The Letters Page

POSTED BY Alex Zalben, 18 December 2007

As we've mentioned before, there's way too much mail for us to answer in the shows, so we'll be answering some of it right here on the blog. As always, thanks for sending in your questions, and please keep shooting them over to tips@pulpsecret.com, call them in to 888-841-7549, or post a video response on YouTube!

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Scott Sez:

Here's one I've been thinking about for a while. Should a comic-book company stick to the continuity they've built for 40+ years, which some of us aging fanboys still know and love, or is their real target audience newer readers and they can toss it out the door if they think it will make sales? You mentioned a couple examples a few months back, but the glaring one that really got to me was . . . Gwen Stacy pooting-out a litter of Norm Osborn’s kids. I mean, I remember Gwen. I am THAT old. And read the storyline because I had to. Really found nothing of value there, so why? What do you think? Is it time for us old-timers to just LET GO, and let the young’uns take over because comics are for kids? I bet you thought I was going to go off on Brubaker ruining a perfectly good screen-name? Actually, the jury’s still out for me on the whole Winter Soldier deal. I mean, so far it’s working I think. Unless, you know, he’s a SKRULL.

What? You didn't like Gwen making with the little goblins? I thought everybody LOVED that. Actually, I think you sort of addressed the point I want to make in your question. You bring up both the Gwen/Goblin hook-up, and the Winter Soldier as two examples of reaching back into continuity to create a new story. One works, one doesn't. I think there's a very simple reason why, actually. Gwen Stacy is a character that has been written about in hundreds of comic books. Her death has elevated her to the level of a saint in comic book reader's minds, mainly because it has become one of the defining moments in Spider-Man history. To go back and add something like Gwen A) Having Sex, B) With an Older Man, C) Who's Evil feels entirely out of character. Turning to Bucky, what do we know about him? We know he got blown up, but good. And... That's pretty much it. There have been multiple comics written about Bucky, but nothing that really fleshed out his character. And though his death is occasionally mentioned in Captain America, it's not REALLY a driving force behind anything. So Bucky's history is a blank slate.

Using those two as an example, It is possible to build a storyline using continuity that also feels new reader friendly. Both ideas actually come from the same impetus: what is going to push our main character in some new emotional direction. However, and this ties back into your actual question, the Gwen Stacy plotline is actually TOO dependent on, not just knowing the relationship between Peter, Gwen, and Norman Osbourne, but also what they were doing in the comic books at the EXACT TIME this new story was going on. With Bucky, all you need to know is Cap's modern origin story, and everything else is new info. You're reading it for the first time. You don't have to remember one scene in a Captain America comic book from thirty years ago.

Which finally brings me to answer your question: Should comics companies ditch continuity? Probably. The model that's often been suggested, of just allowing creators to write graphic novels involving these characters is a totally valid one. I actually think the model used by New X-Men, into Astonishing X-Men is probably the best. Meaning, don't publish a continuous comic book no matter what. Let a team of creators build a story for as long, and however they want (within reason). Then, take some time off, and let another team (or the same team) come up with a great way of following that up with another story that follows up on the plotlines set up by that first title, while still making it their own story. However, and this is a big however: as long as writers can figure out ways to push the characters forward emotionally, whether it's based in a new plotline, or pulls from the character's past, then it's worth it.

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Tom from Ireland asks:

Hi guys, love the show, was just wondering where Comic Book Orange went to????

Scotland! Hey-yo... Actually, ComicBook Orange has ceased production for the time being. You can check out the official statement on the forum.

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Val wonders:

First off, the last few shows have been top notch..... I was wondering what are some of your favorite Dark Horse books and what do you think of the new Star Wars Legacy comic? As always keep up the great work.

Dark Horse has really been kicking it out hardcore the past year, huh? There's a little bit of me that wonders, if they keep it up, if they couldn't make the Big Two into the Big Three. That's a little premature, of course, but Buffy Season 8 is one of the first non-Marvel and DC books I've seen in the top ten in a very long time (at least since the salad days of Image). Umbrella Academy is ridiculously good quality as well, and I hope they can figure out a way to keep Gerard Way writing it on a consistent basis. Fear Agent is one of the best books out today, and I'm so glad they're back to the continuity of the series. Remender is just writing his ass off on this one; it's by far my favorite thing he's ever written (and I like a lot of the things he's written). As for the Star Wars Legacy comic... I keep hearing that's good, but for the most part, I just don't like reading licensed properties. Buffy is the clear exception of course, but then, I'm a sucker. I just (and I know this is extremely stupid) feel like they're not the "real" stories. Maybe that's why I'm fine with the Buffy comic book, and not, say the Battlestar Galactica ones. Anyone reading Star Wars Legacy? Should I break down and get it?

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Karen queries:

You guys have touched upon what you consider to be controversial in comics, but what do you think of politics in comics. Do you like the direct Ex Machina style or do you like the subtle comments placed in colourful adventures like The Authority or do you just want to read a story.

Considering you just mentioned two of my favorite comics ever, I think my answer here is going to be pretty clear. Except it's not! Surprise! Warren Ellis and Brian K. Vaughn are two incredibly intelligent writers, who are able to handle political arguments in a subtle (or, sometimes not so subtle) manner that doesn't feel forced. For an example of something that does feel forced, I'll mention the issue of Alpha Flight where Northstar comes out, fighting The Canadian Mountie, who's son is dying of AIDS. I think the dialogue went something like:

MOUNTIE: You don't understand!
NORTHSTAR: I do understand... Because I am Gay!

Even at my young age, the dialogue there felt awkward. Cheers to Marvel for having a character come out. Jeers for doing it in the most awkward way possible (and then, you know, killing him three times).

I don't know if you've noticed this, but comics have a tendency to not be subtle. You know, with the guys in tights punching each other and stuff. So you're already at a disadvantage if you want to do nuanced commentary. However, it is possible. And, I think comics provide an amazing opportunity to create metaphors, make points, and do something beyond just awesome space operas. Though, those are okay, too.

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Infomofo wants to know:

Why is Frank Quitely's art so bad? I take that back... His animal drawings in WE3 are amazing, but when he draws people, it makes me want to throw up. His Wonder Woman looks like George Costanza in drag. Am I the only one who really can't stand his art? I have been puzzled by other readers' apparent lack of aversion ever since his run on The Authority.

What? What? My brain... Can't... Handle... World... Turned upside down... You do know that Frank Quitely is one of the best artists in the business, right? And he can draw any character and situation brilliantly, right? And I would like to marry him? If he would have me? All hyperbole aside, I can understand how his depiction of humans wouldn't gel with everybody. His characters are soft and fleshy. Even "doughy" would be a good word to use there. And yet, he manages to capture the essence of every character he draws perfectly. The compositions of his panels are perfect and dynamic. Even his Wonder Woman, who you, probably accurately, describe as George Costanza in drag, manages to get across her power and wisdom. I actually think there's something to said for NOT drawing super-heroes as muscled maniacs, or ginormous-boobed sex-pots. I could hyphenate things all day, but instead I'll just say, try to give his work a second chance, thinking about the IDEA of his panels, rather than the look of the characters. I don't know that this will sway you, and you're welcome to your opinion. Just, hopefully, it'll help you see what other people see in his work.

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