Holy Terror? Smith was curiously quiet and
wouldn’t cover the subject at all, not even in his onetime Comics
Buyer’s Guide column, which he didn’t deserve to get. The
correspondent probably hates Miller now. No matter. I won’t say
Miller is the best there could ever be, but his willingness to
understand certain issues these days makes me want to think of him
as the Michael Jordan of comics. That’s a 3-pointer in the basket
Dear Cap: DC never actually adapted Superman: The
Movie. Due to some weird contract signed with Mario Puzo, they
weren't allowed to do anything more than a behind-the-scenes
look at the production, which was ANCE #C-62. (This was in
effect for Superman II, as well. III and IV were allowed comics
adaptations, which were far superior to the actual films.) The
same thing happened for the movie novelization. Elliot S! Maggin
had to (okay, got to) write an original novel called Last Son of
Krypton. The cover was a photo of Christopher Reeve, the book
had an eight-page insert of movie photos, but the story had
nothing to do with the movie. Great book, though. So was the
follow-up, Miracle Monday, which introduced the character who
later became Superwoman in pre-Crisis continuity.
Fun facts to know and tell. Thanks, […]!
I wonder if the Supergirl movie - which WB
did not try to produce per se, but rather, transferred to Tri-Star
in their early days for distribution - ever got an adaption? I'm not
sure if it did either. But would it have been better than the
finished film product? Who knows? It really doesn’t matter in the
end, because adaptations like those aren’t my forte.
Hey Cap'n: In your most recent Q&A, someone asked
about Mysterio's death and you indicated it was not totally
known whether he was really dead. The recent Spider-Man: the
Mysterio Manifesto miniseries cleared up the confusion. Quentin
Beck definitely died by shooting himself in Daredevil #7. The
Mysterio we have seen since then was another person who Quentin
had used as an assistant or something, and then the person
picked up the mantle of Mysterio. It's just a suit after all, so
anyone who's crazy and villainous and good at illusions can be
Mysterio. I didn't read the miniseries closely, so I don't know
who the other characters in particular were, but it definitely
established that Quentin Beck died.
By the way, you may have remembered me defending the idea
of bringing back Blink. Although I thought it could have been a
good idea, I found the first issue of the current miniseries
pretty bad, so I'm not even buying the rest of it. I might try
out the upcoming Exiles series starring Blink however, since
Judd Winick will be writing and the concept sounds good.
I also didn't care for Blink the limited series, but then, I
didn't find the character compelling enough in the first place to
WANT a limited series. Since you did, and also don't like Blink
the LS, that says a lot more about its relative quality than
anything I have to say. Thanks for writing in about it.
And I also read Spider-Man: The Mysterio Manifesto, but didn't
come away with the certainty you did that Beck was dead -- in
fact, I rather got the impression that Marvel was deliberately
leaving the door open. Different interpretations, I guess. Maybe I
should phrase it that he's probably dead. As if that means
anything in comics! Look how many times Norman Osborn has come
back from the "dead" ... !
Here we go again, as Smith perpetuated the
criticize-character-instead-of-writing routine. And no mention of
whoever scripted the Blink mini either!
As for the whole Mysterio mishmash, what makes that more important
than the decidedly unwarranted death of Karen Page?
Dear Captain: Your 3/2/2001 CBG column contains the
sentence, "To paraphrase Supreme Court Justice William J.
Brennan, I can't define T&A, but I know it when I see it."
That is somewhat akin to a music reviewer writing, "to
paraphrase Madonna, 'Bye Bye Miss American Pie'". The person
quoted may have said those words, but they didn't coin the
Although Justice Brennan was a member of the Court in 1964
when that now-famous phrase was written, and I wouldn't be
surprised if sometime later in his life he eventually said or
wrote it too, he wasn't the writer who made it a famous part of
our language. That credit belongs to his fellow Supreme Court
member Justice Potter Stewart, who penned the "I know it when I
see it" line in a concurring opinion in the case of Jacobellis
v. Ohio 378 US 184 (1964).
Justice Stewart was expressing his frustration with the
lack of a clear standard for determining whether a film was
obscene. The words he used hit the mark so well that they became
publicized and quoted both in legal opinions and in the popular
press. I'd guess that they now rank only a few notches below
Miranda rights on the list of legal cliches (right or wrong)
that citizens and comic-book readers remember.
Unfortunately, while Mr. Miranda's case made his name
famous, Justice Stewart isn't given credit very often for this
contribution of his to our popular discourse. The injustice (!)
is even greater when someone actually bothers to look up the
name of a Court member, but then gets the wrong one! Justice
Brennan wrote some great pieces during his 33-plus years on the
Supreme Court, but Potter Stewart's original wordcraft during
his 22-plus years of service shouldn't be overlooked.
So how about taking a line or two in the forums where you
publish, and using the space to give Justice Stewart a little
thanks for coming up with a great line paraphrased by all of us?
Even by Justice Brennan.
Well, shave my head and call me Curly -- you're absolutely right.
You're not the only one to point out my faux pas, [...], and I
hereby present your letter to acknowledge my error, and to give
Potter Stewart his due.
