Artwork from Civil War #2
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Civil Words

Greetings, Maniacs, and welcome to another mail-filled Comicscape maelstrom.  Last week’s column on Marvel’s Civil War garnered some thoughtful letters – more than the paltry couple I seem to receive lately.  For whatever reason, the mail response has steadily declined in the past few months.  I can’t attribute it, with certainty, to a lack of compelling material on my part or displeasure over the site’s redesign, as implemented several months ago.  If you all take issue with the site’s layout, by all means e-mail me and I’ll pass along your concerns.  The new site allows for greater user participation, but I suspect some readers may dislike the overall look and feel.  Please, by all means, speak up if that’s the issue.   

Next week, Comicscape heads back to the movies with my review of 300, director Zack Snyder’s adaptation of Frank Miller’s seminal miniseries depicting the Battle of Thermopylae.  Prepare for glory, Maniacs.  Here are your letters. 

Merin writes, “I could give the canned response that ‘realism’ in comic books about costumed people with super-powers is about as desirable as wheels on a submarine, but the argument is self-defeating.  We want the characters and situations to ‘feel’ real after we have ‘accepted’ that people have powers and don uniforms to fight crime.” 

Readers expect a degree of realism that exceeds the standards previously set by Marvel.  You can argue about how one measures such a thing, but I think that concisely states the problem. 

“Because the majority is behind something doesn't make it right.  Japanese internments, decimation of the Native Americans, and acceptance of slavery are all black spots in American history that were widely accepted by the vast majority.  Supporting the current president and going to war in Iraq were widely supported, to look at more recent events, and 99 US Senators voted for the Patriot Act.  There is a problem with mob rule and culturally acceptable beliefs that are just morally wrong.” 

The majority isn’t always wrong, either.  Granted, democracy in its purest form constitutes mob rule.  We have a representative government for a reason.  The problem comes down to enforcing objective moral edicts – no matter how righteous or sensible – on a populace that won’t have them.  It’s very difficult to reason with the mob. 

“For about 2000 years, it was widely believed that the Earth was the center of the universe and that the celestial heavens held different physical laws than those on Earth.  Killing women for adultery was the norm and still is the ‘rule’ in some cultures.  I think my point is made.” 

You’ve made it clearly, and I more or less agree with you.  However, it takes attitudinal and cultural change on a drastic scale to change those notions.  If enough people want something, no matter how stupid or destructive, it will probably happen.  Everyone gets a vote – even the naïve and the simpleminded.   

“Because the SRA was wildly popular amongst the Marvel Universe citizens of the USA, it just goes to show how much this is paralleling real world events.  The ‘suspension of disbelief’ that you keep referring to [that allowed] vigilantes in the Marvel Universe being allowed to ‘run rampant’ being ‘unrealistic’ is a simplistic and inaccurate view.  The Avengers had been, for most of their history, approved by the U.S. government and at one point were something of a separate power under the U.N.  The X-Men were hunted by the government; Sentinels were built to capture mutants.” 

If you consider how many self-proclaimed heroes weren’t shot by the police or incarcerated, it’s very accurate.  Spider-Man may have been called a terrible menace and a criminal in The Daily Bugle.  But, the fact that he and so many heroes could just don a mask and fight crime without bringing down the FBI says otherwise.  Regardless of whatever rhetoric or apologies Marvel used to justify those characters’ continued operation, the Universe allowed those heroes to fight crime because the publisher needs them to sell t-shirts and video games.  In the real world Marvel has so long claimed to reflect, the superhero problem wouldn’t have lasted long. 

“And speaking of mutants, the Mutant Registration Act was the SRA with a genetic preference, and nobody I know of ever agreed that the MRA was a good thing.  You take the ‘race’ component out of it, and suddenly it’s gone from bigotry and prejudice against blacks or Jews to being prejudice against Muslims, as the faith of Islam is practiced across a wide selection of ethnicities and races, and, like reality, this becomes acceptable.” 

