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What is a cliffhanger.

August 25th, 2010 Posted by Esther Inglis-Arkell

A little while ago, I posted an entry about my decision to temporarily drop the Birds of Prey comic, due to a cliffhanger plot element.  Last month, after an epic separation of one issue, I jumped right back on board, and I’m eagerly awaiting the next issue due to a different cliffhanger.  At scans_daily, and in conversations with other comics people, I noticed that many people felt the same.

Tastes differ, and what makes me sit up and take notice of a comic is going to make another person throw it across the room.  But the conversations got me thinking about how cliffhangers work, and what separates the good from the bad.

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Three covers and three words.

August 18th, 2010 Posted by Esther Inglis-Arkell

Three November covers and three words to describe each of them.

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Batgirl #13 Play-by-Play

August 16th, 2010 Posted by Esther Inglis-Arkell

A new year, a new team, a newly-shifted love interest.

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Batgirl #12 Play-by-Play

August 12th, 2010 Posted by Esther Inglis-Arkell

I’m back, baby.  Shrugging off what I have to say was the hurtful realization that 4thletter had its best month ever when I wasn’t blogging for it (I can only assume that you all kept coming because I was still in the podcasts), I am back, and a month behind in my Batgirl recaps.  Let’s start catching up right now.

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Promise you’ll be merry!

June 30th, 2010 Posted by Esther Inglis-Arkell

I think that, over the last few years, I’ve had the same emotional journey with Oliver Queen as most of his love interests did.  It added a little meta to the experience of reading.  I went from being charmed, to really enjoying the fun, to wishing he hadn’t just done that, to wondering why he kept doing that, and finally it came time to toss his ring on the floor and stride out.

I was pretty much done with the book, despite remarking to David that the funny, magical forest in the middle and Green Arrow as a direct Robin Hood metaphor was right up my alley until I saw the last page of Green Arrow #1.

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Women as Victims in Comics, Movies, and Books

June 29th, 2010 Posted by Esther Inglis-Arkell

This is a difficult entry for me to word, because a supposition has been set down by feminists about why women are portrayed as victims, and I don’t disagree with it.  Not one bit.  At the same time, I have some thoughts that I hope will broaden the understanding of why women are the victims in fiction, but that I think could also be used as an excuse.  So I’m trying to make my point clear, without any confusion.

It’s pretty obvious that in fiction, especially in horror or action genre’s, women are sent in to be captured, to scream and be horrified, to look pitiful when they’re being used as a bargaining chip, and in many cases to die.  They’re the victims who wring the most drama from the situation, and they engage the audience’s sympathy more than men do when they’re put in peril.  Some people argue that this decision to endanger women shows that women are considered more valuable than men.  If a guy’s life is on the line, the audience doesn’t care as much.  That argument never worked for me.  If a female character’s most valuable when being a hung over an abyss, female characters aren’t in a good position.  The feminist argument is that women are most often put in the action genre to be prizes and plot points, and because there is something in people that thrills to see women in danger.

Like I said, I don’t disagree with that.

I think, however, that women in danger is compelling because of the way that those women can behave.  Any horror movie trailer will include the blood-curdling shrieks of women.  They’ll scream, cry, beg for their lives.  They’ll whimper when they’re afraid.  They’ll rock back and forth in shock.  They’ll go through a massive range of emotions.

And, more often than not, at the end of that horror movie, the woman will pull herself together, beat the hell out of the villain, and walk away.  (There are exceptions.  Some modern horror movies like to kill off everyone, but they suck.  They do.)

Men in horror movies, or action movies, or comics, or fiction, don’t tend to do the same.  Don’t get me wrong.  I think that actual men in danger would react every bit as emotionally as women do.  No one’s whimper-proof.  It’s just that audiences don’t accept it the same way that they do women.

A woman can be a screaming, quivering wreck and still be tough as nails a few scenes later.  If a man does the same thing, shrieking and begging and going to pieces, its rare that his character is given the same respect, even if he does overcome his weaknesses and become the hero.  Women are given the full range of human emotion.  Men are tough guy stereotypes.  It’s no wonder that women in peril are more interesting to watch.

I’ve always thought that what modern men need most is a ‘women’s movement’ of their own.  The women’s movement made it acceptable for women to not only retain the ‘feminine’ traits that they were always allowed to express, but also pick up any and all masculine traits as well.  They can grovel in the dirt *and* grind their enemies into the dust.  Men, on the other hand, have relatively circumscribed behavior.  Although they do tend to have more power, and get more respect, when they show masculine emotions, when they step away from traditionally masculine traits, they get a tidal wave of disapproval.  It’s an effective carrot and stick strategy, and unless there’s a line of defense for men who men who step outside the masculine sphere, it will continue to limit men’s behavior both in fiction and in life.

Before anyone says that the continued use of women as victims is some kind of sign of female empowerment, or of female dominance, lets remember one more time what we’re talking about.  Screaming, begging, weeping, shaking, and breaking down are signs of weakness.  There’s no question that they’re understandable, but comic books and action movies are power fantasies.  Like women being ‘valued’ as long as they’re being threatened, women having the freedom to be weak is a sign of the social order.  I remember a few years ago, Marvel published a comic in which a female hero was brutalized on camera, for the entertainment of a bunch of villains.  The woman screamed and fought ineffectually, and the film ended to general approval.  Marvel said that the comic was intended to be horrifying and to sicken the readers, not to glorify female suffering.  I believe that that was true.