In my own defense, I'll note that I did indeed list Justice
Stewart as the author of those words, strictly from memory, when I
first filed the column. But, anal-retentive newspaperboy that I
am, I got nervous and asked the Library at the newspaper I work
for to double-check my (often-spotty) memory.
Now, the modern newspaper Library is what used to be called the
"morgue," where old stories went to be filed. But, compared to the
ratty, poorly-organized, dimly-lit morgue of yore (now seen only
in comic books), today's newspaper Library is a thing of beauty
and a joy forever. Staffed by highly-trained, professional
researchers and librarians, equipped with the finest in electronic
and hard-copy databases, there isn't much in the way of obscure
data that the modern Library can't find -- and usually within the
hour, on deadline, serenely confident in the face of nervous,
And, sure enough, they found a hard copy of the "I know it when I
see it" line, in an official, hardbound copy of SCOTUS (Supreme
Court of the United States) quotes. Within the hour. And the line
was attributed to Justice Brennan.
Horrified, I wheeled into frenzied action, zipping an e-mail to
Uber-editor Brent Frankenhoff, pleading with him to change the
attribution from Stewart to Brennan. With his usual efficiency, he
did just that, slipping the fix in before presstime.
And it was wrong. Gah!
So, [withheld], it wasn't sloppiness on my part that I was wrong.
I went to a great deal of trouble to be wrong! I snookered Brent,
the Library and the vast resources of our electronic age into
being accessories to my being wrong! By heaven, I was HEROICALLY
Does that entitle me to a plea bargain?
After he fawned over Identity Crisis and
later Civil War? I don’t think so. In fact, if a judgement of his
writing is in order here, I’d say it’s some of the most cowardly
slop to litter the face of journalism in quite some time. On that
note, let us now proceed to deliver judgement over his commentaries
with correspondents from March 14, 2001:
Dear Andrew Smith: I'm an omnivorous comics reader
and manager of a comics shop in Olympia, Washington. One of our
customers brings us your column from the Tacoma News Tribune
which Pat (the owner) and I always read. So I want to first go
on record as enjoying your writing and being glad that you are
out there fighting the good fight for the comics medium in the
Okay, now that's out of the way I can show myself to be an
ungrateful (person). The impetus for this letter came from
reading your column on the new Green Arrow comic. Don't get me
wrong, I was really looking forward to Green Arrow as well and
thought it was a pretty cool comic. It's just that Love &
Rockets Vol. 2 #1 came out that same month.
This did not get even a mention from you. I don't get it.
As big as G.A. may be, Love & Rockets has got to be the most
anticipated alternative comic of the year. And certainly in
terms of raw sales, we're going to sell more copies of L&R
than even Green Arrow (or X-Men for that matter). I realize that
taste is subjective and I really don't mean to tell you what you
can and can't write about, but given that you are one of very
few of us fans whose opinions are read by the mainstream, I sure
wish your column covered a greater variety of comics. Partly,
I'm responding to my own personal taste, (a comics omnivore as I
mentioned) and partly I'm responding out of general concern over
the comics industry. I hate to see you ignore comics that I feel
are the most likely to interest a non-comics reading audience
and thus grow the comics market. I manage a shop that, unlike
far too many, actually makes more money every year and makes it
on comics -- not Pokemon or toys. A good part of our strategy
for this has been promoting comics like Castle Waiting, Safe
Area Gorazde, Acme Novelty Library and Sock Monkey. All those
titles, and several more, sell at or above X-Men levels in our
shop almost effortlessly. With so many non-superhero comics on
the market -- that are really good! -- I hope you consider
including them in your coverage.
Please don't interpret my remarks to mean I wish you
didn't write about superhero comics. I enjoy stuff like Ultimate
Spider-Man, Powers, The Atomics, Top Ten, Detective and plenty
more as much as anyone.
Okay, I've said my piece. Let me wrap up by complimenting
you on the Queen & Country article. I loved Whiteout also
and am really looking forward to this one, despite the absence
of Steve Lieber. Glad you mentioned Chaykin's new series as
well. Sure wish he was drawing it too.
Thanks for the letter, […] -- and for reading the column!
And don't worry about sounding "ungrateful" -- if there's one
thing about writing a national column gives me, it's a thick skin.
In fact, I'm grateful for your opinions. If I ignored readers'
opinions, I'd be a fool. Not only would I be working in a vacuum,
but it wouldn't be long before I was talking to a vacuum, as well.
I'm especially pleased that you phrased your opinions in a polite
and reasonable way. It's sometimes difficult to keep a civil tone,
especially when one feels passionate about something, as you
obviously do about Love & Rockets. A lot of fans forget the
old homily about catching flies with honey instead of vinegar --
it's more than a homily; it's common sense. If you want to
persuade someone to your point of view, it does little good to
"flame" them with accusations of stupidity, or professional
incompetence, or more creative insults.
(Yes, I get a few of those occasionally. That's what the "delete"
key is for.)