Black people and Jewish people can’t shoot fire out of their hands or kill people with their minds.  Religious affiliation doesn’t bestow destructive powers greater than any commercially available firearm.  It’s an old argument and a very compelling idea, but it has little application in the real world Marvel increasingly wants to reflect. 

“Back to the point, though, Marvel has often dealt with the vigilante end of things.  Special taskforces were created to hunt down and capture criminals or super-powered beings seen as dangerous, including Spider-Man at many times and quite often the Hulk.  The Fantastic Four were even, early in their career, arrested for doing what they did.  S.H.I.E.L.D. often intervened in super-human affairs.  The Marvel Universe, at least the one I'm familiar with, was never flippant about people just ‘letting it go.’” 

Those special taskforces couldn’t have been terribly effective, nor were any other of the efforts you describe.  The Illuminati had to shoot the Hulk into space to get rid of him.  And, other than the Punisher and Daredevil, can you name a hero that’d really done time – not just been arrested, but actually served a lengthy prison sentence – prior to Civil War?  The realities of comic book publishing forced Marvel to write their heroes out of these situations to keep their books in print and their characters respectable.  No one wants to read about Peter Parker bargaining with honey buns and cigarettes in prison.  I’m amazed that Marvel allowed Daredevil to stay incarcerated for as long as they did.  Hence, looking back, the Marvel Universe maintained a relatively laissez faire attitude towards heroes when compared to the real world. 

“The reason the citizens accepted this kind of vigilantism was because the heroes were seen as doing far more good than harm.  In the reality of the stories, they successfully captured criminals and saved lives without resorting to killing – something real-life vigilantes would be hard-pressed to do (run around with tasers, I guess).  You can't accept that Spider-Man can wrap up criminals in webbing for the cops to pick up and then try to compare that ability to fight crime with a real-life guy riding around on a motorcycle with a shotgun and a revolver and the danger he poses to innocent bystanders.” 

I certainly see your point, but I think the editors at Marvel realized that they couldn’t maintain the idea of clean captures with no collateral damage forever.  The median age of comic readers has probably raised a bit over the years, and adult readers expect different kinds of stories. 

“I already wrote a review about my reactions to Civil War #7 and the series as a whole, in which I detail my disgust for this direction of things.  If gritty realism was really what sold super-hero comics, The Punisher would be the number one selling book.” 

If I had my way, it would be, too.  I guess I can’t have everything. 

“If this mythical ‘larger mainstream readership’ that American super-hero comics want to try and court really depended on more realism, on the vigilantes being caught and registered and working as government agents, why does Manga sell so well?  Manga stories are fantastical but you don't see Tenchi, Roger Smith, Trigun, the Knight Sabres or a slew of dozens of other ‘vigilante

types’ being government agents.” 

Manga readership has a younger average age than American comic books.  Manga readership averages in about mid-to-late teens, whereas comic book readership averages at around early 20s.  People that reader Marvel and DC have grown up and taken these characters with them.  You might see this sentiment more prominently in Manga in about ten years, if I had to guess. 

“How do you account for the success of superhero movies as they stand, or the myriad of action movies in which people take the law into their own hands (often because the law or the government are corrupt, inept, or so bureaucratic as to be ineffective) if accountable, government controlled agents are what people really want to read or watch?” 

Watching an action movie requires two hours of a person’s time and less money than reading an ongoing comic series.  I can watch a brainless action movie for $6 and tolerate its unrealism with greater ease than I can commit to a series at $3 a month, much less an entire interconnected universe.  Readers have higher standards for characters that they will follow for months and years than they do for action heroes in a movie or two.  Besides, a lot of people like crap and will pay to see it. 

“Personally, I spend way too much time reading the minutia of world events and politics to want my escapist fantasy entertainment to suddenly become mired down in ‘realistic’ stories.  Maybe others want this level of realism.  I doubt this will be a successful way to gain a larger and loyal fan base, but I could be wrong.” 

