Writers: Aron Warner and Philip Gelatt | Artist: Brett Weldele |  Cover: Pat Lee

As we begin to delve deeper into the world of the Vitros’ we are left with more questions than answers.  Pariah # 4 did clue us in on the specifics of one Franklin Hyde, but there were also some inconsistencies in the overall narrative.  We are once again reminded just how intelligent this group is, but what remains unclear is why exactly they are so dangerous?

In the previous issue it seemed that Robert Maudsley posed a unique threat because of his skills, yet how is he, along with many other fellow Vitros, so easily duped into their eventual fate?  It just didn’t add up.  For two consecutive issues we’ve heard that this particular band of teens was dangerous; only to discover that there’s really not all that many of them.  Hyde finds and collects each in a matter of fourteen days.  Not exactly a long trek.  If anything the group is more an anomaly, and despite their powers offer no real threat to the society at large.  Sure you have your Maudsleys, but thus far he is the only example of a Vitro gone bad.  This conundrum presents a stumbling block in the story.  Although, this could very easily serve as just a base for many future story lines to unravel, but that shouldn’t exempt it from it’s failings.

Primarily speaking, the way it fumbles it’s handling of Hyde.  The mystery and allure of his character is shattered.  As we find he is nothing more than a petulant child, desperate for his parents affection.  His ulterior motives are finally uncovered, but much like the rest of the issue, it just doesn’t seem to add up.  Is he that hungry for his parents acceptance that he would blindly wade into such a risky proposition?  Is he not one of the, supposedly, highly intelligent beings that are so feared by the masses?  One of the same beings, in fact, who had made a bunch of black-ops look like complete amateurs in the woods post gas attack.  I particularly found his inner dialogue to lack the deft writing that we saw with Maudsley in the previous issue, and it certainly felt like there could be more to him than what was presented.  Unfortunately, what could have served as another strong look into the inner angst of a clearly unwanted teen becomes more of a ho-hum self-sob story.

Ultimately, we are left to wonder where things will head next.  The teachers have seemingly become the students, and in this deadly game of chess they find themselves in proverbial check.  It’s a reversal of fortunes, and those who deem themselves to be superior intellectually have been duped by the very people they look down upon.  Weak issues are to be expected in any comics run; I just had higher hopes for what Hyde’s overall endgame was.

Rating: 2 out of 5 stars

Writer: Tony Daniel | Inked: Ryan Winn | Colored: Tomeu Morey

            “I’ve tried and always failed to get into the Joker’s mind…Maybe only a truly mad person can know what goes on in there.”  – Batman

With the relaunch of Detective Comics we, as readers, find ourselves entangled in a familiar conflict.  Batman versus the Joker; the eternal struggle.  Principals and logic against utter chaos, but the Joker is more than that.  Certainly he embodies the principal of anarchy, but more than anything else he’s Batman’s perfect foil.  He is smarter than Batman because his mind is not confined by the laws of man, which allows him to outthink him and out maneuver the titular hero at every turn.

Thus far DC’s relaunch ,at least to me, has been a rousing success.  Injecting some serious life into some tried and true franchises.  In this vein, Detective Comics # 1 is no different.  Batman has always been gritty, but this issue is wonderfully violent.  Right from the start the intensity is cranked to an eleven and never lets up.  More importantly, it provides us with a story arc that could have potential consequences, if played out right, deep into the series.  This was the highlight of the issue, the utter brutality of it.  It pulls no punches and it shouldn’t.  Gotham city is a dark place, marred by corruption and violence, so the intense tone set here fits it perfectly.  Batman’s inner monologue is, appropriately done, in dark grey bubbles signaling his pessimism and disdain for what the city has become.  A city that would rather clip the wings of the bat than save an innocent girl caught in a deadly game.  This corruption, and dare I say incompetence, is never more clear than with the way the Joker plays the system.  Like any great musician it seems the Clown Prince is attempting to write his masterpiece.