Anyway, I did indeed concentrate on Green Arrow moreso than Love
& Rockets, as 1) Green Arrow is more likely to be a character
that Joe Newspaper Reader (and more importantly, Joe Newspaper
Editor) has heard of, and I might keep his attention that way, and
2) my enthusiasm for L&R has waned. The former is a
professional necessity if I want to keep the column going, the
latter is a matter of taste. And in defense of the former, I have
to note (with envy) that the Great Northwest tends to be more
educated, more upscale and more sophisticated in its tastes. In my
local shop [store name withheld] in Memphis, TN, Love &
Rockets #1 may sell two or three copies, whereas Green Arrow will
sell in three figures. In fact, one of the reasons that [name
withheld] is doing the "indie" reviews on my Web site is precisely
because he lives in an area where they are available -- most of
the books he reviews I've never seen and can only be had by mail
order in the Mid-South. I post Randy on the Web site, where he's
likely to reach a receptive audience. In the newspaper column,
though, I write for a national general audience, not simply comics
fans or the Northwest. It's a tougher sell.
So does that mean I'm blowing you off? Not in the least. Since I
have little to say about L&R -- again, a matter of taste --
I'll let YOU say it. I'll just run your letter in the next column
I file, and let YOU sell Love & Rockets to the great unwashed.
And if it helps, my next two newspaper columns are on
non-superhero fare. The first is about three of NBM's offerings
(Mystery of Mary Rogers, Boneyard and Wake Vol. 1) and the next is
on Humanoids Inc. (The Nikopol Trilogy, From Cloud 99).
Thanks again for taking the time to write. Don't hesitate to write
again -- and feel free to check the Web site, too. There have been
a number of letters and articles there extolling the virtues of
Love & Rockets. In fact, I wouldn't be surprised if your
letter provokes a few more!
Oh, how cheap to defend his disinterest in
talking about L&R just because it’s not something widely
recognized! Isn’t that what he’s supposed to be the business for, so
it could garner wider recognition? And Kevin Smith’s take on GA was
overrated, as were Brad Meltzer and Judd Winick’s takes on Ollie
Queen, so honestly, what was the whole point of bothering at the
expense of L&R?
Hi Cap: FAX Finds: an interview with legendary artist
Neal Adams (Batman, Green Lantern/Green Arrow, The Avengers,
Captain Power And The Soldiers Of The Future), dealing with his
latest project -- a graphic novel about the earth's geologic
evolution, a work that Adams claims will revolutionize science!
This was presented in the March, 2001, WIRED magazine but is now
I picked up the magazine when it was on newsstands just
for the Adams bit (never been a big WIRED reader), and the print
version has two pages from the above-mentioned book, "A
Conversation Between Two Guys In A Bar, OR, A New Model Of The
Universe" (yes really ...). Now, I'm a nut for Adams art, and it
was pretty cool to pick up Adams artwork (never mind NEW Adams
artwork!) off the newsstands rather than a comics shop, but it
was a bit sad to see him skewered (and subsequently schlump away
in denial) rather easily -- and plausibly, even by my laymanship
-- by, well, you know, ACTUAL SCIENTISTS. The article is
instructive as to what all the hoo-hah is about Adams and why he
was "all that" in comics to the young-uns, though ...
(Plus), the regular comics column by Douglas Wolk in
Publisher's Weekly continues:
The spotlight is on cultural diversity: the emergence of
manga from Japan as a force in the North American comics
business (as evidenced by the successes of Lone Wolf and Cub,
Akira and the publishers Viz and CPM Manga), the relaunch of
Love and Rockets, the African-American pulp adventure hero Black
Jack (which I've read and is a very good book), and the
emergence of European publisher The Humanoids Group (The Incal,
Metabarons, The Nikopol Trilogy). Plus a bit on the recent
Alternative Press Expo (APE) held in San Francisco.
PS. Cap, they put over Eagle (from Viz) again. I don't
recall if you're reading this, but you absolutely should. Worth
the seven buck every month.
Thanks for keeping an -- ahem -- Eagle eye out for cool stuff,
[…]! I haven't gotten my grubby mitts on a copy of Eagle yet, and
kick myself for how much I've missed. Perhaps they'll release a
TPB at some point, and I can catch up.
And yes, I've heard of Adams's, eh, unconventional geological
theories, and suspected he'd get shot down if he made enough noise
to be noticed. But you can't fault Adams for hiding his light
under a bushel -- he certainly deserves all the credit he gets for
screaming about work-for-hire years ago and making profound
changes in how the comics industry does business. And certainly
the established scientific community can have blind spots, as
Monty Python would say, by "hanging on to outmoded dogma which
perpetuates an aristocracy." But Adams's "scientific" theory seems
more fancy than fact, and his protestations remind me more than a
little of the Flat Earth Society. I'll have to check out that
Has he ever heard of lying? Because that’s
what he does as a journalist, even when he’s talking about Adams.
And speaking of flat, that’s what his writing is like. Much like a
In reference to your commentary (in the JLA/Avengers
Oh, Cap -- from you, of all people, I scarcely expected
such calumny. Such a perpetuation of an untruth -- tsk tsk. It's
as bad as when some insist that Kennedy was the youngest
President or that Lindburgh was the first man to fly across the
Cap, ol' buddy, Snapper Carr was not -- repeat, not -- the
Justice League "mascot".
