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Review of 'Black Panther: A Nation Under Our Feet'

2/12/2018

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By Travis Trombley 

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“Can a good man be a king, and would an advanced society tolerate a monarch?” According to writer Ta-Nehisi Coates, that’s the central question of his three-volume Black Panther series A Nation Under Our Feet, illustrated by Brian Stelfreeze.

These are great questions, and they provide plenty of thought-provoking momentum to propel the narrative across the 12 issues of personal and political strife.

I’ll be honest, until this run, I’d never read a Black Panther book before, but such a heavy question handled by a thinker of such repute piqued my interest. Well, that and my excitement for the forthcoming Black Panther film. And I think Marvel, at least in part, planned this book for people in that latter category: newcomers to Wakanda, as it were. It’s a book meant, at least in part, for folks who want an introduction T’Challa and his kingdom (or peeps who see the film and want more Panther afterwards, as it seems Ryan Coogler took more than a few cues from this collection, both visually (the look of Wakanda and its technology, as well as the narrative focus on being a "good man").

This being the Atlantic journalist’s debut in comics, Coats described working in the medium of comics more like writing poetry than prose. That inclination is evident here in beautiful, occasionally wandering narrations that are accompanied by panels of striking beauty by Stelfreeze. Into this framework, Coats’ gift of language, his awareness of culture, and his interests in philosophy and history are all evident throughout the entirety of this text. But, like poetry, it may require a second readthrough, as some pacing issues and visual tracking hiccups make some plot and character beats a little tough to follow.

From the first panel, Coats hits the ground running by placing Wakanda in a state of revolution. We start off with a miners’ revolt turned violent, quelled by the Black Panther, but at the cost of a major PR blunder. The laborers represented the start of a grander rebellion against the king, whom they see as unfit for a monarch’s power due to the ways he dealt with some major events in Wakanda’s recent past: the city was flooded by Namor (and not avenged) and later taken over by Thanos and the Cabal. During the latter bout, T’Challa actually left his sister Shuri beyond to fight the invaders so he could retreat in order to work with the Avengers to stop the attack. It was a wise move, but not a very “kingly” one, in the eyes of his people, who see his exploits with the Avengers and the outside world as a betrayal of his duty.

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Omega Men: The End is Here Review

10/1/2016

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By Travis Trombley

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Tom King and Barnaby Bagenda’s Omega Men: The End is Here functions as a superhero title only in that it interrogates the genre, removing the ideals and moral codes from a world of heroes and transporting them - in the body of white lantern Kyle Rayner - to a place far less forgiving. A world far more like our own.

As intelligent as it is well-drawn, Omega Men provides multiple layers for exploration. There’s an almost allegorical harkening to the global politics playing out in the Middle East. There’s an exploration into the cyclicality of war and violence, and the human calculus involved in waging such struggles. There’s an extended discussion of religious devotion and the role it plays in our personal narratives. There’s action, humor, tragedy, more action, and a well-developed cast of diverse characters. There’s everything one needs to feel provoked to further ponderance after closing the glossy cover - everything a comic needs to become an instant classic.

The plot follows Kyle Rayner’s experience with a group of guerrilla “terrorists” known as the Omega Men in the Vega System, an area of space guarded from Green Lantern policing by way of treaty. Rayner chose to surrender his White Lantern ring to enter the system as a diplomat in an attempt to broker peace between the Citadel, a theocratic empire, and the Omega Men, a small insurgency group who resists the Citadel’s imperialistic control of Vega’s six planets by way of asymmetrical warfare.

Partially resurrected from Roger Slifer’s DC storylines from the 80s, the current Omega Men include Primus, a once nonviolent resistance leader, Tigor, an eager-to-fight big-cat humanoid, Doc, a killer robot (and well-used comic relief), Broot, an excommunicated priest with spectacular strength and interesting syntax, and Scrapps, an trigger-happy, quip-slinging 'teen.' They greet the would-be diplomat Rayner by taking him captive and publicly executing him via live broadcast in the vein of the propaganda videos produced by the Taliban and ISIS. Or so we are led to believe. In reality, it was a ruse perpetrated in order to give the Omega Men time to conscript Rayner to their cause: freeing Vega of Citadel control. ​

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The Superhero Response to 9/11 - AMS #36 Review

9/11/2016

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By Travis Trombley

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Photo via Marvel
“We interrupt your regularly scheduled program to bring you the following Special Bulletin.”

So starts J Michael Straczynski's and John Romita Jr.’s special “black” issue of The Amazing Spider-Man Vol 2, # 36, mimicking the words spoken before so many learned of the attack on New York in 2001 via news broadcast, but also signifying the following narrative’s nature as a stand-alone element set apart from the ongoing canon.

And set apart it is.

This isn’t as much a Spider-Man issue as it is Straczynski addressing the events of September 11, 2001 by way of comic book poetry. Spider-Man is but a vehicle for a visual tour of ground zero and subsequent fallout, his thoughtful narration more like a journal entry or open letter.

