Three Memories

A minifigurine shaped like a panda, and several D&D dice, including a D20 and two D10s.

I don’t have a good picture of Comic Con, so here is my panda minifig from my D&D game.

July, 2017. I’m at Denver Comic Con, in a room full of rows of chairs, and a projector on a cart set at an angle to find the screen in the corner. I find a seat on the aisle (I always find a seat on the aisle), as near to the front as I can get. We’re in a mid-sized breakout room for this panel, which is called “Marvel: Then and Now,” and it’s crowded enough that people are filling the seats, standing along the back wall, shuffling bags and cosplay weapons to try to make space for someone next to them.

The panel has three generations of Marvel writers and artists: Two old guys (like, in their late 80s, they rolled into the panel on mobility scooters) who were at Marvel in the 1950s, a white English man who started at Marvel in the late 80s, and a black woman who works there now and whose titles include Black Panther, Iron Man, and World of Wakanda.

The first question that the moderator asks is about how Marvel has changed since each panelist got into the business. One of the old guys said (and in spite of the quotation marks, I’m paraphrasing), “I don’t want to get political” (so don’t then) “but” (uh oh) “I started at Marvel during World War II, and the nation was one. And I think we need to make America great again.” (please be being ironic right now) “We need to just give him a chance” (oh dear) “He’s going to take down the Mexican mafias just like he made it safe for a black woman and her kid safe to walk down the street in New York” (stop talking) “and why can’t we be as one” (seriously though stop talking). He goes on citing “fake news” and random crime stories for several minutes. I’m not sure why the moderator didn’t interrupt or redirect; he certainly should have. The few people of color who were in the audience get up and walk out. I noticed some white people too. After a weirdly agonizing minute, as my ingrained training about being “civil” (or at least “not rude”) battles with my desire to not look like I was endorsing this shit by continuing to sit here and listen to it, I get up and walk out too. I feel like everyone is staring at me, even though I’m sure nobody was. Someone sitting on the floor probably crept into my seat and that was that.

Of course, the minute I got out into the hallway, I realized, well shit, now I don’t get to hear Alitha Martinez talk about her career, the things she’s done and what she enjoys about drawing for Marvel. Ain’t that always the way: old white dude takes up too much space, too much oxygen, pushing out other voices or making them impossible to hear. I find her booth later in Artist Alley, and buy whatever I can. She’s really nice, there with her teenage son, who’s helping her sell art and books when he isn’t off doing his teenage son thing.

Artist Alley. Remember Artist Alley? And how close everybody had to stand to each other in order to move around at all?


Laura Jane Grace from the band Against Me! sings at Riot Fest. The picture is of the large screens so Laura can be seen from far away.

Big Laura Jane Grace is big.

September, 2019. I’ve been awake since 2:30am, and only had four hours of sleep total anyway. Showered and walked to the train. Didn’t manage to fall asleep on the train. Got to the airline gate with enough time to spare to buy a bagel and cream cheese at a Smashburger, the only food place that’s open on the concourse. They don’t spread the cream cheese on the bagel even though they have a full kitchen. Just drop a couple of individual servings in the bag.

I doze on the plane, at least for a little while. I was the sort of tired where everything around you and inside you starts to feel fuzzy and unreal. Being locked in a dark tube as it hurtles through the air doesn’t help with this impression. After we land, I take the train into town and and find the hostel I’m staying in. Check in time isn’t until like 4pm, but they let me store my stuff in the luggage room so I can head right back out and take the train to Douglas Park, where Riot Fest is happening.

I have almost always gone to concerts, music festivals, things like that, by myself. It’s not weird to me. And I like being able to choose my own schedule, decide which acts I want to see, and not have to discuss it with anyone else. I like being able to pull up a patch of grass and read a book when I need some downtime. Chicago in September is sunny, and warm, but not unbearably hot. The Sears Tower (or whatever it’s called now) looms in the distance like a giant, hibernating Transformer. Riot Fest rents out lockers so I don’t even need to keep my backpack with me most of the time. The lines to the port-a-potties, though on the long side, move quickly. Same for the water bottle refilling stations. People are handing out free individual packets of Pedialyte to keep everyone moving and hydrated. I am not filled with the amplified excitement that I used to get when I was younger and looking at the lineup for Warped Tour, and I’m not interested in getting myself clobbered in the mosh pit anymore, but I am perfectly content, standing in the shade to see H2O over here, dancing in the sun to The Selecter over there, buying ice cream that is way too expensive, checking the Riot Fest subreddit and meeting up with a random guy who happily gives me a pair of foam ear plugs. There are a whole lot more Latinx people here than I remember seeing in the scene in Denver, and I remember how multiracial punk is, or could be, or should be, or has been.

I see Anti-Flag, who are still singing about how dying for your government is shit after all these years, calling for a circle pit “everywhere” (please no). I randomly see a band named the Thin Lips, they were good. Wander around the merch tents, the usual collection of tie dye and Bob Marley posters and skate decks and anarchist bookstore tents. I sit under a tree and watch Hot Water Music from a distance. I have a locker that I can lock and unlock, so every now and then I take out my homework and work on it in the grass while I wait for Andrew WK or the Village People to take the stage. .

There’s old punks, with grey hairs and battered Vans. Young punks, with shellacked hair and pristine Docs. It’s like Warped Tour, but more low-key, and with more older punks. There’s a breeze, trying to clear out the humidity and the smoke from various types of stimulating leafs. The grounds crew tried to fill in the soft spots in the ground with wood chips to prevent mud pits, and it’s…slightly effectual.

The last day, Sunday afternoon/evening, is the reason why I really came to Chicago for this. Against Me!, Patti Smith, and Bikini Kill play one after the other on the same stage. Sometime over the summer, I jokingly tweeted at Laura Jane Grace that I needed her to make sure that her and Smith’s and BK’s sets didn’t overlap because I needed to see all three of them. I know that LJG doesn’t have any control over stage order at a huge fest like Riot Fest, but I got my wish, and I decide it’s because of her. I head over to the stage almost an hour early, and get as close as I can. In the manner of fests, there are two big stages next to each other and they alternate which one is in set up mode and which one has a band playing on it, so even though I’m only seeing three more bands, I’m going to be in this spot for about six hours. I have already peed and also monitored my fluid intake so I won’t have to go to the bathroom. I have clif bars in my backpack. I have a book to read. I am not front and center, but I’m close enough to see the band members’ faces, far enough away to not have to worry about the pit, and near to the big screens on either side of the stage that I can look at those if I need to (and when I take pictures on my phone, I mostly take pictures of the screen, because as dusk falls my already-crappy phone camera gets even crappier). I’m surrounded by other women, and we are all so so ready.