I also believe that Captain America wouldn’t be in a scene like that.  Or Tony Stark.  They might be beat up on camera, but they wouldn’t be in a scene like *that*.  Screaming, begging, weeping, coming apart, being beaten down as they try to fight – this is not something male heroes do.  At least, not male heroes who will continue to be marketable.  Yes, in general women get a fuller range of expression, but it’s important to remember that they get that range of expression in order to be allowed to behave in ways that would be too degrading, humiliating, and ruinous for male characters.  Being skewered on a hook to tug the audience’s heartstrings is not a sign of social equality.  Especially not when they’re alone out there.

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Birds of Prey #2: When it’s just . . . . Enough.

June 24th, 2010 Posted by Esther Inglis-Arkell

Anyone who has read this site knows I’m no fan of character death.  I thought, though, that the right circumstances could make me ignore one plot element that I didn’t like.  I was wrong.

I’m a ridiculous fangirl for the writer of this series.  I adore the characters.  I’m psyched about the book.  I’m intrigued by the story.  This is as ideal a situation as it gets.

In issue #2 a character dies, and the heroes are distraught over that character’s death.  I’ve re-written this tiny post several times because I don’t want this reaction to seem flip.  The minute I saw that, I stopped wanting the book.  I didn’t decide that I wasn’t going to buy it, or that I was going to make some kind of statement by not buying it.  I just didn’t want it anymore.

The thing is, I went online and found several hints that this death is not what it seems.  I still don’t want the book.  I really don’t care about the circumstances of character death anymore.  It doesn’t matter if the fallout is realistic, if it’s happening for sound story purposes, if it’s helping to set up a new and exciting new world, if it’s a really great story, or even if the death is guaranteed to be temporary.  I just don’t care.

Don’t get me wrong, I’m not giving up the book.  Like I said, I love the whole package of Birds of Prey.  As soon as the ripples stop - no funeral, no angst, no memories or flashbacks -I’ll be back and loving it. 

It’s just that I realized that nothing on earth is going to make me willing to pick up one single more book with character death in it.  I read comics for enjoyment, and that sucks all of my enjoyment out.   There’s a limit to the death, pain, and despair that I’m willing to read.  I guess I’m at that limit.  Enough.

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“Somehow I Sense I’ve Been Split Into Two Beings”

June 22nd, 2010 Posted by Esther Inglis-Arkell

“Yes!  And that somehow our other selves are elsewhere — on some strange world!”

Batman #146 featured Bat-Girl, Robin, and half of Batman and Batwoman sent to other planets.  It’s nice to see that, even split in half, they have spot-on instincts.

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Live Action Blue Beetle Show

June 21st, 2010 Posted by Esther Inglis-Arkell

Just when I decided I was fine with not going to this year’s Comic-Con, what with the crowds, and no place to stay, and five days of eight-dollar hot dogs eaten while crouched in the corner of a convention center, Geoff Johns tweets that The Blue Beetle will be a live-action TV show.

Let me say that again:  the 24 issue run that I have pimped time and time again, and that I consider one of the best books in comics.  Ever.  Is going to be a live-action TV series, with previews at Comic-Con.

Damn you, Cruel Fate.

That being said – for all the Blue Beetle fans out there: it is time to start dancing.  Dance!  DANCE RIGHT THERE IN YOUR CHAIR!

This is so fantastic.  Here are five things I hope will happen.

1.  John Rogers and Keith Giffen are involved in this series.

2.  They keep The Family Reyes.  That is one of the best, sweetest, wisest, and yet imperfect groups of people I’ve ever seen in any form of media.

3.  They also keep La Dama.  I loved her as a villain.  She was one of the few villains in comics who was motivated by specific and understandable goals: family, security, and money.  So many villains are just motivated by an abstract desire to be evil.

4.  The Lonar Excursion, complete with tiny little fuzzy aliens whose language translates to hilarious lines.  My favorite one part?  Where they just tried to drink Brenda’s blood, and got beat up by Brenda and Lonar, and then came back all, “eep eep eep” and the translation was:  “We’re cool, you’re cool. Let’s all just be cool.”  You said it, ewok rip-offs!

5.  Oh god you can’t have a Jaime Blue Beetle series without Guy Gardner!  Please, please, please, please.

6.  The Ultrahumanite, too.

7.  This is just to say that The Blue Beetle also had the storyline with the best title. Ever.  Seriously, read comics all your life, you will never beat this one.  It’s one in which Eclipso wants to rip the heart out of a super-powered baby to – something.  That doesn’t matter.  What matters is that the issue was called ‘Total Eclipso: The Heart.”  My god.  It’s full of stars.

8.  I know this is a long shot, but I’d love for Ted to be in there.  It’s canon that he wanted to retire and be an inventor, and that the scarab didn’t work for him.  Don’t get me wrong, I like The Peacemaker, but Ted is just so sweet and goofy and smart and ridiculous.  I miss the guy.

That turned into eight things and every one of them is essential.

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Settle Back and Watch the Fireworks When Bat-Mite Meets Bat-Girl!

June 15th, 2010 Posted by Esther Inglis-Arkell

The issue starts with Bat-Girl standing on a swinging swing, hitting a man who is on the top of a see-saw, because another man is stuck at the bottom of the see-saw. 

This raises so many questons.

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