While superheroes and their readers alike have been dealing with the ramifications of 9/11 for 15 years now (exploring authoritarianism responses to threat, the freedom vs security dichotomy, and the concept of vulnerability), this narration is an immediate response to that day and the events directly following. Part tribute and part commentary, Straczynski’s use of the genre in this special issue highlights some key roles superheroes play in our culture, especially concerning our definitions of valor, our conceptions of moral direction, and our ability to make meaning of tragedy.

As Spider-Man lands at ground zero, a fleeing couple yells to him, “Where were you?! How could you let this happen?” It’s the question usually posed to God in rage, but in this universe, it’s the superhero - the humanistic savior - who must answer for tragedy. Already the genre’s effect is apparent.

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Wonder Woman: Odyssey Vol 1 Review

8/28/2016

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By Travis Trombley

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This is far from the only shot of WW jumping into battle.
Noted writer J. Michael Straczynski’s take on Wonder Woman in the 2011 reboot Odyssey reads like an interesting mix of Buffy and the first Matrix film, rife with action and fun revisions of Greek myths, though not as strong as either of its inspirations.  

The first five issues of the the seven-part volume record Wonder Woman’s birth by fire, both figuratively and - later - literally. Raised on the run by a group of Amazonians after Paradise Island was attacked and its inhabitants scattered across the globe, Diana begins the tale headstrong of her abilities but unsure of her purpose. But she quickly finds herself in a desert protecting one of the surviving tribes of warrior women from a group hell-bent (Hades-bent?) on wiping their race from the planet.

The later two issues bring Diana back to the city with a group of modern-looking Amazons (one has an eye patch and a football jersey, another touts a bourret and trench coat with her armor - it’s a striking twist) and a talking cat. There’s some cool stuff about Diana’s background and her obsession/addiction with helping people, with and without violence, but it’s definitely a groundwork thread that requires further entries to fully satisfy.

Like the volume’s namesake, the story contains a number of epic poetry conventions. It starts in medias res. It focuses on a physically powerful character of divine nature and great importance to her people. It contains the obligatory trip to the underworld. These are fun, but ultimately Diana’s transformation, which essentially reduces to “I can kill more people and eventually fly,” is rather weak compared to those of her fellow epic heroes.

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DC's New Frontier Review

8/22/2016

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By Travis Trombley

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Bicker as fans may about which shared ‘superhero’ universe they prefer, few would contest DC Comics’ title of champion in the ring of standalone, self-analytical narratives. Among the established tradition of Watchmen, Dark Knight Returns, Kingdom Come, and Year One rests an entry more modern in copyright but older in sensibility: The New Frontier.  

While lacking some of the more rigorous character depth found in other DC tours de force like DKR, with New Frontier author and illustrator Darwyn Cooke weaves a tapestry narrative from the individual threads of DC’s most famous characters spanning the Golden and Silver Ages of comics. And it’s a colorful, beautiful tapestry, indeed. Beautiful enough to win Eisner, Shuster, and Harvey Awards.

Capitalizing on some of the same authority anxieties that defined the aforementioned late 80s works, New Frontier transports readers back to a ‘60s when superheroes - now casualties of McCarthyism - either resigned to work with the government, retire, or operate as outlaws. But while we see Superman and Wonder Woman - two heroes who took the loyalty oath - debate their patriotic duties in a world more grey than red, white and blue, other adventures take center stage in the book’s first half. Many, many other adventures, in fact.

Young fighter pilot Hal Jordan - who’s resolved never to kill - is put in a life or death situation two hours after the end of the Korean War. New-to-Earth J’onn J’onzz takes the form of a detective to blend into and help his adopted planet. Rick Flag and his military-supported Task Force X protect the country from threats that would have otherwise been left to the costumed adventurers. A young, idealistic Barry Allen prevents an armed robbery at a party attended by Oliver Queen, Bruce Wayne, Lois Lane, Selina Kyle, and - at another table entirely - Hal Jordan and his pilot friend Ace, who eventually becomes the leader of an adventurer team known as the Challengers. Agent Faraday, when he’s not trying to apprehend costumed heroes like Flash, works with Ferris Air to plan a mission to Mars.

But serendipitous interactions alone do not unite these characters. The threat of something known as “the Centre” - which turns out to be a psychic entity in the guise of a floating island covered in dinosaurs (it sounds preposterous, but works so, so well) - generates a number of circumstances that ultimately bring together the world’s heroes - “super,” adventurer and military, alike. ​

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Spoiler-Free Review of Star Wars: Dark Disciple

8/18/2016

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By Travis Trombley

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Of the various elements of Star Wars that separate it from the rest of popular science fiction, none ring more salient than the presence of the Force and the moral quandaries derived from its apparent dual nature.

Author Christie Golden explores this tension with entertaining depth in Star Wars: Dark Disciple, an entry into the post-Disney canon that takes place during the Clone Wars saga. The novel - based on scripts from the show that never made it to air due to the its abrupt cancellation - explores a simple question: can a Jedi entertain the Dark Side of the Force in the name of universal good? It’s a turn on the old adage “doing bad things for good reasons.”

It worked out for Anakin all right, didn’t it?