The bands are great. How do I describe how great they are? What are the words I can use to convey how happy I am? Laura Jane Grace laughs her way through her set and Patti Smith rules the fucking stage. Bikini Kill is still making their own clothing and digging through thrift store discount bins for stuff to wear on stage. And to see Bikini Kill, who (along with their friends and the rest of the riot grrrl community) started their own revolution, who stand for so much and who put their voices in the mouths of so many girls and queer kids, to see them play for thousands and thousand of punks, to see them close out Riot Fest, to hear Kathleen Hanna talk on stage about the same things I’ve heard her talk about in 500-capacity theater venues…that was something. That was great.

Dare you to do what you want
Dare you to be who you will
Dare you to cry right out loud
“You get so emotional, baby”

Double dare ya,
double dare ya,
double dare ya

Girl-fuckin-friend yeah
-Bikini Kill, “Double Dare Ya”


A medium-sized brown dog, standing on a gravel path, stares across green grass to the ocean beyond. Her back is to the camera and she's wearing a green harness.

Hazel Dog checks out the ocean (sound? bay? big thing of water).

February 2020. Some friends of mine, who I used to dogsit for until they moved to California, ask if I want to dogsit for them in California. Instead of giving me money, they’re giving me a free trip to California, and use of their car. They live outside of San Francisco, at the tail end of one of the BART lines, in what seems to be a working class neighborhood that can’t decide if it’s sliding downward or sliding upward. Hazel (the dog) and I go to a different park every day, this one a big off-leash park on the coast where she can sniff at and play with other dogs, that one a walk through some redwoods up a big hill (though never quite high enough for a big vista). The air is sunny and crisp, and I find a little park on the coast a mile from their house, where I can go running every morning and appreciate doing a cardio workout at low altitude. I carry a jacket with me but hardly ever wear it. I go see Hamilton (yes, again) in San Francisco. I know the soundtrack by heart but every time I go to see it live, there’s too much to see and it’s overwhelming and my brain forgets to remember what happened. So, I go see it whenever I’m in a city that’s not NYC with tickets that are vaguely affordable and buy a beer in the lobby that costs like $15 fucking dollars holy shit. I’ve never seen Hamilton in the city where I live–just when I’m traveling. I find Chinatown by accident while I’m trying to find the City Lights Bookstore. I think to myself, I could live here, I just need to figure out how to quadruple my income. I understand why people want to live here. The air is just fucking fantastic, and since I barely need to leave the house once a day, I don’t care about the traffic. I write. I go on walks with the dog. I sleep as late as she’ll let me in the mornings. I cook messy things in the kitchen (everything I cook is messy to some degree). I have takeout burgers and takeout Korean food and a random gyro because that’s all I can find right before Hamilton. I see the ocean. I watch classic movies like Silence of the Lambs and Swing Time, and have a long conversation with a friend about genderqueerness and -phobia and Silence of the Lambs. It’s like a staycation, but since it’s not my own house I’m not distracted by all the projects and cleaning that I’m not doing. It’s just me, and my brain, and the dog. I’ve been casting my mind back to it the last six months, those last feelings of freedom, before I knew what was coming. Appreciating the sun and the sky with no impending sense that it might be gone soon.

We Deserve a Better Storm and other thoughts on race and the X-Men

storm

Picture of Fox cartoon Storm aside, this entry is about the X-Men movies.

I don’t remember where I saw the comment. It was probably a tweet. I don’t even remember what the wording was, exactly, but the substance was something like: why, just before the climax in X-Men: Days of Future Past, are all the characters of color standing sentry (and then dying) outside, while the white dudes (and white lady) stay inside and save the world? How had this comic book franchise, of all the franchises out there, fallen into the same white-centered tropes and patterns of so many other Hollywood movies?

Well, shit, I thought. I love the X-Men comics precisely because they’re diverse and tell stories of othering and oppression, but the Forgotten Commentator was right. The X-Men movies (which, let’s face it, have been pretty white from the beginning) duplicate the tropes that have gotten so common and so tiresome over the decades: White people save the world, people of color are expendable. White people are the leads, people of color are the supporting cast. 

I’ve been mulling this essay over in my head for months, and have been hellishly blocked on it, but also unable to forget about it or move on. I watched all the movies again, taking notes, trying to make some kind of quasi-objective evaluation that didn’t feel right. I wrote a bunch of it and it was boring to read, even for me. And I could also write a whole thing on how if people of color don’t have any substantive parts in the X-Men movies, well, that’s totally natural, right? When you have actors as good as Patrick Stewart and Ian McKellan, and a character as popular as Hugh Jackman’s Wolverine, of course there aren’t any prominent characters of color who last for more than half a movie. There just isn’t space in the story, you see. It’s a perfectly natural narrative/money-making decision. Why would they make a movie about Storm, who was perfectly terrible in the first movie, when they could make one about Wolverine, who was amazing?

Well. Let’s think about Storm for a second.

On the one hand, the X-Men franchise does a reasonable job of avoiding some of the most common racist tropes in cinema (Sassy Black Woman, Black Best Friend, Black Guy Dies First, etc). They avoid these pitfalls by…not having any Black people in the movies other than Storm until Days of Future Past. And Storm has basically no lines, especially in the first movie, where almost all of the ones she does have simply provide exposition (she asks how the adamantium got bonded to Wolverine’s skeleton, for example).

Storm also has these conversational moments (in both the first movie, talking with Senator Kelly, and in the second movie, with Nightcrawler) where she sort of…stands in to speak to where prejudice comes from? Which is a little bit of a weird choice, from a character point of view. When she’s alone with Senator Human Purity, he asks if she’s afraid of “normal” people, and she says, “Sometimes. I think…I think I’m afraid.” She’s a member of a persecuted minority, being afraid isn’t a prejudice, it’s a reaction to her life experiences. The power dynamics are never addressed, it’s just fear=prejudice=bad. The Senator never reflects out loud where he thinks his prejudice came from.

That said, the emotion behind this line worked fine with the late-90s/early-00’s. Conventional wisdom back then was that bigotry stems from lack of understanding. But I don’t like that line anymore. I can see why Singer (a gay man who definitely saw mutaphobia more as a metaphor for homophobia/gay panic than anything else) included it, but hatred of a thing isn’t always because of fear of that thing. Sometimes hatred is a cynical power grab, because if you can convince other people to fear the thing, you have power over them. If Senator No Education For Mutants had more air time, I bet he would be the second. He doesn’t fear mutants. He thinks he can control and exploit other people’s fear of them. 

