My Introduction to Lore: The Legend of Zelda.

Recently I read this article by Phil Owen on io9 titled I Care About Star Wars Because It Introduced Me To ‘Lore.’  In it he says:

“For me and many other fans, Star Wars is not a series of movies but a setting, a place. And Star Wars was the first property I enjoyed growing up where should I want more stories in its settings I could always have them. And it wasn’t a case of, as it is in many game franchises praised for having lots of lore, characters in a book telling us about past events or info in a codex — nearly all the lore was in books or comics somewhere.”

And I thought, “yeah, Star Wars was definitely the first time I cared about the world of a property beyond its main storyline. That was until I received this in the mail:

Master Sword, yo.

The Legend of Zelda: A Link to the Past Graphic Novel by Shotaro Ishinomori.

This is a graphic novel, a reprint of a comic that was both printed in Nintendo Power then collected into a paperback in the 90’s. I found the paperback version shortly before The Legend of Zelda: Ocarina of Time came out.

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Killing Off Wolverine is the Right Decision by Marvel.

The Death of Wolverine is an event comic currently running at Marvel by Charles Soule and Steven McNiven and I could not be happier the 5’3 Canadian is being killed off. He has become the most oversaturated and uninteresting comic character without any clear or consistent motivation for years now.

He is an Avenger. He is an X-Men. He is part of a black-ops team. He founded and teaches at a new school for mutants. He was possesed by a demon. He discovered his past. He lost his healing factor. He does what has to be done e.g. murder, cut, and dismember people including his own son but doesn’t want young mutants to be on the frontlines when the X-Men are needed. This is just the last ten years of stories for Wolverine so obviously death might be one of the few storylines left to explore with this character. The problem is, with a timeline that basically perpetually frozen so their characters don’t age all of this jumbling of progress and motivation has made Logan impossible for me to care about.

The other problem is that he’s in every book. In one book he’s lecturing Scott Summers about how teenagers aren’t soldiers, in another he’s telling Captain America that sometimes killing is the only solution, in another he’s drinking beers with Spider-Man playing the gruff stoic friend to Peter Park and then in another he’s killing people with his teenage clone X-23 with the rest of his black ops team. The character needs consistency and if they need to kill him off to do that then I am all for it.

There is no change in comics, just the illusion of change. Wolverine coming back from the dead isn’t an eventuality but an inevitability. Hopefully he is in a limited capacity, like say, in one solo ongoing and one team book. If he’s going to be in the Avengers, don’t put him in X-Force or the X-Men. If he’s in one ongoing where he’s trying to fight moon mutant don’t have another one where he’s underneath the Earth’s soil marrying a mole woman. When you put him in all these different books so close together acting differently than he does in all the other books he appears in you’re telling me that Wolverine doesn’t matter, the storyline doesn’t matter, and making me well aware of the illusion of change.

For people who don’t read comics it is much easier to like Wolverine. He is like the definition of power fantasy. He has sharp blades coming out of his hand, he heals from almost anything, has a clear purpose in life (finding out his past) while doing and saying whatever he wants because he’s not to be messed with. Imagine what it’s like to be around that guy all the time but everytime you hang out he contradicts himself. That is what it’s like to read Wolverine in comics.

So go ahead Marvel, kill him. Make X-23 the new Wolverine for a couple of years, explore what motivates her and then when you bring Wolverine back give him a motivation I can get behind instead of plopping him into a story to raise sales of an issue. It makes sense to me. One of the most interesting storylines to happen to Batman in the last couple of years was for Bruce to get lost in time while Dick Grayson took on the mantle. While you’re at it, kill off Deadpool too.

Never Going to Watch HBO’s The Leftovers.

In The Leftovers, based on the novel by Tom Perrotta and developed by Damon Lindelof (Lost, Prometheus) a mysterious, a event has occurred making 2% of the world’s population disappear. Both the Perrotta and Lindelof have said here and here have said it isn’t about the mystery but about how the characters react and change to it.

