Michael Deeley has been reading comics since he was 12 years old. His first book was an issue of Silver Surfer by Jim Starlin, leading him to see all comics as ideological conflicts with big-ass fight scenes. At the very least, he expects a comic to be entertaining in some fashion, which is why he thinks Secret Wars II is better than Dark Knight Strikes Back. He has never work in the comics field, but he does have a belligerent attitude and a lot of free time.
During his brief intervals in the real world, Michael looks for a paying job that should, (theoretically) lead to a better life involving more comics, privacy, and women.
He currently lives between Pittsburgh, PA, and the Pittsburgh International Airport, in a suburb so new, it only has one McDonalds.
Instead of the usual quote, I thought I’d post a link to a very short, if accurate, review of Teen Titans Animated.
BTW, “Sluggy Freelance” is a very funny comic strip, but you have to read every one ever made. It’s the on-line version of Claremont’s X-Men.
It’s MTV’s fault this isn’t longer.
About a month ago, I decided to check out all the TV shows based on comic books. After watching “Smallville”, however, I did an entire column on why it sucked. The overwhelmingly negative response from readers led to another column where I took a deep, dark look into the shadow of my heart. The columns went like this:
ME: “Smallville sucks!” EVERYONE ELSE: “No it doesn’t!” ME: “It does when your life is spent in a black whirlpool of despair and comic books are the only ray of light and hope.” EVERYONE ELSE: “. . . “ ME: “Don’t make me do that again.”
So now I’ve come back to my original premise: comics-based TV shows. Now, I would think a comic book could be easily adapted into a TV series. Both mediums are episodic in nature. You can have short self-contained stories, like “Law & Order”, continuing stories that run for the year, like “24”, or a mix of both, like “Friends”. And since both TV and comics are visual mediums, both can tell stories using images and dialogue.
The differences between them are enough to create significant problems in adaptations. Comics use printed words. A reader will patiently read through dialogue, narration, or text boxes if it advances the story. A TV viewer is not patient enough to sit and watch two people talk for more than five minutes. Time is also a factor. A TV series has between 22-44 minutes each week to tell a story. A 22-page comic can have as many words and pictures as it needs. But the biggest difference is price. A monthly comic costs $3. Prices for cable TV, which most people have, varies with providers and services. I’ve found that a standard “basic cable” package of over 50 channels starts around $30, not including premium channels. Digital cable and dish services start at $50 for over 100 channels. Most people are probably paying less than a dollar per channel per month for a service they can access 24/7 without leaving their house. How far do you have to drive to your nearest comic shop?
But the biggest problem in adapting comic books into TV shows is special effects. The most popular comics are superhero books. How do you do a live-action series featuring real people doing unreal things? Budgets for TV shows are always less than movies, so standards and quality of SFX tend to be lower. The sad fact is it’s harder to make a man fly on TV every week than in a major motion picture. Plus the viewer knows it’s all fake. This creates a barrier between him and the story that gets in the way of his enjoyment. How do you make superheroes look believable enough for the viewer to enjoy the show?
Same way you do in comics: Draw them.
There have been more cartoon shows about superheroes than live-action shows. Cartoons aren’t much older than comics themselves. The first animated film was drawn and produced by Winsor McCay in 1911. It was based on McCay’s comic strip “Little Nemo”. McCay’s second cartoon, “Gertie the Dinosaur”, gave animation widespread appeal. The first comic book character to appear in cartoons was Superman. Max Fleischer, producer of the popular “Popeye” and “Betty Boop” cartoons, produced 17 animated shorts featuring Superman. Other comic-based cartoon include “Marvel Superheroes”, the many versions of “Superfriends”, “Spider-Man and his Amazing Friends”, “Teenage Mutant Ninja Turtles”, and “Batman: The Animated Series”. Even WildC.A.T.S. and the Savage Dragon have had their own cartoons.
This week, I’m going to review the cartoons “Teen Titans” and “Justice League” on Cartoon Network, “X-Men: Evolution” on the WB, and the new “Teenage Mutant Ninja Turtles” series on Fox. I’d wanted to watch a full episode of the new “Spider-Man” CG series on MTV, but MTV, as it’s want to do, has put the cartoon on hiatus. They’ll probably bring it back in 2004 for the new movie, or sell it on DVD. After all, the Music Television Network is dedicated to squeezing teens out of every last dollar they have.
“Justice League” premiered in 2001, the third DC Comics cartoon produced by Bruce Timm, with writing from Paul Dini. Timm and Dini had previously worked together on the popular and critically acclaimed “Batman: The Animated Series”, “Superman”, and comic books based on those cartoons. “Justice League” follows the loose continuity established in those series by bringing together the animated versions of Superman, Batman, and the Flash, along with new versions of Hawkgirl, the Martian Manhunter, Wonder Woman, and the John Stewart Green Lantern. The “Justice League” series has these seven heroes battling villains and threats too large for anyone else.