Anyway. Back to Storm. Goddammit, old white dudes, still distracting me from talking about Storm. In the comics, Storm is amazing. Her mother is Kenyan, her father American. Born in America, she grew up in Cairo, and as a young girl, survived a terrorist attack that killed both her parents and left her an orphan. She survived by learning to pickpocket, and eventually traveled south to the African plains and lived with a tribe there, where she learned how to master her mutant powers. She was already a powerful mutant in control of her abilities before Xavier ever found her and brought her back to New York (and yet somehow, later on we’re to believe that Jean is the true badass here? Pffft). She was the bedrock center of the X-Men team for a long time, taking over leadership of the team when Cyclops couldn’t do it. She eventually became the Headmaster at Xavier School for the Gifted. She always prefers negotiation and preserving life to fighting, but when she decides to fight, she is one of the most formidable opponents you could ever imagine. She beat Cyclops in battle. Storm is a fucking badass. She is amazing. Also, Bryan Singer had Halle Berry, an Oscar-caliber actress, in his cast! So what does he do? “Do you know what happens to a Toad when it gets struck by lightning?” Goddamit, Singer. Just…goddammit.

To be fair (?) to Singer, his problem may not be black women, but just women, as I also have serious problems with how Rogue is portrayed (Rogue is not some frightened, delicate flower who hides in her shell. Rogue is also a fucking badass. She is sassy Southern, not demure Southern). Mystique doesn’t have any lines, but she spends much of the climax fighting Wolverine, so you know she’s tough. Jean is powerful but there’s hints that she has powers that she doesn’t use because they are uncontrolled and “dangerous.” But Rogue seems lost, and Storm does nothing. It’s infuriating.

So in this movie, which is establishing the universe for future movies, there’s one character of color, and that character of color has almost no lines or character establishment. The white actors (who are great! Ian McKellan and Patrick Stewart and Hugh Jackman are all amazing) dominate the movie, and fans and movie-goers responded accordingly. With everyone responding positively to Wolverine and nobody responding to Storm at all, it becomes that much easier for the screenwriters to give Wolverine screen precedence on the next outing.

The racism we have here might be called where the fuck is everybody, because we are supposed to accept that just outside of the most diverse city on earth, in a school devoted to serving a population that are the result of random genetic mutations, most of the faculty of the school, and even most of the students that we see, are all white. Except for Storm. And that just carries on for another 5 movies and 13 years (including two solo Wolverine movies), until we get to Days of Future Past, where it turns out that the PoC characters who have been established are expendable. No setting up a multi-movie arc for Bishop or Warpath here.

Days of Future Past isn’t even where the expendable PoC tropes begin. In X-Men: The Last Stand (the third movie), a bunch of new characters are introduced when Magneto recruits new followers. Lots of these folks are PoC, which is cool (I really like Arclight, for the record), but we never get to know them, and a bunch of them die at the end of the movie. None of Magneto’s new recruits survive to have an impact on subsequent movies in the franchise. As far as I remember, none of them even appear in any of the subsequent movies.

And look, I realize that this is maybe not on purpose. The studio can certainly make an argument that there’s a finite amount of marketing space, a finite amount of space in a story, a finite amount of space in merchandizing, and that Patrick Stewart, Ian McKellan, and Hugh Jackman just take up a damn lot of space. And a lot of folks will see that argument as having merit. But racism isn’t always on purpose, and impact doesn’t equal intent. And it creates a self-fulfilling prophecy: Storm doesn’t have enough of a following to get toys made in her likeness or a movie made about her, so kids going to see the X-Men movies never learn enough about her to get curious, so they don’t demand more Storm, so the studio doesn’t make a movie that it doesn’t think people would be interested in. And we can all talk ourselves into never having people of color on screen and make it never about race at all.

So, no more Storm. No more Bishop, or Blink, or Warpath. No Sunspot. No Jubilation Lee. We had Lady Deathstrike, for a hot minute, but she’s gone. And whatever reasons you or the studio wants to give for why we had three Wolverine movies and no movies about Storm, I think that sucks.

 

 

Random Tangent #1: I know that Magneto often plays the role of the villain in the comics, but can we just take a minute and sit with the fact that all the villains in these movies who hold systemic power and influence (Senator Kelly, Colonel Stryker, Bolivar Trask) are tertiary villains, passing fads, while the primary, unkillable nemesis is…Magneto? The Jewish war refugee who lost his family (twice!), whose anger and grief is deep and cold and bottomless, and whose reaction to oppression may be summarized as, “You killed my family and there is no justice for that so come on, just try it, try anything, because I have been looking for an excuse to drop a football stadium on your heads”? That’s…not how oppression works at all, actually. Ian McKellan and Michael Fassbender are both great. And it’s really hard to make a compelling narrative about fighting a power system (see also: the Captain America: Civil War movie, which took all the thematic conversations in the comics about freedom vs oversight and made it into a personal beef between Captain America and Iron Man). But also, making the survivor of a genocide into a perpetrator of terror while white villains disappear in between movies is not a politically neutral decision.

Random Tangent #2: Speaking of evil-doers, in X2: X-Men United, the most queer-coded movie of the entire franchise, the baddie is Col. William Stryker, who enslaves mutants as part of his master plan to eradicate them. Near the climax, it’s made clear that his son is also a mutant. Stryker declares that he “has no son,” rather than accept the fact that a) his son is a mutant; b) he has subjected his son to brutal scientific experimentation to control him because he can’t accept him; and c) he is sitting right there. (Perhaps it wasn’t intended to refer to this at the time, but when I watch it now that line makes me think of the ex-gay movement that holds gay kids captive and brainwashes them into trying to be straight). There’s adults out there who haven’t talked to their parents since they came out in the late 90s, because their parents disowned them. There’s kids out there right now living on the street because they can’t safely live with their parents, because their parents are homophobes. William Stryker declaring that he has no son is perhaps the most pedestrian, believably evil line in that entire movie.

Note to a kid and also myself

makegoodart

Picture by Gavin Aung Than of zenpencils.com

“You can, you should, and if you’re brave enough to start, you will.”
—Stephen King

Recently, I was going through my google drive to see what I could clean up. Docs tends to be where I start impulsive projects, or where I take notes if I’m out and about somewhere and don’t have a pen and paper handy. I get started, write a few paragraphs, realize that I have no real place to go with it and no conclusion, run out of time, and close the app. I never remember to title these bits and pieces so my drive is full of “Untitled Document” with only the creation date to differentiate them. And every now and then I go through and try to figure out what I can expand on and finish, and what I can just delete.