From his inception, in The Brave and the Bold # 28 and for
75 adventures thereafter, Snapper Carr was an honorary member of
the Justice League. He actually appeared in a higher percentage
of Fox/Sekowsky stories than J'onn J'onzz or Aquaman. And never
-- not once -- was the word "mascot" applied toward Snapper.
Not until JLA #77, when Denny O'Neil -- who by that time
had established his penchant for not knowing, ignoring, or
jettisoning the established histories of the JLA characters --
called Snapper a "mascot". O'Neil, who had already butchered the
Martian Manhunter's background and history and was now about to
rewrite Snapper a completely unbelievable personality all for
the sake of a "neat idea," didn't even know enough about the
character to establish his true status with the League. He could
only have made that change out of
ignorance, since it would not have affected the events of
his story one whit to have called Snapper an honorary member,
instead of a ... "mascot".
Yet, after 76 stories with Snapper properly listed as an
honorary member, what do the readers remember? O'Neil's woefully
inaccurate presentation. Shades of Mencken's Bathtub Hoax!
OK, so the general readership can be taken in; but I never
thought that such a comics expert like yourself would fall for
I know! Yesterday's commentary was written by the evil
Captain Comics of Earth-Three! Who are you and what have you
done with the real Captain Comics?
Well, I don't recall ever claiming that Kennedy was the youngest
president (he was the youngest elected at the time, I believe, but
if memory serves Teddy Roosevelt was younger when he acceded to
office after the assassination of McKinley in 1901 but older when
he was elected in his own right in 1904). Nor do I ever remember
ever claiming that Lindbergh -- ahem, that's the correct spelling,
ahem -- was the first to "hop" the Atlantic in an airplane (he was
the first to do it solo, beating out a lot of competition). But as
to Snapper ... well, perhaps he wasn't ever referred to as a
mascot by Gardner Fox, but I think I was calling a spade a spade.
Since I'm too polite to argue the semantics, I'll turn it over to
the Captain Comics of the Crime Syndicate of Earth-Three, who has
no such compunctions (and did indeed write that column):
"So, puny mortal, all those years at sea have rotted your brain
with salt water! Of course Snapper was a mascot, which Webster's
defines as 'any person, animal or thing adopted by a team to bring
good luck.' Add 'comedy relief' to that definition, and you've got
Snapper, a retro-beatnik whose dialogue was some ersatz '50s
hipster nonsense that was not only passe in the '60s, but never
actually heard in use by real people on any planet, including
mine! (We killed the Beatniks, starting with Jack Kerouac, and ate
their brains. We spoke in bad quatrains for a few days after, but
otherwise it was a satisfying experience.) He participated in a
precious few adventures, mostly appearing at the beginning and end
of each story, brown-nosing the JLA and picturing Wonder Woman
naked. And citing his appearances as superceding Aquaman's --
well, HA!, I say! We've had our Aqua-boob cleaning fish tanks for
the last 30 years. We'd have killed him and eaten his brains, too,
worthless sea slug that he is, except we were afraid we might
actually start hearing what fish had to say and it would drive us
Perhaps a bit harsh, that CC of Earth-Three. But you have to give
him points for style. Here's a related comment:
Curious how the correspondent – a pretty
pretentious one at that – talks about how the audience can be taken
in. People like him and Mr. Smith sure seem taken in by his
propaganda that Jean Loring, Snapper Carr, Aquaman and other
characters like them were just crap, yet they continue in their
refusal to visit the forest to see the trees. And what’s with that
dumb nonsense about Snapper picturing WW naked? Why does he claim
Snapper fantasized stuff like that but not that he’d want to ask her
out on a date and make love to her? Yeah, seriously, how doesn’t
that figure in? But hey, it gets worse:
Cap: You wondered, "how do you become a super-team
mascot?" I believe that you become a Super-Team Mascot by:
1) Finding and hanging around the Compound or Hideout.
Since superheroes don't usually kill, this provides a blackmail
option if one is rejected.
2) Mastering the art of being likable and equally
irritating as to not getting beat up or arrested as an Obsessive
3) Being bright enough to be periodically useful and dumb
enough or overly curious to regularly get in trouble, so the
heroes don't get bored between galactic battles.
4) Probably most important. Being willing to mop the
floor, clean the kitchen and work for free. Wouldn't you like to
see the address for the Fortress of Solitude on the janitor's
Fortress of Solitude
123 Cold Street
Secretsville, North Pole
So THAT'S how it's done! I always wondered how the incredibly
useless and irritating Snapper Carr got the gig, before the
Giffen/DeMatteis Justice League established him as the handyman.
Still, I'm pretty sure it's Aquaman's job to clean the pool at JLA
Another moment he should’ve looked in the
mirror to see who the real irritant was. What a dummy, denouncing
Carr as worthless and grating, yet never calling out Gardner Fox for
failing expectations. Hey, if Carr’s “useless” then so too is Betty
Dear Cap: One of the worst "crimes" that a person can
do to oneself is to waste his or her talents and thus end up not
actualising the potential for growth. It is even worse when the
talent given is to have a natural aptitude for having natural
aptitudes. It may not be a paranormal ability but it is no less
"super-human" of and in its own existence. This ability is what
made the DC comic-book character Mr. Terrific (Terry Sloane) so
interesting to me when I first read about his ability. I had
considered it to be a matter of loss when they killed him off in
the classic JLA/JSA annual team-up when they faced the Spirit
King. That is why I tried as much as possible getting my hands
on reading material that had him playing an active role. Terry
Sloane may be gone but there is a new Mr. Terrific with yes, a
natural aptitude for having natural aptitudes and he too has
taken up the mantle of being the Defender of Fair Play. That is
no easy role to play in an imperfect world where things are not
seen in black and white but in shades of grey and compromises
have to be made.