I’ve tuned into this show from time to time. I’m not a regular viewer, but I’ve always liked what I’ve seen. The 90-minute special where the League fights in WWII alongside the Blackhawks and Easy Company was a great game of “who’s who”. The show’s style is similar to the American anime hybrid seen in “Superman” and the last season of “The New Batman/Superman Adventures”. I wasn’t keen on it at first, but it goes well with the show’s high-impact action.
My only complaint is how every story is divided into 2-part episodes. I can’t tell you how frustrating it is to watch a show, then just when it starts getting good, it ends. And if you miss a week, you only get the latter half of a story without knowing what’s going on. Why couldn’t they just do 1-hour episodes? Were the producers afraid kids wouldn’t sit through a 60-miniute cartoon every week? Listen, if kids can sit through a feature length Disney movie, they’ll watch an hour-long cartoon. Fortunately, Cartoon Network often shows the first season episodes in 1-hour blocks, so I could see a complete story in one sitting.
In the final analysis, “Justice League” is just plain fun! After watching this week’s episode, the first one I’d seen in weeks, I was in a great mood. I was charged up, jazzed, revved. Although there wasn’t as much character depth or introspection as I’d have liked, I had a good time watching it.
“Justice League” gets . It could be one of the top 10 greatest comic-based cartoons of all time.
“Teen Titans” is the newest cartoon based on a comic, but just barely. The show uses young versions of popular team members Robin, Starfire, Cyborg, Raven, and Beast Boy, a.k.a. Changeling. The show’s set in an unidentified future, so I don’t know if this Robin has any relation to the ones in “Batman”. Bruce Timm is the executive producer of “Teen Titans”, along with Glen Murakami.
Frankly, I was never a “Titans” fan. I’ve read a few comic here and there, including the “Judas Contract” story. To me, ‘Teen Titans’ was DC’s version of the X-Men: a character-driven series with adventures fantastic as they were complex. And I’ve only watched a single episode of “Teen Titans”. So I’m coming into the series with an almost blank slate.
My opinion: It’s lame, but I’m too old for it.
The biggest flaw in the series is the obvious use of anime devices. Speed lines, extreme facial expressions, and use of super deformed figures are used almost constantly. The problem is they’re not used quite right. Anime characters’ faces will suddenly transform. Mouths get bigger, eyes squint, and jaws drop instantly. This quickness emphasizes the exaggeration of emotion while reminding the viewer that he’s watching a fantasy. “Dirty Pair” and “Dragontales” are two series that do this right.
In “Teen Titans”, the face changes are just a little bit slower; more gradual. This makes them feel more natural, as if the character really was changing the physical make-up of their face and head. It appears more realistic and therefore less funny. A cartoon that acts like a cartoon is more entertaining than a cartoon that acts like reality.
Characterization is my other big issue with the show. “Teen Titans” had even less than “Justice League”. As far as I could tell, each Titan was just a kid having fun with a particular schtick. This is highlighted in the episode I saw. An enchanted puppet steals the souls of the male titans and takes control of their bodies. When he tries to do the same to Raven and Starfire, they end up switching bodies. The two heroines must learn to use each other’s powers to free their friends. Not easy: Raven controls her magic though concentration and mental focus, while Starfire’s powers are driven by her passions. So it’s 20-odd minutes of “perky girl” trying to stay calm and “goth girl” letting go of her emotions. Funny? A little, but it doesn’t hold up under repeat viewings.
Frankly, “Teen Titans” left me feeling bored and a little annoyed. I think kids under 10 would like it, but I doubt older fans of the comics would enjoy it much. And if you do anyway, that’s fine. I’m giving it because it doesn’t really suck, but it’s not so great either.
I saw the premiere episode of “X-Men: Evolution” three years ago. It seemed all right, but aimed at a younger audience. The biggest difference between the series and the comics is that most of the characters are high school students. Cyclops, Marvel Girl, et al. live and train at Xavier’s but also attend a high school with “normal” students. I think this makes a lot of sense. Xavier has always encouraged integration between mutants and humans. So why not help mutants live like regular people and give them a safe haven? Besides, a cast of teenagers appeals to the show’s young audience.
The episode I saw this week was part of a continuing storyline about the return of Apocalypse. Mystique and Rogue were used to revive Apocalypse from his hibernation. As a result, Mystique was turned into stone. Apocalypse vanishes as he prepares his ultimate plan: transforming all people into mutants that he would rule. Magneto and his mutants, (who include Gambit and Colussus!), investigate Apocalypse’s Egyptian fortress for clues while the X-Men keep watch for any sign of his return. Apocalypse is found in Mexcio, after erecting an energy dome that blocks everything and everyone out. Magneto attacks it, but is vaporized by Apocalypse.
Meanwhile, Nightcrawler is trying to find a way to heal Mystique. He wants his mom back, but Rogue can’t forgive her for what she’s done. Ironically, Rogue’s power could help Mystique transform back to normal. Nightcrawler begs Rogue to forgive Mystique and not be consumed by hate. Suddenly, Rogue shoves Mystique’s body over a cliff. It shatters into pieces on the ground below.
Damn, man. An unstoppable mutant god about to take over the world, Gambit and Colossus working for the bad guy, and Rogue kills her mother. Plus, it has great character designs and smooth animation. That’s a 5BULLETS show, easy. I feel like watching it again next week.