This time, though, I actually found something interesting. Marginally. In 2017, I was on a panel at Denver Comic Con about writing fanfic (DCC has since been renamed something that won’t get them sued by the San Diego Comic Con, who have decided that they are the only comic con, but I never remember what the new name is, so in my head the event is still, and probably always will be, the Denver Comic Con). I was working at the public library at the time, which often organizes a bunch of family-friendly panels covering various aspects of nerdly books/movies/fandom. It was fun, if terrifying, because I’m not exactly known for my public speaking skills or confidence. We covered a bunch of topics, from writing generally to a history of fanfic to an overview of a few of the largest sites, like AO3 and fanfiction.net. I went first, and spoke about writing generally. It was…not a lie, exactly, but more of an aspirational talk than a factual one, because I was (and still am) struggling with writer’s block. I was giving advice to kids that I was having trouble taking myself.

But anyway. This is more or less what I said. I have gone through and edited and updated it, since it’s two years old:


I took on the task to make a case for writing, which I think is both easy and hard, because to me it comes down to this: If you want to be a writer, if you want to write, you should write. And you should write what you want, and what you enjoy. Period, the end. That’s all you really need to be a writer. Everything else is details.

“We owe it to ourselves to tell stories.” That’s what Neil Gaiman says. Especially in this day and age, in this culture, when it’s so much easier to be a consumer than a contributor, we must tell stories. In this age when so many of our stories are fed to us by corporate behemoths who write by committee, we owe it to ourselves to tell stories. Don’t wait for someone else to write the story you want to read.

When I was in high school and college, I got intimidated out of writing what I wanted to write. I thought that if I was going to be a “real writer,” I had to write stuff like what I was reading in English class. I thought I had to write like Steinbeck or Tolkien or Toni Morrison. I don’t even know where I got that impression. It certainly wasn’t anything that anybody told me, but more of a vague idea of what a Real Writer looked like. If I’d been cognizant enough of it to articulate it, any adult would have told me what I’m telling you now: write whatever you want, and don’t worry about whether you’re measuring up to Charles Freaking Dickens. Don’t worry about symbolism or theme or whether your subject is weighty enough. Soap operas get dragged for being silly and impossible and overly dramatic, but their writers get paid like anyone else. Chuck Tingle writes stories about being pounded in the butt by [insert noun or sometimes figurative idea here] and got nominated for a Hugo award. Don’t worry about whether it’s worth it. Worry about finishing. Just write it, whatever it is that’s in your head.

So, with that manifesto out of the way, I thought I’d spend a minute talking about some specific advantages to writing fanfic especially if you’re a new writer.

Sometimes it seems like people will only consider you a “real fan” if you know everything about the thing that you’re a fan of. Don’t get me wrong, knowing everything about one thing can be cool and fun if that’s your jam. I have a friend who owns every single Daredevil comic ever written. He can name all the all the writers and artists and often what issues or arcs they worked on. If that’s where your fandom happiness lies, go for it. More power to you, and I hope you make editor someday. But if you want to write, and you’re hesitating to start because you fear that you don’t know enough yet–stop that. Start writing. Stop doing homework and start writing. There’s a ton of resources out there about how to write, but they all boil down to: Sit with a pad of paper and a pen, or with your computer, and start putting words on paper. That’s all you really need to get going. The rest you can learn.

Fandom is changing, and with the internet comes a lot of gatekeepers, but there’s also a lot of people around who are determined to burn the gates to the ground and piss all over its ashes. Just as you can write whatever you want and however you want, you can define fandom however you want. It’s your fandom. Love the Good Omens miniseries? I definitely recommend reading the book if you haven’t, I think it’s great, but don’t feel like you have to read the book and also Neil Gaiman’s tumblr asks where he answers questions about it and also the script book and also the TV companion book before you can write your story. Do you want to cosplay Wonder Woman even though you’ve only read a few issues, but Comic Con is soon and you love her armor? I sure won’t stop you. And anyone at a con who starts quizzing you about all her writers and artists and storylines is doing it wrong. Don’t let them discourage you. Fan fiction is great because you can just start.

If you’re wanting to get published, sure, different standards come into play. Grammar and style and structure and (probably) using characters you created instead of somebody else’s. But this is fanfic. This is fun. There is where nothing but possibility lives.

You get better at writing by writing. The first thing you write will probably be terrible. That’s okay. The more you write, the more you’ll find your voice.

X-Men X-Tinction Agenda: Further Thoughts

So, I have some further thoughts/epilogue/ramblings about the X-Tinction Agenda tradepaperbacks that I read this spring, but very little ability/motivation to organize them? Sorry about that. I swear I’m doing my best here, in that sometimes the best I can do is to lower my standards so that I post anything at all.

On Insults: There is a scene—a couple of scenes, actually—where the X-Men encounter, for the first time, a Genoshan racial slur: “genejoke.” When the word is directed at her, Rogue says (while also punching the magistrates in the face), “That word sounds like an insult, fella.” Storm reacts similarly: “That word—‘genejoke’—I do not like it.” What Rogue and Storm (and Chris Claremont) understand is that what makes a slur a slur isn’t the word itself, but how the word is used. Storm and Rogue have never heard “genejoke” before landing on Genosha, but they’ve heard “mutie” plenty, and they instinctively know that the words are similar, and are only used by people who think they’re garbage. They would never have patience with the disingenuous people who tell you that you’re just being oversensitive when they call your names because “a faggot is just a bundle of sticks, come on, man, lighten up.” You don’t have to listen to them. You know, and so do Storm and Rogue: an insult is an insult even if you don’t understand the exact word being used.

On Hammer Bay: I forgot to note in either of my previous entries, but Genosha’s capital is described by Claremont as “the most dynamically modern city on earth.” I read this book before the Black Panther movie came out, and I’m not sure where Wakanda was in the Marvel Universe at this time (still hiding behind its lying concealing forcefield?) but I want to note a couple things: One, Hammer Bay, like the United States, has reached its exalted status on the backs of slaves, and any discussion or evaluation of one of those qualities without addressing the other one is kind of a farce. The other is that Wakanda exists (in the Marvel universe, anyway): a dynamically modern society that was never on either side of slavery. Never colonizer or colonized. And I know there’s no real-world analog of Wakanda—yet. But we’re capable of imagining it, right? We accept Wakanda in the Marvel universe. It exists. I just think that, if we can look to science fiction for shit like laser guns and flying cars and then turn those things (or things like them) into reality, surely we can do that with Wakanda too. We can address our past and finally move past it. Surely that’s a possibility, both within the realm of our imaginations and within our abilities as humans.