When all is said and done we are left to ponder where it will all head.  Blood has been spilled, the city is attempting to crack down even further on it’s unrecognized savior, and even a trusted ally has let doubt creep into his head.  Where will our beloved hero turn?  How will he continue to operate in a city who’s ungratefulness is characterized by a police force who’s consumed with his capture despite the obvious good his late night exploits bring?  One thing is certain, it was a strong start to the relaunch of, what many would consider to be, DC’s top superhero.  It will be interesting to see how they handle the other solo projects of the Dark Knight in what should be a crowded landscape of gotham tales.   Do not fear good citizens, as we will continue this saga of the man clothed in black, as well as visit the others.  Same Bat Time, Same Bat Channel…

Rating: 5 out of 5 stars

Writer: George Perez| Art: JesAAs Moreno|  Colored: Brian Buccellato

Unfortunately for all you Superman fans out there, this writer included, the second coming of The Man of Steel fails to impress.  Hindered by identity issues and a subpar central conflict, Superman # 1 fails to deliver on too many fronts.

Let us first begin with the central problem; the issue is all over the place jumping from character to character, present to past.  There is just a lot going on.  It’s only natural for a big city to move quickly, but it’s this sense of rush that prevents us from identifying with the story.  What we know is the Daily Planet has been sold to some money grubbing news outlet, and Lois, unlike Clark, is thrilled with the new direction.  Superman has returned, from where I’m not sure, and he has very little to offer on the situation.  Clearly if he is letting Clark, who’s presence carries much less weight than his true identity, do the talking there is more to the situation.  To go along with all the drama we are presented with some sort of alien playing a giant version of the horn of Gandor, and a fire like creature that spreads to whatever it touches.  The appearance of the fire beast is nonsensical enough, and it comprises the main threat of the issue.  The other alien literally comes out of nowhere, says about eight words, and is never seen again.  I understand that this is a premier issue, so it’s going to establish some plot points for later on in the series, but don’t just to jam it in there.  There’s already too much going on; save it for when you can do it proper justice.

Adding to the mangled mashup is the weak writing.  It’s at it’s best when Lois and Clark are debating, philosophically, about what the price is to sacrifice good journalism, but lags for the majority of the issue.  Aside from a few clever nods to the character’s history, we are shackled with a weak news broadcast of the issues events as you read them.  A clever idea, but it comes across flat.  I get the sense the writers are trying to illustrate the fast paced nature of delivering the news no matter the cost, but it ruptures any sense of real drama because it continuously throws in characters who have nothing to do with the central action.

It may appear as if I’m being particularly hard on this issue, but as I mentioned in my review for Action Comics # 1, Grant Morrison has set the bar extremely high.  With those lofty expectations in mind, I’m sure those who read it will agree.  It was just a ho hum Superman story.  It did setup some important story lines for the future, but I’d be hard pressed to believe that they wouldn’t have rather come out firing on all cylinders with this one.  Overall it wasn’t a major disappointment, but it definitely skewed towards the wrong side of the optimism scale.

Rating: 2 out of 5 stars

Writer: James Pak | Artist: Mirko Colak|  Cover: David Aja

It’s amazing how corruptible the young mind can be when tasked with extraordinary situations.  Four years have passed since we have last seen young Johann.  The streets are now his home, and what has transpired in his life since we last left him is a mystery.  As Red Skull Incarnate # 1 faded out, we were left with a boy who’d just experienced the high of his first kills.  Given a taste of blood it seemed almost  inevitable that his innocence would be lost forever, but what if he were afforded one more chance at redemption?  One last chance to see that even if the world is crumbling around you, there are better paths to take?

This is the conundrum in which we find Schmidt.  Drawn by the streets, yet accepted by those who barely know him.  Taken in by a Jewish family after a brutal encounter with a fellow boy, we see that Schmidt is able to experience the good in people.  How he responds to their kindness and generosity sets the stage for the main conflict of the issue.  He’s gone from being this rejected boy, forced to the streets to fend for himself.  A boy that was even cast aside by the Nazi party for his unwillingness to kill a vulnerable puppy when immediately asked.  To someone who is readily accepted, under false pretenses, and brought into a family who has also experienced pain.  Unlike Schmidt they have not let it define them.  Despite my knowledge of his eventual fate I found myself actively rooting for him to be the better man, and at points in the issue he is.  Unfortunately, those moments are fleeting and far less powerful than those when Schmidt is at his worst.  A boy who’s devious aims surpass any semblance of principal or honor.

