Miguel Ferrer: 1955 to 2017

I was sorry to hear that actor Miguel Ferrer and passed away on January 19th at the much too young age of 61.

Born on February 7, 1955, Miguel Ferrer was the son of actor / director Jose Ferrer and singer Rosemary Clooney.  Ferrer’s original aspiration was to work as a musician, but in 1975 his friend Bill Mumy offered him a part in an episode of the TV series Sunshine.  Ferrer caught the acting bug, and remained in the profession for the rest of his life.

One of Ferrer’s early roles was a 1981 episode of Magnum P.I.  Ferrer played, in a flashback, a young Navy ensign stationed in Hawaii shortly before the Japanese attack on Pearl Harbor, with his father Jose Ferrer then playing the same character in the present day. I always thought that was such a wonderful casting decision.

The role that really put Ferrer on the map was playing sleazy corporate executive Bob Morton in the dystopian sci-fi movie Robocop (1987).  In interviews, Ferrer always acknowledged that he was grateful to that movie for really getting him noticed, enabling him to subsequently have a successful career as an actor.

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Ferrer was often cast as villainous or quirky characters.  He was seldom seen in starring roles, but he worked regularly, a ubiquitous presence in both movies and television for three decades.  Notably, in the early 1990s Ferrer portrayed cynical FBI agent Albert Rosenfeld in David Lynch’s cult classic TV series Twin Peaks, and he also appeared in the 1994 TV miniseries adapting the Stephen King novel The Stand.

From 2001 to 2007 Ferrer appeared on Crossing Jordan, playing Dr. Garret Macy, the mentor and boss to loose cannon Medical Examiner Jordan Cavanaugh, portrayed by Jill Hennessey.  Crossing Jordan was a series that I watched regularly, and I loved the chemistry between Ferrer and Hennessy.  Macy was something of a brooding, low-key figure who had the unenviable task of reigning in and covering for the headstrong, anti-authoritarian Jordan.   Macy, a divorcee and recovering alcoholic with a teenage daughter, had a lot of baggage, and Ferrer brought the character to life in a very affecting performance.

Interviewed in 2009 by the A.V. Club, Ferrer had positive memories of working on Crossing Jordan:

“It was great. I loved that. Six years on the same show, working on the same lot. Got to go home and see my kids every night. They weren’t always awake, but I saw them. I loved that there were no out-of-control egos on the set. I loved working with the same people for six years. You develop a sure hand, and you learn how one works and likes to work. I wouldn’t trade it for anything. We had a ball.”

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Ferrer, along with longtime friend Bill Mumy, was a science fiction and superhero fan.  The two of them collaborated on a few comic book projects in the late 1980s.  They co-wrote the six issue miniseries Comet Man, published by Marvel Comics in 1987.  A dark, bizarre blending of superheroes, sci-fi, and horror, Comet Man was eerily illustrated by future superstar Batman artist Kelley Jones, inked by Gerry Talaoc, and featured striking covers by Bill Sienkiewicz.  Ferrer, Mumy and Jones re-teamed in 1990 to wrap up the Comet Man storyline in a four part serial that ran in Marvel Comics Presents.  A decade later writer Peter David, who was friends with Ferrer and Mumy, used Comet Man during his acclaimed run on Captain Marvel.

Paired with talented artist Steve Leialoha, Ferrer and Mumy created the very odd superhero parody Trypto the Acid Dog, which debuted in a 1988 comic published by Renegade Press.  Additional Trypto stories by Ferrer, Mumy & Leialoha came out in the 1990s via Atomeka Press and Dark Horse.  Recently commenting on their collaboration, Leialoha revealed that the visual for Trypto was based on Ferrer’s own dog Davey.

Given how wonderfully bizarre Ferrer’s comic book work was, I’ve always thought it was a bit of a shame that he didn’t write more.  Of course, this was around the time when his acting career was really taking off, so I certainly understand why he chose to focus on that.

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Some of Ferrer’s roles were actually comic book related.  He played Vice President Rodriguez in Iron Man 3 (2013).  Miguel also did a great deal of voiceover work, much of it for animated series based on comic books.  Among the shows he voice-acted on were Superman: The Animated Series, The Batman, The Spectacular Spider-Man, and Young Justice, the latter of which had him in the recurring role of immortal conqueror Vandal Savage.  One of Ferrer’s last roles was voicing Deathstroke in the direct-to-DVD animated adaptation of Teen Titans: The Judas Contract.

In addition to being a talented actor and writer, Ferrer had a reputation for being a genuinely nice guy.  In interviews he always came across as down-to-earth and laid back.  In recent days Bill Mumy, Kelly Jones, Steve Leialoha and Peter David have all reflected on his passing; each of them described him as a good friend possessed of a wonderful sense of humor.  It sounds like Ferrer will be very much missed by those who were fortunate enough to know him.

Star Wars reviews: Rogue One

The new Star Wars movie Rogue One was enjoyable. While I liked The Force Awakens, I nevertheless felt that Disney played it very safe with their first installment since acquiring the franchise.  Rogue One, in contrast, does attempt to stretch out in different directions.

Rogue One reveals how the Rebel Alliance stole the plans for the Death Star from the Empire. Despite the fact that it is set immediately before the events of the very first Star Wars movie, Rogue One successfully expands what previously felt like well-explored territory.

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1) Rogues Gallery

The protagonist of Rogue One is Jyn Erso (Felicity Jones) a woman in her early twenties who has spent most of her life on the run from the Empire. When she was only a child Jyn’s mother was killed, and her father, scientist Galen Erso (Mads Mikkelson), hauled off to work on the construction of the Death Star by the ambitious Krennic (Ben Mendelsen).  Jyn is recruited at gunpoint by the Rebel Alliance, which hopes she can lead them to her father.  Grim, brooding Intelligence officer Cassian Andor (Diego Luna) and his reprogrammed Imperial droid, the sarcastic K-2SO (Alan Tudyk), are assigned to accompany Jyn in tracking down Galen.

