Tag Archives: science fiction

Image Comics’ Ordinary Gods Questions Heroism and Mythmaking

Comics are often synonymous with superheroes; they dominate the industry whether you like it or not. Their myths and their tropes and their cycles of stagnation, reinvention, and their inevitable return to the way things Always Are. Heroes win, and more important than that: they are heroes. There is comfort in them; I am a fan of them. I don’t begrudge the status quo in and of itself. But often these demands and these cycles hide the hard truths of the industry that creates these stories, the way the corporate sponsors of these lucrative properties exploit and stifle the creators they rely on for their tentpole films and licensing initiatives. The heroes and gods are the myth, but the reality is as ordinary and petty and deflating as any other industry, with its dark secrets and interpersonal frustrations. While Ordinary Gods is not a superhero story, their dominance of the medium and the expectations readers bring to the comics reading experience are inescapable.

Ordinary Gods is a new creator owned series by the red-hot writer Kyle Higgins and artist Felipe Watanabe. Higgins looks to explore and unmask these ideals of heroism and take a harder look at the truth. It serves as a commentary not only on our human tendency for myth-making and hero-worship more broadly but also a metatextual commentary about the comics industry itself that channels his professional frustration of the work for hire system into a cosmic, eternal cycle of death and rebirth.

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The Final Night and the Forgotten Legacy of the DC Universe

One thing my recent Nightwing project accomplished was reigniting my love for DC Comics–particularly the stories and universe of the 90s, which, ironically, I have ready very little of. While I initially planned to cancel my DCU Infinite subscription once I finished that Nightwing read, I instead decided to dive into the stories I was always intrigued by but never had the opportunity to read.

As a kid I spent countless hours online following the stories of DC characters I had never heard of before, written by fans who chronicled the various adventures in compelling narratives. The DC Universe was boundless; there were always new characters and new stories to discover. In particular the fall of Hal Jordan seemed especially captivating. Reading about his sacrifice in The Final Night was such a moving memory even in the form of synopsis that when I found the story on DC Infinite those heady days of research came flooding back. Imagine my surprise to find that an event series from the mid 90s, an era that has a reputation for excess and convoluted plots, was in fact one of the most compelling, reserved, and moving superhero stories I’ve ever read.

The Final Night was a 4-issue, weekly event series written by Karl Kesel with art by Stuart Immonen, inks by Jose Marzan Jr. and colors by Patricia Mulvihill. It begins with the death of a world, as a mysterious power extinguishes the planet Tamaran’s sun. The alien Dusk, a messenger from another world, races from the dying Tamaran to warn the next planet of the coming of the Sun Eater, as she has done countless times before. The Sun Eater is coming to Earth, and there is no hope. Her goal is not that the next planet will defeat the Sun Eater but that they somehow save a few from certain death.

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The Mandalorian and Identity in Exile

The Mandalorian appears to be doing something fascinating in its second season as its threads begin to unravel themselves: Exploring the question of what it means to be “Mandalorian.”

The set up for this exploration seems to have been established near the end of season 1, where Cara Dune explains to Greef Karga that the Mandalorians aren’t a “race,” but rather “a creed.” To be a Mandalorian, as our laconic lead Din Djarin understands it, is to follow this creed to the letter, live in “The Way.” It is a Way of tradition, ritual, and visual signifiers. The helmet becomes the true face, providing a visual identity that binds a disparate people together into one community, regardless of what features might lie beneath the helmet.

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