(Also), I hope that the collaborators of the
highly-anticipated JLA/Avengers crossover would not have the two
teams fighting each other. It is a tired old plot device. I
could see the teams seeking to be informed of the powers and
abilities of the individuals on either side, so that they could
be effective in accomplishing their goals and reducing the
possibilities of dire consequences due to mistakes.
No need to worry about JLA/Avengers becoming JLA vs.
Avengers, [name withheld] -- Kurt Busiek is on record that he's
not doing Marvel vs. DC/DC vs. Marvel, because, as he correctly
notes, "That's already been done." His approach, as announced at
MegaCon, is to develop a threat that will test the two teams in
terms of both raw power and their ability to work together.
Sounds great to me!
I'm also enjoying the new Mr. Terrific in JSA, […] -- he is
arguably the most versatile character on the team (including
Sentinel), able to pull off a MacGyver at any time in convincing
fashion. ("Let's see, I've got duct tape, a broom and three spools
of thread -- think I'll build a tank!")
If Mr. Smith had any “talent”, he threw it
away long ago, showing no courage to tackle hard issues like whether
the medium’s reps are capable of doing really bad things.
Incidentally, I wonder why he’s comparing Mr. Terrific to MacGyver?
Whatever inventions Michael Holt sported, they weren’t built the
same way Richard Dean Anderson’s hero did it. No, they were mainly
Hi! I am a relative newcomer to your Web site, and so
far I`m enjoying all features. Just a little correction, though.
I see that you`re using the adjective "uber" quite a lot these
days. The pedantic monster in me must direct you to put umlauts
over that "u", the German preposition is written
"(u-umlaut)ber". All right?
Right you are, [...], and thanks for letting me explain why I do
certain things. (I'm something of a pedantic monster myself!)
There's no need to correct me on Deutsch, as I took several years
of it at university and still can speak a smattering. ("Ich
verstehe nicht!") I don't use the umlaut because A) I have to go
through keycaps gymnastics to type it, and B) a great many US
browsers can't handle it, and it will convert it to nonsense
symbols when a reader pulls it up on the screen. I also don't use
the tilde and Spanish and French accent marks, and a great many
other uncommon symbols (well, uncommon in English, anyway). I only
recently started using the number sign (#) after five years on the
Net, as that symbol has finally become universal (thanks to
Word2000, which is ubiquitous enough that most browsers have
become compatible with it). I even have to replace long dashes
with "--" on all incoming press releases, mail and columns, or it
will read as "&(7;" on a great many systems. (If you ever see
that, it means I missed one.)
We're still in the Model-T stage on the Internet, and it will take
a while for everything to shake out to where I'm confident to use
symbols that might ALSO be used in HTML, Java and CGI programming
-- and confuse the heck out of browsers. "Uber" without the umlaut
may not be technically correct, but at least it's legible --
whereas "&(;7ber" is not.
But thanks for the gentle correction. Trust me that I'm eager to
use proper spelling, grammar and punctuation in all cases, English
or not. I can't wait 'til we get to the Ferrari stage of the
No, he could, because he didn’t bother to
upgrade to that level!
Hi, Cap! I just wanted to tell you that you have made
a big mistake at your silly names section. Rodimus Prime is a
crappy character, you´re right about that, but the "imus"
ending, and the "prime" surname means that that autobot has the
Matrix. When Optimus Prime "died" after his battle with
Megatron, he gave the Matrix to Ultra Magnus, who just carried
it around for about 20 minutes before being killed. While dying,
he gave the Matrix to Hot Rod, who was the biggest autobot
(jerk) at that moment, but he was also the only autobot nearby.
By some reason, the Matrix accepted Hot Rod, and transformed him
in Rodimus Prime. Which means that he passed from transforming
in a sportscar, to transforming in a cannon, or some kind of
mini-van. And he still sucks. Anyway, that´s why he's called
Rodimus Prime, although he started as Hot Rod.
Not being a Transformer expert, [name withheld], I turned your
letter over to someone who is: [name and location withheld], who
wrote a column on this site for two years. He said:
Well, I wouldn't have used the "colorful metaphors" (as Spock
would put it) but what he wrote is pretty much on the ball. Yes,
Rodimus Prime is a still a silly name. There is a logic --
however twisted -- behind it, though. – [withheld again]
And now we've all learned something!
Another correspondent goofs: robots are no
different from flesh-and-blood humans/aliens, and any errors in
their ascribed personality traits must be attributed to the assigned
writers and software engineers as much as any other malfunction. If
you don’t like their current file setup, then for crying out loud,
reprogram it! Something tells me if a robot tried telling Mr. Smith
and his correspondent their error in logic, they’d reject even a
machine’s argument. In that case, not everyone’s learned anything!
