With the DC New 52, I decided to get back into comics-buying on a regular basis. For the last few years, I’d been only following a few series, mostly ones put out by my company’s client publishers. This meant I read Dark Horse, Image, IDW and a few other publishers’ series, but not much more. I grew up reading comics, though, and I kind of missed it, especially getting to geek out with friends about comics on a regular basis.
So, I took the plunge and subscribed to a handful of New DC comics, as well as nibbling around the edges of a few other series and titles (Marvel’s Generation Hope, X-Men Schism, and now ReGenesis).
My favorite of the new DC series are:
Action Comics: This is a huge callback to the very first version of Superman, where he was a one-man new deal, taking on robber barons and corrupt officials. I find this extra-resonant considering the economic climate and the Occupy Wall Street Movement. It’s nice to have Superman in tune with contemporary political sentiment, and to have him be pro-active and revolutionary rather than a staid defender of the status quo.
Batwoman: This series has gotten less reboot than many others, mostly due to the fact that the character is pretty new. I highly recommend the first Batwoman trade, Elegy, which seems to be entirely preserved in the New DC. The new series gives Batwoman a sidekick and puts her in opposition with most everyone else in Gotham, pursuing her own agenda. The art here (by J.H. Williams III) is phenominal, and pretty much worth buying by itself.
Animal Man: I am really liking this one, though it feels more like a Vertigo title than a straight-up DC title. The importance of Buddy’s family is pushing this title over the top for me, along with the striking art style. This is a series you could read pretty well independent of the rest of the DCU and probably be happy. Special shout-out-recommendation to old Vertigo readers or Sandman fans.
Batgirl: Barbara Gordon resuming the mantle of Batgirl ruffled a lot of feathers, since as Oracle she was a rare differently-abled/disabled (pick your term) superheroine. Barbara was crippled in the classic story arc of Batman: The Killing Joke, and in the New DC, she has gone through physical therapy and resumed the mantle of Batgirl. Simone’s writing here is solid, and the art by Adrian Syaf is well-done, corresponding with the ‘superhero costumers are armor’ paradigm.
Demon Knights: This is a straight-up action-adventure/sword & sorcery comic starring magic/occult heroes from DC that would have been around in a medieval setting. Aside from the actual D&D comic, it is the D&D comic.
More to come later. The problem with reading individual issues again is that it is a lot more expensive than buying trades. After the first arcs of these DC reboots, I’m likely to subscribe to the trades and back off my weekly purchases to save some $. But right now, I really enjoy having my weekly pilgrimages to the nerdery.
This weekend, I became a member of the Secret Feminist Cabal, with insidious plans to take over the world and indoctrinate the masses…with Feminism.
I’d been hearing about the awesomeness of WisCon for years, from writer friends, scholar friends, and complete strangers. I intended to go last year, but plans fell through.
This year, I made it a priority and finally reached the nerdy casual halls of the Concourse Hotel and Governor’s Club in Madison, WI. I flew directly from having been in NYC for a week (working, including BEA), so I had a wicked-overpacked bag. We had a six-hour delay getting out of LaGuardia, and I was very happy to have my various gadgets and some books on hand for distraction.
I could spend quite a long time talking about how awesome WisCon is, but I think I will start with a bullet point approach.
- Starting off the convention with a writing workshop, getting great feedback on the opening of Shield & Crocus.
- Getting to see friends from far away, catching up with @Teleidoplex, @futuransky, @DougHulick, @CassieY4, @creature57, @rachelswirsky and many others
- A convention where the default level of discourse is high enough that when I ramble about the ideological implications of semiotic paradigms, people nod instead of making confused or annoyed faces
- Bake Sales for Activism
- A riotous auction filled with communitas
- Great readings from brilliant writers.
- Meeting several of my authors (for Night Shade Books and Prime Books)
- Acquiring several books and only having to pay for two.