2) Darkness Falls

Rogue One has been described as the darkest entry in the Star Wars series since The Empire Strikes Back. While I think some people are overlooking Revenge of the Sith, which was hardly a laugh-fest, the point is that Rogue One is a very gritty movie by the standards of the franchise.

Whereas the original trilogy focused on the main figures of the Rebel Alliance, this is the story of the men and women fighting in the trenches against the Empire. Yes, they are motivated by the idealism of the Alliance, but after long years of conflict they are also driven by ruthless pragmatism.

When we are introduced to Cassian Andor, he is meeting with an informant, who tells him of a defecting Imperial pilot in possession of a message from Galen Erso. Unfortunately Andor and his informant are discovered by Stormtroopers.  To prevent the Empire from learning about the existence of the defector, Cassian, showing little hesitation, shoots his informant in the back and flees.

As ruthless as Cassian can be, he is positively tame compared to Saw Gerrera (Forest Whitaker) a militant member of the Rebel Alliance. Having spent nearly two decades fighting against the Empire, Gerrera is scarred, physically and mentally, consumed by paranoia.  His followers utilize guerilla tactics, launching attacks against Imperial forces in heavily populated areas.

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3) Parallel Lives

Jyn Erso is, in a way, a reflection of Luke Skywalker. In the opening scene Jyn and her parents living on an isolated farm, in hiding from the Empire.  There are definite similarities between this and how we first met Luke in A New Hope.  We even see Jyn’s mother with a glass of blue milk!

Luke, of course, was bored by the uneventful life of a farmer, and yearned for adventure. He couldn’t wait to leave and explore the galaxy.  Jyn, in contrast, spent a decade and a half scrambling about the galaxy, afraid and alone.  Instead of craving excitement, she yearns for safety and normality.  Having seen her mother gunned down by Stormtroopers and her father dragged off in chains, she would no doubt give anything to regain the quiet life on the farm she once shared with her parents.

4) Old Friends

It was nice to see a few familiar faces in Rogue One. Jimmy Smits returns as Bail Organa, a role he originated in the prequels.  Genevieve O’Reilly once again portrays Mon Mothma.  Nearly all of her scenes from Revenge of the Sith ended up on the cutting room floor, although they did later appear as extras on the DVD.  C3PO pops up long enough to utter one of his characteristic complaints.  Darth Vader also appears, once again voiced by James Earl Jones.  Via unused footage from the first Star Wars movie, Rebel pilots Red Leader and Gold Leader both participate in the Battle of Scarif.

Saw Gerrera is actually a character who originated in the Clone Wars animated series, and Forest Whitaker is set to voice him in upcoming episodes of the Rebels series, which is set a few years before this movie. Speaking of Rebels, there is also a brief glimpse of grumpy astromech droid Chopper, and The Ghost is part of the Alliance fleet.

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5) Let’s Get Digital

A contentious element for some fans was the recreation of Grand Moff Tarkin via digital effects. I felt that this started off quite effectively, but the more scenes that Tarkin appeared in, the more artificial he appeared.  It is understandable that Tarkin, who was originally played by Peter Cushing, had to be included in Rogue One in some capacity.  His omission would have been rather glaring, given his position as the commander of the Death Star.  Perhaps it would have been better to have used him in less scenes, or in a couple of instances have him communicate with his subordinates via hologram transmission.

I have heard, however, that casual viewers, people who were not huge Star Wars fans and who hadn’t seen the original movie in a number of years, did not realize that Tarkin was a digital effect. That makes sense.  If you go in knowing that Peter Cushing passed away back in 1994, of course you’re going to focus on how realistic Tarkin appears in Rogue One.  But if you don’t really remember the character from the first movie, you’re probably not going to pay as close attention.

In the final seconds of Rogue One we also see Princess Leia, looking as she appeared in A New Hope, via a digital recreation of a young Carrie Fisher. It is such a brief shot that the movie just about pulls it off.

6) Less Is More

Darth Vader is one of those characters who I have often felt is best used sparingly. He is such an iconic figure that overexposure both decreases his menace and results in fuel for parody.  I think it was a mistake for Marvel to publish an ongoing monthly Darth Vader comic book series.

Vader has two short scenes in Rogue One, and as result has much more of an impact. He first appears about halfway through the movie, with Krennic showing up at the Sith’s fortress to voice his anger at his authority being usurped by Tarkin.   An impatient Vader abruptly dismisses Krennic’s complaints, sending him on his way.

We don’t see Vader again until the very end of the movie. The Rebel fleet has received the Death Star plans and are about to retreat from Scarif when Vader’s star destroyer abruptly emerges from hyperspace, attacking them.  Boarding the Alliance flagship, Vader attempts to retrieve the plans, brutally cutting his way through the Rebel soldiers.  He is a terrifying, seemingly-unstoppable figure.  It was the first time since I was a little kid that I found Vader to be genuinely scary.

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7) This Issue: Everyone Dies!

Going in to Rogue One, I was half-expecting that most, if not all, of the new characters would die. After all, none of them were ever seen or even referred to in the original trilogy.  On the other hand, there was a part of me that really didn’t think that Disney would pull the trigger, and at least a few of the Rogues would escape to fight another day.

But, no, they all die. No cheats, no last-minute reprieves, no cop-outs.  Jyn, Andor, and everyone else die in the Battle of Scarif, all of them sacrificing their lives to transmit the Death Star plans to the Alliance fleet.