I’m certainly curious about the direction the Marvel Universe will take.  Frankly, I doubt the whole heroes-as-government-agents thing will last for more than a few years, if that.  Eventually, Marvel will reset things to shake up the universe and sell it as a glorious return to form. 

“24 has a large viewership and earned itself critical acclaim despite the whole show being a gimmick (the 24-hour story) based around a fallacy (the ticking time bomb scenario) in which torture is not only acceptable, but useful (um, how realistic is this?) and yet it strikes people as gritty and real.  Somehow I doubt that the people who want realism and dislike fantasy are going to be more likely to buy Spider-Man or Fantastic Four if they are suddenly badge-carrying agents of the law.” 

It might not gain new readers, but it might retain old ones.  I assure you that Marvel probably has some marketing research to justify this move.  Few companies make these kinds of decisions for purely aesthetic reasons. 

“If the idea of accountability and realism is accepting genetically engineered clone soldiers who kill without cause, of secret prisons where people are detained without trial and without hope of parole or even defending themselves, where being different means you must be on a separate government register or you are a felon, of war profiteers being national heroes – if this is the shape of things to come in Marvel trying to be more realistic and believable, I'll take unbelievable, unrealistic fantasy, please.  Stories in such a world, where the world isn't seen or portrayed as oppressive, totalitarian and evil but instead as just, fair and good, will not ever entertain me.” 

With no intended sarcasm – there’s always Marvel Age.  Thanks for writing a very thoughtful letter.

Andrew Taylor writes, “Civil War was an interesting concept and had a lot of potential, but it went tragically off the rails early on. The problem was not with the politics or the sides taken. The registration act was a valid and fascinating turn of events that seemed very natural and organic to the Marvel Universe. Every long time reader could understand both sides of the arguments involved. And it makes for a very compelling story.” 

I’m glad someone realizes that things had to eventually change.  

“The huge problem with the crossover stems from the way it illogically leaps to extremes. You say they did these things ‘Well, because it’s a war.’ But there is and was no war until they did those things. It is an illogical loop. Even in the Marvel Universe it is easy to accept that most citizens want the superhuman population registered, trained and controlled. But forced to either function as soldiers and commandos of the government or be committed to a gulag in an unbelievably hostile and dangerous dimension, with no trial or legal recourse? Where was the register and retire option? The sequences that they wrote with regard to the character Arachne were particularly disturbing. She was a sanctioned government agent when the series started. Based on what she saw, she chose to quit, retire and raise her child in peace. For that desire she was brutally assaulted and horrifically injured by some of the major ‘heroes in the Marvel Universe.”

If the Wikipedia entry on the situation is accurate, it wasn’t a matter of simply retiring – she was working as a double agent and was preparing to flee the country.  I’m not sure the series even explored that possibility – registering and leading a normal life, I mean.  If it did and I missed it, someone please let me know.  But, as I understood it, registration permitted you to continue as a crime-fighter – it didn’t require you to report in every morning and fight criminals as if you’d enlisted in the military.

“Those self-same heroes are the ones that came out on top of this – the whole kill of Goliath via a renegade Thor clone made by Tony Stark and Reed Richards once again with no criminal consequences?” 

I’m not arguing that the pro-registration side did everything right or morally – far from it, in fact.  A few issues into the series, a good friend of mine suggested that perhaps the series meant to juxtapose one side with a very noble, yet naïve idea with another side beholden to a reasonable idea, yet enforced with unjustifiable actions.  That’s just food for thought. 

“And, the true logical consequences of this type of act have certainly been seen before, and in much, much better written ways. Brian Michael Bendis shows it to us regularly over in Powers. All Mark Millar does is in Civil War is once again show us the odd dichotomy of his strengths and flaws. He is an amazingly technically skilled writer, who creates stories and scenes that you really cannot look away from, but he lacks any semblance of moral relativity. His writings are like the Grand Theft Auto series of video games. They are so technically superb that it is very easy to forget that the game involves beating up hookers with a tire iron.” 

Did you mean moral relevance?  If you meant that he lacks moral relativity, that would imply that he writes from very moral positions – quite the contrary to what you’ve argued up to this point.  Thanks for writing. 