On Women’s Bodies: Problematic boobage and weirdly long legs and tiny waists have been discussed elsewhere on the Internet, but I just want to point to the President of Genosha here to further my hypothesis that some significant number of comics artists in the 1980s (in this case, Jon Bogdanove) just straight up did not know what women look like.

president

All the women in this world are either winners of the Miss Olympia competition, or are men in disguise.

Please also note that Hodge, the creepy and insane mechanical cyborg whose human head is the only remnant of his previous body, is literally wearing a cardboard cutout of a suit around his neck to try and conceal his monstrous insect-like body behind him. You are totally fooling all of us, dude. Best disguise ever.

This book is, in a way, everything I both love and hate about comics. I love the various personalities of the X-Men (in the first half of the book anyway; after that they start sniping and backbiting each other and it’s like, come on guys, the magistrates are trying to murder and enslave you, maybe prioritize other things just now) and how they work together and kick ass and never leave anyone behind. I love Claremont’s socio-political commentary, in how he translates all these historical and philosophical ideas into a new medium. But I really dislike the 1980s female body as drawn in comics, and I’m not super amped about the extra-bulked up male characters, either.

Reading Comics: X-Men X-Tinction Agenda TPB (Part Two)

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In this entry: Uncanny X-Men 237 & 238, the second two issues in the X-Tinction Agenda crossover event. Prepare to board the Mutant Train! Written by Chris Claremont, pencilled by Rick Leonardi (237) and Marc Silvestri (238), inked by Terry Austin (237) and Dan Green (238), lettered by Tom Orzechowski, edited by Bob Harris.

When we left off (in issue 236), Rogue (who is being “steered” by Carol Danvers, who has apparently been lying dormant in Rogue’s mind ever since Rogue touched her one time) and Wolverine, who have had their mutant powers stripped from them, are trying to escape from Genosha. To this end, they have stolen a military jet magistrate aircar and are flying away. We open issue 237 over international waters.

Also, I don’t think I said this last time, the Genegineer’s name is Phillip Moreau. His last name is Moreau. Because that’s not symbolic at all. Just kidding it totally is.

Anyway, it transpires (after the Genoshan military boards the stolen aircar) that Wolverine and Rogue/Carol Danvers aren’t on the jet after all. The whole thing was (presumably) a distraction to give Wolvie and Rogue/CD a chance to rescue Madelyne Pryor and Jenny Ransom, who are still prisoners of the magistrates and in danger of having their brains mutilated by our resident wielder of banal evil, Dr. Moreau. We switch scenes to Wolverine, who is lurking on the street watching a documentary propaganda broadcast about the history and goals of Genosha. “Sounds wonderful, sweetheart,” says Wolverine to the television, after listening to a perky red-headed lady wax poetic about Genosha’s iron ore deposits, its low levels of poverty, its status as a contender for the “breadbasket of the world” title, “pity it’s a crock.” He and Rogue/CD observe some magistrate patrolmen pulling petty power trips on a mutate garbageman, and Rogue/CD convinces him to not murder the magistrates with his claws as it would blow their “keep quiet and wait for reinforcements” plan.

While they’re in a bar causing a diversion and stealing magistrates’ badges and credentials, Wolvie and Rogue/CD happen upon a drunken Phillip Moreau, washing down his sorrows in a cop bar on the wrong side of town, and getting knocked cold by the off-duty magistrates, who don’t take kindly to him causing a ruckus in their bar. In retaliation, they dump his drunkenly unconscious body on the “mute train,” the commuter train on which mutates ride to their barracks at the end of the day. The magistrates dump Phillip on the train, and Wolverine and Rogue board as well, curious to see what the “mute train” might be.

Meanwhile, out of some kind of…I don’t even know what, the Genegineer has called Mutant 9817—that is, Jenny, his son’s fiancee—to his office. He explains to her that her father falsified the results of her genetic exam, and that she’s a mutant, and as such she much has “a responsibility to the community that bore and nurtured” her to give herself over for “processing” and a lifetime of servitude. “It’s slavery!” cries Jenny, utterly distraught. In fact, Jenny’s lines throughout the whole two-page scene consist of statements like “Why am I here?” “But I tested normal on my genetic exam!” “oh no oh no oh no,” “Why me? It isn’t fair!” “It’s slavery!” “Does Phillip know?” She is in shock, nothing but tears and questions. The bulk of the word balloons (and it’s Chris Claremont, so there are a lot of word balloons) are of the Genegineer, lecture/pleading with Jenny to clear his own conscience, explaining to her why her life is over. At one point, he says, “Believe me, this is as hard for me, as for you.” Somehow I doubt that, Genejerkface. She’s giving up her whole existence because you deem it necessary, and after you buzz on your intercom to have her taken away, you’ll never think about her again. It is objectively, demonstrably, not harder for you. But, in a glorious demonstration of blindness to the consequences of one’s actions, he says it anyway, and he really believes it. He believes that this really is as hard for him as it is for her. He calls it “our sacrifice,” even though he is sacrificing precisely nothing. He believes that slavery is necessary. He believes that the benefits of taking children away from their families and brainwashing them and putting them to labor outweighs whatever momentary discomfort he might feel from his dull, crippled conscience. He does not think that Genosha would survive as the paradise that it is without the brutality and coercion that laces underneath every single inch of the island.

The whole scene is gross. Versions of it happen all the time in the real world, and it’s gross then, too.

The issue ends with Wolverine vowing to “bring this flamin’ country down,” and at this point I can’t say I’m opposed.

 

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something something male gaze something something

 

Issue 238 opens with a “transcript” of a telepathic interview done on Mutant 9818—aka Madelyne Pryor—immediately before she somehow destroyed the examining team (“torn to bits,” is how it’s described). Exactly what Madelyne did or how is vaguely unclear, but evidently in her own mind she garbs herself in what can only be described as Skimpy Hellfire Goth, and this is totally about female empowerment and not about the 1980s being a boobs guy at all. (There’s probably a whole essay of my mixed feelings in here somewhere, about how I love that Madelyne is smart and brave and fighting back even though she has no conscious access to mutant powers, but also I could never cosplay as her because come on, and also I don’t want to police or judge what another woman decides to put on her body, butakshually Marc Silvestri decided what she would be wearing, and also come on) (being a female with SJW tendencies who also loves comics can be complicated sometimes, and Hellfire Madelyne Pryor and Emma Frost are two of the ones who make it seem complicated).