Overall, I feel Pak and company have crafted another strong issue.  The art once again shines; I could feel the unsteadiness of Schmidt’s emotions.  Like a powder keg, I knew that it was only a matter of time.  The proverbial tug of war on his fate was too lopsided in favor of the streets.  Those four years have continued his evolution, changed him.  He is now like a chameleon who adapts to situations only for survival, yet underneath that facade lays the real Johan Schmidt.  This is never more clear than his need to have a knife handy, even when dealing with those who mean him no harm.  For those who enjoyed Incarnate # 1 this second issue, of the five part series, should simply not be missed.  It’s conclusion alone will leave you shaken.

Rating: 4 out of 5 stars

Writers: Grant Morrison | Inked: Richard Bryant |  Cover: Rags Morales

New 52, new attitude for The Man of Steel.  Gone are the days of do-goodery; welcome are the days of a man on a mission — clear Metropolis of any and all unsavory characters by any mean necessary, and apparently he’s from New Jersey because he fights crime in jeans.

With the relaunch of DC’s lineup one would be right to remain somewhat skeptical as to what the future may hold, but fear not good citizens with Action Comics # 1 Morrison has hit it out of the ballpark.  Here we have a Superman who’s not afraid to go busting down doors, to deal with people the hard way.  He’s a vigilante more in the vain of Spider-man or Daredevil.  One woman even references how during an altercation he sent a man hurdling into a body of water nearly crippling him.  The authorities want him, the people adore him, and as always Lex Luthor is out to thwart him.  Same old story, same old song and dance, but here it works and it works well because along with his new found aggressiveness comes a larger sense that this version of the famed caped hero may not be quite as invincible as he was historically.  The shirt tears, the jeans tatter, and his face gets noticeably sullied to the point his landlady wonders what the young reporter does in his spare time.  This is where the issue really shines; is he just a titan yet to discover the depth of his power or is he truly susceptible to the genius of Luthor already?

What we do know is that the Lex Express is well aware that he is an alien being and needs to be eradicated.  More importantly, he’s not opposed to putting the lives of the innocent in harms way to get it done.  It’s a  familiar yarn that’s been spun countless times, but something will always remain endearing about an alien who chooses to use his magnificent powers for good instead of evil.  Of course, all the other key players are present in this issue as well, yet I’m left to wonder how certain relationships will develop in this alternate version of The Man of Steel.  Lois and Clark dueling reporters, no surprise there, but this time on different teams.  How their interactions grow and evolve should prove just as interesting.  Will Lois fall for a Superman who our first full impression of is as a loser rather than powerful champion?

All this, and more surely, remains to be uncovered.  Regardless, the universe the team has created has piqued my interest.  Suffice to say, Superman # 1 has a lot to live up to if it wants to establish itself as the premier Superman story in the New 52. 

Rating: 5 out of 5 stars

Writers: Aron Warner and Philip Gelatt | Artist: Brett Weldele |  Cover: Pat Lee

Robert Maudsley - Pariah #3 - Sea Lion Books

Robert Maudsley, curious boy or Vitro with sociopathic tendencies?  In this latest issue Warner introduces us to young Mr. Maudsley, a different kind of Vitro, which now I know indicates a being of far superior intellect.  Unlike our heroine Lila from issue # 2, Maudsley does not want to be off on his own, away from society.  Instead, he would like to convince people to do things contrary to their usual behavior, all for his own sick pleasure.  How easy it is for a Vitro like himself to pull the strings of the mindless puppet masses?  “Normal”, as he calls it, is something he can no longer associate with and his actions would certainly reinforce that thought.

Pariah # 3 does a great job introducing a new character into the fold while simultaneously keeping things linked through a character known as Franklin Hyde.  The same Franklin Hyde who approached Lila in the woods in the second issue.  His true intentions remain unknown, but much like Lila, he wants to recruit Maudsley.  His impeccable talents for human manipulation are high on Hyde’s list of needs.  His lack of remorse or care for the consequences of his actions probably doesn’t hurt either.  Maudsley is a genius; the problem is he knows it and his thirst for more complex “collisions of psychology”, as he himself puts it, will surely play a central role In Hyde’s plans.