Santiago Kcorb writes, “I'm puzzled and a little sad. Didn't Reed ever read Frankenstein? How could Tony brutalize a colleague and hero, who has saved the world many times over, for essentially being a draft dodger?” 

Because if he hadn’t, Congress probably would’ve outlawed all costumed vigilantes.  He certainly wasn’t sentimental in his enforcement of the issue. 

“How could ‘heroes’ see one of their own killed in a battle and not only continue to fight on the side that killed him but use the unstable weapon that did it?” 

Because, one casualty, no matter how tragic, wasn’t enough to negate their principles.

“How could Spider-Man reveal his identity and put his family at risk for any reason given his history in that regard?” 

Because at that point, his family lived in Stark Towers with the Avengers and, presumably would be protected.  He was still with the team when he revealed himself.   

“How could ‘heroes’ unleash some of the most vile and sadistic villains in the world upon their ‘friends’ who were, even still, risking their lives to fight crime despite their fugitive status? These aren’t compelling questions so much as they are troubling.” 

They used the Thuderbolts because they could effectively get the job done.  I would also venture to say that they realized that the team would have no friends in the superhero community and, thus, wouldn’t have personal relationships that would prevent them from capturing those in violation of the SRA.  From a storytelling standpoint, I think Millar and Marvel intended to show that the pro-registration side had ventured into patently immoral territory to enforce their position. 
 
“I think that this story epitomizes what has caused my interest in comics to wane over the years. I have no interest in seeing heroes who have fought side-by-side for the survival of mankind now casting aside those allegiances to grapple over real world politics. Adamantium-alloy shields should be stopping sniper bullets and protecting people from otherworldly energy weapons, not influencing government policy.” 

I think most people can’t forever maintain the total suspension of disbelief required to enjoy the carefree, altruistic spirit of the old Marvel Universe.

 
“It’s not that the issues raised by Civil War weren’t valid ones, I just don’t think that they were handled constructively. I didn’t see the faces of the people in the car because I was distracted by the crash. It didn’t elevate or enlighten me. It was just mean. It’s not that I don’t think that there is a place for stories like that. I just question whether the realm of mainstream Marvel comic books is the right venue for them. That’s what I thought the Ultimate Universe was for.” 

It’s definitely a more cynical take than the Marvel Universe has presented in the past.  It seems more motivated by the amoral principles that govern the real world than the altruistic, idealistic ones that once ruled the Marvel Universe. 
 
“I do agree, that while it's inevitable that different writers will have different takes on the characters than perhaps their creators did, I don't think that necessarily means that they should be given free reign to so flagrantly ignore the spirit of those creations. No disrespect intended for the many hands involved. I don’t think that this was their intention.” 

The spirit of a given character is incredibly subjective and widely open to interpretation.  But, it’s always worth discussing.  
 
“This is one genie that should be forced back into the bottle. If one carries the current ‘realism’ allowed by this story to its logical outworking, then no hero's loved ones should be safe, especially those whose identities are already publicly known. Any number of villains has the resources to retrieve that info from whatever place it is stored. The wonder is gone. The Negative Zone has devolved from being a mysterious place, too dangerous for anyone to venture who is not the Fantastic Four, into Alcatraz.  I was drawn into comics by the sense of wonder that they had and the depiction of beings that were a little nobler than we. Not that they couldn't have problems (i.e., Iron Man's alcoholism), but the level of cynicism with which ‘heroes’ have come to be depicted is very disheartening for those of us who want to be enchanted by them. I think that in the long run, whether comics like this prove to be the death of the industry as a business or its salvation, we still lose. Especially if we allow ourselves to believe that ‘adult’ stories must be mean-spirited and cynical. Not all ‘older’ readers want this. I’m 44. I know others who have stopped reading comics for similar reasons. Bring back the ‘marvel’ in Marvel comics.” 