Furious and/or frightened, the Genegineer storms down to the cells to yell at Madelyne for murdering his interrogation team. In the process, he has the same conversation with Madelyne that he had with Jenny in the last issue, but Madelyne is mature enough and experienced enough to fight back. “What I think and feel and want don’t really matter, do they? I was condemned the moment I arrived here,” she tells Moreau. He tries to feed her the line about how the Genoshan way of life must be protected, and how the mutants on Genosha “want and care for nothing.” “Except freedom,” she says, from where she sits, in her cell, behind bars. “What are you so scared of?” she asks. “If you system’s such a marvel, why not share it with everyone?” He feeds her something about secrecy being Genosha’s strength, a bullshit line that he probably actually believes, but Madelyne’s not having it.

“What is necessary, is done,” says the guard who has escorted Moreau down to the cells.

“Seig heil to you too, sweetie,” Madelyne cuts back.

We switch to Wolverine and Rogue/Carol Danvers, who have ended up in the mutant barracks (the end of the line of the mutant train that they boarded the previous night), which—though none of them have seen it before—is a rude awakening to Phillip Moreau, and nothing new to Wolvie and R/CD. Phillip is having the realization that my dad had when he was a kid in the 1950s in Louisiana: that the people that he saw cleaning houses and doing menial labor went somewhere at the end of the day, and that sometimes the places they went weren’t very fancy, or very nice.

“Tell me something, boy,” Wolverine asks him, “Where’d you think the mutants went at night, after they quit work?”

“Home, I guess. Same as anyone.” (But for Phillip, who has a very narrow field of experience, “home” has a very narrow definition.)

“Live and learn, kiddo,” Rogue/Carol tells him. “Welcome to the Mutant Settlement Zone. A prison, by any other name.”

“Like keeps to like, that’s what I was always taught,” says Phillip, really thinking about what he’d been taught for maybe the first time in his life. “The mutes–sorry, mutants, no offense–they naturally preferred the company of their own kind. Their own way of life, their own place. Is that so wrong?”

“You tell us,” Wolverine replies.

Rogue/Carol says (and I’m truncating this a bit), “You never wondered about the uniforms mutants wear?…[It] makes the slaves easily identifiable, then guarantees a social environment wherein they’re almost totally isolated. If no one befriends them, no one can feel sorry for them. Effectively, they become extensions of their jobs–perceived not as people any longer but organic machines. And who cares what happens to machines?”

When I first read this, it made me think (as it was probably supposed to make me think) of slavery, and segregation, and Jim Crow. But as I was reading it again and writing this essay, it made me think of retail workers and cashiers. And sure, that comparison is a little shallow, a little low stakes. But who thinks about where a cashier goes at the end of the day, and what kind of life she can buy with her $10/hr? Who thinks about the folks in the agriculture supply chain who pick our food and work in our slaughterhouses? How isolated is a community of transient farmworkers from your daily life? (If it’s anything like my daily life, they might as well live across an ocean.) What’s the separation that’s happening today—and not organic separation, either, not like “Oh I live far away from Irish people in Irelend” separation, remember that the Genoshan power structure keeps the lives of the mutates a secret on purpose—that keeps you from seeing the people around you as people?

I do know this, though—in my experience, increasing my knowledge of an issue or a country or a culture or a person, when I hear from those people themselves, has already brought me closer to human empathy. Never further away. If the knowledge you gain hardens your heart, then you might be doing something wrong. There’s a Ta-Nahesi Coates quote that I can’t find right now, about how slavery was only ever “acceptable” if you didn’t ask black people what they thought. Phillip, basically, has finally opened his ears to the idea that the mutants might have different ideas about this whole system than the magistrates do. His father, even though multiple mutants and his own son try to tell him what it’s like out there, refuses to hear.

Back to the story…

Wolverine, Rogue/Carol, and Phillip are found at the mutant barracks and arrested and brought back to Hammer Bay, the capital city, and to Phillip’s father (and the guard captain, whose name I don’t think has been mentioned). Phillip immediately confronts his father about what he’s seen and how horrifying he found it. “I’ve seen the camp, Dad, it’s a prison! Why hasn’t the country been told?! Why won’t you level with the people about the regime you force the mutants to live under?! Those mutants are Genoshans, too, just like us—They deserve the same benefits, the same chance for happiness and success the rest of us accept as a right!” Phillip is basically a baby ally, truth and justice bright in his mind, sure that if only everyone else could see what he’s seen, they would all be just as horrified as him. I appreciate that Phillip has basically had one hell of a 24 hours (at this time yesterday, remember, he was out for a run and happened upon his girlfriend’s family being arrested), so I really shouldn’t judge what kind of ally he might turn out to be, but he’s also doing the annoying this of jumping on a social issue only after it’s affected him personally. I guess any reason is a good enough reason as long as it gets the kid in the fight, but if other humans could do this a little less, I think we would aggravate each other a lot less.

The Genegineer repeats his argument about how it’s for the good of all Genosha that mutants are enslaved, and about preserving the Genoshans’ peculiar way of life, and then asks—as his son asked at the barracks, though he doesn’t know that—“Is that so wrong?”

Wolverine, tellingly, answers the question differently this time: “If you haveta ask, bub…there’s no point in answerin’.”

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Phillip Moreau chooses a side

Side point: “I’ve been a slave,” Wolverine tells the captain of the guard, who is basically telling Phillip to shut the hell up until he knows better than her what’s what, “Didn’t much care for it.”

“That will change,” the captain tells Wolverine. “When Wipeout’s erased all memory of your old life–oh yes, he does that too–and the Genegineer’s established a new one, I guarantee you’ll love it.”

“Not hardly,” says Wolverine, “I’ll die first.” When I first read this, I thought Wolvie was just making a Wolvie threat (and the captain and the magistrates present certainly hear it that way), but it also occurs to me that Wolverine is seriously injured, and if Wipeout fails to restore his healing factor, Wolverine really will die. I felt really cool about reading the dialogue this way until I got to the next page and Wolverine made explicit text out of the subtext.

Just as Wolverine is basically making a suicide bid for freedom, the rest of the X-Men arrive, literally blowing the doors off the place, and in short order rescue Madelyne Pryor, a mutant baby who was also in the prison (oh hey, look who else throws babies into prisons!), and Jenny Ransome, who is looking much more muscular but who hasn’t had her mind wiped yet. Rogue/Carol takes Wipeout hostage, and Psylocke uses him to restore Wolverine’s healing factor. Wolverine and Phillip briefly disagree over whether they should burn Genosha to the ground or give the Genoshans a chance to mend their ways. Storm goes with Phillip’s way, though with the added threat to the Genegineer and the magistrates that if they don’t listen to Phillip, she’s not opposed to taking the Wolverine Option at a future date. They explode the Hammer Bay Citadel to emphasize the point.

“My son, I beg you—consider what you’re doing!” says the Genegineer. “You’ll destroy everything we’ve worked lifetimes here in Genosha to build!”