Finally, there’s a new “Teenage Mutant Ninja Turtles” cartoon on the air. This series is more action-oriented than previous shows. It looks like a comic book, with heavily inked backgrounds and highly expressive faces. This week’s episode was also part of an ongoing story. The Turtles have been beamed to a distant planet ruled by the militaristic Federation. Their only hope is the scientist who invented the teleportation technology. Unfortunately, his brain is in the body of a robot called Fugitoid. The Federation leader, General Blank, also wants the teleportation technology, so Fugitoid and the Turtles become the most wanted men on the planet. As our heroes try to escape, Fugitoid is caught by the Triceratons. Triceratons are alien triceratops at war with the Federation. The Turtles are able to stow away on the Triceratons’ spaceship, but a hull breach sucks out all the air. They are left floating and nearly dead when the episode ends.
As someone who grew up watching the old “Turtles” TV show, it’s nice to see Michelangelo use his nunchukus again. The Turtles’ personalities’ are about the same as before. Mike is a wisecracker, prone to doing bad celebrity impersonations. Raphael is more of a tough guy now, similar to Ben Grimm. Donatello’s the gear head who pulls a couple of Macguyver moves to save the team. Leonardo’s still the leader, but he doesn’t say much. And when he does, he’s usually whining about living up to the standards of Master Splinter.
All in all, it’s a fun show. It’s fast-paced, funny, (with a great “Star Wars” joke), and entertaining. It’s solid 4BULLETS. I’ll bet a new generation of kids are going to grow up with “Turtlemania” of their own.
Enough about TV; what did I read this week?
Raijin #39 -
It still rocks. All the rest are details. I do want to point out the cover proclaims, “Action-Brains-Brawns-Sex Appeal. Nothing more, nothing less.” That should be the motto for the entire comics industry!
“In this issue, two men in formfitting body suits come to blows over ideological differences in the limitations society places on individual freedoms. Meanwhile, one of the combatant’s girlfriends engages in an internal monologue about the state of their relationship while lounging around in her underwear.”
Ruse: Archard’s Agents -
This reads more like the first issue of a monthly series than a one-shot. Peter Grimes, prize-fighter turned gentlemen, solves the murder of an aristocrat by beating on a suspect until the murderer confesses. It’s not the guy getting hit, but whatever gets the job done, right? Actually, the story’s about Grimes’ difficulties in moving up from one social class into another. It’s like “Gosford Park” but you don’t feel like sticking a fork in your eye.
Eternal #5 -
The shit really hits the fan as Ikaedan, the Deviants, and some Eternals rebel against the Celestials’ orders. A long and bloody battle follows. Ikaeden slaughters Kurassus then tries to give the fighters a chance to escape the Celestials. There’s some more religious imagery, with a rebellion in “heaven”, Ikaedan playing the sacrificial savior, and the dead suffering the hell of eternal death.
God bless Chuck Austen!
Crisis on Multiple Earths Vol. 2 -
The second collection of JSA/JLA team-ups from ‘Justice League of America’ #55-56, 64-65, 73-74, and 82-83. These were the final team-ups written by Gardner Fox, who wrote the first two stories in the collection. Dennis O’Neil wrote the last two. These issues are fun, but they also show the changes in comic book storytelling taking place in the late 60’s. The android hero Red Tornado is introduced in issue #73. Created by the villain T.O. Morrow to sabotage the JSA, Tornado would search for identity and the trust of his teammates. His efforts continued into issue #82, published almost a year later. Larry Lance, the Black Canary’s husband, died during the battle in #74. The Canary then decided to leave her world, Earth-2, and join the JLA on Earth-1. In issues #82-83, Canary thinks she’s disrupted the balance between the two Earths causing them to merge together. Unable to return home, she’s willing to kill herself if it will save two worlds. These are examples of the continuing storylines, long-lasting changes, and darker themes comics were exploring as they moved into the 1970’s.
Bart Simpson’s Treehouse of Horror #9 -
This year’s annual collection of horror stories, Simpsons’ style. Dan Brereton paints a “Lord of the Rings” parody, where the Simpsons nearly destroy the fellowship long before they reach Mount Doom. Moe puts his own spin on a Poe story when he plots to seal Homer in his basement. My favorite: A “From Hell” parody that captures the style and look of the comic, but borrows heavily from the movie. Includes appearances by Alan Moore, Eddie Campbell, and Patrick McGoohan.
I read this on Halloween. How appropriate.
And the rest:
Millennium Editions of Superman’s Pal, Jimmy Olsen #1 and Showcase #22; JLA: Destiny #1-4; Cerebus #0; Action Comics #775; and Alias #16-21.
Well, this went on a little longer than I thought. Still, a column about only 2 TV shows is a little light. And you people have come to expect massive, rambling tomes from me! I promise, I’ll add reviews of “X-Men: Evolution” and “Teenage Mutant Ninja Turtles” after I watch them this Saturday.
After that, my next full column will look at the top, middle, and lowest selling comic books in the USA. I’ll compare #1 with #100 and try to figure out why some books succeed and others don’t.