Several readers seem to have the same issues you do, Santiago.  I think it comes down to the kind of stories you prefer.  I like dark, gritty material.  I enjoy stories with a sense of wonder, but I usually like my heroes flawed, edgy, and morose.  I like seeing Captain America struggle with the notion that his vision of the country has died.  I enjoy reading about Wolverine’s internal fight between his human and his animal nature.  Spider-Man should worry endlessly about his family.  The Punisher should be an unhinged killing machine driven by cold, internal logic.  Granted, “grim and gritty” hardly stands as the only way to tell a hero’s story, but I prefer it.  If you don’t, I’d wholeheartedly recommend something like Robert Kirkman’s Invincible, Brian K. Vaughan’s Runaways, or some of the Marvel Age titles. 

That’s it for this week, guys.  Thanks to everyone that wrote this week.  Regardless of the direction the Marvel Universe takes, I’ll be here to tell you about it.  We’ve got an interesting couple of years ahead of us. 

The Spinner Rack

By Ben Johnson and not Kurt Amacker

Ben: Kurt won’t be with us this week.  His days of waiting outside Chuck E. Cheese in a black, windowless van with a bag of candy have finally caught up to him.  Luckily, I was able to smuggle this weeks column out of his holding cell.  The less said about that the better. 

DARK HORSE COMICS

Frazetta Snow Giants Statue $350.00

Pokemon Buildable Figures #2 Gacha Capsule PI

Pokemon Charm Figures # 2 Gacha Capsule PI

I gacha Pokemon Charm right here.

Roman Album Samurai Champloo TP $17.95

Secret #2 (of 4) $2.99

The first issue of this was a better set-up than 90% of the horror movies that have come out in the last few years, which probably means "The Secret" is that I'm going to be horribly disappointed from here on out. 

Star Wars Legacy #9 $2.99

DC COMICS

52 Week #44 $2.50

If someone had told me 10 months ago that I would be begging DC to take another $2.50 from me every week I would have peed in their cheerios. Just ask my wife. 

All New Atom #9 $2.99

All Star Batman and Robin # 4 Cover Poster $ 7.99

Wonder Woman's ass!!! Could this be the first step towards redemption?

Authority # 2 $2.99

Authority Under New Management TP $17.99

Authority Var ED #2 $2.99

Detective Comics #829 $2.99

Dini absolutely owns Batman. These one-shots have been my favorite Dark Knight in years.

Ex Machina Vol 5 Smoke Smoke TP (MR) $12.99

Exterminators Vol 2 Insurgency TP (MR) $12.99

Flash #1 Cover Poster $7.99

Go Go Heaven Vol 1 $9.99

And down with Hell!!! Get it? Down? It's a slow week.

Green Lantern Green Arrow Vol 2 TP $14.99

Helmet of Fate Zauriel #1 $2.99

Jonah Hex #17 $2.99

Justice League of America #6 $3.50

Justice League of America Var ED #6

Justice League Unlimited #31

Looney Tunes #148 $2.25

Loveless #16 (MR) $2.99

Manhunter #29 $2.99

Isn't it about time this one was cancelled again?

Midnighter #5 $2.99

Nightmare On Elm Street #6 $2.99

Nightwing #130 $2.99

Nightwing Brothers In Blood TP $14.99

Outsiders #46 $2.99

Pieces Of A Spiral Vol 7 $9.99

Scapled #3 (MR) $2.99

If you've ever wondered about life in Indian Country you owe it to yourself to read this book.  It has to be one of the most honest portrayals of Native American life ever put to print.  I don’t want to go soapbox, so just read this book and see how this land’s indigenous people live today.  A real eye opener. 

Shazam The Monster Society Of Evil #2 (Of 4) $5.99

Jeff Smith doing the Big Red Cheese. Just writing that gives me a little fan-splosion in my pants. 

Showcase Presents House Of Mystery Vol 2 TP $16.99

Supergirl Candor TP $14.99

Superman 13 Inch Collector Figure $69.99

That's what she said.