“But, Dad, if the mutants aren’t free, then maybe what you’ve built isn’t worth saving,” says Phillip, looking a little sad. He goes through the portal off Genosha with the X-Men, seeking asylum for himself and Jenny in America.

And they all lived happily ever after.

The trade paperback continues, though it skips ahead to issue 270 for Further Genoshan Adventures. I’m not sure if I’ll continue forward; the latter adventures are decidedly more boom-pow-bam and less Claremontian Discourse On Justice, and my own analysis consists more of being annoyed by Wolfsbane and how Rob Liefeld can’t draw feet. So it might be funny but probably wouldn’t be that interesting. I dunno. Maybe I’ll write something else and post it in less than two months!

Reading Comics: X-Men X-tinction Agenda (TPB)

coverIn this entry: Uncanny X-Men #235 & 236, first two issues in the X-tinction Agenda crossover event (the most ambitious crossover event in history! or something). Written by Chris Claremont; penciled by Rick Leonardi (235) and Marc Silvestri (236); inked by P. Craig Russell (235) and Dan Green (236); colored by Glynis Oliver (235) and Petra Scotese (236); lettered by Tom Orzechowski (235 & 236); and edited by Bob Harras.

Caution! Spoilers ahoy.

Welcome to Genosha.

My comics knowledge, as I’ve said elsewhere, is kinda spotty, at least compared to my true comic nerd friends. I get most of my comics from the public library, so I’m subject to the whims of availability and purchasing departments and waiting lists. But I know that I like Chris Claremont, so when I happened upon a TPB at the library called X-Tinction Agenda collecting several stories–from Uncanny X-Men, New Mutants, and X-Factor, published between 1983 and 1988–centering around the island nation of Genosha, I checked it out.

Guys, it’s so good. And even though it was published thirty years ago, parts of it are so relevant to our current political situation. So I figured I’d talk about it.

Uncanny X-Men #235: Welcome to Genosha.

Random thing, before we even start on the plot: The picture that dominates the first page is a sign that says: “Welcome to Genosha. A Green and Pleasant Land of Hope and Opportunity where the Watchword is Freedom.” “Green and pleasant land” is a line from a William Blake poem that is also a very famous and common British hymn and a sort of alternative national anthem for England. It evokes Britain as a sort of paradise, a place where lions can lie down with lambs and lovely rabbits frolic through the idyllic grasses. Under this sign, with its buzzwords of peace and prosperity, crouches a fugitive, a mutant who is trying to smuggle his child away from a life of slavery. The overarching theme of this entire story arc, underneath its blams and pows, is about the rot and corruption and cruelty that exist underneath the patina of wealth and prosperity, and you can see all of that on this one page if you look hard enough.

We start out by getting into the middle of a story that doesn’t involve the X-Men—a blonde man with a Sylvester Stallone-ian build, carrying a baby, has vaulted into a restricted area of an airport runway. “See those lights?” he tells the baby. “For people like us…that’s where true freedom lies.” He’s trying to smuggle the baby off the island, and he succeeds, but loses his own life in the process. There’s so much that could be talked about, pointed at, even in just these first few pages. Like a present-day Mexican, or Syrian, or Somalian, or Rohingya, or Palestinian—people will always cross barbed wire and guns if they think it’ll lead to a better chance for their kids. “I’ll miss you, baby boy,” he tells the young one. “You be brave.” Then the magistrates (Genoshan secret military police force charged with corralling and punishing mutants) are on top of him. He takes out one of their armored vehicles before they shoot him down, and as he dies, he watches the plane with the small stowaway take off and fly away. The magistrates, thinking that he was trying to escape himself, don’t even realize at first that a mutant has escaped their clutches.

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I want to be clear that these are the first two panels on the first page.

SCENE CHANGE. The reds and blacks of the airport security lights and murder switch to oranges and yellows of the bright Australian sun. The Genoshans have sent the magistrates after the escaped baby, who is a mutant, and therefore (according to Genoshan law) not allowed to be a free person. They have lured Jenny Ransome (an escaped adult Genoshan mutant) to their location, hoping to quietly kidnap her back to Genosha, but unfortunately (for them) Jenny is accompanied by Madelyne Pryor, X-Man, clone, and close enough to a mutant that the differences are academic.

The Press Gang magistrates are an odd bunch, and I will freely admit that maybe this is one of those things that is explained in an issue of the X-Men that I’ve never read. They have special abilities, and seem to be either mutants or augmented humans, but they also hate and fear mutants as all Genoshans do. It’s unclear if the Press Gang are brainwashed into service (though in a different way than the general “mutate” population), or if they chose joining the Magistrates over going through the mutate process. They may be a sort of mutant Judenrat. I’m honestly not sure.

Over and over again, Genosha exhibits this slaver’s mindset doublespeak–they hate and fear mutants, even the mutants hate and fear mutants, but they’re happy to use them for their own ends to make Genosha a prosperous nation. Mutants are a danger. Mutants are also the reason why Genosha is prosperous. The future of Genosha depends on Genoshans never realizing or acknowledging this fact.

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This is Punchout. It took me like 7 pages to clarify that she is a woman. She is probably also on steroids? Also I think that 1980s comic book artists don’t know what women look like.

Pipeline, one of the Press Gang Magistrates, has the ability to reduce humans to “binary electronic impulses” and send them across his “phone link” for near-instant transport to Genosha. The phone link can transport humans but not their clothing for reasons that comic nerds tell me are perfectly obvious and logical and has nothing to do with wanting to see naked mutants. Pipeline zaps both Jenny Ransome and Madelyne Pryor back to Genosha, which of course brings the X-Men into it when Madelyne doesn’t come home. The adventure is on. Like, full splash page of a battle on.

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Zoom! Pow! (Also, poor Colossus. Doesn’t realize he’s in part one of like eighteen.)

 

Uncanny X-Men #236: “Busting Loose!”

At the end of #235, Jenny Ransome and Madelyne Pryor were zapped via “telephone link” from Australia to Genosha, as were Rogue and Wolverine when they were caught trying to track Madelyne and Jenny. Which is how we end up with Naked Wolverine and Naked Rogue taking on a whole squadron of magistrates.

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It is 100% necessary to the narrative that Wolvie and Rogue show up naked in Genosha. Also, strategically placed shrapnel is strategic.