This was a strong issue and with Maudsley – Warner has introduced the most compelling character of the series thus far.  He is the first true villain I’ve seen.  Certainly you could also file Hyde under that category, but there is still too much unknown about him.  Whereas, Maudsley relishes in the fact that he can twist someone’s mind to enact his own devious means, all we know of Hyde is that he has plans.  Plans which chiefly concern Vitros.  The inner workings of Maudsley’s mind is where the writing truly shines, reflecting his increasing desire to push the limits.  It allows the reader to get a better understanding of what is driving him to do these things.  To play that game of cat and mouse.  There is one particular incident where you get to see just how far he is willing to go to fulfill his curiosities.  No spoilers here, but it was a high point of the issue and worth the read in itself.  Overall, Pariah # 3 was another solid venture into the world of the Vitros, and leaves plenty of promise for what’s to come.

Rating: 5 out of 5 stars

Writer: James Pak | Artist: Mirko Colak|  Cover: David Aja

Munich 1923, Germany remains in ruins after being burdened with the blame for World War I.  Still in it’s infancy the Nazi party seeks to rise to power.  Imagine, you’re a young boy who knows of nothing but abuse and a world enslaved by poverty.  Bread lines spread around the corner, yet people still wait.  That tiny bit of food is the last shred of hope they have left.  It is this world where we find a young Johann Schmidt.  Clearly a boy whose ideals will not be strong enough to carry him through such a place and time.

All evil has it’s roots, and it is here where we find those of Schmidt, better known to many as the Red Skull.  Living his days in an orphanage Schmidt clearly could be swayed one way or the other, but when he escapes and stumbles upon a march of the Nazi party, the soon to be champions of a wayward Germany, his story is all but written.  Although the encounter is brief we are left with the impression that he is entranced by their presence.  True to most Germans of the time, he is in need of an answer.  That answer comes in the form of a blind rage where Schmidt kills an entire pack of dogs for the sake of a friend’s puppy.  When a boy with nothing gets a taste of power it is immediately clear just how satisfying it is, yet what comes next remains to be seen.

Contrary to his more cartoony betrayal on the big screen, Red Skull Incarnate # 1 aims to paint the character in a more vicious light, and I for one could not be more pleased.  After all, he is historically written as a high ranking member of the Nazi party.  A party who’s influence on history will truly never be forgotten.  World War II, to me, is one of the most compelling events in history, so it is exciting to see a character who’s associated with such a heinous faction be treated with more gravitas.  Light on dialogue, this first issue allows us to explore his initial transformation through art that increasingly darkens.  Like the escalating pounding of Schmidt’s pulse the colors used set a tone for the makings of the mind of a madman.  My one gripe would be that the overall scheme would be more effective if it was more in line with the throwback feel the cover presents.

We all know the Skull’s childhood was one of torture and pain, but it was sorely in need of an update.  With this issue Pak seems to be on the right track.  Labeled as the first of five issues in the series, Incarnate has established a solid foundation for which to present the rest of the character’s lore.  Look forward to the future review of the second issue, as it will be interesting to see how Pak portrays the Skull’s further evolution from vengeful boy to diabolically driven party member.

Rating: 4 out of 5 stars

Writers: Aron Warner and Philip Gelatt | Artist: Brett Weldele |  Cover: Pat Lee

Pariah #2 - Sea Lion Books

Lila Ellerman, terrorist or your average sixteen year old girl?  By her own admission she was not behind the gas attack, which led her to flee to the woods for safety.  But then one must wonder, why flee at all?  Why not try to prove one’s innocence?  These are questions that will surely be answered as the series progresses.  What we know now is that Lila and her band of runaways are Vitros, a seemingly special group of teens who were part of highly sensitive scientific work before the aforementioned incident.