8) Nail-Biting Suspense

You might think that a movie with such a foregone conclusion would be a bit dull. Of course the Rebels are going to steal the Death Star plans; anyone who’s seen A New Hope knows that!

Rogue One, however, is so well done that I nevertheless found myself constantly on the edge of my seat. Gareth Edwards does an amazing job directing the movie, making it an exciting, riveting experience.

9) Be Careful Not To Choke On Your Aspirations

There are times when Rogue One’s reach exceeds its grasp. During the first 15 minutes the narrative jumps all over the place, switching between different characters on different planets, leaving me somewhat confused.

Several of the characters also felt underdeveloped. Saw Gerrera feels like he’s being built up to have a major role, only to suddenly get killed off halfway through the movie.  We aren’t given any real insight into why Imperial pilot Bodhi Rook has decided to defect to the Rebellion, other than he was somehow inspired by Galen.  Two of the Rogues, Chirrut Imue and Baze Malbuus are interesting characters, but we get very little background on them.

Jyn could also have used more development. She spends the first half of the movie very reluctantly working with the Rebels, but in the second half she has suddenly become the loudest voice in attempting to galvanize the Alliance to fight against the Empire.  Yes, Jyn has seen the Death Star in operation up-close, and she also doesn’t want her father to have died in vain.  But it still feels like a rather abrupt jump from one position to the other.  The movie could have done a slightly better job at explaining how she came to change her mind.

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10) A House Divided Against Itself

There has been some debate the last month over whether or not Rogue One is a political movie. I think that all great art (and even some mediocre art) can have a message, even if it might not have specifically been intended by the creators.  If there is a political lesson to be gleamed from Rogue One, one that can be applied to our real world, then perhaps it is this…

The Rebel Alliance that we see in this movie is a very diverse group, made up of cultures and species from numerous worlds. Unfortunately that means they have varying viewpoints and agendas, and as a result are often working at cross-purposes.  They all seek the same ends, stopping the Empire, but they disagree on the means.

Mon Mothma is hoping for a political solution to the injustices perpetrated by the Empire; she wants Cassian and Jyn to rescue Galen so that he can provide testimony about the Death Star to the Imperial Senate. That mission is immediately, and secretly, countermanded by General Draven, who pulls Cassian aside and orders him to assassinate Galen.  Other members of the Alliance, learning of the Death Star, are ready to capitulate, believing that they have no hope of winning.  And then there is Saw Gerrera, who is labeled an “extremist” by the rest of the Alliance, a man who dismisses his former colleagues as too moderate and ineffectual.

On the other side is the Galactic Empire. In spite of the individual ambitions of men like Tarkin and Krennic, the jockeying for influence, in the end they all share the same goal: the subjugation of the galaxy through force and terror.  Whatever their individual aspirations, they are nevertheless ready to work with colleagues who they may dislike for the promise of great power.  The members of the Empire are unified in their ambitions for control over others and their willingness to embrace utter ruthlessness.

It does not matter how noble the Rebels may be, how lofty their goals are.  Until the various factions that make up the Alliance set aside their differences, resisting calls for ideological purity, they remain unable to fight the monolithic Empire. It is only at the end, when the Rebels are unified on a common course of action, working together to achieve their goals, that they are finally able to become an effective opposition against the Empire’s tyranny.

Celebrating Chanukah with The Thing

The Jewish holiday of Chanukah is coming up, which makes this a good time to look at one of the most famous Jewish heroes in comic books: Benjamin Jacob Grimm, the orange super-strong rock-like Thing from the Fantastic Four.

The Fantastic Four, who made their debut in August 1961, were created by two Jews, writer/editor Stan Lee (born Stanley Lieber) and co-plotter/penciler Jack Kirby (born Jacob Kurtzberg). The Thing was never identified as any particular religion by Lee & Kirby.  However, the personality & background of Ben Grimm, a gruff-taking, street-smart, working-class Joe who grew up on the rough & tumble streets of the Lower East Side during the Great Depression, was similar to Kirby.  It was often suggested that Ben Grimm was a semi-autobiographical creation.  Interviewed in 1987, Kirby acknowledged the similarities…

“Yes, everybody I’ve talked to has compared me to Ben Grimm and perhaps I’ve got his temperament, I’ve got his stubbornness, probably, and I suppose if I had his strength, I’d be conservative with it. Ben Grimm is that way… If he uses his strength, he’ll use it in a justifiable manner– to save somebody, or to help somebody, or to see that fairness grows and evolves and helps people.”

In a 1976 Chanukah card Kirby drew the Thing as Jewish. It’s unknown if this meant that Kirby actually saw Ben Grimm as Jewish, or if it was just a humorous bit he did for a card he was sending to his family & friends.  Nonetheless, for years this fueled speculation among both comic book fans and creators that the Thing could be Jewish.

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The Thing’s faith was finally identified in Fantastic Four volume 3 #56 (August 2002). “Remembrance of Things Past” was written by Karl Kesel and drawn by Stuart Immonen & Scott Koblish.  A brooding Thing finds himself back on Yancy Street, where he grew up decades earlier.  He runs into Hiram Sheckerberg, a curmudgeonly pawn shop owner who knows Ben Grimm from way back when.  The still-cranky Sheckerberg at first mistakenly believes the Thing is part of an extortion racket that is threatening him.  However the true culprit soon turns up at the pawn shop: Powderkeg, aka “the man with the explosive aura,” a super-powered thug whose shtick is that he literally sweats nitroglycerine.

The Thing defeats Powderkeg, but during the fight Sheckerberg is knocked out. Believing the old man is dead or dying, the Thing begins say the Mourner’s Kaddish.  It turns out Sheckerberg was only stunned.  After getting to his feet, the crabby pawn shop owner addresses the Thing…

Sheckerberg: It’s good, too, to see you haven’t forgotten what you learned at Temple, Benjamin. All these years in the news, they never mentioned you’re Jewish. I thought maybe you were ashamed of it a little?