About halfway through the issue, though, the story starts to depart from the usual comic POWs and ZAMs and SNIKTs and veer into Chris Claremont-ian holy-shit-metaphors territory. We cut away from Wolverine and Rogue (who have just lost the battle by virtue of having their mutant abilities wiped out by a vaguely clerical-looking Genoshan mutant named Wipeout) to suburban Genosha where a high-level civil servant, the Genegineer, has been pulled away from his Saturday gardening and plans with his teenage son Phillip to go deal with the general crisis that is the X-Men show up naked on your doorstep. (The Genegineer is in charge of administering the medical/biological alterations to mutants to turn them into powerful but mindless slaves.) You can see, in a small but telling interaction, just where general Genoshan population—through the lens of Phillip—is in terms of human-mutant relations: a flying car, taking off from Phillip’s yard, has damaged the lawn and some of the garden. Phillip offhandedly says to an approaching mutate, “Fix it, will ya, boy?” He doesn’t stick around to see if the mutate does so, or to thank him, or tell him he did a good job. He just walks away, both garden and mutate gone from his mind. (Which leads me to wonder, why is Phillip’s dad gardening at all, when they have a mutate who can do it faster and better?)

And now, back to Wolverine and Rogue, who have been captured and imprisoned.

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So, here’s a thing that maybe says more about my obtuseness and lack of reading comprehension than anything else, but it wasn’t until I read these panels that I realized what a stunning metaphor Rogue’s mutant powers are for trauma. I mean, in these two panels, the two jailers who are speaking think that Rogue is reacting solely to being manhandled (and in a way she is, because thanks to Wipeout she didn’t absorb any magistrate psyches), but what they—and we (sorry, spoilers)—don’t know yet is that Wipeout’s attack combined with the Magistrates’ capture of her has basically unleashed all the psyches that Rogue has buried in her brain. But that’s…that’s what trauma is. A ghost of an experience, taking up space in your brain, and rising up at the most inconvenient times to make a time traveler out of your adrenal system and convince you that you’re back in that spot. Rogue has dozens and dozens of psyches inside her brain, and generally she can keep them at bay, but every now and again they rise up and incapacitate her. And they can do this without the original person knowing, or being aware, or even remembering what they did to get into her brain in the first place (see also, Kevin Spacey “not remembering” what he did to Anthony Rupp, and how what was so formulative for Rupp was not even a blip in Spacey’s mental story of his life). Ghosts, man. Ghosts and trauma.

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Besides the beauty of Claremont’s narration, I just want to point out that I love Rogue’s body language and how she’s standing here (especially because I will be mocking the body language of female characters later on).

 

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*whispers* This page is so goddamn pretty.

 

Okay, so, back to our young lad Phillip, who is out for a run when he sees that a squad of magistrates have descended on his neighbor’s house and arrested the family of a government minister (including their daughter who is, we will learn, young Phillip’s fiancée). One of the magistrates threatens to club Phillip with his baton when Phillip tries to intervene, then does an abrupt 180 when he finds out how powerful Phillip’s father is. He’s apologetic and fawning, begging Phillip not to tell his father that a lowly magistrate stepped so far out of line. On an immediate level, he’s asking Phillip not to tell his father, because then the Magistrate will get fired. But really, what he’s asking of Phillip—what the whole interaction is about—is reminding Phillip of who he is, where he’s from, what his class is. In Genoshan society, if Phillip isn’t siding with the humans, then he’s siding with the mutants, and the magistrates are there to enforce that divide and make sure it remains. Sympathy for mutants is a dangerous emotion. What’s at stake here is not just the whims of some cops, but all of Genoshan society. If the subtext isn’t obvious enough, Claremont throws in that most notorious of excuses for the benign perpetuation of evil into the narrative waters— “I was only following orders,” the magistrate tells Phillip. Nothing personal. I was only following orders when I arrested your girlfriend and sent her off to get her genetically altered into a mind-altered slave. I didn’t create this system, I’m just living in it. I just need to feed my family and I’m only following orders.

And I mean, that’s how you know you’re in power, even if you feel like a small and powerless element of much larger social mechanisms. When what is, for you, just one of your basic daily duties that you hardly think about is also the most deeply, elementally personal thing to someone else–their body, their identity, their very existence. People who are in power, who are removed from the consequences of their actions, can have profound impacts on those below them without ever meeting or thinking about what they’re doing and why. The Magistrate is just following orders. The mutant is just existing. Even the Genegineer, with all his power, frames his actions as “necessary”—not as choices. Jenny Ransome has a “duty” to serve Genosha as a mindless, altered mutate. The Genegineer has the duty to turn her into the slave that Genosha needs. And Phillip is learning, is about to learn, that his action–or his inaction–will have profound consequences.

Next time: Who’s human? All aboard the mutant train.

Book Review: The Walking Dead #1

walkingdeadI first reviewed this book on my Goodreads account over here.

I should probably clarify at the outset that I have never seen a zombie movie in my life. Nor a zombie television episode. Nor read any other zombie novels or graphic novels. I haven’t read Pride & Prejudice & Zombies. Needless to say, I am completely unable to place The Walking Dead within a larger zombie context. It is entirely possible that I will say something that someone experienced in zombie culture would not say.

“In a world ruled by the dead, people are forced to finally begin living.”

Days Gone By, compiling issues #1-6 of the Walking Dead graphic novel series, opens and closes with a gun battle, and sandwiched between are a lot of zombies. The apocalypse has happened. Society has crumbled while Rick Grimes, our small-town cop hero protagonist, was in a coma recovering from a gunshot wound. His town has been abandoned, and his family has disappeared. Days Gone By follows Rick as he tries to find his family and learn the basics of whatever it is that’s happening to his world. And, refreshingly, the story doesn’t pause for more than three panels to explain what’s going on, or what caused all the zombies. “All media shut down after a few weeks. I haven’t heard much of anything after that. If they found a way to stop it…they haven’t made it here yet. Those things are everywhere. Before they stopped broadcasting they told us to relocate to the bigger cities. They said they could protect us all there.”

And that’s basically all we know. All Rick knows.

Because it’s a collection of issues, the graphic novel follows Rick trying to achieve specific, smaller goals within the larger overarching story of survival. Finding his family. Working out how to defend himself. Gradually building tensions between the surviving characters. I tend to read graphic novels really quickly (so quickly that sometimes the finer points or moments of emotional impact sail right by me), and some of the character tension stuff I didn’t really care about, but The Walking Dead did have an effect on me by the very end, and I could hear the little boy screaming inside of my head.

The graphic novels and the AMC television adaptation have, as most people know, gotten really popular. If you’re into zombies, I expect you’re way ahead of me and have read all the comics and watched all of the episodes. However, if you’ve been avoiding the series because you’re not a zombie person and don’t like zombies, you might want to give The Walking Dead a shot. I’m not sorry I did (but I still probably won’t watch the TV show anytime soon).