Superman Batman #32 $2.99

Superman Returns Deluxe Photo Book HC $59.99

Superman Returns Prequel Cover Poster $7.99

Uncle Sam And The Freedom Fighters #8 (Of 8) $2.99

Welcome To Tranquility #4 $2.99

Welcome To Tranquility Var ED #4 $2.99

Wonder Woman #1 Cover Poster $7.99

Worldstorm #2 $2.99

IMAGE COMICS

Age Of Bronze #25 $3.50

Art Of Greg Capullo HC $29.95

Bomb Queen III #1 (Of 4) MR $3.50

IT HAS BOOBIES!!!!!!!!! and not much else.

Darkness Ultimate Collection TP $19.99

Dynamo 5 #1 $3.50

The idea behind this book, a Superman like hero dies and leaves behind a bunch of powered illegitimate kids, is really cool. I just hope it doesn't become an excuse to have a bad team book. 

Nat Turner Book 2 Revolution TP $10.00

Phonogram #5 (Of 6) (MR) $3.50

Spawn #165 $2.95

Strongarm #1 $2.99

MARVEL COMICS

Bullet Points #5 (Of 5) $2.99

I can't imagine how this issue can save the longest What If? from disappearing into obscurity. 

Captain America #25 CW $3.99

Cap drops the soap.

Civil War Initiative $4.99

Civil War Poster Book $5.99

Criminal #5 (MR) $2.99

Ed Brubaker has cemented himself as the noir writer of this generation.

Daredevil By Frank Miller & Klaus Janson Omnibus HC VAR ED $99.99

Anyone got a Benjamin I can borrow?

Daredevil By Frank Miller & Klaus Janson Omnibus Vol 1 HC $99.99

Dark Tower Gunslinger Born #2 (Of 7) $3.99

I was stunned by the quality of the first issue. Jae Lee has reached new highs, and even Peter David, yes Peter David, manages to take on the speech and mannerisms of the Gunslinger universe without sounding like a pompous ass. May it do ya. 

Dark Tower Gunslinger Born Finch VAR #2 (Of 7) $3.99

Dark Tower Gunslinger Born Jae Lee Sketch VAR #2 (Of 7) $3.99

Essential Fantastic Four Vol 3 TP NEW PTG $16.99

Fantastic Four #543 CW $3.99

Fantastic Four The End #6 (Of 6) $2.99

I’ve read worse comics. 

Friendly Neighborhood Spider-Man #18 $2.99

Peter David coming across as a pompous ass.

Ghost Rider Trail Of Tears #2 (Of 6) $2.99

Hulk And Power Pack #1 (Of 4) $2.99

Incredible Hulk #104 $2.99

Dear everyone who keeps complaining about this story dragging on: YOU SUCK. In a good way. 

Iron Man Hypervelocity #3 (Of 6) $2.99

Marvel Adventures Spider-Man #25 $2.99

Marvel Zombies Army Of Darkness #1 $2.99

My life has meaning again.

Mighty Avengers #1 $3.99

Mighty Avengers #1 Cho Poster $6.99

Ms Marvel Vol 2 Civil War Premiere HC $19.99

New Universal #4 $2.99

This is a great comic. If you aren't reading it you better not have eyes. 

Onslaught Reborn #3 (Of 5) $2.99

Wow, I mean just wow.  What a steamer.

Punisher #45 (MR) $2.99

Spider-Man Reign 2^nd PTG Andrews VAR #2 (Of 4) $3.99

Spider-Man Saga Of The Sandman TP $19.99

Let the movie cash-ins begin.

Squadron Supreme Hyperion VS Nighthawk #3 (Of 4) $2.99

When this left the MAX imprint so did my interest.

Thor Eternals Saga Vol 2 TP $24.99

Ultimate Marvel Flip Magazine #23 $4.99

Ultimate Spider-Man #106 $2.99

Ultimate Tales Flip Magazine #23 $4.99

Ultimate Vision #3 (Of 5) $2.99

Remember when every Ultimate comic was a must read?

Uncanny X-men #484 $2.99