The Thing: Nah, that ain’t it. Anyone on the internet can find out, if they want. It’s just… I don’t talk it up, is all. Figure there’s enough trouble in this world without people thinkin’ Jews are all monsters like me.

Sheckerberg disagrees with the Thing’s assessment that he is a monster, reminding him of the legend of the Golem…

“He was a being made of clay — but he wasn’t a monster. He was a protector.”

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The police and paramedics soon arrive. The Thing, having wrapped up Powderkeg in a lamppost, is ready to hand over the thug to the authorities.  But first we get this little exchange…

Powderkeg: And you’re really Jewish?

The Thing: There a problem with that?

Powderkeg: No! No, it’s just… you don’t look Jewish.

In the decade and a half since that story, the Thing’s faith has been addressed by subsequent writers, usually in passing. I feel this is the best way to handle it, showing him as a super-hero who just happens to be Jewish, rather than making his faith a central aspect of his character.

Nevertheless, on occasion Ben Grimm’s religion has been addressed head-on, such as in the story “Last Hand” written by Dan Slott and drawn by Kieron Dwyer, in The Thing #8 (August 2006).

Sheckerberg and Rabbi Lowenthal approach Grimm about having a Bar Mitzvah. The Thing is confused, pointing out that he is much older than 13.  Sheckerberg observes that it has been 13 years since Grimm was reborn as the Thing.  A reluctant Grimm agrees, spending the next month studying with Sheckerberg and Lowenthal.  Finally the big day comes.

It’s worth nothing that Ben’s Haftorah is from the Book of Job, which is not part of the Jewish Old Testament. However this nevertheless in an appropriate choice on Slott’s part, given the struggles that Ben has been forced to endure since his transformation.

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The Thing’s faith has also been mentioned in a few Holiday Specials, with Ben being shown observing Chanukah instead of Christmas.

Truthfully, Chanukah is not a major Jewish holiday, not like Passover, Rosh Hashanah and Yom Kippur. However, Chanukah typically falls in the month of December, around the time of Christmas.  The exact dates vary from year to year, since the Jewish faith is based around a lunar calendar rather than a solar one.  (Yeah, that’s Jews for you; we just have to be different!)  Because of its close proximity to Christmas, often Jews will exchange gifts.

“Chinese Food for Christmas” written by Jamie S. Rich and drawn by Paco Diaz appeared in the Marvel Holiday Special 2011. Playing on the idea that Jews go out for Chinese food on Christmas, the Thing is planning to attend a big Chinese buffet Chinese being organized by Kitty Pryde, aka Shadowcat of the X-Men, Marvel’s other significant Jewish hero.

En route to dinner, the Thing encounters an odd creature that has been stealing Christmas decorations.  It turns out the creature was trying to put together a Christmas party for the orphans at the Yancy Street Children’s Home, which ran out of money.  Ben Grimm invites the kids and their odd benefactor to the buffet dinner, where we see Shadowcat, as well as several other Jewish heroes, namely Moon Knight, Songbird, Sasquatch and Wiccan.

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Casting my mind back to 2002, I recall that I was genuinely thrilled to find out that the Thing was Jewish. When I was a kid, I was definitely shy & insecure.  In general I didn’t feel like I fit in.  The fact that I was Jewish added to that, giving me one more thing about which to feel different.  This was especially true in December, when everywhere you turned it was Christmas all the time.

It’s worth noting that I felt this way even though I lived in New York, which has a significant Jewish population.  I can only imagine how much more of an outsider I would have felt if I had grown up in a different part of the country.

My experiences when I was younger definitely led me to appreciate the importance of representation in pop culture. When I was a kid there were very few Jewish characters in movies, television or comic books.  This left me with almost no one to identify with, which exacerbated my feelings of being different.  I was already in my mid-twenties when the Thing was revealed to be Jewish, but it nevertheless felt really significant to me that one of the most iconic Marvel Comics characters was revealed to be Jewish.

There was an excellent piece written last year by Mordechai Luchins, “That Time My Four Year-Old Schooled Me on Representation.” I definitely agree with the sentiments expressed by the author.  It is crucial to have diversity in pop culture.  Just as I really wanted, and needed, for there to be Jewish heroes in the stories I read and watched, so too do women, blacks, Hispanics, Muslims, the LGBT community and other groups want and need the same thing.

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I think it is very easy for some white Christian males to take for granted that the majority of the characters in movies and television and comic books and other media look & sound like them. I really hope that these people will eventually come to understand the importance of diversity, and to realize that pop culture is big enough for all of us.

Whoever you are, whatever you celebrate, I hope that you all have a very happy holiday season.

Spawn and Savage Dragon and Ant! Oh my!

It’s been a while since I wrote to the Fin Addicts letter column in Erik Larsen’s Savage Dragon. Back in the 1990s when I was in high school & college I was a real letter hack, and I wrote to Larsen about his awesome comic book series on a semi-regular basis.  I was reminded of those days when The Unspoken Decade discussed Fin Addicts, nominating it for “Best Letter Column of the 90s.”  I decided to fire off an e-mail to Larsen about the recent Dragon / Spawn / Ant crossover in Spawn #265-266 and Savage Dragon #216-217.  And, hey, why not also do a blog post?

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Todd McFarlane and Erik Larsen both gained prominence in the late 1980s on Amazing Spider-Man. At the time their work did possess a certain superficial similarity.  However, once they both had their own creator-owned titles at Image Comics, the differences between McFarlane and Larsen became readily apparent.  Stylistically, narratively, and thematically, Spawn and Savage Dragon were like night & day.