Being an early issue in the series, Pariah # 2 lays the groundwork for an interesting premise.  Unfortunately, because it is so early, there is quite a bit that remains unknown.  What is the extent of her power?  What truly makes a Vitro so special?  It is clear that Lila wants to lead the life of any other girl her age, but that is not a luxury she will be afforded.  That balance between a desire for normalcy and how she evolves as a leader to her fellow teens seems like it will be one of the more interesting aspects of the series.  The constant push and pull of wanting to act your age, weighed against the heavy hand of commanding a band of unruly teens, all while fleeing  black-ops teams who want to take you in.  Anchored by strong writing, though sometimes overly juvenile, Pariah seems to be a series with some real promise.  I for one am excited to see how it grows and evolves.  One problem I have is that it was not always entirely clear in the structure of events.  The initial few pages are in the future, where Lila is more confident and aggressive in her actions.  One could assume that quite some time has passed since the explosion, yet it has been only a week.  It seems like a stark transformation for a sixteen year old to make in such a short period of time.  Just a minor gripe, but without the luxury of reading the first issue it’s something that could have greatly contributed to my understanding of Lila as a character.

With the foundation laid the series just needs to play out.  Fortunately, it has established clear conflicts that will all test Lila as her story goes forward.  Will she be blinded by her love and desire for Brandon?  Will the group implode under the weight of it’s own juvenility?  With those questions in mind Pariah # 2 equates itself well as a set up issue.  Introduce the readers to the central conflict without going too heavy into fringe characters and background.  All of which will hopefully be further established as the series goes on.  Keep dialed in for the reviews of future issues in the series, as Lila continues her quest to reclaim her innocence.

Rating: 4 out of 5 stars

It’s been a little over a week since the end of the San Diego Comic Con and the theatrical release of Captain America and already the fine folks at the House of Ideas are continuing their PR barrage into our mainstream consciousness. Today, spoilers be damned, it seemed like every outlet, from USA Today to The Huffington Post to your parent’s Twitter, was abuzz with the latest major development from the comics industry leader. Are you ready for it? Are you sure? I’m guessing you’ve already read it somewhere… so I might as well spoil it for you (in case your parent’s Twitter hasn’t yet):

Spider-Man is black.

Did you read that correctly? Let me write it again. Spider-Man is black. No. Wait. That’s not entirely correct. Spider-Man is Hispanic. Strike that. My bad. Spider-Man is Blacktino. Actually, let’s be entirely accurate here… ULTIMATE Spider-Man is Blacktino.

So does it even count? If the big To Do is that Marvel changed one of their major characters, no, THEIR ABSOLUTELY NUMBER ONE MAJOR CHARACTER, to reflect a minority life style, and having done it within the alternate Ultimate universe (which seems like sticking your toe into the water instead of jumping in), does it even really count? Well, let’s talk about it.

Yes. And no. First, let’s talk about the Ultimate Universe. Then we’ll talk about the issue of minority characters in mainstream comics and then we’ll talk about whether or not race in comics is even the legitimate issue. Okay? It’s a discussion, and I’m not always the most eloquent or insightful, so please use the comments to voice your own objections, appreciations and opinions (or just call me something awful… it is the internet).

If a lasting and resounding statement is what Marvel wanted to make, the Ultimate Universe may not have been the best place to do it in. Introduced in September of 2000 to revamp characters chained down by decades of continuity, the Ultimate universe was offered as a fresh, modern take on classic characters, just as these characters were set to be modernized by Hollywood. And for a while it succeeded. I would know. I have every single issue of the Ultimate line leading right up to Ultimatum (even Ultimate Daredevil and Elektra… sigh). The first few story lines of Brian Michael Bendis’ Ultimate Spider-Man and Mark Millar’s X-Men and Ultimates are fresh. They’re awesome. They completely hold up today and did a great job of paving the way for Hollywood to see how to do these characters in this new decade right. Heck, Mark Millar even gave us Sam Jackson as Black Nick Fury first (although there wasn’t any mainstream fuss because it was Nick Fury… and The Ultimate Universe).

White David Hasselhoff Who?