With Count Dooku’s savagery increasing and no end to the war in sight, the Jedi Council decides to eschew some core tenets in this special case and order an assassination of the Separatist leader. At the recommendation of Obi Wan Kenobi, they elect Jedi Knight Quinlan Vos, a physically capable character with a flare for showboating, to carry out the deed. To complete the mission, Vos must first track down and secure the assistance of Asajj Ventress, Dooku’s once apprentice gone bounty hunter.

After a few adventures and much brooding dismissal on Ventress’ part, Vos finds himself flirting with both Asajj and the Dark Side alike. On Dathomir, Ventress formally trains Vos tap into the power of the Dark Side by teasing his anxieties and forcing him to fight from a place of fear and survival, ultimately using the Force to impose his will on the lifeforms of Dathomir. To add another layer, Vos and Asajj develop kindle a romance that takes center stage in the novel's third act. 

But about halfway through the novel, Golden alters the pattern - Dooku takes Vos captive during the botched assassination attempt, potentially turning Vos against Ventress and into a servant of the Dark Side. In this latter section, the Jedi waffle back and forth in their attempts to discern Vos’ loyalties, resulting in a number of “gotchya” moments and plot twists. This all builds to a bitter-sweet conclusion in which Golden takes a rather definitive stance on the aforementioned central question in an emotionally satisfying way.

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Justifying a Vigilante - Batman: Year One Review

5/10/2016

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By Travis Trombley

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The year 1986 saw the rise of two of superherodom’s most critically acclaimed graphic novels: Alan Moore’s Watchmen and Frank Miller’s dystopian Dark Knight Returns. After Miller’s success with DKR, a stark depiction of Batman’s future, DC Comics charged Miller with a revamping of Batman’s origin in 1987, 48 years after Bob Kane and Bill Finger’s original take on the character. In his Introduction to the reboot, Dennis O’Neil, one of Batman’s premier writers in the 70’s, said that the retelling of the origin story was not about changing the story, but about modernizing and improving it: “It could be given depth, complexity, a wider context. Details could be added to give it focus and credibility” (O’Neil, 1).   That was a heavy order for a medium considered childish fantasy, so did Year One deliver?

In short - yup. Successfully meeting all of O’Neil’s criteria, Miller’s Batman: Year One, beautifully illustrated by David Mazzucchelli and colored by Richmond Lewis, has become the definitive Batman origin story. Not simply an explanation of how a man can dress up like a bat and effectively combat rampant crime, though such elements are included, Year One is more about making plausible why a man would need to dress up like a bat and fight crime and how Gotham City would respond.

Though the title character is Batman, Year One is a tale of two heroes: Bruce Wayne and Lieutenant Jim Gordon. The graphic novel’s first page depicts the arrival of both men to Gotham; Gordon sits on a train regretting his decision not to fly in, lamenting the fact that he will have to raise a family in such a horrid city. On the other hand, Bruce, returning to Gotham via commercial jet, wishes he had taken the train in order to better “see the enemy.”

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Thoughts on Superman: Earth One

6/13/2013

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By Travis Trombley

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​Despite the pending status of my formal mythology education, one of the more salient features of any myth tradition, to me, seems to be revisability. In order for a culture to make use of a myth, that myth must be able to adapt to the culture's changes over time. In effect, old stories have to be updated. Mind you, I don’t consider this revisability to be a function or defining aspect to mythology; it is more of a superficial component that allows mythologies to function. But more on that later.

Now, if one there is one that word Microsoft Word does not consider a word that applies to the superhero genre, revisability (seriously, MCW does not accept revisability as a real word), I think, is that word. Take for example the recent update to Tony Stark's origin: though in his 1963 debut the events that led to his capture and later creating the Iron Man suit occurred in Vietnam, Warren Ellis's Iron Man: Extremis and the blockbuster film Iron Man place Shell-head's formation in the Middle East. Revisability.

Not only do superheroes change over time as they pass from one writer to the next, but every so often these heroes undergo rather substantive overhauls or alternative explorations. If I may use some genre vernacular, these overhauls or alternatives (consider especially Marvel's Ultimate universe and DC's New 52) usually involve origin stories, the tales that explain both how and why--the latter usually being the more interesting--a superhero comes to be. 
                                                
Many of the recent superhero films act as re-tellings of our favorite heroes beginnings (or re-beginnings, if we're discussing the recent reboots of Batman, Spidey, and the Man of Steel). Of course, this makes perfect sense since the filmmakers are introducing these characters to a much broader audience than they may have had on the page or TV; however, these re-tellings also act simultaneously as updates to these heroes' origins. The simple fact is that we love origin stories—en medias res has little narratological standing in this realm.

Into this arena enter J. Michael Straczynski and Shane Davis’ Superman: Earth One, the beautiful, stand-alone 2010 graphic novel that retold the superman origin.


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    Book Reviews

    Black Panther: A Nation Under Our Feet
    The Omega Men

    Spider-Man and 9/11
    Wonder Woman Odyssey
    DC's New Frontier
    Star Wars: Dark Disciple
    Batman: Year One
    Superman: Earth One

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