Not even on March 21, 2001:
<<GA suddenly had an irritating personality in Justice
League of America like the popular Hawkeye did in Avengers. --
See? It's just what I've always said: Hawkeye's better. He even
had a personality before Green Arrow did. Bwa-ha-ha-ha!
That being said, I did enjoy Green Arrow #1. It was an
excellent set-up issue because it told the readers the most
important details of the main character's history, setting us up
for the issues to come. Knowing Kevin Smith's writing, there was
probably some nearly-hidden foreshadowing in the issue. (If
anyone missed it, they should pick up his run on Daredevil. I
believe Marvel has already put it into a TPB.)
"Also in fiscal 2000, the Company recorded a charge of
$17.9 million to write off the remaining goodwill associated
with its comic-book and strategy-guide publishing business."
Can someone translate this into non-businessman language?
What do they mean by "goodwill?" And does this mean that Acclaim
would be willing to sell their characters as assets?
I can't translate the specifics of Acclaim's business double-talk
-- perhaps another correspondent can explain what "goodwill" means
in this context -- but the last line about their publishing plans
"not including comic books" is pretty straightforward.
On GA: Y'know, I've always preferred Hawkeye to GA, and never
really wondered why. You'd think I'd prefer Green Arrow, since he
appeared first and has a more iconic look (Robin Hood). (Hawkeye's
carnival get-up always seemed impractical to me, not to mention
that it's in "villain" colors.) I guess it's subconsciously
because Hawkeye ALWAYS had a personality -- even dating back to
his Tales of Suspense appearances, where he was a lovestruck boob
-- whereas GA was a cipher until 1969 when he had a personality
surgically (and abruptly) added. (For 74 issues of JLA he was a
get-along superguy; suddenly he was arguing with everybody.) I
guess subconsciously I always thought of the Emerald Archer as a
pale copy of Hawkeye, even though he debuted 20-something years
earlier. It's the same reason I never warmed up to Mockingbird;
she appeared to be a clumsy (and implausible) attempt by Marvel to
give Hawkeye a "pretty bird" girlfriend like Green Arrow.
While I’m a fan of Hawkeye, I should note
he could’ve been written with the same “irritating” personality
these clowns say Green Arrow was given later, and that would not
have been his fault. In fact, it wasn’t even Danny Chase/Phantasm’s
fault for having any annoying characteristics in New Teen Titans
later on. No matter how much I respect Marv Wolfman as a writer, it
was his fault, and any readers who took out their anger against
Danny instead of voicing disappointment with Wolfman for being
slapdash acted ridiculously. Including Mr. Smith. Funny how he
almost –but not quite – admits Marvel’s writers made what he thinks
is a “clumsy” attempt to give Hawkeye a paramour in Mockingbird,
even though it took at least a decade after her creation in 1971
before the twosome paired and wed, and proceeded to lead the West
Coast Avengers in the mid-80s. Now let’s focus on another letter by
a possible moonbat:
Dear Cap: I, too, am looking forward to the upcoming
Justice League/Avengers crossover (has it been 20 years
ALREADY?!?) -- especially in light of the disappointing Marvel
vs. DC/DC Vs. Marvel from a while back. Kurt Busiek & George
Perez are, I believe, taking the right approach here: The fact
that these heroes WON'T fight each other, instead saving it for
whatever cosmic menace they face, is a huge plus!
My biggest beef: it just isn't the same JLA without Barry
Allen (darned Crisis!), Hal Jordan, Katar Hol from Thanagar or
the Silver Age Aquaman. I must be in the minority in my
preference for Aquaman as the blonde, beautiful swimmer who
"talked to fish" & NOT the raging, pirate hippie he's become
in recent years! (Yes, I'm gay.)
On the other hand, Mssrs. Busiek & Perez state that
this will be the very FIRST meeting of the two teams -- so I
guess ANYTHING'S possible!
As it stands, the possibilities are endless! Just imagine:
Snapper Carr & Rick Jones hanging out, swapping
stories about their days as sidekicks, etc.
Janet Van Dyne (The Wasp) having the hots for Ray Palmer
(The Atom) ...or vice versa! They both went through messy
divorces & could very well find solace in other: to the envy
on one Henry Pym! By the way, are Hank & Jan still divorced
or did they reach some kind of reconciliation? It's been so LONG
since I've read an Avengers comic.
Highly unlikely, perhaps, but I think an Alfred
Pennyworth/Edwin Jarvis teaming would be a real hoot! Granted,
Alfred never worked for the Justice League, but his employer is
a VERY prominent member of said group, no?
Superman could find himself leading the Avengers (what
would THEY make of such an immensely, powerful man?), while
Captain America leads the Justice League at one point (Batman's
not one to take orders from someone he'd view as just ANOTHER
Big Blue Boy Scout!)
Just a few suggestions of my own, is all.
This Justice League/Avengers crossover should, hopefully,
be on the scale of the best JLA/JSA team-ups of yore,
considering the talent involved in the project. And for four
large-formatted issues at nearly six bucks apiece, it SHOULD be!
Heh! I can just imagine the Jarvis/Alfred scenes!