- Discovering delicious food in downtown Madison, from tapas to pizza to Himalayan food
- My awesome roommates @Keffy and EJ — we all worked excellently together and helped me have a Con Posse despite never having been to WisCon
- Rar and Squee in various amounts across the weekend, with cutting critiques and effusive praise
I’ve decided to re-vise, re-name, and re-launch this blog as “Geek Theory.”
Since I’ve been focusing more on my fiction and my ambitions as a writer of speculative fiction, I’m re-branding this WordPress blog as my personal-professional blog, talking about writing, my life as an independent publishers’ book rep, and other fun things. There will be far fewer reviews and essays, and they’ll be in a more personal tone, rather than my pop-academic tone from before.
First up — a summary post on the awesome that was WisCon 35.
FOX’s new offering Glee debuted a pilot episode earlier in the year and made it available online throughout the summer, and responded to initial positive responses with a very strong and pervasive advertising campaign which continues even now.
It’s impressive to think that a weekly musical television show could get this positive a response, but there are a lot of reasons to love the show.
1) If you are a musical theatre fan, the chance to see it on network primetime is inspiring and delightful.
2) If you aren’t a musical theatre fan, the show offers constant laughs with compelling laughs.
3) Jane Lynch portrays the shows main antagonist, the coach of the national-attention-winning cheerleading team (aka the Cheerios). Lynch is given reign to cut loose and portray a vicious competitive scheming selfish heel of a character — and she revels in it. Lynch’s Coach Sylvester is one of the strongest parts of the show.
4) The way that the musical numbers are integrated into the show are mostly diegetic, given the focus on a glee club, but there are some breakout fantasy numbers, such as “Bust Your Windows” when diva-licious Mercedes is rejected by the fashion-forward Kurt, or head Cheerio Quinn’s crazy-go-nuts anthem railing against her treatment by her boyfriend and others in general
5) The showrunners and writers keep on finding new ways of eliciting laughter and delight from the audience. Last week, we had Jane Lynch in a zoot suit, “I Could Have Danced All Night” sung in a dress shop by the adorable Jayma Mays while dancing, and the glorious Slushee War.
6) The show’s musical selection ranges from classic rock “Don’t Stop Believing” to contemporary hip-hop “Gold Digger” and a strong but not overwhelming sampling of musical theatre numbers such as “Maybe This Time” and “Tonight.” Upcoming numbers include “Defying Gravity” from Wicked (not the TV show by the same name — that’s another blog post).
7) Characters originally introduced in an antagonistic role are frequently fleshed out into sympathetic characters, including head cheerio Quinn, coach Tanaka, football bully “Puck”, Will’s wife Terri, and even the dread Sue Sylvester has her pensive moments. Few characters are universally good or universally villainous — our protagonists are flawed, lie and cheat for understandable if misguided reasons, and generally act like high schoolers — even the adults.
8) Despite this ambiguity, it’s very hard not to root for the Glee kids, and most see the dissolution of Will’s marriage as an inevitable precursor to the more-inevitable union of charming Glee coach Will and adorably OCD guidance counselor Emma.
It’s Both Good and Popular! Amazing!
There are more reasons to love the show, and Glee’s popularity is written nearly everywhere — critical praise abounds, it consistently trends in the top 10 topics on Twitter the nights of its episode airings, and most importantly, it’s ratings are consistently strong, consistently earning a 4.X rating and 7 share and a 3.X/9 among the coveted 18-49 demographic. The show was the first new show of the season to (publically) receive an order for the back 9 episodes — and the first DVD set (collecting episodes 1-13) has already been solicited). Another important facet of the show’s success is that the musical numbers from the show are made available on iTunes and consistently reach best-seller levels in that market. The show is another example of Most Repeatable Programming (ala Steven Johnson), where small moments/reaction shots may be missed without multiple viewings, and it’s easy to see why people would watch and re-watch (including Hulu) given the selfless-smile-inducing musical numbers.