For years, the Ultimate books were the top selling books in the industry and a fantastic way for a new fan base, invigorated by Hollywood, to be on the ground floor of their own storylines. Ultimate Spider-Man, debuted that September with an almost unknown writer joined with a popular Spider-Man artist, at #15 and sold almost 55,000 copies and has a Top 20 book ever since. For me, it was a great way to get back into the Marvel Universe while pinching pennies in college. Instead of buying 15 books a week to get the complete story, I only needed to buy 1. Ultimate Spider-Man, if not the entire Ultimate line, is still successful today. In that way, the introduction of Miles Morales is important. We got our Sam Jackson Nick Fury (and now we can’t get through a credit sequence without him) and this decision may pave the way for a big screen Spider-Man. Just during the writing of this essay I’ve discovered that Lawrence Fishburne will be playing Perry White in my boy Zack Snyder’s Man of Steel movie! See? The changes on the comic page matter, regardless of what Universe it takes place in. At the very least, the new character and September’s renumbering at #1 (10 years almost to the day!) will pave the way as a major jumping on point for new readers, no matter their color (which is a point I’ll get to later).

But this is Geekscape and we’re slaves to continuity here, and the Ultimate Universe is not the Marvel 616 Universe. Even when we thought the two Universes were being crossed over, all we ended up with was a half decade of Marvel Zombies. I think that on a sales and audience level, the Spider-Man change counts. As a fan who gave up on the Ultimate Universe at Ultimatum, caring only for the actions and consequences of the “real” Marvel characters? It doesn’t count. It’s M2. It’s Marvel 2099. It’s 1602. It’s Marvel Zombies. It’s a million Elseworlds tales that carry no real weight to a majority of fans. In effect, it’s NOT Peter Parker. It almost seems like this was the safest way for Marvel to make this move. Remember The Rawhide Kid turning gay? Yeah. Who cares. He’s stuck in the old west. What’s he going to do? Run around with the original Ghost Rider? He’ll never have any weight on the modern day X-Men or Avengers. Even seeing that people DO still read Ultimate Spider-Man, and that Miles Morales WAS introduced, the decision still feels like a safe call because he’s NOT a character that readers have been previously introduced to or have invested years of reading (and dollars) into. We have no investment in him, and Bendis, Axel Alonso and Joe Quesada have a lot of work to do to get the cynics among us on their side, regardless of his race.

And it’s a shame, because Marvel can have both. They have established characters in the 616 universe NOW, with years of fan investment behind them, that can be used to explore minority issues. In my conversation with Axel Alonso last week, presented in last week’s Nerd Rage, he told me that his favorite Marvel U character is Shang Chi, the Master of Kung Fu. And I love that character as well, Axel! But honestly, how much of that character resonates with Asian audiences and how much of it just resonates with fans of Kung Fu? Does Shang Chi say anything about the Asian experience or is he just a stereotype made easier to swallow by Western main stream depictions? Isn’t it about time that he and other minority characters be fleshed out a bit more to break from their ‘sploitation origins (like Luke Cage and other major black characters have)? Seems as good a time as any.

If you like Kung Fu movies, then you’ll like me. They even draw me to look like Bruce Lee.

If Marvel wants to pave the way for their characters to resonate with a wider audience, by casting the spotlight on characters dealing with minority issues, shouldn’t they actually deal with those issues as much as they deal with the latest villain or mega-company crossover? Casting characters in minority roles just isn’t enough. Having Northstar make a cameo appearance during a major X event doesn’t do a whole lot to convey what that character is really about. Put these characters and their lives front and center. Are these complex social issues even the responsibility of all-age comic books?

How can they not be? Superman is an immigrant. The X-Men are the ultimate pop-metaphor for race relations. As the embodiments of our modern mythology, and as mainstream commentary on our own social fabric, it’s integral. These have to be human stories set against an epic backdrop or they lose their resonance with us. Ulysses, Batman, Superman, Spider-Man and Captain America all have to have their families taken away from them. It’s what gets them to work for us. But that also means allowing us to know have invested in these characters as they undergo these major changes and overcome these life obstacles. Why not take a minority character we already love and give them the spotlight, or make THEM Spider-Man or Captain America? Can you hear that? Right now, Dan DiDio and Geoff Johns are yelling “we’re putting Cyborg on the Justice League”!