I followed Spawn for a few years, but eventually lost interest. Savage Dragon, in contrast, became my favorite ongoing comic book series, and I have never missed an issue.  I did enjoy the very odd crossover between the two titles back in 1996.  So if Larsen and McFarlane were once again going to collaborate on a team-up of Dragon and Spawn, of course I was going to buy the entire thing.

Larsen has actually been working on Spawn for the past year, starting with #258, but I didn’t have the opportunity to pick up any of those issues. When I did get Spawn #265, the first chapter of the crossover, it had been a couple of hundred issues since I read it, and it was interesting to catch up with Al Simmons after all this time.

The artistic collaboration between Larsen & McFarlane is very effective. The script for this and the next issue reads much more like McFarlane than Larsen.  In the 1990s McFarlane had this very somber, brooding quality to his scripting, and that is still present.  I personally prefer the oddball, comedic voice that Larsen utilizes in Savage Dragon.  But, as I said, the two series have very different tones, and works for one might not for the other.

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It was nice to see Spawn and Malcolm Dragon, the son of the original Dragon, meet for the first time. Back in the 1990s I liked that there was interconnectedness between various Image books.  From time to time Dragon or some of Larsen’s other characters appeared in one of Rob Liefeld or Jim Lee or whoever’s titles, and their characters would occasionally show up in his books.  That sort of “shared universe” thing is a lot less important to me today; I’m much more interested in the numerous interesting characters Larsen himself has created.  Still, on occasion it can be fun when a character from another series appears in Savage Dragon.

This crossover involves hordes of super-powered criminals & madmen running amok across the country. All of them have been give powers by Alzayah Stone, a religious fanatic who believes the End Times are approaching.  Spawn and Dragon are both recruited by Ant to stop Stone from creating any more monsters.

There’s a major disagreement between Malcolm and Spawn as to how precisely to deal with Stone. Malcolm, a police officer, wants to arrest him.  Spawn, a former government assassin, wants to kill him.  This quickly segues into an argument concerning the frequency with which police officers kill young black men, with Spawn accusing Malcolm of being a hypocrite.

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As much as I like Malcolm, I have to agree with Al Simmons here. Malcolm is young, idealistic and somewhat naïve.  He has also been very close friends with people in the Chicago PD for most of his life, even before he actually became a police officer.  Malcolm has never been a civilian outside that sphere, subjected to harsh scrutiny by suspicious cops.

I’m interested in seeing how Larsen continues to develop Malcolm in his role as a cop. The longer he remains with the Chicago PD, the more likely he is to encounter less-enlightened colleagues, cops who have let their authority go to their heads.  After all, back in the day, Malcolm’s own father had to deal with a few of those.  I also expect that Malcolm’s half-brother Kevin, aka Thunderhead, a reformed criminal, might have a less charitable opinion of the police.

Ant, the third member of this team-up, was created by Mario Gully in 2004.  Ant was published first by Arcana Studios and then by Image.  She has an odd look, even for super-hero comics.  She appears to be wearing a full-body skintight red latex catsuit topped with a pair of giant antenna.  Gully sold Ant to Larsen in 2012.

I’m not too familiar with Ant, having only read a couple issues of her comic.   Now that Larsen is finished on Spawn he’s planning to launch a new Ant series, where presumably he’ll delve into the her back story to bring new readers up to speed.  But in the meantime this crossover was a good way for Larsen to introduce the character to his audience.

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I felt the pacing of the final chapter in SD #217 was a bit off. Early on there’s a double page splash of Ant, Spawn and Dragon.  It looks awesome, but eats up a lot of space; perhaps it should have been only one page.  This would have freed up at least another page for the confrontation with Stone.  I think one moment in particular have been more dramatic as a full page splash (yeah I’m being deliberately vague here) and that in turn would have allowing more room for the end of the story, which felt rushed.

I later found out Larsen was factoring in how SD #217 would work in a trade paperback. Speaking with comicbook.com he explained that the Spawn issues would probably not be included in the collection that reprints #216 and #217.  That required him to write those issues in such a way that they could be understood by anyone who didn’t read Spawn.  I realize now why he utilized that two page splash in SD #217.  For anyone who will be reading this story in trade paperback form, they will not have seen Spawn #266, which means that big spread is the first time they will see Malcolm, Spawn and Ant together.  It made sense to draw it large & dramatic.  I don’t envy the sort of juggling act Larsen had to perform here.

My favorite parts of these issues were actually the ones focusing on the personal lives of Malcolm, his wife Maxine, and the three Dragon babies. I was literally laughing out loud at the hilarious opening scene in SD #217 with Maxine at the supermarket with the Dragon triplets.  The domestic comedy and drama of this series has always been something that separated it from so many other super-hero series.

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A year ago I was skimming through the Spider-Man issues Larsen wrote & drew in late 1991 shortly before he co-founded Image. The best aspect of those comics was the interactions between Peter and Mary Jane.  Larsen was one of the few creators who seemed like he wanted to explore the intricacies of their married life.

I’m very glad that Larsen took that same approach on Savage Dragon, devoting a good amount of space to the “off-time” of Dragon and his colleagues, and to the romantic relationships Dragon had over the years, i.e. the stuff folks do when they are not busy getting into super-powered brawls. Larsen has successfully continued that in the last few years with Malcolm and Maxine’s relationship.  The series continues to be an enjoyable read.

I can understand why Larsen decided to leave Spawn after one year. I’m sure it was fun for him to collaborate with McFarlane and try something different.  But at the end of the day it is clear that Spawn is still very much McFarlane’s baby.  In the long run I’m sure Larsen would rather devote his energies to his own characters in Savage Dragon, and towards getting the new Ant series up-and-running.