That’s well and good but it isn’t the kind of storytelling for me. I need both, character development and answers to the mystery. The whole point of even having a mystery in a story is to eventually answer it. What Lindelof loves doing instead is using the mystery in order to explore his pseudo philosophy about the meaning of life, a mystery that he cannot answer. I already have a story like that, we all do, it’s called life and I am not looking for the ambiguity of life in the stories I consume. The problem I have with his style of writing is either he doesn’t answer the question or the answers he provides are so anti-climactic (Lost & Prometheus) that I am left feeling like I wasted my time. The fear of their time being wasted, in my personal opinion, is why people hate spoilers. When you spoil a story for someone you’ve essentially taken the joy of discovery away from them thus watching, reading, listening to it is now a waste of time. With Lindelof everything I have watched by him makes me feel like I’ve wasted my time because his character development doesn’t connect with me, his protagonist often coming off unlikable, ineffectual and his answers are either not there or disappointing.

Modern mystery and thriller novels have the opposite problem. All the stories has is answers, answers I’ve usually figured out early into the book. Without the character development in their protagonist the journey to the answers I already guessed isn’t very interesting to me.

Plus, what I don’t understand is what does that character development even mean if there is no resolution or a poor one? What makes it matter? That’s not what interests Lindelof as a writer. So I am not interested in his writing and I am not going to waste my time with The Leftovers.

The Problem with Storytelling in Ongoing Comic Books

     This thought has been lumbering around in my head since the announcement of the “Before Watchmen” limited series by DC Comics and was reminded of it again at the end of Geoff Johns’s run on Green Lantern with issue #20.

     There’s a problem with ongoing superhero comics from a storytelling perspective, they never really end. It’s different with novels and limited series, those have a beginning and an end, then the story is over. Not with ongoing comics, and I find this problematic. The problem is great stories from great writer’s usually sell really well and thus the companies that publish them, usually owning all rights to the characters, want to make more. I am not dismissing the quality of Before Watchmen but The Watchmen didn’t need anymore than what it already was. It has a beginning and an end and everything in between is really fantastic.
     Spoiler alert for issue #20 of Green Lantern. At the end of that Geoff John’s caps off with a glimpse into the future of all the Earthborn Green Lantern but the problem is there is still going to be an issue #21 and that writer is going to want to put his own spin on the mythos, changing what has been established and essentially either relegate that story to meaninglessness or tarnish it with half concocted plots. I am not insult Robert Venditti who is taking over Green Lantern but making an implication of all future writers of an ongoing series that takeover for another writer.
     Transmetropolitan by Warren Ellis is another series that ran for a good 60 issues but it had a proper ending that Warren Ellis wanted to tell and then it ended. The same goes for Neil Gaiman’s run on The Sandman for 75 issues. I’m sure with his new Sandman series he has written he has a set limit of issues he needs to tell his story because he knows stories need an end.
     The problem is with writers on runs of company icons like Superman, Wonder Woman, Batman, Spider-Man and etc. that no matter how good of a run you have on that series, someone else is eventually going to take over and undo basically everything you’ve done.
     Great characters can be ruining in comic books with oversaturation when they gain popularity. Wolverine had some of best comics in the past but now is in every Marvel book from the Avengers, to the X-Men to his own solo series. For the longest time Green Lantern had only one ongoing, then two, then three, now there are five ongoing comics related to the Green Lantern universe. All because a good writer wrote a good story and that sold a good amount of comics.
     It’s never enough with superhero comics to say that’s the end and be done with it. It’s part of the reason death in comic books has become so meaningless. Killing off a character sells comics, bringing them back from the dead sells comics and new characters are hardly given the chance because we won’t let the old character’s stories be over with. Sometimes it’s okay to say “The end” and move on and as along as comic books keep ongoing the stories of the past will become less and less meaningful.