("So, Edwin, how do you handle large amounts of debris?" "I tell
Lockjaw it's a doggy treat. Say, what do you do when Master Bruce
comes home with a plasma burn?" "Oh, I find a little butter works
Fine suggestions, and my only regret about a Snapper/Rick Jones
scene is that neither Peter David nor Tom Peyer would be writing
it. That's not a slight on the immensely talented Mr. Busiek, but
David & Peyer are the only writers in close to 40 years who've
managed to make me like Jones and Carr, respectively.
Oh, and Hank & Jan have indeed reconciled (although Busiek has
a subplot currently where a mysterious second Henry Pym has
appeared as Yellowjacket, kidnapped the first Pym and
surreptitiously taken his place as Goliath in the Avengers. Where
that's going is anybody's guess.) Incidentally, Jan did take
solace in the arms of another superhero during her marital
separation -- with Tony "Iron Man" Stark! As far as I know, Pym
has never discovered this infidelity, and the issue has never been
addressed. It was hinted at in the "Elseworlds"-like Fantastic
Four: Big Town, where Van Dyne and Stark were having a full-blown
affair behind Pym's back -- but again, there was no resolution.
Fodder for the future, I suppose.
Oh, and speaking of sidekicks, [name withheld] still takes issue
with the term as applied to Snapper Carr:
Oh good grief, this brings to mind one of
the worst problems pursuing mainstream comics today – LGBT activists
have been trying to hijack them. We could do without that sleazy
talk the correspondent brings up, which is a basic emphasis on his
sexual orientation (and people say heterosexuals shouldn’t be big on
their views! Such hypocrisy). Now about the next letter with Snapper
A tip of the chapeau to you, Cap, for noting the
distinctions about Kennedy and Lindbergh that most folks do not
(and for identifying the true youngest President). But as for
the issue of Snapper Carr's status and his JLA appearances
superseding some of the other members, your evil counterpart on
Earth-Three needs some enlightenment.
Captain Comics of Earth-Three:
Perhaps Snapper Carr was an inane, language-impaired
benchwarmer on your side of the misty borderland, pal, but that
was far from the case with the Snapper of Earth-One. First
things first, however.
Whatever definitions for "mascot" one may produce, there
is no escaping the fact that the conclusion of the JLA story in
The Brave and the Bold #28 plainly depicted Snapper being made
an honorary member of the Justice League. Not a hoax! Not a
dream! Not an imaginary story! And the text of every JLA story
in which he appeared thereafter -- up to the slanderous JLA #77
-- stated he was an honorary member. Snapper may have fit the
definition of "mascot", but his status was honorary member.
Granted, Snapper remained behind in the Secret Sanctuary on many
a mission; but to use that to deny his JLA membership is as
incorrect as it would be to state that Lieutenant Uhura was not
a crew member of the starship Enterprise just because she stayed
on the bridge more often than not.
No doubt the Snapper of your world was a loser, since good
must always triumph over evil -- a lesson your fellow Crime
Syndicators learnt back in 1964, when they tried to conquer the
Justice League and the Justice Society, and got their cowls
handed to them on a platter. But the record on Earth-One shows a
Snapper who did more than just dust off the inert Amazo android
in the Trophy Room. A review of the 65 Justice League stories
written by Gardner Fox (as well as the JLA's appearances in
other Silver Age comics) shows that Snapper was right there in
the thick of things, alongside his fellow JSAers, when they
The Lord of Time and Felix Faust, in JLA #10
The Tornado Tyrant, in JLA #17
"I", in JLA #27
The Key, in both JLA #41 and #63
Warring tribesman, in JLA #57
Dr. Destiny, in JLA #61
T. O. Morrow, in JLA #65
Not to mention tackling Kanjar Ro with the rest of the
League in Mystery in Space #75 and a bunch of gangsters, with
some surreptitious help from The Atom, in The Atom #4.
Besides just joining in the action, Snapper actually saved
the day for the Justice League and/or a world in the following
Despero, in JLA #1
Pete Ricketts, in JLA #8
The champions of the Micro-World, in JLA #18
The Royal Flush Gang, in JLA #43
Two Felix Fausts, in JLA #49
Moreover, the rest of the membership sufficiently
respected Snapper's maturity and judgment to permit him to sit
on the court of enquiry -- along with Superman and Batman -- to
determine if Green Arrow had betrayed the Justice League, in JLA
#5; and he was the subject of envy from no less than Robin, the
Boy Wonder, for his League membership (JLA #50).
Pretty good record for someone "incredibly useless and
irritating", eh, evil Cap? Now, shoo back to Earth-Three, before
somebody places you in a impenetrable bubble, too.
Well, you've convinced me, […], that if nothing else Gardner Fox
intended for Snapper to be regarded as a full League member --
although later writers clearly thought less of him. JLA #77, which
you mentioned, even made him (implausibly) a traitor to the
League, and he's been more-or-less a joke ever since. In fact,
JLA: Year One established that he was no more than a handyman in
the Secret Sanctuary. But for your rousing defense, I'll dub thee
Snapper Carr Fan #01, and -- awp! It's the Captain Comics of
"Shut your sniveling mouth, cousin! Your get-along, mealy-mouthed
reasonable attitudes disgust me! I'm ashamed to share your name!