Cats and comic books: Hero Cats #10-13

Happy Halloween from the Hero Cats of Stellar City!

I have continued to enjoy the ongoing Hero Cats comic book series written by Kyle Puttkammer and published by Action Lab Entertainment. The latest four issues have been a lot of fun, as our team of crime-fighting kitties have traveled the world, and then arrived back home in Stellar City for a spooktacular Halloween.

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Hero Cats #10-12 features the three part “World Tour.” Puttkammer is joined by new series penciler Omaka Schultz, with inks by Ryan Sellers & Brandon Page.  When I first read #10, for a moment there I actually thought I had missed an issue.  Puttkammer opens the story in media res, with the Hero Cats aloft in a hot air balloon, accompanied by a little girl dressed as a princess.  By page two the balloon has crashed in the middle of the desert, near the town of Coyote Canyon.

I’m actually still trying to decide if the Hero Cats were somehow transported not just to the American Southwest but also back in time. Modern technology is completely missing from Coyote Canyon, and soon after the train out of town is waylaid by armed bandits.  Well, whether the year is 2016 or 1880, we are treated to an exciting throw-down between the cats and the gang of dastardly desperadoes.

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Although heading back to Stellar City, it is apparent that after returning the little princess home the cats somehow got detoured, as #11 opens in the aftermath of an airplane crash on an island off the coast of Africa. The cats encounter the warrior Malo who possesses the ability to talk to animals, and they join forces to combat a mystical menace that is seizing control of the island’s inhabitants.

The cats’ next stop on their way home is the Far East. They arrive in what appears to be Medieval Japan (more time travel?) where they assist a local feline heroine in rescuing a mystical cat who has been kidnapped by ninjas.  I’m not sure where the Giant Panda who’s hanging around the neighborhood came from; perhaps like the cats he’s another lost tourist?

In these three issues Puttkammer continues to develop the personalities of and relationships between the various cats. He does a good job at making this truly an all-ages book.  Young kids will enjoy the fun adventures of the cute cats, and for older readers there’s are interesting characters & story arcs.

Schultz is a fine addition to the series. He effortlessly juggles the cartoony elements and the highly-detailed real-world settings.

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With the Hero Cats finally making their way back to Stellar City, issue #13 detours into what I would classify as a “What If” or “Elseworlds” type of reality. We are introduced to a world much like the one seen in the previous dozen issues, only with several darker, supernatural twists to it.  Our feline cast is still present, but different.  For instance, Belle is an evil witch, Midnight is a vampire, and Rocco is a giant monster.  As for poor Ace, faced with a world overrun by zombies, he is the Last Cat on Earth.  I guess you could say that Ace is all alone against an onslaught of the Purring Dead.

“Hero Cats of the Apocalypse” is drawn by the art team of Sey Viani & Sarah Elkins. As with previous artists, they do a fine job handling the diverse tone of the book, drawing a story that is both cute and macabre.

While I did initially wish that Puttkammer had written a Halloween story set in the “real” world of the Hero Cats, it later occurred to me that perhaps this could serve as a prologue for a future story. We’ve previously seen the Hero Cats fight against villains from other dimensions.  So the possibility exists that at some point “our” Hero Cats might cross over into this other world where everything has gone terribly wrong and encounter their dark counterparts.  You never know.

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In any case, it was a bit of a treat to see Belle as a witch. Belle looks a lot like one of my cats, Nettie, a doll-face Himalayan.  Belle has slightly darker fur and brown seal-point coloring instead of grey, but other than that she looks a lot like Nettie.  My girlfriend Michele has always wanted to dress up Nettie for Halloween, but Nettie refuses to let us put any sort of costume on her.  One of Michele’s ideas was to give Nettie a witch hat.  At least now, courtesy of Belle in Hero Cats #13, I have an idea of how Nettie might look wearing one 🙂

One last note… after missing him at the last two New York Comic Cons, this year I finally got to meet Kyle Puttkammer. I got a couple of issues of Hero Cats autographed, and had an opportunity to see previews of a few upcoming issues.  I’m definitely looking forward to them.

Steve Dillon: 1962 to 2016

This year has been awful. Too many incredibly talented people have died much too young in 2016.  Sadly yet another name has just been added to the list of creators who left us too soon.  British comic book artist Steve Dillon passed away on October 22nd at the age of 54.

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I first encountered Steve Dillon’s work in the mid-1980s when the back-up stories he had drawn in Doctor Who Weekly for Marvel Comics UK were reprinted here in the States. Two of the strips he worked on had lasting impacts on Doctor Who fandom.  “Throwback: The Soul of a Cyberman” ran in Doctor Who Weekly # 5-7 (1979) and “Abslom Daak: Dalek Killer” ran in # 17-20.  Both stories were written by Steve Moore.

“Throwback” introduced Kroton, a being who even after being converted into one of the ruthlessly logical Cybermen somehow retained his emotions. Kroton was a tragic character, neither human nor Cyberman, trapped between two worlds.  This was some of Dillon’s earliest work.  He had a tendency to draw characters crouching in overdramatic poses or gesticulating wildly.  But even at that point Dillon showed genuine potential.  He certainly possessed the skill necessary to give emotion & pathos to the physically expressionless metal form of Kroton.  The bottom three panels of that final page from Doctor Who Weekly #7 always give me an emotional punch in the gut.

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“Dalek Killer” featured the debut of Abslom Daak, a thoroughly unpleasant career criminal. Having been found guilty on multiple counts of murder & piracy, Daak is given two choices: execution by vaporization or Exile D-K.  The sneering Daak rejects vaporization because it’s quick & painless, and instead chooses Exile D-K, which involves being teleported to a world in the heart of the Dalek Empire to wage a hopeless one-man guerilla war against the mutants from Skaro.

