Welcome, dear failures, to the penultimate #AuthorFail…super-hero edition.
My Schnide-y sense is tingling, and it says this column will soon go the way of the dodo. Until then, let us revel in our ineptitude.
The Shadow. The Spider. G-8. I thought of these pulp heroes on seeing the first Burton Batman movie, and as I regularly walked to work in 1989-1990 I wondered if an audience, keen on the revamped Batman, would be interested in the Spider once more. The violent stories about him often contained traces of masochism and sadomasochism, as well as insane opponents. (He could be a bit mad also.) The 1970s paperbacks of those three figures were around the house when I was growing up, and later I read Phillip José Farmer’s ‘biography’ of Doc Savage. These memories combined with the re-visioning of Batman to give me the idea for an adventure story primarily set in India and Tibet that would link G-8 (mad from his war battles) and his twin half-brothers, who eventually would become the Shadow and the Spider. The pre-story explained a bit of what they’d done in WWI, what happened to them in the 1920s, and how two of them emerged, 45s blazing, on the side of justice (though not always the law) in the 1930s. (G-8 didn’t get out of the 1920s alive.) In 1993 I finished writing Pulpseed, and sent it off. Continue reading
"Elektra Lives Again," page 37 (detail) (1990). Art by Frank Miller and Lynn Varley.
Already in this set of posts we’ve looked at Frank Miller’s career before The Dark Knight Returns (Parts 1 and 2), and performed close readings of that series’ respective four chapters (Parts 3, 4, 5, and 6). And the last time around, in Part 7, we examined the character of Batman both before and after Frank Miller had his distinctive way with him. And we could probably stop there, but I think there’s value in surveying Frank Miller’s own career after TDKR, with a special focus on his more recent—and much more controversial—work on Batman.
Batman #404 (“Year One, Part 1”) (February 1987), page 23 (detail). Written by Frank Miller, art by David Mazzucchelli.
Seventeen years have passed since my last installment in this series, so let’s at last sit down and write some kind of conclusion. But first, a recap:
- Part 1 and Part 2 provided background for Frank Miller’s groundbreaking four-issue comics miniseries—namely, I described what he’d been up to prior to that, as well as what North American comics were like at that time;
- Part 3, Part 4, Part 5, and Part 6 offered close readings of the respective four books in the series;
- Part 8 (now up) examines the impact TDKR had on Miller’s subsequent career.
Now, in these final entries, I’ll outline what became of Batman, Frank Miller, and comics themselves after the Dark Knight returned…
just went up—well, Part One did, in which Matt Rowan asks me questions about my first book (Amazing Adult Fantasy), G.I. Joe, geek culture, Ota Benga, Ayn Rand, George Orwell, and bad writing habits; we also discuss Curtis White, Theodor Adorno, Viktor Shklovsky, and ninjas, among other things.
[Update: Part Two, which focuses more on my first novel, Giant Slugs, is now up.]
“Blade Runner replicants” (2007). Photo by comiquero (Flickr). Reposted in accordance with Creative Commons Licensing.
For a long time I’ve held an ambiguous attitude toward geek culture, and ultra-fandom. On the one hand, it’s painfully disturbing how much time some people lavish over recreating their favorite fantasy franchises, whether they while away the hours writing fan-fiction, painting fan-art, sewing cosplay costumes, compiling guides to their favorite shows and films and comics, or attending cons (or all of the above). On the other—color me naive, but these selfsame individuals often display genuine creativity, acquiring and utilizing practical skills (writing, painting, sewing, editing, socializing) in order to express their fanaticism. They admirably distinguish themselves from other, more passive consumers—and sometimes they make truly wonderful things.
Fan-fiction, and fan-art, and cosplay, and conventions, are understood to be deceptively complex, and worthwhile subjects of scholarship. Now we’ve finally reached a point, I’d like to argue, where fan-made cinema has become genuinely interesting, and deserving of critical attention.
Let’s consider the truth behind advertising.
[This can be considered a response to this post, and its comments thread.]
You’ve just become the fiction editor of a small journal. You open your email and see that you’ve received 1,000 unsolicited submissions. The first ten were sent by:
- Carlos Shirley
- Jeanne Goss
- Jack Livingston
- Christine Stribling
- Melissa Mathieu
- Benjamin Tatro
- Tao Lin
- Ryan Monk
- Naomi Foltz
- Matthew Orosco
Which one do you open and read first?
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 7 | Part 8
Greetings again after much too long a while. Since the last installment in this series, the new pornographers at Vivid have announced, written, shot, and released Batman XXX: A Porn Parody, so it’s well past time to look at the fourth and final book of The Dark Knight Returns, “The Dark Knight Falls”!
Unlike Books Two and Three, which each start a little while after their respective preceding chapters, Book Four picks up right where Book Three left off. The Joker has just died, his final act having been to frame Batman for his own death. Police Commissioner Yindel cordons her forces outside the Tunnel of Love, readying an assault. Meanwhile, Superman continues fighting in the “police action” in Corto Maltese…
Book Four, page 177 (detail).