If Glee is able to maintain its current balance of drama and humor, delightful musical numbers and ridiculous antics, it’s likely to survive for several years. In times of economic and social instability (recession, massive conflict over health care reform, gay rights, etc.), a happy, inspiring show is an easy pick for success.
After all, as the dearly departed Irene Adler, long-time coach of the McKinley Glee Club (inc. during Schuester’s time) saif,
“Glee, by its very definition, is about opening yourself up to joy.”
When I first heard about Defying Gravity, I was surprised to see another space show, following the dead-in-the-water Virtuality which went from pilot to TV-movie backdoor pilot to TV-movie that everyone knew wasn’t going to become a series.
Defying Gravity had a number of similarities to Virtuality – ensemble-sized crew on multi-year mission deep into space, their efforts being made into a reality show for people back on Earth, driving off of interpersonal conflict exacerbated by the enclosed space and mission stress.
However, Defying Gravity has a far milder version of the ‘reality show’ aspect, and lacks the virtual reality material featured in Virtuality. As a result, the show is much more focused — it’s serial SF with episodic interpersonal plot — originally pitched as “Grey’s Anatomy in space” — the show released on ABC over the late summer, but was only aired for episodes before it dropped off of the schedule — ABC has stated that they they are looking for the best time to air the remaining episodes — meanwhile, the episodes have been airing elsewhere, due to the show’s status as a multi-country, multi-network production.
I hope to see the remainder of the season on television, but I have doubts about the show getting picked up. It’s likely rather expensive given the sets and FX required, and the show’s ratings were lukewarm when aired — though that’s far from unexpected from a relatively un-advertised mid-summer show with a high concept. Depending on how its ratings fare elsewhere, it’s possible that even if ABC drops its support, it might continue on.
Here’s why Defying Gravity is cool, for me: It’s probably the best new straight-up SF show (recently) on television. The show addresses advanced speculative elements (deep-space missions, plus other SF-inal spoilery things that are very intriguing). It also sustains and develops strong interpersonal drama, throws in good doses of comedy, and includes the best use of flashbacks since LOST, using a parallel structure depicting the mission crew and other personnel in the years-long training that served as the characters’ introduction to one another and informs their relationship with one another in the ‘now’ segments.
Unlike LOST, the characters are deeply interconnected with one another throughut their flashbacks, meaning that instead of revealing a ‘small world’ setting where disparate characters were more connected than they suspected, the crew of Defying Gravity are shown working through years of interpersonal relationships — it’s two stories that are one and would theoretically come together by the end of the series, when the flashbacks lead up to the start of the ‘now’ part of the show and provide (10-11) years of contiguous storyline.
Back to the title of my post: Why this show needs to not get canceled — Defying Gravity depicts a future where space exploration brings us into a larger universe, valuing both science for science’s sake; also the love of exploration. It also introduces and explains SF-inal elements unseen in television, if well established in SF literature. The SF writing world talks about how film/TV is two decades behind prose. The ideas get investigated in prose, and go from brilliant innovation to discussed and debated trope, and once well known enough, if the materials that lead into the trope are established in the popular imagination, then it can reach a broad audience to be digested. Shows like LOST took several years to build up to and introduce SF elements, and Fringe is popularizing parallel/alternate universe theory. Dollhouse is a possibly-too-complex-for-tv meditation on the possibilities of interfacing with and modifying memories through technology.
It’s all well and good for the SF community to investigate ideas and develop discussion, but it’s a small world, and for those ideas to reach the majority of the populace, either you need a massively popular novel on the level of Stephen King or Dan Brown, or you probably need to make a movie/TV show. And if shows that further the collective understanding of the culture-shaping ideas that SF produces keep getting canceled, it serves as a barrier to that dissemination of ideas.
For these reasons and because I think it’s engaging on an interpersonal level with strong performances by a fairly-ethnically diverse cast, I would really like Defying Gravity to continue long enough to tell its story, to convey its speculation about a possible future.