Armed to the teeth, Daak is beamed to the planet Mazam, newly conquered by the Daleks. Despite his fervent death wish, the ruthless & brutal Daak manages to survive, in the process liberating Mazam from the Daleks and winning the heart of its ruler Taiyin.  Tragedy strikes, however, when a lone Dalek survivor kills Taiyin.  The grief-stricken Daak’s suicide-run is now supplanted by a mission of vengeance, as he vows to “kill every stinking Dalek in the galaxy!”

Dillon’s artwork on this serial was amazing. This is only a year after “Throwback” and he had already improved tremendously.  Dillon succeeded in humanizing the thuggish, menacing Daak, making him a character both comedic and haunted.  That final page, with Daak carrying Taiyin’s lifeless body, is incredibly powerful & tragic.

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Abslom Daak proved to be tremendously popular, and he has made numerous return appearances in Doctor Who comic books, most recently in The Eleventh Doctor series courtesy of Si Spurrier, Rob Williams & Simon Fraser. Daak even made it into the Doctor Who television series itself when his mug shot was seen in the 2014 episode “Time Heist.”

In the mid-1980s Dillon was a regular artist on the weekly British anthology series 2000 AD, drawing a number of stories featuring Judge Dredd and Rogue Trooper. He also worked on the short-lived but influential anthology series Warrior.

Beginning in 1990 Dillon began working at DC Comics, illustrating Tom Veitch’s offbeat stories in Animal Man. Two years later Dillon worked with writer Garth Ennis for the first time on the DC / Vertigo series Hellblazer, chronicling the dark supernatural adventures of  chain-smoking occult detective John Constantine.

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I recall that when I was in high school reading Animal Man and Hellblazer, I found Dillon’s artwork to be rather odd.  It was so very different stylistically from the tone of the flashy, ultra-dynamic work that had become prevalent in mainstream superhero books.  I really don’t think I even realized at that time that Dillon was the same artist who had drawn those Doctor Who comic book stories.  Nevertheless his work stuck in my head because it was so distinctive from ninety percent of what was out there.  It had what I would have to characterize as a starkness to it.

After wrapping up their run on Hellblazer, Ennis & Dillon collaborated on the Vertigo series Preacher, which ran for 66 issues between 1995 and 2000. Dark, brutal, sardonically humorous, and gleefully sacrilegious, Preacher became a critically acclaimed hit.  Underneath all the cynicism and gore, the succession of freaks, degenerates and psychopaths, Preacher was at its heart the story of the relationship between Jesse Custer and Tulip O’Hare.  Dillon ably illustrated all the sick weirdness that Ennis wrote, but he also brought to life Jesse & Tulip, made us believe in their love for one another.

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After Preacher wrapped up, Ennis & Dillon went over to Marvel Comics, taking over the Punisher. The pair transformed the then-moribund series into a ultra-violent black comedy.  Ennis also worked on a number of other Marvel titles, most notably a two year run on Wolverine: Origin with writer Daniel Wray.

I have always found Steve Dillon to be an incredibly effective comic book artist. As a non-artist it is perhaps difficult for me to articulate why this is so, but I am going to attempt to do so…

Dillon had a very straightforward, unvarnished style. He did not rely on overly-complex layouts.  He did not utilize excessive amounts of detail.  Dillon’s layouts and sequential illustration were crystal-clear and highly effective.  He absolutely knew how to create drama and tension.  Dillon could illustrate a multi-page sequence featuring nothing more than two characters sitting around taking over a beer and make it the most dramatic thing you could possibly imagine.

Dillon often illustrated stories that featured extreme violence. I think that it if often the case that when an artist who possesses an exaggerated or hyper-detailed style, violence comes across as cartoony or unrealistic or even glamorized.  Dillon, however, had a style that was very much grounded in reality, and so his scenes of violence and gore were starkly, shockingly brutal.

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I was fortunate enough to meet Dillon on a couple of occasions. The first time was in 1999, when I was traveling around Britain.  There was a big comic book convention in Bristol, England.  Dillon was one of the guests.  That whole show seemed to revolve around the bar, and most of the guests either had drinks at their tables or were actually doing signings at the pub.  As I recall, Dillon was at one of the tables in the pub drinking a pint.  He was kind enough to autograph an issue of Preacher for me, and to chat for a couple of minutes.  I commented to him that the “Until the End of the World” storyline that ran in issues # 8-12 has seriously freaked me out.  He smiled and responded, “I drew it, and it freaked me out, too.”  I had to laugh at that.

Years later, in 2009, I met Dillon again when he did a signing at Jim Hanley’s Universe here in NYC. Once again he struck me as a nice, friendly guy, and he did a sketch for me of Herr Starr, one of the villains from Preacher.

I was genuinely sorry to find out that Dillon had passed away. He was a tremendously talented artist.  Judging from the comments on Facebook from people who were friends with him or worked with him over the years, he was much-loved by those who knew him.

Shin Godzilla

Michele and I went to see Shin Godzilla, aka Godzilla Resurgence, last week in the theater during its limited US release. Toho has once again rebooted the movie series, with Godzilla’s inaugural attack on Japan taking place in the year 2016.  The film is co-directed by Hideaki Anno and Shinji Higuchi, with a screenplay by Anno.  Shin Godzilla is probably the darkest, most serious Godzilla movie since the very first entry in the series, Gojira, back in 1954.

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Shin Godzilla is a very political movie. With the story told in an almost-documentary style, events unfold from the perspectives of the politicians and bureaucrats whose task it is to deal with Godzilla’s rampage & the aftermath.