If I wasn't worried that I'd warp the space/time continuity and
somehow wipe myself out, I'd shut your fetid trap for good!
"As to your goody two-shoes [...], I have to say that I much
prefer our Earth-Three version, who currently has Snapper Carr
cleaning out the heads of the USS Benedict Arnold -- with his
tongue! And there are hundreds of them! Hah! No more than he
deserves! And -- Awp!"
Thank God the Comics Cave is equipped with impenetrable bubbles. I
don't think we'll be hearing much from the Captain Comics of
Earth-Three for a while. Now if only I can find somebody to
transport him to a misty borderland, and write all those signs in
multiple alien languages warning folks not to free him ... !
Gee, just several letters earlier, Mr.
Smith was calling Snapper irritating and useless, and here too, he
can’t seem to let go of that stupidity. It’s not just the successive
writers who held low opinions of Snapper, it’s Smith too. And, I’ve
a sad feeling that, despite what the correspondent’s telling, he’s
not a Snapper fan either, because, as mentioned before, he supported
Identity Crisis with little or no misgivings. His is an argument I
don’t place a high value on. Don't be surprised if he holds similar
thoughts about Edwin Jarvis, butler for Tony Stark and Avengers
Dear Cap: Thanks for printing my letter. When I read
the letter and your response concerning continuity, I knew I had
Don't even get me started about continuity. I hate it when
I spot something an editor should've caught. I try not to be too
anal when it comes to it but, sometimes, when the mistake is so
stupid or so unnecessary, I write in.
If there's any group of titles that definitely needs a
continuity cop, it's the Bat-titles! Here are two examples:
Pre-Crisis, Barbara Gordon was the daughter of James
Gordon. At some point post-Crisis I-- 'm not exactly sure when
-- Barb suddenly became his niece, and he adopted her when her
parents, his brother & wife, died. Now, in a recent issue of
Batman: Gotham Knights, it's been revealed that James Gordon is
her father because he had an affair with his brother's wife.
This, from the cop who was once pure as the driven snow, changed
by (Frank) Miller in "Batman: Year One" into a disgraced Chicago
cop come to Gotham for a second chance. Thanks, guys. Were any
of these trips really necessary?
The other example refers to the Bat-vehicles. Once upon a
time, pre-Crisis, Batman had, among his arsenal, a Batplane and
a Batboat. Sometime prior to Zero Hour, if he had to go either
out of state/out of country on a case, (unless it occurs in JLA
where he still has a Batplane) he has to borrow the Waynetech
company jet. To go up against a modern-day pirate menacing the
Gotham waterfront, he had to borrow a drug dealer's powerboat
that had been impounded. Why should he have to steal either
(well, since he is Bruce Wayne, he really isn't stealing the
Waynetech jet) when he should still have a Batplane & boat
at his disposal?
Speaking of continuity, that panel you reprinted from
Avengers Annual #10 ... do you or [name withheld] know if that
particular plot point, the little darlin' Maddy Pryor, was ever
resolved or cleared up? A friend of mine pointed that out to me
after Scott Summers began dating Madeline Pryor, during the Paul
Smith run on Uncanny X-Men.
[name withheld] is referring to a Comics Buyer's
Guide column I wrote, in which editor Brent Frankenhoff dredged up
a scene from the 1981 Avengers Annual #10 (the first
appearance of Rogue) which showed a young Maddy Pryor. Since Maddy
has since been established as a clone of Jean Grey, I can only
say, "What th -- ?" I guess we must assume that Mr. Sinister --
who's been planning his "ultimate mutant" for decades, remember --
cloned Ms. Grey shortly after birth and had his Maddy Pryor grow
up independently. We have to guess that, because as far as I can
recall, that scene (written by Chris Claremont) hasn't ever been
As to the Bat-continuity -- I'm not aware that the Bat-vehicles
have been written out in any way. I assumed in the instances you
mentioned that Batman used the vehicles he did for expediency
and/or secret ID purposes.
And Batman: Year One didn't establish Gordon as a disgraced cop --
quite the contrary. The reason given for Gordon's leaving the
Chicago PD is that he turned in a fellow cop for corruption (and
refused to be bribed himself), resulting in his fellow officers
ostracizing him. He was too CLEAN for Chicago, not too disgraced.
And Barbara Gordon's post-Crisis status as Jim's niece was
established as early as Secret Origins #20 (Nov 87). Jim's
affair with his sister-in-law is an eye-opener, but it does
explain a closer bond with Babs -- and it makes Jim that much more
human in my eyes. His troubled marriage is long documented, and
it's disappointing, but not surprising, that he would seek comfort
elsewhere. In short, Jim has always been portrayed as an unhappy,
unlucky, imperfect man doing his best -- in stark contrast to the
always-perfect Batman -- and gives texture and humanity to
Bat-stories that might otherwise be fairly sterile. I'm OK with
But I’m not OK with his pretensions. Even
his claim Batman’s always perfect is exaggerated at best, because
there are times when the Masked Manhunter got injured.
And this wraps up the current batch of letters. The next one will be
Copyright Avi Green. All rights reserved.