It can be done, and I’m also not saying that the Miles Morales stories in Ultimate Spider-Man won’t be great. But I’m saying that these kinds of changes can be done with characters that we already care for and are familiar with, who aren’t just going to disappear when the alternate universes no doubt fold back in on themselves once retailers fold. The spotlight of diversity can be cast on characters familiar to us as well. In my recent conversation with Joe Quesada I talk about how good at reinvigorating lower-tier characters he and the writers at Marvel currently are. One of the most satisfying moments I’ve had in recent reading was Jason Aaron’s depiction of Kitty Pryde in the second issue of Schism. While saving a complete look-alike of Iranian president Mahmoud Ahmadinejad from his own defective sentinels, and while convinced that the X-Men have sent their female members to the rescue in order to embarrass him, Kitty throws in the fact that on top of all of her saving him she’s also Jewish. The high concept action of the moment wasn’t back-burnered in order to make a point. That’s just who Kitty Pryde is. She’s youthful. She’s bold. And she’s Jewish! On top of that, we’ve grown up loving her. And hopefully, new readers will one day get the same satisfaction out of Miles Morales.

Kitty Pryde – Jewish American Hotness

But the point of the examples is (and I sometimes get bad at staying on track so help me out in the comments), that it is never really about race or loud statements. It’s about the characters. It isn’t about what they are. It’s about what they do. Which is really at the heart of the last, and main, point of what I’m saying.

Why do we care about race? Is giving the mantle of Spider-Man to a black-hispanic character really about representing a growing minority audience or is it about paying a form of reparation for not having done it sooner? Or for having the majority of the Avengers or the Justice League (of America!) appear white and straight? As I’m about to argue, none of that is necessary in comics, which makes the big To Do about Miles Morales even more confusing. Comics has had an integrated cast of characters for decades. They just seem to have some trepidation with placing them closer to center stage. And I don’t know why.

According to the 2008 Census Bureau, 80% of America is still white. And how representative of that is the comic book reading audience? In defense of Marvel, on those grounds, if this was about sales, numbers and PR, wouldn’t it be safer to have done nothing and just say “fuck the 20%, let’s go for the white majority”?

And that’s what leads me back to the point I’m trying to make, a point that comic book readers, I believe thanks to stories like the X-Men, Superman, Wonder Woman, Shang Chi and even Captain Carrot and the mothafuckin’ Zoo Crew: Race DOESN’T matter in comic books. The 80% white majority doesn’t CARE what race your characters are and we haven’t for a very long time! We have a black Nick Fury! There’s a Green Martian running around with the Justice League (which now will have a black guy who ISN’T John Stewart). We’ve always known that Professor X was right and Magneto was a dick. When it comes to reading about mutants, aliens, monsters and superheroes, we’ve all long since become color blind.

What says diversity more than this?

That is why we love comics. Race never really mattered here. I’m a half-Mexican kid who looks and sounds white. Growing up in Texas and playing outdoors, I would tan pretty darkly. I once had someone curse at me and call me Indian during a blacktop basketball game. I’m not blonde and went to Ivy League schools so I’ve had people assume I was Jewish. The race issue has always been a barometer for people’s cursory and stupid assessments of each other. And it has plagued mass media since it’s inception. It took The Hollywood Shuffle IN THE 80′s to convince Hollywood that black audiences could be a presence in theaters. Ten years later Jackie Chan, probably the most famous actor in the world, is a mainstream U.S. star. We have yet to have a major hispanic leading star be a presence for over a few years. But comics have been integrating for decades. More than any other medium, I’d argue that the comics industry seems to get what’s REALLY at the heart of America’s most divisive rifts:

It’s about rich versus poor. It’s not about black and white. Those modern day divisions are just the results of socio-economic filtration caused by centuries of the rich doing their best to stay richer while the poor continue to be reamed by a system put in place by the rich. That’s a grotesque oversimplification but it works with comics well because the medium itself lends to that oversimplification. It’s easier to draw an afro or change the color of a character’s skin than convey a shrinking middle class falling into poverty. With comics, like with the news or Hollywood, it becomes a stripped down horserace and the majority of the work plays towards the obvious. You’re either rich or your poor.