The film’s protagonist is Deputy Chief Cabinet Secretary Rando Yaguchi (Hiroki Hasegawa). Young, ambitious, and definitely something of a rebel, Yaguchi continually chaffs at the innumerable regulations that have to be dealt with amidst Godzilla’s arrival, as well as the overly cautious attitudes of the senior political establishment.

There are quite a number of issues at play here as they relate to Japanese society. Yaguchi is uncomfortable with the traditional deference to seniority & rank, preferring instead to work with people possessing talent & ability, regardless of their age or social status.  His assembly of various scientists & technicians, who he affectionately describes as misfits & outsiders, into a group dedicated to stopping Godzilla is a definite attempt to cut through the red tape that he feels has entangled the rest of the government.

The push by Yaguchi for the Japanese Self Defense Forces to take a proactive role in protecting the country from Godzilla also has real-world echoes. Japan was forced to de-militarize after its defeat in World War II.  During the early years of the Cold War the country was entirely dependent upon the United States for protection.  This eventually led to the formation of the SDF, which has for much of its existence served a very limited role.  In recent years, seeing the potential threats posed by North Korea and China, certain voices in Japan have called for the full-scale rearmament of the country.

At the same time, though, we do see in Yaguchi a desire not to repeat the mistakes of the past. He wishes for Japan to shake off American influence and to be able to defend itself, but he also cautions against the overconfidence that led his country into catastrophic defeat 70 years before.

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The United Nations ordering a nuclear strike on Tokyo to destroy Godzilla before the creature can reproduce & spread across the globe is certainly rooted in Japanese fears. Japan is the only country to have ever been attacked by atomic weapons.  Obviously one can argue that the United States had a very strong rationale for using the atom bomb to end World War II back in 1945.  Nevertheless, within the movie we see the Japanese characters genuinely horrified at the possibility that their country will once again be devastated by atomic weapons, that in order to stop Godzilla the entire city of Tokyo will have to be reduced to a radioactive wasteland.

Yaguchi and his team race against the nuclear strike’s impending deadline to devise an alternate method of stopping Godzilla. With time of the essence, they are forced to ask for the assistance of Germany in analyzing their data.  When the team realizes it needs another day to finish their plans, Yaguchi’s allies in the government lobby France to extend the countdown by 24 hours.  Finally, when the SDF launches the attack devised by Yaguchi’s team, they receive valuable assistance from the United States.

I do not think the choice of these countries is accidental. Japan, Germany, France, and United States; seven decades ago the first two were mortal enemies of the later.  Now, in the present, all four of them set aside their differences and work together against a danger that threatens the entire globe.  The movie demonstrates again and again that cooperation is essential in stopping Godzilla: government and private industry must to pool their resources, military and science must work side-by-side, and nations must come together as allies.

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This is a very unconventional entry in the Godzilla series. That’s not surprising, given Hideaki Anno’s involvement.  He is best known for his work on the incredibly offbeat & bizarre science fiction anime series Neon Genesis Evangelion, which left audiences very divided.  (Years ago, after watching the final episode of Evangelion, I literally threw my hands up in the air and uttered a loud “WTF?!?”)

The conflict between generations was a central one in Evangelion, with anxious teenager Shinji Ikari attempting to find his own way in life and assert himself again his cold, manipulative father. Aspects of this extremely dysfunctional relationship appear to have been translated into Shin Godzilla, in the disagreements between Yagushi and his superiors, as well as the larger theme of 21th Century Japan rebelling against the overbearing, paternalistic attitude of the country’s older generations and the United States.

Of course we cannot forget Godzilla himself. There is an effort by Anno, Higuchi, and their collaborators to ground the creature in reality.  Obviously there is a certain limit to how well this can be pulled off, since the concept of a giant radioactive fire-breathing dinosaur is, when you get right down to it, rather implausible.  Nevertheless the movie does succeed rather well at giving Godzilla a certain verisimilitude.

A constantly-evolving life form, when we first see Godzilla he is an aquatic creature that walks on four legs. This initial form is very much unlike the monster we are used to, which led Michele to whisper to me “Is that Godzilla?”  I must have been frowning when I whispered back “I don’t think so.”  The detail that really threw us off was the creature’s pair of comically large googly eyes.  As the creature shuffles onto land and begins toppling buildings, all efforts to appear formidable are totally undone by those ridiculous peepers.

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At a certain point the creature plops to a halt and right then & there evolves into a bipedal creature.  That’s when I realized that this really was Godzilla, even though he still had those big googly eyes of his.  Fortunately the creature quickly makes his way back into the ocean.

Later in the movie, when Godzilla returns to land, he has evolved further, and is much closer to his traditional form. Twisted & grotesque, this is a monstrous incarnation, one that lumbers unceasingly forward, smashing everything it its path.  An unstoppable engine of destruction, this Godzilla is genuinely terrifying, a quality that has been seldom present in the creature since the original Gojira.

Anno’s use of music by the late Akira Ifukube from older Godzilla movies is effective. Ifukube’s music was a vital part in establishing the tone and atmosphere in many of the past entries.  It demonstrates just how effective his scores are that they are still being utilized.

Much as his work on Evangelion was divisive among viewers, so too has Anno’s approach resulted in a polarization of opinion on this movie. Some found the detailed focus on the inner workings of government in crisis to be fascinating.  Others felt Shin Godzilla was dull, and they expressed difficulty in keep track of the innumerable bureaucrats.

My own opinion falls in-between these two extremes. The scenes of committee meetings and press conferences and scientific gatherings are well written & insightful, although at times they do get excessive and drag on.  These could certainly have been scaled back.  I think that at least 15 minutes of the movie’s two hour run time could have been trimmed without losing anything of real significance.

Flaws aside, I found Shin Godzilla to be a good movie. After the underwhelming Godzilla: Final Wars back in 2004, Toho has done a good job at reviving the series with this new entry.