Monthly Archives: July 2017

Superheroes R Us

So also in the realm of superheroes, the comics side of Marvel has been watching the collapse of its sales model, while dealing with a cross-over disaster that had a far right leaning writer making Captain America, the Steve Rogers version, into a Nazi/Hydra spy as part of a muddled multiverse idea. The collapse has not been a new thing; it’s been a process going on since the 1980’s that happened to then coincide with the great shrinkage of the wholesale market for magazines, newspapers, paperbacks and comics that took place in the 1990’s and helped pop the collectors’ hyper-valuation bubble in comics issues. Essentially, the big comics companies tried to increase monthly buys by staging big crossover stories that required buying from four to seven series at a time to follow, while comic prices went up, up, up. These crossover stories often made use of multiple universes to shake series up, allowing them to totally reboot characters and past stories with little regard for consistency.

This was certainly one of the reasons that my husband and I stopped really buying comics way back – it was too expensive to do and our child needed food. But the success of graphic novels, including bound omnibuses of monthly comic issues, and the emergence of highly successful live action superhero movies and animated t.v. series and movies from major comics helped keep especially Marvel afloat for a while. Now, though, retail markets are further squeezed and Marvel has made things worse with poorly planned stunt events, constant reboots and number one reissues to try to generate short term sales instead of reliable regular fans. Economic uncertainty in the face of controversial political events has further dampened sales recently.

When Marvel Comics held a retailer summit in late March with the comic stores, one of Marvel’s vice presidents of sales – a white guy – apparently brought up that some comics vendors were saying the diverse comics – the ones not about white guys and white guy led teams – weren’t selling and that maybe this was the reason for Marvel Comics’ poor comics sales showing the previous quarter. This was flagrantly untrue. Many of the “diversity” comics are Marvel’s top sellers and had clearly brought in more readers domestically and globally. And many of their white guy comics had sales in the toilet and were being axed. The race and gender of the leads in the comics neither guaranteed sales nor that sales would tank.

So why would a senior vice president of Marvel, with full access to the real sales figures, float a lie that was so easily disproven about his own company? And which he had to apologize for and take back not long after? Did some comics store vendors actually say this to him? Very probably. But the comics store owners also have access to sales numbers well beyond their own stores. So why would some of them push such an assertion?

Part of it was clearly deflection. Rather than admit that the problem was an unworkable production, pricing and marketing model, or admit that your store has adapted poorly to pushing your products under current market conditions, it’s an easier fix to blame the audience of the medium for being unreasonably bigoted, which then becomes the big talking point.

But as a form of deflection, it’s a poor one. The vice president’s trashing of his own company’s line was a PR nightmare for them. Presumably this same vice president respects and works with POC and white women artists, writers and editors at Marvel. Why would he then disparage what they do, and which helps pay his salary? Especially when he had said last year that women and kids as readers were a key component of Marvel Comics’ success?

In a word, reassurance. Marvel and the comics industry in general has been run by white guys, like most industries, particularly in the marketing and business end of things of course, but also on the creative front. While others were occasionally welcomed in, mostly they were blocked and certainly kept from obtaining leadership positions of influence if they were around. This has created a comfortable cushion of established and protected practice at companies like Marvel.

That’s changing a little bit. As they recognize the need for greater variety to hold on to and expand a global market, Marvel, like other comics companies, has been putting out more titles that offer a slightly wider range of characters and ideas. With that comes a slight increase in the variety of people who work there and create the titles. This allows Marvel in the long term to grow and expand its workforce and its product line – something that can benefit white guys too.

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Filed under book publishing, SFFH, Social Equality, Women

Wonder Woman Sails Into Shiny Waters

So obviously a lot has been going on in recent months all about, but I did manage to go see the long awaited and much speculated about Wonder Woman movie, starring Gal Gadot. I enjoyed it overall and give it about a B+ grade, which, given the DC multiverse’s film record the last few years, is quite good. The action scenes were mostly great, very cleverly done, the cinematography and use of color and audio with homages to the comics themselves was interesting and nicely shaped by the director, Patty Jenkins. The special effects were sometimes a bit uneven – some of them were great but a few looked a bit too electronic game animation-like. That’s going to happen, though, and it’s pretty amazing at how extensive a range of things they can CGI create now. There were a few points of the plot that didn’t make a great deal of sense – par for the course in action movies – and the ending had some very good dramatic stuff but also a fair amount of hokey stuff that didn’t quite pull it together as well as it might have been done.

But that also is a bit of a Wonder Woman tradition and they managed to set up Wonder Woman’s role in the up-coming Justice League movie quite well. There were a lot of shout-outs to the Wonder Woman comics, although the story and action were moved to World War I, the war that greatly changed both war itself and the idea of empire. They managed to jigger together the character’s many re-booted back stories to give her a cohesive background origin that worked with the movie’s main arc.

Gadot herself gave a very strong performance. She brought easy physicality to the role and handled the tricky mix of naïvety and smarts that is Diana first leaving her island about as well as could be managed. The main costume was still too Xena-ish but the movie may have started a new fashion trend of swords down the back of evening dresses (and the use of the sword was explained in the film.) Chris Pine showed his all to the audience as American spy Steve Trevor (and I do mean literally all.) He also had a tricky balance between playing a man of the 1918 time period trying to explain it to Diana and one who accepts backing her plays as leader in a changing world, as well as an island of warrior women, and I think he did a good job. Their canon romance was a bit rushed for the movie’s sake, but that really couldn’t be helped and they had good chemistry. The movie did a good job on the difficult issues of war and humanity that both of them have to grapple with, (though again the ending could have been stronger.)

Non-white representation in the movie was not great, which was a bit of a disappointment. Two major black canon characters were cut from the Amazons and WOC were token among them (though they did beautifully in their action scenes.) The main Amazon roles went to white, not particularly Mediterranean  appearing actresses — Robin Wright was steely sharp as Diana’s “fun” aunt and Connie Nielsen had the rather thankless role of Diana’s worried queen mom, Hippolyta. Two major supporting characters were non-white men and both actors, Said Taghmaoui and Eugene Brave Rock, did really good performances with what they had. Problem is that what they had were awful stereotypes, which may have been partly because their characters were actually drawn from the DC Comics, but things definitely could have been improved in the script. The film seemed to acknowledge itself on the sad state of Hollywood in this area, including one very pointed line of dialogue delivered by Taghmaoui. So here’s hoping DC does better in the other movies.

Ewen Bremner also had to deal with some stereotypes – Scottish ones for his part – and managed to also give a nice performance nonetheless. Elena Anaya and the renowned Danny Huston made interesting villains. And Lucy Davis, who I particularly enjoyed in Shaun of the Dead, is a national treasure here as Trevor’s British assistant Etta, stealing every scene she’s in. The movie was not a laugh riot, given the subject matter, but it did use healthy doses of humor very effectively throughout, which is again a considerable improvement on the dour, muddled DC film universe so far. If you haven’t had a chance to catch the film yet, I’d say it’s well worth your time even if you’re not the biggest Wonder Woman fan, for the action visuals alone.

If the movie Wonder Woman had been a regular big action film in our ideal world, my little review above would be the only things needing to be talked about. But of course the movie in the sexist system we still have was made the flashpoint of “will woman superhero movies ruin us,” with an enormous amount of pressure, including the responsibility to prop up sagging enthusiasm for the entire DC franchise in preparation for the up-coming Justice League movie.

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Filed under Movies/TV, SFFH, Women