Daredevil was raised by a poor single father and his greatest enemy is the wealthy Wilson Fisk. Sounds like Peter Parker, Aunt May and Norman Osborn. Or Superman, Ma Kent and Lex Luthor. Batman’s rich as hell. But do we see him using the resources of Wayne Enterprises to destroy Lex Luthor’s resources before he uses them for evil? Nope. He’s busy punching guys in the face one by one. Danny Rand is super rich yet his best friend is black so Luke Cage lives in an apartment in Harlem (but now the government has endorsed the two of them so they can live in the same place… which the rich guy paid for). How did they even meet!?! Is anyone in comics middle class at all? How do these poor Robin Hood figures continue to come into contact with the power elite?

It’s fantasy, but it’s also the pure and cathartic representation of struggle and perseverance. This is what mainstream superhero comics are about and why they, for the most part, have sidestepped the hurdles of race that larger mediums like film and television have tripped over. As comic readers, we are the poor, the ugly, the unpopular and we fantasize about being our own agents of change. We want to be Daredevil taking down The Kingpin or even better, we want to be Batman and have our choice of infinite toys. Even in the case of the metaphorically race driven X-Men, they’ve been liberated by a rich benefactor who accepts them because he is one of their own. It’s still about overcoming economic limitations at least as much as it is social ones. Each member of the X-Men was screwed before Professor X came along. We read comics because we want to be liberated from our own physical, mental and financial limitations.

Robin Hood, Jason and the Golden Fleece, Daredevil. It’s all about that financial ladder.

And that’s why it’s a shame that we’re really making a big deal about Miles Morales now. Not because it’s the Ultimate Universe and has a built in safety net of “not really counting” (because it does). Not because it’s a new character being introduced to take the brunt of being a controversy lightning rod (because it’s not controversial (unless you’re a racist idiot). It’s because the biggest tool of the rich used in it’s division of the poor is this topic of race. As comic book readers, we are better than that and have been since the medium’s inception. The comic book, like Jazz (or Ragtime before it), is a purely American medium developed by the poor so that they could express themselves amidst the rich. As long as the rich, and sadly I’m looking at you, Disney owner of Marvel, keep us talking about blacks versus whites versus red versus Captain fucking Carrot and the Amazing Zoo Crew, we won’t be talking about how the minority of THEY are screwing the majority of US. As long as we’re talking about Miles Morales and how insane it is that he’s Spider-Man (it isn’t), we won’t be ignoring our physical differences, picking up our pitchforks, and uniting to force some real social change in this country. Already, internet racists, having already been failed by an underfunded education system and a divided cultural upbringing, are making Miles Morales a race issue in comics when it’s never been. It’s hardly even a comics issue!

Let’s remember. We are the majority. As readers, we are Daredevil, Superman and black/hispanic/white Spider-Man. Some of us are Batman and Iron Fist, who even though they are rich and could find crime much more effectively in a multitude of different ways, like to slum it like poor people and hang with a friend from Harlem and punch robbers in the face. If we don’t like the stories, our hesitance to pay for them becomes our pitchforks. That’s all that matters here. And so far, we’ve only accepted comics because they have represented our perfect society, keeping the overall focus on the poor versus the rich and not the blacks versus the whites or the reds or the yellows or the Zoo Crews. Don’t let the controllers of these messages create an issue out of nothing.

Because besides, it’s probably all going to get ret-conned one day anyways.

And Axel Alonso, if you’re reading this, I have a great story that tackles complex socio-economic issues. It’s a Cannonball mini-series that illustrates how Sam Guthrie and the rest of the Guthrie children became mutants because their poor, unrepresented, West Virgina coal mining parents became addicted to smoking MGH and gave their kids powers. It’s like Harlan County, USA meets… uh… okay. It’s a shit idea. I’ll think of something else (CORRECTION! My friend Jeff Winstead, who’s grandparents are from Harlan, corrected me on Facebook that Cannonball is from Kentucky and not West Virginia (so it really IS like Harlan County, USA! Thanks, Jeff!).

Disagree? Agree? Good. Because this is just the beginning of this conversation. My arguments, points and examples aren’t full proof and I am a victim of my own rambling mind. So please add your own voice to the discussion (that’s what Geekscape was built for) and maybe one day we’ll find a common ground!

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